Boiling energies and contagious storms: an interview with Rikki from Sister

Rikki

Swedish metallers Sister has built and earned a strong reputation for their raw and voraciously energetic sounds as well as live performances which leave a swarm of other bands in the shade. Creating a mix of punk and sleaze rock with horror punk and metal bred tendencies, it is a contagious and at times anthemic brew which is increasing in potency all the time, as proven by the band’s brand new album Disguised Vultures. The release is an encounter which increases infectiously and addictively the more time you allow its persuasion,  proving the Stockholm quartet a band very hard to ignore or not find a sweet spot for. To learn more about the band we had the pleasure of talking with bassist Rikki, at the same time finding out about the new album, the band and horror punk, touring and much more…

Hi Rikki, welcome to the site and thanks for agreeing to talk with us.

What was the spark which brought Sister to life and did you have an immediate direction you wanted to explore?

Sister came to life in early 2006 and I joined one year later. There were a few years with all intentions of being a band reaching high but at the same time making all the mistakes and being all about having a good time all the time. Maybe one year before the debut album Hated, that was released 2011, we felt that we were something to be reckoned with without putting much effort into it and started thinking of what we could do if we make something real out of it. I think it pretty much was at that time all the things fell into the right places.

1743529_10152244327941694_138724050_nWe called your sound and album in our review of your brand new release Disguised Vultures, ‘Raw and contagious, seducing like Frankenstein Drag Queens from Planet 13 meets Crashdiet in a glam cast pit of degenerate rioting’. How would you describe the Sister incitement to newcomers?

You got the raw and contagious there and I like that he he. I would add a high energetic live act. We are a band that love being on stage and that’s our place in this world.

What are your most potent inspirations as a band and as an individual?

We are all about all kinds of music. From bands like Misfits and Guns n Roses to bands like Lynyrd Skynyrd and Roky Erickson. We get inspirations from everything around us. I find inspiration in everything I like and respect.

We mentioned new album Disguised Vultures earlier, your recently released second album; how were the feelings on the eve of its release and since?

Last album was a big chaotic process since we signed with Metal Blade and had to write songs, record and release an album in a pretty short time period. This time we had a lot of time getting everything done and deciding how to go through with it. Like the first time, we finished in the last second this time as well though. It has to be done that way I have learned by now. The songs were written one year ago so it feels great to finally get them out.

There seemed to be a rather strong anticipation and now a hungry appetite for the album, was this something even with your confidence in its potency you expected?

It’s the way it should be. Would be pretty boring the other way wouldn’t it. We just go for all the stuff we want to achieve with an album or whatever we are doing at the moment. I knew this album would be the perfect follow up to Hated and the new album really feels like a step in the right direction.

How do you see you music and style has evolved between Disguised Vultures and its predecessor?

I loved the fact that we recorded the drums, bass and rhythm guitar live this time. It was a thought that appeared very early, maybe shortly after the last album was released. That next time we’ll do it live in the studio. I think we achieved a more organic sound and it’s a much rawer and heavier sound than the last time. I think also it’s a more diverse album as well. On the debut it was all about fast punk songs. We are exploring more grounds this time.

sister 2Did you approach the new album differently to Hated, were there lessons learned first time around you could utilise and build on?

Yeah make sure you have time haha. Actually it could be a good thing to do an album without having the time to think about everything. It becomes very honest. But if problems turn up you are pretty fucked. We’ve learned a few things about being a band and to record the last couple of years as well. Not much but a few hehe.

You may disagreed but it seems like earlier releases, Hated and before that the Deadboys Making Noise EP, certainly lyrically and in sound may be too, embraced expectations with a typical horror punk provocation. Disguised Vultures feels like in both aspects Sister has moved on to try to evolve and sculpt its own identity. Has this been something you have given a focused attention to look at or it has been just an organic progression in your writing?

I actually have no idea when the horror label people put on us even took place. We have never written songs about horror movies or stuff like that. We write music about real life not after life haha. I guess when you look in a certain way people try to put you in the genre that they think is the closest one. We have always considered ourselves being a band that like a lot of different music genres and we have since the EP just decided not to think about genres and just play what we want. It is always different depending who you talk to. Some say we are sleaze, some say horror, some say just pure punk music. I consider us being a bit more confusing genre wise than just being just one of those.

Tell us about the recording of the new album. Did you have a deliberate intent with it and its sound?

Our friend Martin Sweet produced it and Linus Nirbrant did the mix together with him. The mix process took the longest to get right since we really knew from the start what we wanted. We were very much, like always, involved in all parts of the process. We knew what we wanted to do and how to do it and since we have worked with Martin earlier we know each other very well. He got us from the start.

Do you write songs and have them worked out fully before the recording process or a band which likes to create predominantly in the studio environment?

Everything was written half a year before we entered the studio. You always make a few changes in the studio but the main stuff was already written this time. On the first album we changed more while recording than this time.

How does the writing process within Sister play out generally?

Someone has a song which is taken to the rehearsal. Usually there is a melody or a half-finished song and then we pretty much finish the song in there. It can be very different from song to song but usually it’s like that.

Are you more often than not a put the lyrics to music band or vice versa?

It can be either way.

There is a definite anthemic and stand up against the wrongs of society etc. provocation to your songs lyrically which transfers to sister 4the music on the album, but how much do personal issues, reflections, or experiences also inspire your songs?

Cari and Jamie have written the lyrics on this album. Some songs are pure angst about things and some more complex. The song Disguised Vultures for example is about the clash between the world on tour and the world back home. On tour playing in front of big crowds and then being back home without any money and all that. It can be two very different worlds.

Disguised Vultures like its predecessor has been unleashed on Metal Blade Records; they seem like a rewarding home for Sister?

Yeah it’s been good. Their reputation and arms reach out over most parts of the world and that can be very good for us of course.

The band has toured and played around Europe extensively over the years, as well as playing at some prestigious festivals; the biggest highlights for you so far?

Playing the big stage right before Mastodon on Sonisphere Madrid 2012 was a highlight of course. I can get used to doing that stuff haha. The tours with Hardcore Superstar, Crashdiet and Wednesday 13 have been really good as well. We have played in northern Europe a lot since the EP (Germany has been like a second home country hehe) so it has been great playing in Italy, Spain and France the last couple of years. Our first two tours in the UK were done last year and were awesome as well. Hope to be back there real soon!

Is there any particular country or nationality of fans which unite and ignite to Sister over all others?

It’s been real good all over Europe the last few years. Northern Italy has always been crazy. Manchester and London on the UK tours have been awesome. Paris was really great, Berlin as well. Hard to pick a favourite.

sister 3What does Sister have in store for 2014 now the album is out?

We are in the middle of discussions about some real cool stuff tour wise. We’ll see if it can be done. It would be big! The booked official stuff is a release party here in Stockholm in the middle of February and some shows in Sweden and Finland. We just want to hit the roads soon!

Big thanks for chatting with us; any parting thoughts you would like to leave the readers contemplating?

Likewise! If you haven’t been to a Sister show, make sure that you do when we’re around! And check out our album Disguised Vultures!

Read the Disguised Vultures review @ https://ringmasterreviewintroduces.wordpress.com/2014/01/21/sister-disguised-vultures/

www.sisterofficial.com

Pete RingMaster

The Ringmaster Review 14/02/2014

 Copyright RingMaster: MyFreeCopyright

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

http://www.audioburger.com

Deadliner – Wardenclyffe

    cover

    Enthralling, unpredictable, and persistently inciting the senses, Wardenclyffe the new album from industrial/electronic project Deadliner is a quite masterful and transfixing evocation of sound and imagination. Consisting of twenty tracks, or episodes within the life of the album’s themed central character, the release is a riveting encounter providing one of the electronic triumphs of the past year and surely of this. Released via Juggernaut Media Group, the album is an adventure fuelled by evocative electro alchemy from an artist who a relative secret in his presence is bold and large in his music.

     Deadliner is the project of Chicago musician Steve Christie, a man who is also renowned and prolific in the field of remixes. Formed a few years ago, the band has released a wealth of provocative and inventive releases, each an investigation based on impacting moments or people within human history. Wardenclyffe is inspired by inventor Nikola Tesla, the album title and theme inspired by the laboratory tower in New York where Tesla spent much of his adult life and conducted experiments in wireless transmission. Previous releases have explored and employed varied styles and sounds in their bodies and Wardenclyffe no different with its tracks fusing industrial and electronic persuasions with more than a glancing touch of classically seeded elegance. The result is an album which can bewitch and intimidate in any given moment but mostly it just ignites the imagination and emotions into casting individual narratives aligned to that of the composer.

     Available digitally with the deluxe version containing an additional six tracks, Wardenclyffe needs no time to warm up as it immediately immerses senses and thoughts in the irresistible grasp of opener The Eidetic. Gently whipping electro pulses engage first with industrial swipes intermittently also making their intent clear. Behind them a brewing sonic mist builds an electric ambience whilst rhythms place a keen and firm hand on the ears to cage their attention. Into its full height and slow coaxing stroll, the track magnetises thoughts and awakens a hungry appetite with an additional Numan-esque breath to its imposing but respectful presence. It is an immense lure and start to the album rapidly backed up by subsequent tracks.

     The highly stimulated electro dance of Transmitter and the gentle emotive breeze of The Radiant instantly reinforce the strong entrance of the album, the first a repetitious and galvanising canter of infectiousness and its successor a warm billowing wind of smouldering sound with climactic outbreaks of rhythmic tension and fiery melodies the further it stretches its venture. Though not as impacting as the first, both build a high plateau for Wardenclyffe which is never fallen below on the rest of the album but often surpassed as with the next up World System. Everything about this song increases in voice; volume, intensity, and energy rampant and rapacious offerings within an increasingly building drama and intimidation. Listening to the track you feel like a small body in a large and voracious sea of sound.

     The likes of the vivaciously charged Remote Field, the melodically cast and atmospherically chilled Bremsstrahlung, and the melancholic Stationary Waves with another Numan like essence to its suasion, keep the release inciting the emotions and imagination throughout with their absorbing narratives whilst punctuating their lofty highland further pinnacles are offered by Polarized and Static Coupling. The first of the two is an intriguing and sinister wrap around the thoughts, its body carrying an intimidating causticity at times which is tempered by a floating melodic endeavour and thought colouring enchantment whilst the second breeds an animosity and defiance in its rawer sound and the guest vocals of UCNX, this the only track with a vocal incitement. Both are darker and more challenging than other tracks bringing more diversity to Wardenclyffe and predation on the senses.

   Further major highlights show their majesty and temptation with The Decay, its brilliant opening introduction enough to enthuse about alone. With a discord kissed quirky twang to its initial notes the song steals the imagination which is then fed a glorious expanse of melodic and sonic weaves, the track having a taste of John Foxx to its absorbing and emotion galvanising stretch. Soon after the melodic reflection of The Lichtenberg Figure equally sparks rich responses from mind and heart, its melody crafted wash of guitar and synth thoughtfulness quite mesmeric though soon swamped by the muscle flexing presence of Cathode. Massive bulging beats and sinew strapped hooks dominating the fiery encounter to thrilling effect, and as with the previous World System it feels like Christie has turned up volume and intensity to sculpt the most potent drama with impressive effect.

    The expressive emotion of the piano sculpted The Believers and the virulent intoxication of The Doldrum leave the album again on the highest level whilst the closing Discharge washes ears and imagination with a stately and emotive finale of craft and melodic beauty. Every song on the album is an unreserved temptation those mentioned and those left for you to discover, never a moment upon the album uninspiring mentally and thrilling musically. Deadliner is a proposition still in the shadows for most but after Wardenclyffe works its way through the world, it is hard to imagine that remaining the case. It is simply a dynamic and superbly textured inventive adventure all electronic fans need to immerse within.

http://www.deadlinermusic.com

https://www.facebook.com/pages/Deadliner/278708955490201

9/10

Ringmaster 14/02/2014

 Copyright RingMaster: MyFreeCopyright

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

http://www.audioburger.com

Electric Breathing – Sweet Violence

cover

     Going straight for the throat from its opening moments and never removing its antagonistic bared teeth from there on in, Sweet Violence the new album from German electronic predator Electric Breathing is one of those scintillating releases which you do not really realise just how good it is until lying in its wake, reflecting in your own fevered waste. The ten track fury is a breath-taking, senses violating tempest of industrial, techno, and harsh ebm goodness or should that be pestilence? Nevertheless it is one invigorating voracious fire of sonic contempt and carnivorous passion soaked in a melodic toxicity you just cannot switch off from.

    Electric Breathing is the solo project of Göttingen artist Maik Grohs, and Sweet Violence his fourth full-length rampage into the psyche. Since starting up in 2006, the band has captured strong, if not yet widespread, attention for its unorthodox sequencing and unrelenting aggression. The new album takes it to another level, merging that predatory stance and invention with an urgent techno seeded energy, the result an invasive proposition which snarls and seduces with rigorous voracity in both. Released via Juggernaut Music Group digitally and for the first time for the band, on CD which is limited to just 50 copies, Sweet Violence attacks the world and its political agenda with the tenacity and aggression of a tornado.

     Blindfold kicks off the storm, low lying atmospheric coaxing and shards of electro tempting merging into a flume of sonic persistence for a restrained yet imposing invitation. Soon the song is striding with rhythmic muscles pushing air and intensely heated flames of electronic persuasion searing the senses. The pressure is increased once the caustic tones of Grohs unleash the start of a vitriolic narrative, his delivery varied as if from two sources and as magnetic as the nagging sounds around him. It is a rousing of the imagination and passions providing an exhaustive and inventive confrontation to devour with greed.

   As soon as the opener departs a teasing electro beckoning marks the arrival of Suck It Dry, again a song which is in no rush to explode in the ears but keen to offer a menace and pressure to keep an already bred hungry appetite awake and impatiently waiting. There is a harsher industrial intent to the track which is tempered by the melodic acidity spearing the prowling thrust of the encounter. Having pressed and niggled submission into place, the song than explodes into a contagious toxicity of imagination and sound which is as anthemic as it is inventively twisted. It launches the album up another level, a height reinforced right away with the following title track. The third song from a great agitated and unsettling opening stretch relaxes into an incendiary antagonistic stance with sounds and lyrical incitement to match. Like its predecessor the track easily recruits the listener into its anthem like attack, thoughts and emotions forcibly engaged and willing from start to riotous finish.

    An insidious vocal attack leads the thrust of No Sense, No Solution, No Way Out next; rasping serpentine squalls and spoken malice drenched provocation driving the sonic web of intrusive rabidity through the ears.  The track also unveils a sirenesque vocal call to seduce the imagination mid-stream into the torrential flood of riveting electro spite. Not as strong as the previous trio, the track certainly ignites a greed for its offering whilst its successor Brain Reset exploits that need with its bright and vivacious electronic waltz within the clutches of a hostile industrial climate. Again using that irresistible vocal bait within its enthralling enterprise the track leaves satisfaction overfed if passions like its predecessor not quite inflamed.

    That early plateau is unreservedly returned to with the next couple of tracks, first up through the demonically sculpted seduction of The Devils Whore. Warning calls and industrial sirens punctuate the incendiary sonic cyclone whilst scorching acid bred melodies entwine around the ferocious animation of song and energy. There is also a punk like brawl to the heart of the proposition which only increases the depth of it textures and malignancy. It is a scintillating conflict but soon left in the shade of Lord’s Prayer. From its first vibrating bounce of rhythmic enticement the song unleashes a mouthwatering twisted and persistently shifting intimidation of sound and vocal rancor, but within a stimulus of transfixing invention and unbridled experimentation. The song never stands still, every second leading into new ventures which barely get repeated across its sensational and imagination drenched charge. It is easily the best track on the release despite being amongst so many which would easily steal the spotlight in any other release.

    The only draw-back about the sonic alchemy that is Lord’s Prayer is that the still impressive and pleasing MK Ultra and Psycho In Me have too much to contend with as a comparison and ultimately suffer, though both, and certainly the first, also lack the spark and toxicity to launch the emotions as those first few songs. All the same both are ravenous protagonists with vitality and invention which grabs attention with an inspiring craft ensuring a full recommendation is the only course.

     The album comes to a close with the violence and ominous conclusion of Beautiful Sacrifice, the track a savage yet enchanting mesh of sonic beauty and rhythmic barbarism. Exhaustingly unrelenting with a pulsating fermentation of anger and venom within a bloody melodic blizzard, it is a towering end to a thoroughly compelling and destructive triumph. Sweet Violence is addictive and anthemic musically and in its invention; undeniably one of the early major releases in electronic/industrial music. Electric Breathing is a project which you know will only get stronger, a thrilling thought.

https://www.facebook.com/pages/Electric-Breathing/165582646816546

http://music.juggernautservices.com/album/sweet-violence

9/10

RingMaster 14/02/2014

Copyright RingMaster: MyFreeCopyright

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

http://www.audioburger.com

Spewtilator – Goathrower

Spewtilator_pic1

    If a scourge of any descript, be it human, natural, or emotional, ever needed a band to soundtrack its devastation than US death thrashers Spewtilator would be the perfect candidates to provide it. Their sound is as pestilential and vicious as any plague and just as virulently addictive, the evidence no more forcibly shown than on new EP Goathrower. Released on Valentines Day, the five track sonic spillage of malevolence and brutality takes no prisoners, a brew of thrash and death metal cast in a grindcore grip fuelling its rampage whilst leaving lingering scars and a depth of satisfaction and enjoyment which on the surface you would not imagine possible. It is a challenge not all will embrace to be honest, a spiteful fury most will cower from but for others the EP is a reason to spit blood every morning.

   Formed in 2007, the Atlanta trio has scarred plenty of psyches since their opening attack in the Thrash N Splash demo of 2009. The two EPs Get Conjured and the acclaimed Inhale Awaits of 2010 and 2012 respectively, marked the band out for attention from a rising blood lusting fanbase whilst a split with Death Of Kings called Total East Coast Devastation and another with Coffin Dust on Ancient Rites of Getting Conjured, the two released either side of their last EP, only reinforced their specific and unique sonic savagery in the larger scheme of death/thrash metal and grindcore. Goathrower is the band at its most vicious, furious, and compelling, an onslaught which leaves senses bruised and satisfaction heavily indulging in the peculiar toxicity of Spewtilator.

    The title track assaults first; a raw and abrasive intensity aligned to an equally caustic sound smothers the ears whilst a thrash Spewtilator_LoRezstride of riffs charges head on into a brewing cloud of death metal malevolence. It is a stirring and almost anthemic mix of provocation which grows in antagonism and strength as guitars throw spears of sonic endeavour and a varied vocal delivery bruises the senses. The production of the EP is as coarse and punishing as the songs to accentuate their vicious and squalling sonic bluster. The opener is a riling and rousing start which is soon matched by the following Cherokee Curse, the track another scathing fury of sound and emotion. Holding an even greater hardcore vitriol to vocals and its punk thrash core, the track is unafraid to test the listener and stretch its remit, a classic metal surge vocally and musically spewing from within a tempestuously blackened maelstrom of intent.

     Both songs provide bait hard to resist even if it comes in an uncomfortable and uncompromising tempest. That satisfying confrontation is soon matched by Cave of Hatred, though at only twenty seven seconds long it does not have time to improve or damage anything if we are truthful. Nevertheless the storm is a corrosive intimidation which leaves just that little more pleasure in its brief wake, something Afterworld Inebriation provides in greater depth and scale next. The best track on the EP, it has a swagger and groove beneath what is another tirade of venomous vocals and sonic devastation driven by a rhythmic voracity. It is masterful siege of grindcore and death thrash hostility moulded into a contagious strength sapping grudge.

     Fifty odd seconds of hardcore and thrash spawned virulence in the pestilent shape of Let’s Get Drugs concludes the Boris Records released Goathrower, another raging proposition which will ignite or disturb your emotions  depending how Spewtilator take you. If their kind of venom is to your taste than definitely the new release is them at their finest malicious yet and well worth taking a beating from.

https://www.facebook.com/Spewtilator

http://spewtilator.bandcamp.com/

8/10

RingMaster 14/02/2014

 Copyright RingMaster: MyFreeCopyright

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

http://www.audioburger.com

My Favourite Runner Up – Crossroads

My Favourite Runner Up Online Promo shot

     Everything about Crossroads, the debut album from Welsh rockers My Favourite Runner Up is big; massive choruses and hooks matching an equally hefty energy, but most of all it provides big satisfaction with its superbly crafted songs. The band’s previous EP Thoughts, Feelings, Actions impressed and thrilled upon its appearance in 2012 but it was just a taster of things to come as shown by this resourceful stomp. The new album takes all the striking elements found on its predecessor and twists them into even catchier irrepressible temptations but equally it shows a greater maturity in the songwriting of the band. It is fair to say there is a sense of familiarity to the blend of pop punk and rock which breeds their songs but the quintet delivers it with such resourcefulness and adventure that they leave most others in the shade.

    My Favourite Runner Up began in 2006 and taking influences from the likes of New Found Glory, Jimmy Eat World, and Mayday Parade into their emerging sound were soon drawing attention and positive responses. They built a potent fanbase and reputation through their live performances, shows with the likes of Madina Lake, Mallory Knox, Kids In Glass Houses, Cerys Matthews, The Blitz Kids, Kids Can’t Fly, Bury Tomorrow, The Hype Theory, I Spy Strangers, and many more marking the past years. The band recorded their debut EP in 2010 with producer Romesh Dodangoda who has recorded all subsequent releases with the band. It and the following Thoughts, Feelings, Actions brought eager acclaim upon their presences, the second especially stirring up impressive critical responses and airplay. Now building on a busy 2013 for the band of touring and playing shows, My Favourite Runner Up’s first full-length is poised to push the band into an intense spotlight, an easy assumption such its rousing qualities.

     Crossroads flies from the blocks with the excellent opener Light A Fire, guitar strokes and pulsating drum beats from CDBO06.pdfThomas Carr waking up the ears before the band uncages a contagion of sharp hooks and storming riffs with the lead vocals of Christian Evans laying down another strong lure within the web of enterprise provided by the guitars of Andrew Towell and Tom Hawkes. The song strides confidently throughout, at times showing restraint in its overall lively charge but constantly leaning persuasively on the senses with exciting dynamics and melodic potency. It is a tremendous start to the release immediately backed up by the new video single from the album, Poison. The second song swings into view with a swagger to the guitar and smile to the voice of Evans. Like a middle weight boxer dancing on its feet, the track bounces and leaps around the imagination with virulent infectiousness, the flames of guitars shadowed by again thumping rhythms and the dark tones of bass of Lee Walker.

   Both Never Again and Love Comes First march with large strides into the emotions, the first an emotively carved blaze of melodies and harmonies, the songs continuing to be blessed with great group combinations vocally. The song is more of a reflective stroll musically than its predecessors but still embraces excitable energy and keenness building to a huge anthemic chorus, a constant trait the band leaves most other similar bands sounding quite pale against. The second of the two raises the pace again, its ridiculously addictive chorus with equally epidemic vocal coaxing from Evans irresistible. Guitars and beats romp with skill and mischief in the ears but also with an invention and imagination which reveals the depths of the band’s thoughtful songwriting. It is one of the major pinnacles on the album standing boldly aside the opener and the following No More Fight within a wholly elevated range of triumphs. The next song has a stronger punk intensity to its body but does not lack any of the melodic endeavours and infectiousness of others whilst providing a scintillating groove to further ignite the imagination.

     Through the sublimely magnetic title track, a song with another chorus impossible to resist contributing to, the passion drenched Your Own Worst Enemy, and the compelling Storytelling the album continues to burn and entice brightly, the trio of songs individual in sound and character but united in uncaging hooks and melodies which simply seduce the strongest hunger in an already enraptured appetite for the album’s might. It is easy to wax lyrical about Crossroads when songs like this leave no ardour kissed reaction and pleasure unused.

     With an album of such high standards maybe slips in appeal if not quality are inevitable and with Scars and Better Without You, the band does miss the high mark set previously. To be honest there is little to dismiss the pair over, their craft and presentation undeniably impressive but both lack the same spark and adventure of their companions, thus failing to linger in thoughts and emotions. Home though ensures the album ends powerfully, almost combative rhythms and melody bred flames framing and flaring around the ever strong vocals whilst Walker saves his best bassline for this closing treat. It concludes a towering triumph of an album which suggests My Favourite Runner Up has the potential to be the next big thing UK rock proposition. Crossroads is one of the most enjoyable and impressive pop punk/power pop albums heard in quite a long time, if not the best.

www.facebook.com/myfavouriterunnerup

9.5/10

 RingMaster 13/02/2014

 Copyright RingMaster: MyFreeCopyright

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

http://www.audioburger.com

SET TO BREAK poised to show ‘Redemption’, on Monday 17th March‏

Set To Break Online Promo Shot

 

 

DEBUT EP NATIONALLY RELEASED THIS SPRING!

 

High Flying South Wales metalcore crew Set To Break drop their explosive debut EP Redemption on Monday 17th March, through Imperial Music.

Bridgend bruisers Set To Break were spawned at the foot of 2013 by long-time friends George Ross (Vocals), Rhys Morgan (Percussion), Dan Charles (bass), Shaun Owens (guitar) and Craig Owens (guitar), who wanted to create music that ripped apart the standard formulae of metalcore, yet remained true to the band’s influences and beliefs. The band soon found their feet, and began to widely play throughout the heart of their native Wales and southern England, landing support slots with the likes of Crossfaith, Heart Of A Coward, Malevolence and The Charm The Fury. With their eclectic leanings straddling many areas, the band pull inspiration from the likes of Parkway Drive, August Burns Red and Continents, while they find their own characteristic voice in the alchemy of creating music.

Set To Break were soon snapped up by Imperial Music, who placed a track of theirs on the cover CD of Metal Hammer Magazine, and subsequently booked the band into Bandit Studios with Jonny Renshaw (Devil Sold His Soul) behind the desk. After relentless sessions, the quartet produced their debut EP entitled ‘Redemption’, and it’s purely intoxicating. From the first notes of the progressively textured ‘Lost’, to the breathtaking ‘Made To Suffer’, which pitches gut-wrenching vocals against veracious guitar lines, and on to the low slung pounding groove of ‘Paid Pride’, it’s evident that Set To Break have forged something special. ‘Ulterior Motives’ continues to compound the band’s potency with its sheer power and layered guitar work, while their recent single ‘Khan’ shifts gears, incorporating subtle piano with stunning dynamics. Last up, ‘Bermuda’ closes the EP in style with its blistering riffs and fiery drive. The UK noise tyrants will now head for the road as they prime to break to a national level.

= SET TO BREAK RELEASE ‘REDEMPTION’ ON MONDAY 17TH MARCH THROUGH ALL STORES =

Set To Break Cover Artwork

GIVING IN TO GHOSTS to unveil ‘Chasing Waves’, on 31st March‏

Giving Into Ghosts Press Shots 22/10/13
DEBUT EP DROPS THIS SPRING!
 
South Wales Post-Hardcore outfit Giving In To Ghosts drop their ball-busting debut EP Chasing Waves on Monday 31st March through all stores.
Blending emotive drive with defiant belligerence, Giving In To Ghosts wear their hearts on their sleeves, producing a sound that deftly merges genres. By extracting influence from everyone from fellow South-Wales icons Funeral For A Friend, to Brit bruisers Architects and cult heroes Reuben, the band’s reach and output is notably diverse.
Since their inception in 2013, Cardiff hardcore beasts ‘Giving In To Ghosts’ have already destroyed a host of fleapit venues throughout Wales and England with their boundless energy and impassionate blend of melodic hardcore. Now, after supports with Continents, The Browning, Acoda and Beneath My Feet, ‘Giving In To Ghosts’ are primed to step up with the national release of their explosive debut EP ‘Chasing Waves’.
To record ‘Chasing Waves’, the ascending four piece laid siege at Not In Pill Studios in Wales with Martyn ‘Ginge’ Ford and Matt Bond (who’s past credits include Slipknot, Trivium and Bullet For My Valentine) behind the desk. The record was completed by the end of 2013 and the result is highly impressive.
‘Chasing Waves’ is loaded with slamming guitar parts, colossal drumming, and engrossing dual vocal lines that twist and contort. The opening track on the EP ‘Rapture’ is quite simply massive and an ideal sampler for the shape of things to come. ‘Sirens’ bursts with unbridled vigour and a soaring refrain, while the record’s namesake ‘Chasing Waves’ displays the quartet’s cunning knack for stripping back the elements to deliver an engaging cut that will lodge itself in your brain for ages. As ‘To The Sun’ rounds off their striking debut with its edgy riffs and brutal drive, its clear that this record is sure to elevate the fiery tune chiefs to a national level.
= GIVING IN TO GHOSTS RELEASE ‘CHASING WAVES’ ON MONDAY 31st MARCH THROUGH ALL OUTLETS =
 Giving In To Ghost Cover Artwork