SECOND RATE ANGELS get ‘Dragged Out’‏

Second Rate Angels Online Promo picture

RISING METAL COMBO SECOND RATE ANGELS RELEASE NEW VIDEO!

UK metallers ‘Second Rate Angels’ have just unleashed their cracking new video single ‘Dragged out’, taken from their critically acclaimed debut EP ‘The Lost Days’. Watch the video for ‘Dragged Out’ here – http://www.youtube.com/watch?v=DU1Lkyk0zhg .

 

Drawing from traditional heavy metal, as well as taking inspiration from Bullet For My Valentine, Avenged Sevenfold, and Trivium, Second Rate Angels serve up a fresh take on the metal genre. Look out as the ascending quartet hit the road this Autumn in support for their new single ‘Dragged Out’ and current EP ‘The Lost Days’.

 

Second Rate Angels were born at the end of 2011 and soon began to wow audiences with their high octane live shows. Coming at you from Hemel Hempstead and featuring Chris Lewis (Guitars and Backing Vocals), Matt Clark (Guitars and Backing Vocals), Dave Gobran (Vocals and Bass) and Andy Doran (Drums), the foursome nailed performances at Bloodstock Open Air Festival, and went on to play a string of highly successful shows throughout London and the South, landing supports with the likes of Breed 77, Beholder and Zico Chain along the way.

 

The lively quartet have just released their debut EP ‘The Lost Days’ and the record picked up wide praise from national press, radio and key online publications. The band were also featured on the cover CD of Metal Hammer, as well as notching glowing reviews from Big Cheese Magazine and Powerplay. Second Rate Angels now push on with their new video single ‘Dragged Out’ which delivers a serious blow to your senses with its alluring dynamics, stout intensity and soaring refrain. Look out for tour dates and shows soon to be announced via the band’s social sites.

 

 VIEW THE NEW SECOND RATE ANGELS VIDEO, ‘DRAGGED OUT’  HERE http://www.youtube.com/watch?v=DU1Lkyk0zhg  –

 Check out our review of The Lost Days EP @ https://ringmasterreviewintroduces.wordpress.com/2014/06/01/second-rate-angels-the-lost-days-ep/

www.facebook.com/SecondRateAngels

Ancient Altar – Self Titled EP

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There is a brutal tempest coming from Los Angeles and it is shaped in the rather tasty form of the self –titled EP from Ancient Altar. The four track debut from the band is a voracious beast of an encounter unleashing a fusion of corrosive doom and suffocating sludge causticity. The release preys upon and slowly smothers the senses in an inhospitable hunger and intensity but within that ruinous intent there is a rich vein of seductive bait which twists the psyche into an even more submissive victim. It is a heavily striking introduction to a band already gaining acclaim and a potent reputation at home, a release with a wealth of imposing potential to suggest Ancient Altar has a massive future.

With the band formed in the latter weeks of 2013, the quartet of vocalist/bassist Scott Carlson, vocalist/guitarist Barry Kavener, guitarist Jesse Boldt, and drummer Tom Oz recorded their first release with Etay Levy (Lana Dagales, Gallows of Sedition, …Of the Dead). Mixed by Gary Griffth (Morgion) and mastered by James Plotkin (O.L.D., Khanate, Jodis), the EP has emerged as a real predator of an encounter, one taking little time to intrigue ears as opener Tidal squirts electronic lures to awaken attention. A sonic embrace accompanies the entrance, guitars stirring up their venomous breath and rhythms roaming through a few sinew swung beats and rolling leads. It is a relatively restrained start, that is until the toxic growls and spite of Kavener and Carlson leave their respective throats and squall vindictively across the senses. It is a riveting entrance which increases its bait as the song begins to crawl eagerly, riffs and rhythms building a stalking proposition to which the vocals continue to sweat causticity. Magnetic grooves and melodic acidity brings colour and richer temptation to the canvas of hostility, their lures equipped with a swagger and enterprise to ignite the imagination further. It is a stunning first encounter with the band, the track continuing to roam almost salaciously around the senses with its wares as flirtatious as they are barbarous for an enthralling and powerfully gripping predation.

Things just get bigger and better with the exceptional Ek Balam. The track is almost nine minutes of sheer sonic and intrusive temptation, working on ears and passions from its opening seconds of evocatively enticing guitar. The slow aa_digimelodic stroking is as intriguing as it is coaxing, it’s hinting of things to come undefined but potently inviting. The darker tones of bass add another texture to the irresistible lure before guitars and rhythms descend with an abrasive punkish vivacity on ears and already greedy appetite. Riffs build a compelling and insatiably baiting web of repetition and seduction, a persistent and unrelenting instinctive tempting which bewitches and engrosses with lean but intensely expressively sonic and melodic ingenuity. Mid-way in the mystique of the track takes on an even heavier and more intimidating purpose, laying down a landscape for the painfully raw, tonsil scarring vocal roars to spill their animosity over. It only adds to the drama and addictive nature of the track though, riffs and barbed grooves continuing to bind and infest the psyche and emotions whilst rhythms jab and punch with formidable intent to punctuate every twist and lurch of the outstanding track.

Its major triumph, alone a reason to recommend and drool over the band, does leave the final two tracks struggling to impress as dramatically. Feed comes first and immediately finds a fiery groove to wrap around ears within a great agitated web of rhythms. It makes for a strong start with rich essences of seventies psychedelic metal and citric stoner-esque hues but with the vocals more a loose scowl than a commanding presence and the song itself a constantly shifting stomp of admittedly pleasing endeavour, the track feels more like a jam than a acutely honed incitement. Nevertheless it still has emotions and ears greedily satisfied before making way for closer Pulled Out. Another long proposition, the track is a simmering journey with a sonic sultriness to its atmosphere to which the vocals scrape away mercilessly. Again as raw as it is brutal, the song is a thoroughly absorbing and very often punishing experience, one which equally spellbinds and ferociously intimidates, though it misses reaching the same levels of the scintillating first pair of songs on the EP.

Ancient Altar is a prospect very easy to get excited about and expect big things from on the evidence of their debut alone. The pressure is on the band but you just do not feel they will disappoint.

The Ancient Altar EP is available now via Midnite Collective digitally @ http://midniteclv.bandcamp.com/album/ancient-altar and on extremely Ltd Ed cassette @ http://midniteclv.storenvy.com/

https://www.facebook.com/ancientaltar

8.5/10

RingMaster 22/07/2014

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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We Have A Ghost – Self Titled

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Providing a kaleidoscope of electronic expression through persistently evocative snap shots of life and emotional intimacy, the self-titled debut album from We Have A Ghost offers plenty about its creator but still merely hints at the mystery. Preferring to let his music do the talking, the artists behind the project is an anonymous protagonist but the crafter of some of the richest incitements for ears and imagination to be cast this year. Each track is an insight into a diverse appetite for sound and adventure, individual spotlights which draw on the widest array of styles and atmospherically fuelled hues. It is a fascinating proposition which makes the intrigue to know more as intense as the pleasure gained from the ten transfixing aural pictures.

The album follows the release of Insomnia and Safe, both available on the artist’s Bandcamp profile. Released via Bleeding Light Records, this is the official debut album and easy to suspect the key to a much more potent spotlight and recognition for We Have A Ghost. The predominantly instrumental release opens with The Secret, a shadowed and almost sinister piece of magnetic music which lures the appetite in deeper with its rolling stretch of excited rhythms. As it evolves the dark drama is aligned to an exotic climate of electronic sighs and expulsions, each burrowing into the psyche with exploratory intent and provocative suggestiveness. Thoughts run with the bait like a child with a new toy, the imagination constantly painting and re-inventing its own narrative with the mysterious enticement offered.

The following Computerrok explores a more industrial influence, its cyber expression and firm rhythms related to a Landscape like design though essences of Nine Inch Nails get in on the compelling act too. The potent rhythmic stride of coverthe track ensures the electro rock track is an insatiable coaxing whilst the crystalline beauty and melodic revelry of the track simply inflames the senses. The following Electric Blanket is the same but in a totally different way, its slow caress of melodic whispers and the almost monotonic vocals casting a hypnotic somnambulation for ears and senses. It is a sublime glide through atmospheric seduction which is matched and then left standing by the outstanding dark beauty of The Incident. Driven by the haunted and delicious, almost portentous bass lure, the track again flirts with sinister colouring as its noir enriched drama unfurls around the imagination. Is it an accident, a scarring emotional moment, or a dark tragedy…thoughts playing with each and more across every visit of its riveting danger hinting landscape.

Through the piano sculpted It Is What It Is with its melancholic air and reflective expression, and the synth pop enticement of Walk Away the album continues to ignite ears and imagination potently. The first of the two fails to match its predecessors in evocative weight and lingering resonance yet still leaves a new wave of hunger for the project whilst its successor with an eighties flavour to its captivating embrace, sparks another heated dose of satisfaction and ardour for the encounter. Another rare song utilising the fine voice of its creator, the track is like a mix of Ultravox and China Crisis cast in the melody enriched ambient resourcefulness of Silhouettes. It mesmerises and seduces from ears to passions, painting another irresistible highlight within the release.

Meadow comes next to takes thoughts into a new warm and constantly expanding adventure, its unpredictable rhythmic contagion and soaring flames of electronic and melodic sound within sultry yet undefined and haunting scenery, a smouldering cinematic glimpse which worms deeper in thoughts with every listen. As all the tracks there is never a single theme or exploit which is bred in the imagination, each piece of music a teasing ever shifting mirror on a different premise as epitomised by To Begin Again. It can feel like the soundtrack to a psychological horror, the colour to emotional fallout, or an apocalyptic soundscape undecided between a future or the total demise of being, just three examples conjured listening to the album. It is a dark and immersive weave of dark emotions and inventively persuasive sounds which leaves you emotionally unsure yet comforted. From the previous song the album takes on a much deeper darkest to its pieces of music and presence, Marymoor Park which follows another darkly evocative refection of artist and more so inner feelings and thoughts within the listener. The track is like a gentle but persistent voice in the head, its presence bringing insecurity but also a portrait of a lonely soul within a big expanse of life. It is another track in this final stretch which fails to light ears as impressively as early songs yet thoughts and feelings are wholly seduced by its coaxing.

The album closes with Sleepy Cells, a piece of music with classical walls and a distorted innocence which as all tracks encases senses and imagination in a poetic constantly moving drama which leaves a basking satisfaction It is a fine end to an album which is almost in two halves. Its first few songs energetic tempting for body as well as imagination and its latter part soaked in an ingenuity working on mind and deep emotions. Combined it is a thrilling experience which leaves a persistently lingering imprint.

The debut album of We Have A Ghost is available digitally and on Ltd Ed varied coloured vinyl now at http://bleedinglightrecords.bandcamp.com/album/we-have-a-ghost

http://wehaveaghost.com

8.5/10

RingMaster 22/07/2014

Copyright RingMaster: MyFreeCopyright

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

http://audioburger247.webs.com/

 

The Oversight – Far From Gone

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   The Oversight hails from Boston and through the release of a couple of singles has been gaining quite a bit of attention it seems. They now release debut EP Far From Gone and having been quite captivated by its accomplished sound and skilled mesh of alternative rock and pop punk, it is not too hard to see why people are drawn to the band.

The band consists of vocalist/bassist Lucas Edwards, guitarist/vocalist Ryan Watanabe, lead guitarist Maggie Fraser, and drummer Josh Parra, a group of students at Berklee College of Music. Taking inspirations from the likes of Mayday Parade, You Me At Six, Go Radio, Angels & Airwaves, Brand New, The Wonder Years, and Paradise Fears into their compositions, The Oversight has had references to bands such as The Gaslight Anthem and Pierce The Veil, another influence, cast over them. A pair of singles earlier in the year in the shape of When 5 AM Turns and Far From Gone made potent teasers and attention grabbing lures to the new EP. Its quintet of tracks, which includes those two songs, carries on the strong emergence of the band, all soaked in a promise and craft which suggests bright horizons ahead for the Massachusetts quartet.

The track Collective starts things off, the relatively short song an introduction to the emotional intent of the release. With a spoken narrative over a melodic weave which increases in intensity and passion, it is a decent start to the DIGITIAL theoversight_farfromgone_cover_finalencounter if not fully convincing. That reservation is soon lost with the entry of Black & White. A lone guitar and the potent voice of Edwards make the first coaxing before the song opens out with bold rhythms and a wash of melodic enterprise which lures in even closer attention. The track does not explode in action at any point but ebbs and flows in energy and intensity with a skilled touch. It continues to stroll engagingly, providing a firmer rock invention entwined with an infectious pop punk relish which never breaks free of its rein but tempts throughout the highly enjoyable song.

The following Love Is A Fiction similarly makes a low key entrance, a guitar stroking ears with a jangling persuasion as keys add their respectful reflection to the growing presence of the track. Vocally Edwards again impresses, strongly backed by the tones of Watanabe, whilst the imaginative weave of melodies and understated hooks make for a compelling enticement. As its predecessor, the song does not exactly light a flame in ears or passions but certainly has them enthralled by its intelligent design and skilful presentation, increasingly more so as it grows and impresses the more you share time with its open qualities.

When 5 AM Turns soon shows why it made a great impression with its release earlier in the year. Once more there is a slow coaxing to start things off, something the band seems to like employing, before the track erupts into an exciting stomp of crisp and muscular rhythms against stirring riffs and melodically sculpted hooks. That alone wakes up a real appetite for the encounter, a hunger enthused further by the sweep of strings which add provocative texture and adventure to the proposition. There is an invention to the song too which, less open on its predecessors, just lifts ears and satisfaction up in its persuasive arms.

The title track brings the release to a close, and yes it makes a gentle first beckoning before a rhythmic teasing leads into a blaze of raw riffs and a melody fuelled maze of enterprise. Featuring guest vocals from AJ Perdomo of The Dangerous Summer, the track virtually dances on ears; it’s at times skittish gait and thrust of passionate intensity adding to the drama and lure of the song. Though not quite matching the previous track, it shows more of the strengths of the band in songwriting and their undeniable potential to help ensure a healthy anticipation of their adventures ahead is left behind.

For pop punk with a fresh rock and emotional instinct, The Oversight is a band to watch and their first offering something worthy of spending plenty of time with. There will be good times ahead with the band you suspect.

The self-released Far From Gone EP is available now @ http://www.theoversight.bandcamp.com/

http://www.facebook.com/TheOversightBand

7.5/10

RingMaster 22/07/2014

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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