Malefice – Gravitas EP

Malefice 2014 Promo

There is always a twinge of excitement when news of a new Malefice release breaks, having been hooked on them via debut album Entities back in 2007, and so it was with the announcement of new EP Gravitas. It was an appetite and anticipation more than forcibly fed by the brutal fury of a release. The EP sees the UK metallers at their most fearsome and uncompromising best. It is a beast of an adventure and assault; hard to say the band’s best rage yet but definitely there on the frontline of their finest moments.

The successor to last year’s V EP and third album Awaken the Tides two years before it, Gravitas finds Malefice going back to the sounds which they feel ignites and is the core of the band. Vocalist Dale Butler talked about the album recently saying, “After taking some time out from the band to do our own things and focus on our own lives we came back together not feeling as we had given all we have to give to Malefice… We spent a long booze-fuelled evening talking about what we want to do and what came out of that discussion is that we want to write music we like…We are going to back to what makes us Malefice and we’re gonna write some fucking heavy music to headbang to.“ There is no doubting their success in that, the release a merciless and inventive brute force but unafraid to vein and spear it with the melodic fire and imaginative tenacity which the band has equally become renowned for in British metal.

There is no escaping the primal fury and angry weight of the EP as opener Forsaken descends on ears with predatory riffs and rhythms, both aspects converging in one intrigue soaked stalking. It is a seriously intimidating proposal with effects teasing the skirting vocals, Butler eventually escaping their restraints to snarl venomously as the song moves into a new aspect of its hunt of the psyche. From that initial harrowing prowl, the track slips into a torrential charge of spicy grooves across cantankerous riffs and murderous rhythms. It is a gripping and savage violation, the guitars of Ben Symons and Andrew Wilson pure spite and invention in their rabid riffery and designs whilst the heavy handed swings of drummer James Pearly Cook are judge, jury, and executioner in their attack on the senses. Completed with the almost carnal tones of Tom Hynes’ bass, the track is a furnace of malice and unfussy yet pungent imagination.Cover

The cauldron of vocal ire and variety from Butler and band is just as feverishly addictive as the sounds brawling around them, second track Heroes providing more of their exploits in its own unique violation. A more merciful start fuelled by fiery melodic enterprise makes a ‘gentler’ welcome though the track is soon barging through ears with nagging riffs and unforgiving rhythms. It tempers and scythes across this tempest though with an outstanding haze of superb clean vocals and just as thick sonic expression, before exploring a mesmeric calm of evocative radiance and melodic charm. It is just the eye of the storm of course, the track soon back in vicious mood and ferocity. There is a feel of Fear Factory to it in some of its parts but ultimately this is a unique and thrilling exploration all of Malefice’s own making

Within a breath Escape is bawling over and brawling with ears, providing another distinct twist to the blaze of the release. Grooves seduce from the first second, scorching the raw and turbulent landscape of the song whilst another array of differing and complimenting vocal diversity grips the imagination giving more potency and depth to the track’s narrative. Swirling and savaging within its towering rhythmic walls, the track is a glorious trespass of senses and emotions.

Gravitas comes to a close with My Design, riffs hunting down the listener with pack like mentality as grooves sear air and flesh with their pestilential temptation and resourcefulness. As it expands and immerses the listener in its lyrical sufferance, the track is a riveting and skilled provocation but lacks the creative spark which ignites the other three tracks on the EP so magnificently. Nevertheless it is an assault drenched in what Malefice is all about, creatively threatening, destructively intense, and driven by pure passion, not forgetting irresistibly thrilling.

Gravitas is a scintillating slab of barbarous majesty reinforcing Malefice as one of the UK’s and Europe’s leading inventive metallers. Earlier we suggested a debate on whether this is the band’s best moment yet; another listen as we write though suggests it just might be and if not, anticipation that the forthcoming new album from Malefice will be is hard to shake off.

The Gravitas EP is available now via Transcend Music @

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Matinée – These Days


A release radiating melodic smiles and mischievous energy from start to finish, These Days from UK indie rockers Matinée is one of those encounters which lingers and niggles away at the psyche in and away from its magnetic presence. The album tantalises and flirts with constant imagination and revelry so that whilst it does not exactly light a fire in the passions it is a persistent and refreshing incitement for ears and emotions. There has been an eagerly growing buzz around the East London quartet and the release of their debut full-length reveals exactly why.

Taking their name from the Franz Ferdinand song of the same name, Matinée has earned acclaim and support through their lively stage presence and vivacious sounds. The band has supported the Scottish band on shows in Italy, that leading Matinée to be invited to play numerous major venues in the country whilst receiving strong radio support. With the sharing of stages with the likes of Razorlight, Mystery Jets, Futureheads, The Wombats, Pete and the Pirates, British Sea Power amongst many also under their belts, the band is on a feisty rise, an ascent already reinforced by their singles starting with the acclaimed City Lifestyle. The Tony Doogan (Mogwai, Carl Barat, Glasvegas) produced These Days is the next potent slice of persuasion from the band, a festival of pop rock sure to awaken a broader and keener spotlight upon the foursome of Luigi Tiberio (vocals, synth, guitar), Alfredo Ioannone (vocals , bass), Giuseppe Cantoli (guitars), and Alessio Palizzi (drums).

Opener Bigger Picture instantly grips ears and imagination as an electro pulsing is swiftly joined by heavy resonating rhythms. It is a compelling entrance which only increases in potency as vocals bring their effect wrapped presence into an almost post punk temptation. Choppy riffs link up next as the song shifts into a synth pop/ electro rock stroll complete with imposing shadows and melodic provocation. There is also an eighties feel to the song which only adds to the evocative colour and air of the bewitching and inventively intriguing encounter.

The captivating start is followed by the mellower White Lies, keys bringing a gentle caress initially which is cored by a dark roaming bassline. Energy is raised as a catchy and harmonic chorus grasps ears, the vocals of Tiberio and cover170x170Ioannone an engaging blend which filters through into the surrounding crystalline sounds. The feistiness of the chorus leaves a spark from which the rest of the song also finds greater urgency in its presence, blooming into a controlled yet rampant charge of contagion before the album’s title track and recent single unveils its similarly infectious parade of enterprise. The track is a transfixing shuffle of elegant melodies and emotively expressive vocals within another pungent rhythmic frame, an easy addiction and thoroughly enthralling slice of creative revelry.

Both Said I and City Lifestyle keep attention and appetite bound, the first a smouldering coaxing with wiry grooves and hooks around the persistently heavy footed and thrilling bass lure from Ioannone giving greater depth to songs. There is a touch of Futureheads to the song, especially in its more agitated moments as a whispering eccentricity provides richer intrigue and sonic radiance. The song pulsates as does its successor with its flirty swagger and fleet footed shuffle. It is a treat of a persuasion, an insatiable dance of Arctic Monkey like musical and vocal hooks aligned to Editors bred melodic mischief, and one of the major pinnacles of the album.

     All The Good Fella’s is no slouch at exciting ears and feet either, its slower pace still a bubbling stroll as acidic melodies and spicy vocal harmonies play and tease over a punchy rhythmic stepping. The bass again brings the perfect contrast and compliment to the creative flames provided by Cantili and the warm keys of Tiberio. It is a template for all the songs yet not one sounds like another as proven again by Nobody Like Me and its sinew guided vibrant prowl through a raw and fiery sonic weave. The heaviest track on the album but still a virulent infection to ignite feet and emotions, the song provides another side to the character of the album and Matinée’s songwriting, even if maybe it lacks the spark of some if its predecessors.

New single Missing Pieces of a Jigsaw is next and straight away spreads a masterful cloak of contagion and melodic luster across the senses, sweeping the imagination and emotions up in its lively sunshine before passing them onto If You’re Gone. Featuring Mike Cook and Chris Geddes, past and present of Belle and Sebastian, the track is a thick and enthralling ball of impassioned melodies and expression enriched by the brass flames of Cook and rampant keys of Geddes.

The album comes to a close with 40 Years Old, a sultry and slow burning song which fails to excite as most of its companions on the album but still ensures the album leaves on a potent tempting.

From a strong first impression These Days just gets bigger and stronger with time, as mentioned never setting a fire but inducing a romance in thoughts and emotions through its presence and sound which most bands can only dream of. Matinée is heading towards very healthy and exciting horizons if the potential and majesty of their first album is anything to go by.

These Days is available via Neon Tetra Music now @

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Misgivings – Delete History

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A raw and antagonistic slab of melodic punk rock, the Delete History EP from UK band Misgivings is an introduction which maybe does not ignite the passions ready to fight all and sundry but it certainly reveals a potential which makes the band an exciting prospect. Loaded with six abrasing and accomplished brawls of attitude and enterprise, the release is an honest and magnetic entrance from the Southsea quartet ensuring they leave an enjoyable and promise fuelled impact in their wake.

Apparently formed ‘after a drunken chat at a squat show In Hamburg’ in 2013, Misgivings has earned a strong reputation for their live performances and sound, the band taking in a clutch of short tours in the UK and Europe since forming. Now the quartet of vocalist/guitarist William Pearce, guitarist/vocalist Ollie Richardson, bassist Joe Anderson, and drummer Andrew Summerly (though on the EP original drummer Peter Hardy plays) are primed to reap the attention their first release is geared up to garner.

The songs upon Delete History are sparked by issues such as “today’s mundane society, being forced into adulthood, complex relationships and struggling with day to day social situations”; each as the EP with its first touch through opener Century, pulling no punches. Jabbing beats alongside a raw scrub of riffs and equally abrasing vocals lures in ears towards the first song, their union prowled by bass shadows. Combined, they craft a catchy and rugged bounce which easily recruits the imagination and appetite. Mini crescendos of hooks and beats add to the anthemic potency of the song throughout whilst melodies and dual vocals provide a refreshing colour to the confrontation. It is not boundary Front Coverstretching stuff but imposingly engaging and intriguing in its caustic seduction.

The following It’s A Bone, You Lucky Dog makes a gentle entrance, blues toned melodies a relaxed coaxing before the track twists into an aggressive and antagonistic stroll. Whereas the first song was more Alkaline Trio in style, its successor has a harsher temperament and breath which draws on the hardcore prowess of a Jawbreaker or NOFX. There is still a virulent swagger to it though, a tempting wound in acidic melodic enterprise for another impressive and enjoyable provocation.

Both The Natives and Black Books keep things simmering rigorously, the first as its predecessor binding ears in a mix of hardcore and infectious melodies for an enthralling and energetic incitement. It is heavier on its feet and in its emotions than the first two tracks but pleasingly still infuses an energetic inventive touch which gives it the spark to stand out. The second of the two is the same, a track not worrying new pastures for punk rock but veining and flirting with addictive textures and tenacious ideation, creating a provocateur which lingers after its departure whilst adding another distinctive mark in favour of Misgivings.

Niagara Falls, Frankie Angel also makes its way into view with restraint and evocative melodies before stomping with animosity and resourceful voracity. Vocals are their rawest yet and melodies at their most spicy, contrasts conflicting and fusing for a belligerent and anthemic challenge before closing track Stay Dull picks on ears and thoughts with its flavoursome and richly satisfying old school seeded punk adventure.

No song, or the EP itself, leaps from the speakers yet all provide a potent lure and enjoyment which establishes Misgivings forcibly on the punk map with the frontline in their sights ahead. Delete History is a great base to start from and to grab people’s attention with, whilst the potential inside suggests bigger things are in the pipeline.

The self-released Delete History is available now @

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Peur – Explosions

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Big, bold, and drenched in just as sizeable passion, Explosions the new single from UK rock band Peur is one stirring and dramatic proposition. It is not a song which bursts with open originality yet its thick textures and melodic enterprise make for an invigorating and fresh adventure which leaves only the healthiest appetite for song and band.

Hailing out of Manchester in the early days of 2013, Peur spent their first year drawing increasing attention and support through their emerging sound, impassioned live performances, and well –received debut single Anarchy. Backed by an equally potent video, the track was the teaser to bigger things in the shape of the band’s acclaimed We Can Build Astronauts EP also last year. The success of the release took Peur’s presence beyond the local scene, attracting attention across the UK whilst one of its tracks, Persued By Bears ignited the ears of Korn guitarist Munky. It is easy to expect Explosions to breed an even greedier spotlight such its rampant blaze of heavy and melodic rock tinged with melodic metal and bordering on punk tenacity. Time will tell but certainly the single will take the trio of Joe Lomax (guitar/vocals), Ryan Greenhalgh (bass/vocals) and Sam Tempest (drums/percussion) to broader recognition.

Explosions opens as its titles suggest, erupting in ears with thumping beats and grouchy riffs cored by a dark throated bassline. There is a definite Queens Of The Stone Age feel to the start which persists throughout but it is soon tempered as vocals emotively roar and the skilled melodic adventure of the song casts its intrigue. It is a fiery mix with a predatory hunger fuelling the rhythmic side of the track, bass and drums baiting ears with uncompromising temptation whilst guitars and voice colour their imposing web. As suggested there is a familiarity to the track but it only spices up a pungent and voracious bellow of a song which without reserve ignites ears and passions swiftly and persistently.

With a tinge of Foo Fighters, Reuben, and 28 Days to its air too, Explosions is a thrilling stomp of a song, another excuse to wax lyrical about one exciting emerging band, whilst the single is the perfect way to get in on the ground floor of an easy to expect eventful ascent for Peur.

Explosions is available now via Ruby Music @

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