Able Archer – The Trouble With Strangers

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A full thrilling meal rather than an appetiser of things to come, the deservedly acclaimed and outstanding Bullets EP thrust Irish band Able Archer straight into the eye line of European’s rock underground. Now the Dublin quintet return with its successor The Trouble with Strangers, revealing that their first encounter was no flash in the pan but just one shade in their emerging eclectic and highly flavoursome sound. The four song release is a fascinating and mouth-watering treat for ears and imagination, a proposition which tells expectations never to make assumptions about the band as it reveals new depths and adventure in ideation, songwriting, and their realisation.

Formed in 2011, Able Archer has barely taken a breath in their assault on the live scene, persistently brewing up a potent fan base whilst honing their compelling sound along the way. Bullets last year was a forceful slap upon a broader attention, instantly raising keen appetite and an acclaiming spotlight upon themselves. Now the band spice up their emergence and reputation with Able Archer and Shane Cullen co-produced The Trouble With Strangers EP, and a sizeable compelling offering it is too.

The EP opens with the riotous Ghostmaker, a track which bridges the band’s two releases with its raucous and tenacious energy aligned to new intriguing adventure. From its rowdy countdown the track is a predator in so many ways but as the swiftly engaging tease of guitar shows, it is also a seductive protagonist. Thumping beats make an imposing lure whilst the explosion of raw riffs and grouchy bass bait ignites senses and passions with brawling ease. The track soon settles into a feisty but more composed striding, the beats of drummer Seán O’Connor unrelenting in their drive whilst the gorgeous bass growl crafted by Diarmuid Breathnach is the perfect complement to the potent expressive vocals of Emmet McCaughey. The track grows and bulges with enterprise and imagination through every tempting note and voracious syllable, variation in vocal attack and melodic flames as gripping as the almost cantankerous intimidation elsewhere. The track is exceptional, an intelligently and passionately sculpted anthem few encounters have rivalled this year and last.

As mentioned there is as much new in direction or imagination in the song as there is drawing on the Bullets EP, but it is with the following enterprise of The Warden that a richer vein of exploration is unveiled. Opening on an electronic trouble_covercaress within a shimmering atmosphere, the song immediately grips the imagination, especially when sultrily toned guitar weaves begin enveloping ears. The tapestry of evocative colour and enterprise from guitarist Rob McDonnell is bewitching as is the fluid tempting of Neil Buckley’s keys, both excitingly contrasting the shadowed corners of the song revealed by the haunting expression of throaty bass and rolling drums. The glorious picture of sound is completed by the outstanding delivery of McCaughey, every word coming with a controlled but opened drama matched by backing harmonies. Not as immediate as its aggressive predecessor, the song blooms into a stunning and inescapable seduction; brass flames presented by guest Donagh Molloy rich hues on a sensational encounter.

Third track Only Love has a more agitated energy and intent to its opening, percussion and beats a feisty baiting upon which vocals find a raw breath. Keys soon smother ears with melodic elegance and emotive expression whilst the blaze of guitar casts a twisting flame of charm and abrasion. It is only part of the story though, twists in pace and intensity aligned to the same in imagination and varied rock flavouring keeping ears and thoughts wrong-footed whilst seducing them with their creative maze. It might not have the power and contagion of the first two tracks but the song is just as magnetic in its electronic seeded adventure.

Every song to this point is openly distinct to each other in sound and breeding, and that continues with closing track The Descent. The band’s new single is a melodic kiss of impassioned and intimate vocals, similarly emotive keys, and warm melodies. Drawing on the sizeable beauty and emotional drama of again Donagh Molloy’s trumpet and the tantalising violin craft of Eanan Patterson, the song croons with striking radiance and invention. Though for personal tastes it is when Able Archer lets rip that our passions ignite, there is no denying or avoiding the majesty of the track and its excellent conclusion to a tremendous release.

With The Trouble With Strangers, Able Archer show there is so much more to their expansive landscape of sound and invention, whilst it also suggests there is still further potential and imagination waiting to be tapped. There are few new bands, or established come to that, which ignite an almost lustful anticipation for their releases and even fewer which reward and surprise as impressively as Able Archer.

The self-released The Trouble With Strangers is available now @ http://aablearcher.bandcamp.com/album/the-trouble-with-strangers

http://www.ablearcher.eu

RingMaster 10/11/2014

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Seneron – Parasites And Poets

 

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A year and a half ago, the potential ridden Order Restored EP roared and confronted whilst thrusting Northern Ireland rockers Seneron into the keen gaze of attention. It was not an explosion to ignite the world of heavy melodic rock but one richly satisfying and enticing invitation into the appetising emergence of the band. Now the Derry trio return with debut album Parasites And Poets and show not only that their early promise has been realised but they have opened up another vat of intriguing and exciting possibilities.

Fusing aggressive essences of alternative and punk rock with grunge, Seneron from its founding in 2011 swiftly sparked the local underground scene live and with their first release, the Well Driven EP a year later. Its raw and rugged presence made for a strong and alluring entrance which last year’s Order Restored reinforced and pushed on, just as the new album does again. Signing with GlobMetal Promotions the same year for a worldwide management, the band through the EP found themselves catching the attention of US radio as well as at home, its successful release supported by numerous shows, tours, and festival appearances. It was a potent year for Seneron and one easy to imagine being eclipsed over upcoming months as Parasites And Poets infests more and more ears and passions.

As soon as the opening song of the album hits there is a more rounded and flavoursome presence and texture to the band’s sound which has evolved between releases. The accustomed fire and snarl of tracks are still there but honed into a more contagious and adventurous charge. First track and new single Don’t Cave In sets things off and instantly grabs ears and appetite with a wall of hungry rhythms and tenacious riffs. Grooves are swiftly employed too, the mix voracious bait which grips the imagination as feet straight away offer their support. It is a powerful start which once into its muscular and forceful stride, expels an anthemic call which is part Foo Fighters, part Turbonegro, and all fun. It is fair to say song and album has an agreeable familiarity about it but also a pleasing freshness in character and enterprise which combines for a healthy stomp. The track continues to rage and flirt across its length, the strong stony vocals of guitarist John Shields backed by those of bassist Ivor Ferris, stirring up senses and pleasure as potently as their sounds and the heavy thumping beats of drummer John Hamilton.

The feisty start is continued with Talk the Walk, a song with an initial Queens Of the Stone Age air to its appearance before striding with a heavy rock swagger and punkish attitude. As its predecessor, the song is immediately infectious with thick riffs and imposing rhythms bound by fiery melodies and spicy grooves. That recognisable essence talked of before, ensures this and subsequent songs have the feel of an old friend but as shown by the following lively smoulder of Breath, there is plenty to fuel each with unpredictable and intrigue fuelled drama. The third song is a mellower but still feisty proposition with a bounce which perfectly conflicts with and compliments the great grizzled tones of bass as beats swing with less intensity but equal animosity to their intent on the first pair of tracks.

Riches and thrills within the album keep coming as the inescapably Foo Fighters influenced Dig Deep steps in next, though those open energetic and melody soaked flavours are also aligned to a more caustic growl which brings greater depth and expectations avoiding substance to the song and its invention. Equally there is a slight Metallica seeding to its even paced stroll and rigorous terrain of rhythms and rugged riffery, a bled which makes a great appetiser for the impressive What a Way to Go. The song is a growl from start to finish, bass and guitars an intimidating provocation of heavy rock ‘n’ roll courted by the punchy swipes of Hamilton and the again great vocals. A slight sniff of Therapy? adds to the intensive incitement of the track, melodic flames caressing the predacious intent and enterprise as it grips ears and thoughts with ease.

Both the more even tempered persuasion of It All Ends Here and the riveting and incendiary imagination of Freakshow keep ears and emotions tightly embraced, the first an unspectacular yet captivating creative croon whilst its successor with a similar core intent, latches onto more imposing and striking hook littered scenery within a melodic fire of catchy temptation. Their easy to digest lures are followed by the grittier blaze of final track Outbound, a song which has raw rabidity to its vocal and heavily boned roar but also a contrasting melodic seduction which simply mesmerises with Soundgarden/Gruntruck like vivacity. It is with little problem an outstanding close to a great release.

Parasites and Poets shows that Seneron has not only found a new plateau for their invigorating sound and creativity but untapped another source of potential. The album is not a major ground breaking provocation it is fair to say but has a spark and invention to its assault which ears and emotions can only embrace and find full pleasure in, an enjoyment which puts a vast amount of heavy rock releases this year in the shade.

The self-released Parasites And Poets is available now @ http://seneronband.bandcamp.com/album/parasites-and-poets

http://seneron.sitefly.co

RingMaster 10/11/2014

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Dead City Souls – Self Titled

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Potential loaded and aggressively contagious, the self-titled release mini-album from UK rockers Dead City Souls is simply an irrepressibly enjoyable and impressive debut. It is an encounter which is firmly established in a recognisable heavy and hard rock seeding and stomps more with the presence of an already familiar friend than a brand new provocateur, but it does not stop the release from switching on appetite and emotions with its thoroughly satisfying and adventurous rampage of sound and energy.

Rocking out of Stoke-on-Trent, Dead City Souls formed in the spring of 2013 and were soon drawing and breeding potent local support and attention. This spread as their live presence and their reputation for fiery energy soaked performances. Spending last year also recording a host of demos in preparation for this album, the quintet hit the studio with Paul Hulme (Lawless, Demon) in May of this year and the result is a potently stirring riot posing as an album.

Starting with the almost blink and you miss length of decent intro Embark, band and album fully explodes with the following Back Against. The guitars of Jay Meehan and Scott Pinnington are swiftly upon ears with raw bracing riffs whilst in close attendance the crisp beats of Jake Nixon and bass predation of Glenn Culver add to the infectious lure of the song. In no time the strong vocals of Jordan Davies are adding their expression and weight to the increasingly punchy drive of the song, every aspect converging on an addictively catchy and fiery blaze of a chorus. The song is insatiable in its anthemic tempting and infectious tenacity from start to finish, an entrapment of body and emotions which arguably is not opening new doors of originality but does not prevent it making a seriously compelling and thrilling start to the release.a1944187688_2

The following Breathe makes a gripping entrance as artillery of pulsating beats rain down on the senses but it is defused slightly once the song hits a more merciful stride. Nevertheless with thumping rhythms and caustic riffs against the increasingly impressing vocals of Davies roaring across its muscular frame, the track makes for a highly pleasing aggression driven slice of melodic rock with a pop tempting. Overall it is a steady if unimposing track but with enough invention for thoughts to get to grips with before the outstanding Save Me launches its predacious enterprise. Prowling with sinew clad riffs and as expected unrelentingly heavy rhythms, the song almost flirts with its antagonism before unveiling a seriously addictive and incendiary chorus; the type classic anthems are bred from. There is imagination to the guitar designs and flaming emotion to the thick texture and heart of the strong vocals, each only adding to the drama but it is that chorus which seals the deal enlisting feet, voice, and passion with ease.

Say Goodnight has the task of following the release’s pinnacle and with its intrigue of keys and rampant rhythmic rigour, the track soon has its own hold on ears and thoughts with another uniquely tenacious slab of rock pop. It also shows yet another twist of colour and diversity to the band’s sound, not a major leap but as shown by all tracks certainly an open side step in flavour and character which reinforces the success of the album, as again shown by excellent snarl of Hurt No More. The track is another major peak in the lofty heights of the release, its flaming riffs and acidic grooves the web to which thick vocal expression and a rugged terrain of riffs and melodic blazing bring a tasty John Bush era Anthrax spice.

The album is closed by the meaty hard rock stomp of Watch The World Burn, a track which is simply raw and irrepressibly contagious rock ‘n’ roll to test neck muscles and fill the appetite. It is a heftily pleasing end to a great introduction to Dead City Souls. There is unfiltered promise across the album which ignites every song in tandem with the sounds themselves, this not only provides a thoroughly enjoyable encounter but raises real anticipation for the band’s endeavours and evolution ahead.

Dead City Souls is available now through all good online stores and @ http://deadcitysouls1.bandcamp.com/album/dead-city-souls

https://twitter.com/DeadCitySouls

RingMaster 10/11/2014

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FORGED IN BLACK UNLEASH THEIR NEW EP UPON THE NATION!

Forged in Black Online Promo Shot

With a mighty affection for British heavy metal and a kinship with Judas Priest, Iron Maiden and Black Sabbath, as well as taking inspiration from Machine Head, Forged In Black display a sound that is steeped in tradition but still truly relevant to a new audience. The Essex metal crew release ‘The Exodus’ EP on Monday 1st December through all stores.

The original seeds of Forged in Black were sown at the start of 2009 under the guise ‘Merciless Fail’. The band set out with the aim to deliver traditional heavy metal with a unique contemporary edge. From their early beginnings straight through to today, their operatic vocals lead the charge, backed by dark, hard-hitting music that includes full-throttle thrash, epic guitar harmonies, crushing doom riffs, and aggressive, guttural vocals. The band’s live show embodies a visceral energy, unleashing copious amounts of head-banging music with a charismatic stage presence.

Under their old moniker ‘Merciless Fail’, the band played the Bloodstock Festival and main stage at Red Roar Festival 2012, won ‘Metal to the Masses’ and ‘Band Quest’ competitions, played Metal Gods Festival 2013 (featuring Beholder and Savage Messiah), and have racked up supports with Skreamer and Beholder, as well as releasing their self-titled debut album ‘Forged in Black’ to critical acclaim. The band followed this release in 2013 with the EP “The Tide,” which displayed the development of the band’s sound and included tracks which have become a staple part of the metal crew’s live show. To mark both their progression and a shift in personnel, last year the quintet decided to change their name to ‘Forged in Black’. The metallers have recently been focusing their attention on recording and have just finished work with acclaimed producer Romesh Dodangoda (Motorhead, Sylosis, Bullet For My Valentine) for the recording of their latest single “The Exodus.” The band release ‘The Exodus’ EP and new video this Autumn and they plan to take the metal world by storm.

https://www.facebook.com/forgedinblacks  https://twitter.com/ForgedInBlack

 

UK HARD ROCKSTERS FIRE AT DAWN RELEASE DEBUT EP THIS WINTER!

Fire At Dawn Online Promo Shot

Brit rock crew ‘Fire At Dawn’ serve up their engaging self-titled debut record, through all digital outlets on Monday 1st December. Look out for show announcements very soon……

Spawned in Southend, Essex and formed only last year, Fire At Dawn draw together a sound that calls to mind AlterBridge, Evanescence, Muse and the Foo Fighters. The female fronted hard rock combo, comprised of Brad Winter (Guitar), Lloyd Entwistle (Bass & vocals), Roman Drummond (Drums), Ross Turbz (Guitar) and Victoria Walker (Lead vocals), have played shows whenever and wherever possible ever since their formation and have already built a sizeable following throughout the South.

With a strong work ethic and a commitment to regularly recording, Fire At Dawn started work on their self titled debut EP in the Spring of 2014, and now the record is set for national release this winter. The EP comes at you with its fiery riffage and impassioned vocal lines, and boasts some killer future singles as well, namely the bouncy ‘Choose Me’ and the majestic ‘On Me’. Also, be sure not to miss the snaring groove of their opener ‘Bad Trip’ and closer ‘Run’. With tour dates in the works to coincide with the EP’s national release, keep your eyes and ears peeled for the rising hard rockers this winter.

Fire At Dawn

-FIRE AT DAWN RELEASE THEIR SELF-TITLED EP ON MONDAY 1st DECEMBER THROUGH ALL STORES-

https://www.facebook.com/fireatdawn     https://twitter.com/Fire_At_Dawn

Silhouettes – Sacrifice

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Following the success of their acclaimed debut album and recent UK shows, British indie/electro band Silhouettes release their new single Sacrifice on November 10th as a free download. Taken from the Ever Moving Happiness Machines full-length, the track is an inescapable temptation and weave of the imaginative electronic and indie pop revelry the band has swiftly become renowned for. It is a treat for ears and unashamedly seduces with every vocal caress and melodic kiss.

Formed in 2008, the Wolverhampton quintet of Nathan Till (vocals, guitars), Jay Cuthill (guitars, samples, keyboards, production), Ben Blewitt (keyboards), Ben Dargue (drums), and Jay Roberts (bass) has increasingly earned a potent following and attention for their sounds and live performances. Early EPs awoke many to their impressing emergence but it was the single Gold Tag which on a wave of new invention and evolution in the band’s sound sparked a broader spotlight, one subsequently pushed much further by Ever Moving Happiness Machines. It was an album which instantly lit a fire of attention which is bound to be stoked again by the release of Sacrifice.

Opening on a wash of warm and magnetic keys veined by resonating beats and pulsating shadows, the song brings an Orchestral Manoeuvres in the Dark air to its celestial blaze of electronic colour. It is a dramatic coaxing elevated once the celestial tones of Till merges with the sultry climate. His delivery shows it is unafraid to mix things up as the vocalist subsequently adds a little post punk shadow to his narrative. Haunting and bracing with a golden stream of sun fuelled melodic endeavour across its transfixing atmosphere, the song is as unpredictable and keenly inventive as it is persistently warm and mesmeric.

If Silhouettes’ album has evaded your attention until now there is no finer a gateway into its majesty than Sacrifice. It is a potent taste of what is in store within Ever Moving Happiness Machines but only a hint of its rich adventure.

Sacrifice is available as a free download from November 10th @ https://soundcloud.com/integrityrecords/silhouettes-sacrifice-single-edit

http://silhouettesmusic.net/

RingMaster 10/11/2014

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

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Billy Momo – I’ve Got You

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Making a rather tasty teaser for their forthcoming album Drunktalk, which is scheduled for release next February, Swedish urban-folk collective Billy Momo are releasing new single I’ve Got You to whet the appetite. The song is a magnetic flight of modern folk pop wrapped in melodic expression and rhythmic tenacity which in turn courts a vocal vivacity and creative fascination; simply it is a song which swiftly grips the imagination. The Stockholm band has brewed healthy attention and fervour in their homeland and with I Got You and live shows as bait, it is easy to expect the septet of Tomas Juto, Oskar Hovell, Tony Lind, Mårten Forssman, Oscar Harryson, Christopher Anderzon, and Andreas Prybil to start stirring up UK emotions for the arrival of their full-length.

Keys and guitars entangle their melodic enterprise straight away as the single opens its warm embrace. Strings are soon joining the elegant and evocative caress as the song’s landscape broadens and finds an emotive colour to its potent lure. It is an imagination awakening start but catches fire once it slips into a pungent shadow and light clasped stroll. Scything strings and dual vocals provide a rich colour of sound and expression to the emerging adventure, whilst keys and melodies add their own climate of drama and creative theatre as the track increasingly seduces second by second.

There is a baroque pop air to the song alongside its folkish revelry and orchestral elegance which only adds to the contagion upon ears and thoughts, whilst a persistent swirl of strings and notes under the Juto led vocals just mesmeric and tantalising in equal measure. The song is glorious and impresses more and more with every listen as its invention and melody enriched charm captures body and emotions.

Written by Juto and Hovell, the band’s founding members when it emerged as a duo, I’ve Got You is a striking and compelling introduction to British ears and the world in general to a band you are likely to hear plenty more of and from, especially when Billy Momo unveils Drunktalk next year.

I’ve Got You is available from November 10th

https://www.facebook.com/billymomomusic

RingMaster 10/11/2014

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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