The exciting video for ‘Insomnia’ from Pryti gets its national release.

Pryti Online Promo Shot

PRYTI’S SPANKING NEW VIDEO UNLEASHED!

‘One to watch for 2015’ Alex Baker / Kerrang! Radio & TV

“Pryti’s big on melody and as strong musically as vocally.” 8/10 Whisperin & Hollerin

‘…destined to be a name on the lips of and stirring up the British heavy rock scene.’ RingMaster Review

Taking the emotive heavy groove of the Deftones merged with the alluring appeal of Paramore, ‘Pryti’ continues her climb with her brand new single ‘Insomnia’, which is out now and taken from her stunning debut album ‘Tales Of A Melancholic’. The video for the thrilling single has already been exclusively premiered by Kerrang! magazine and you can now check out it out right here –

https://www.youtube.com/watch?v=9F1vqJ1_zNE&feature=youtu.be

 

In complete contrast to today’s manufactured X Factor culture, Pryti is the real deal. A true independent artist, Pryti wrote, sang and played guitar and bass on all songs from her forthcoming debut album ‘Tales Of A Melancholic’. The Birmingham singer-songwriter has rock oozing from her core, and in keeping with her independent and DIY ethos, she has set up her own label ‘Welcome To Pariahville’, which is home to all of Pryti’s releases.

Pryti’s last EP ‘Welcome To Pariahville’ picked up widespread acclaim from the Rock/Metal community. Sam Carter (Architects) reviewed her EP in Kerrang! Magazine to high praise, while Rocksound Magazine covered Pryti with an online feature. Tracks from the EP also racked up radio airplay on Kerrang Radio’s Fresh Blood show and Total Rock Radio extensively played ‘Abyss’.

Pryti’s debut album ‘Tales of a Melancholic’ was produced by Justin Hill from Sikth (Yashin, Heart of a Coward, Bury Tomorrow) and the record is already picking up national press attention from Metal Hammer, Big Cheese Magazine and Rocksound. Alex Baker from Kerrang! Radio has also touted her as ‘One to watch for 2015’. With further coverage and support in the pipeline, 2015 is going to be massive for Pryti. Look out for ‘Insomnia’, which drops this February. The video is stunning and the track is a cunning slab of low-slung emotional rock at its very best.

 PRYTI HAS RELEASED ‘INSOMNIA’

https://www.youtube.com/watch?v=9F1vqJ1_zNE&feature=youtu.be

https://www.facebook.com/prytigatgemusic   http://www.youtube.com/user/IAMPRYTI  https://twitter.com/prytigatge

Passenger Peru – Light Places

PP Light Places Cover

The acclaimed self-titled debut album from US duo Passenger Peru was quite simply inventive pop in its rawest and most compelling form. Released at the dawn of 2014, it instantly pushed the Brooklyn band if not into a category of its own, certainly on to a loftier perch than most other pieces of melodic exploration. Now the pair of Justin Stivers and Justin Gonzales returns with its successor Light Places, venturing into arguably even less polished but increasingly fascinating realms of invention and sonic weaving across its enthralling majesty. The album peers into new and at times darker places in the creativity of the band and the emotions of the listener, but never moving too far away from the melodic imagination and psyche seducing mesmerising which marked so impressively their debut.

Shadows have been a constant flirtation and temper in the music of Passenger Peru, but upon Light Places there seems a stronger contrasting of light and dark elements musically and emotionally. From the emotive lyrics through to the unpredictable tapestry of sounds, the release embraces the intimate warmth and cold of life, colouring them with a maze of inventiveness which at times almost borders on the warped and constantly leaves ears and imagination yearning for more. It is a gripping persuasion which starts from opening track House Squares and never relents across an ever twisting range of sounds and expressive atmospheres until the last sigh of the album’s final note. The opener immediately flirts with ears through a vibrant rhythmic dance which is soon courted by sober yet bright melodies from guitar and bass alike. There is haziness to the song too, but only a thin veil over the imaginative warm weave of melodic colour, concentrating more on the effect wrapped vocals. The song never deviates from its compelling repetitious stroll, simply adding new sounds and colours to the mesmeric tempting ensuring a fascinating start to the album.

It is a constant intrigue which is given more to ponder and explore with the charming Friends Don’t Call, a song which from a gentle soothing touch, boils and grows into a tempestuous vocal and musical climax. It has ears engrossed and imagination bewitched, each especially seduced by the dark throated bassline which grouchily pulsates through the song’s increasingly bedlamic climate. Already the album is showing darker tendencies in its nature and exploration compared to the last album, but also a ridiculously addictive invention which erupts in full ingenuity for The passengerperuBest Way To Drown. The first track revealed from the album just before its release, the imperious incitement is an instant dance of rhythmic devilry and tenacious strumming, elements forging together the pathway to powerful and climactic crescendos throughout the song’s landscape. Alongside vocals croon with a seductive sway whilst the nimble fingers behind guitars and bass sculpt a potent drama for the picturesque acoustic scenery, the latter showing a breeze of XTC and Slug Comparison in its radiance. The song is quite gripping, forging a new pinnacle in the album which is matched occasionally and worried constantly by the remaining encounters within Light Places.

Placeholder engrosses thoughts next, its Beatles-esque simplicity a rich lure which is at times buffeted and swallowed by a bedlamic tempest of noise and intensity; further contrasts strikingly conflicting with and complimenting each other. The pleasing flame of the song is surpassed by another major album peak in the fuzzy shape of One Time Daisy Fee. A touch of Melvins flirts from within its scuffed up invention, but also moments of folkish mischief and punky irreverence, all transforming a great adventure into a moment of brilliance.

Both the angular pop tantalising that is Break My Neck and the transfixing Failing Art School leave ears smiling and appetite greedy. The first manages to be a little clunky and simultaneously velvety in sound and touch whilst the second, which is predominantly an instrumental stroll through a visually melodic landscape of possibilities and emotional mysteries, simply sends the imagination off on its own poetic adventures with new evolutions in the script with every listen. The pair of songs are spellbinding, the latter especially engrossing before the outstanding Better Than The Movies parades its own inspirational ingenuity. Seemingly worldly in its influences and cosmopolitan in its flavour, the track is creative voodoo casting an inescapable spell with rhythmic minimalism within an electronic paint box.

Impossible Mathematics brings a calm back to the festivities; initially at least before its own raw textures and voracious ideation breaks out in varying degrees alongside juicy grooves and corrosive riffs as appetising and frequent as comforting vocals and sparkling melodies. It is another fresh twist to the flight of the album; its variety unrelenting as the dirtily lined sounds of Crimson Area Rug brings new dark emotions and exploits, and a character which is summed up by a word repeated in the song “paranoid”.

Light Places is brought to a close by firstly the soft and docile yet creatively lively On Company Time and lastly the delicate Pretty Lil’ Paintin’ with its balmy vocals. Neither track has a fire in its belly but both leave a warm glow around the listener which pleasingly relaxes emotions after the rigorous textures of other tracks before them; those contrasts again working beautifully.

Passenger Peru conjures unique embraces and experiences with their music; something already established with their debut album. Now though Light Places takes it to new and in some places intrusive depths; the result being another essential release from the band and a new exciting escapade for the listener.

Light Places is out digitally and as a Ltd Ed cassette via Fleeting Youth Records on February 24th @ http://fleetingyouthrecords.bandcamp.com/album/light-places

http://www.passengerperuband.com/

RingMaster 24/02/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://reputationradio.yooco.org/

 

Sara Lowes – The Joy Of Waiting

Photo Credit Emily Dennison

Photo Credit Emily Dennison

There is no other way of saying it, the voice of Sara Lowes is sheer mesmerism, an inescapable siren drawing the listener into adventures which musically transfixes ears and imagination just as potently. Her new album The Joy Of Waiting, is complete evidence of the fact, basking in these bewitching elements and in turn immersing the listener in charming and imaginatively charmed embraces. The successor to her acclaimed debut Back To Creation of 2011, The Joy Of Waiting is a quite simply a soul mate for anyone with a taste of melodic and harmonic alchemy.

Based in Manchester and North East bred, Lowes is the keyboardist in The Earlies and has working with the likes of Daniel Johnston, King Creosote, Jens Lakeman, Jim Noir, Jesca Hoop, and Dawn Landes on her CV. Her music draws on a diverse maze of flavours and styles, classically bred arrangements entwining and invigorating essences from progressive rock to pop, jazz to seventies psychedelia, and more besides. First album Back To Creation, as mentioned drew potent praise and support which The Joy Of Waiting can only emulate and reap greater rewards upon itself. Inspired by J.B Priestley, with a track using his name as a title, and looking at “observations on our perplexing relationships with time”, the lady’s new full-length is a spell of beauty and evocative reflections, and quite breath-taking.

The album’s title track starts things off and immediately is flirting with gypsy folk like strings which swirl provocatively around ears and emotions, their colourful expression joined by just as picturesque keys and melodies. There is a baroque like scent to the piece of music too, an older drama which wraps around the more fiery and sultry climate which emerges as the song continues revealing its heated landscape. Eventually the song drifts away and within a swift taking of a breath, the album swings straight back as Most Things and a riveting pop contagion which is soon dancing with the compelling tones of Lowes its puppeteer. The track is a ridiculously infectious kiss, a quite magnificent encounter courting sixties beat pop vivacity as fizzy tendrils of carnival-esque keys sport a creativity which reminds of The Stranglers Dave Greenfield.

Lowes has a voice which is hard to compare to another, though on the first songs and a few others tracks, she bears a resemblance to Brighton singer songwriter Cate Ferris, the following new saralowes2single I Find You another blissful example. The song is a smoulder of thickly simmering melodies and enchanting harmonies over a great distortion kissed rhythmic tempting. Keys again bring psyche spinning enterprise to spice up the song’s enthralling canvas, whilst the ethereal radiance of voice and surrounding sweltering sounds merge like a mix of Solar Halos and The Capsules. It is pure creative majesty and has ears and appetite enslaved by the time it makes way for the courtly hug of JB Priestley. Lowes straight away has ears and pleasure cupped as orchestral spices back her sunny presence, the opening gentle lure a passage into a feistier but no less radiant stroll of warm jazz seeded pop catchiness. As across all songs, there is a tapestry of different flavours and styles colluding in their support of the vocals, each song as here, as unpredictable as it is immediately accessible and magnetic.

The intimate balladry of Bright Day smooches with the senses next, its refined texture and voice a warm glaze over ears, even if not quite igniting them as its predecessors do. That success, is sublimely achieved by Chapman Of Rimes, a seventies bloomed pop rock flight with celestial harmonies and bold hooks under a blaze of brass seduction, and even more so right after by the excellent With A Mirror. The opening lure of bass and keys with rolling rhythms is enough to seduce unbridled attention for the new song, helped all the more by the vocal hints which whisper within the sultry enticement and rays of brass bred sunshine which light up ears. Like being lost in your lover’s arms, the song strokes and infuses body and thoughts with a romancing croon of voice and sound. That alone would be enough to wax lyrical about the song but with unpredictable and superbly infused twists of ideation amidst wrong-footing turns, the song is a master-class in songwriting and aural theatre.

Given the hard task to follow such a triumph is Little Fishy, and it makes easy work of keeping enjoyment clasped. From a celestial yet intimate soundscape cast by wistful keys and harmonies, the song emerges as something akin to progressive rock and lounge/electro pop, weaving its own virulent aural carnival.

The quiet reflection of For The Seasons calms things down next, the captivation a haunting ballad with a 10CC breeze to its air, before Cutting Room Floor slips into ears and simply radiates elegance and beauty whilst adding further fascinating diversity and invention to The Joy Of Waiting. The song is a gorgeous soar of melodic enterprise setting up the listener enthusiastically for the final pair of songs which are seemingly placed in different order on the physical and digital copy of the album.

The Clock Plays It’s Game provides a melancholic temptation which blossoms with the dark and light suggestiveness of strings against the just as potent call of Lowes’ voice and classically dramatic keys. Maybe not as immediately impacting as other songs, it is a lingering kiss increasing its stature with every listen, whilst Horizons is a track which just lifts emotions and spirit with sublime craft and open relish. Its swirl of hooks and melodies is a gala of folk pop smiles and sixties pop merry making and quite sensational. Whether the last song on the album or not, we suggest you make it that anyway as you leave its company with a song in the heart and melodic manna in the ears, a remedy sure to cure all ills and chase away dark shadows, much like The Joy Of Waiting as a whole really.

The Joy Of Waiting is available now via Railings Records, digitally @ https://itunes.apple.com/gb/album/the-joy-of-waiting/id963782296 and physically @ http://www.saralowes.co.uk/

https://www.facebook.com/SaraLowesMusic

RingMaster 25/02/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.thereputationlabel.today

 

Furyon – Lost Salvation

Furyon5

Anticipation for the successor to 2012 debut album Gravitas has been pretty much in top gear from almost the release day of that acclaimed success, and even more so after a four track cover mounted CD on Classic Rock Magazine UK last year, gave a very potent teaser for Furyon’s sophomore full-length. Now that Lost Salvation is upon us, it is fair to say that an already impressive and skilfully accomplished band has come of age, in sound, craft, and songwriting. Furyon is ready to stand with the big boys of classic rock and heavy metal, and show a few of them just how exciting rock ‘n’ roll is done.

Not being an instinctive fan of either heavy metal or classic rock, certainly of the more old-school styled offerings, we have demanding and probably unfair requirements and needs in order to be really impressed and even more so truly excited by a release but Furyon, as they did with their first album, succeed with ease. Again their songs upon Lost Salvation come with no excess baggage and are as hungry and at ease either forging big epic anthems or more intimately nurtured and designed propositions. This time though they feel like they come with more personal connections and inventiveness behind them; a new maturity to an already mature enterprise which is unafraid to explore broader essences of rock music within its core seeding. Produced by Rick Beato (Shinedown, Fozzy), Lost Salvation is Furyon’s aural masterpiece, but it still feels like just one more step in a continuing ascent; damn that anticipation is already kicking in again.

The album grips attention immediately, the tasty electronic infused opening of All That I Have inciting intrigue and appetite, especially once it blooms into a coaxing of riffs and firm rhythms with a delicious rich groove right through the middle. Relaxing a little as vocalist Matt Mitchell brings his fine delivery back to ears, the song seems to grow in weight and height with every subsequent chord and new flush of sound. It never explodes though, even in the chorus, just raising its temperature and intensity enough to enthral as the guitars of Luca Faraone, Tiago Rosado, and Chris Green, weave inventive designs. The song is the first anthem of the release, one as pungent and gripping as any peddle to the metal charge.

That kind of stampede comes with the album’s title track, the following Lost Salvation emerging as a thumping and contagious stomp which seamlessly blends vocal and sonic roars with predatory incitements, as well as a mystique woven solo which leaves lips licked and imagination lit. The dark tones of Alex Bowen’s bass go a long way to adding that sinister and intimidating edge to the song, backed by the sinew swung beats of Lee Farmery and a heavier growl of riffs from the guitars. This is anthem two and swiftly followed by the third in These Four Walls. To be FuryonLostSalvationhonest every song can be talked of in that way, even the more involved and exploratory tracks still holding that inescapable bait which has feet, neck muscles, and voice enlisted. The song is also partly a prowling croon, musically and vocally leaning heavily on the senses and emotions around more expressive crescendos. Maybe not as instant a persuasion as its predecessors, the song immerses ears and impresses more with every listen, leaving satisfaction brimming with pleasure.

The already in full flow invention and diversity makes another strong bow with the outstanding Scapegoat next, the track almost grouchy with heavy rock influences and grunge bred enterprise as it roams the psyche with its menacing rhythms and antagonistic riffs. Tempering its dark side though psychedelic rock like colours which ignite around the impressive tones of Mitchell, the song is a creative blaze to get happily lost within before Resurrect Me leads the listener into familiar Furyon territory with the kind of grooves and sonic adventure the band is renowned for. Flames of guitar invention are a persistent temptation to the band’s songs too and once more light up a not exactly startling, but definitely a thoroughly compelling slab of fiery rock ‘n ‘roll.

Left It with the Gods is another which maybe does not torch boundaries but definitely leaves ears and pleasure afire with its bellowing mixture of rock and metal whilst Good Sky calls in dark clouds and tempestuous intensity to leave thick pleasure in its wake. Epic in presence and tone, the track reaps some power metal tenacity with classic rock enterprise, as well as a slither of seventies metal spicing, moulding them in a potent roar which sets the appetite up for the excellent Dematerialize which casts its own dramatic shadows next. A far more intimate offering compared to its predecessor but also able to spread into a more expansive presence, the song bewitches with its blending of dark invention and sonic fire.

Lost Salvation is brought to a fine end by firstly the slowly strolling and richly grooved What You Need, a song suggesting an energy and anthemic potency to unite crowds in a live setting, and lastly the outstanding Wiseman. Again grooves and virulent riffs align to powerfully inciting rhythms and diversely delivered vocals, ensuring the album goes out on not only a bang but in a thought provoking tempest of invention.

The last growl of Lost Salvation is another of its loftier peaks, whilst the album itself is destined to be one of the classic rock pinnacles of 2015. It will take some special offerings to surpass it and convince our testing demands that is for sure.

Lost Salvation is available now on CD and digitally via Dream Records/Cargo Records

http://www.furyon.net http://www.facebook.com/furyon

RingMaster 25/02/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @  http://www.thereputationlabel.today

 

 

Fashion Week – Prêt-à-Porter

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US noise breeders Fashion Week have a sound which is as scathing as it is caustic yet treats the listener like a king with regal melodies and provocative nuances within the ferocious encounters they call songs. As proven by new album Prêt-à-Porter, it is a striking and intimidating proposition but one that ears and emotions, certainly with the band’s fresh provocation, find hard to get enough of. The NYC trio prey on the senses, torment the psyche, and persistently inflame the imagination, whilst through Prêt-à-Porter provide one of the year’s most compelling releases so far.

Fashion Week consists of guitarist/vocalist Josh Lozano (Inswarm, Jarboe, Cobalt, Family), drummer Carl Eklof (Victory at Sea, Lidia Stone, Inswarm), and bassist Oscar Albis Rodriguez (A Great Big World, No Way, Nakatomi Plaza), and began its sonic explorations, if you go by the band’s bio, supposedly around the late 1980s. Three albums have been tucked under the band’s belts, though we can only find evidence beyond their words of the excellent EPs, Applicator (2011) and Coextinction #11 (2013), whilst and similarly again according to their bio, 1994 saw the death of Lozano, though this tragedy has been apparently followed by his ghost ripping up sounds and invention in bands like Family and Inswarm. There is a ripe confusion and humour to the band which certainly in the case of the latter, spreads to the music in many ways and adds to the fun of digging and exploring deep into debut album Prêt-à-Porter to reap all their inventive twists which come with the choicest rewards.

Opener Fendi Bender instantly treats ears to a sonic smooch before expelling a flavoursome blast of agitated rhythms and spicy riffs aligned to a delicious growl of a bass presence. A respite is in place as the clean tones of Lozano open up the lyrical narrative over those still highly tempting beats, a moment carrying a definite Nirvana-esque whiff to it. It is soon immersed in a wall of sonic hostility and vocal ferocity but gains a foothold again as the raw wave ebbs back readying itself for another intensive return. It is a captivating slice of diversely flavoured noise rock which swiftly has ears and appetite enlisted in the album’s potential and soon to be revealed addictive adventure.

Chorusace is the first to reinforce and feed that promise; its vocal sufferance an angst driven squall over transfixing rhythms and seductive grooves, both courted by just as magnetic shards of Pret_a_Portersonic ingenuity. Thoughts of Converge and Melvins come to mind during the track’s brief tenure, but also suggestions of the inventiveness of bands such as At the Drive In and Coilguns. It is the same with the excellent Meek is Miznabble which follows, the song’s beats and sonic tenacity, a maelstrom of unpredictable and furiously agitated ideation, though it too embraces a calmer and more relaxed passage of clean vocals and winey grooving.

The slow enticing of Summer Line keeps the fire of album and enjoyment burning next. The carnivorous tone of the bass is a thick instigator of the song’s prowling gait and oppressive shadows whilst Lozano’s guitar winds melodically around them with seductive tendencies. Again the eye of the storm moments of the provocation has a Cobain and co spicing whilst the tempestuous roar and corrosive brawl of the track is all Fashion Week designing.

The swinging sticks of Eklof provide a contagious trap as Fur Free Friday leaps into ears next, his inventive enticing an infectious lead into the melodic intrigue and creative maze of the song. Its sinews and bellow is not far from the surface though, expelling ire and antagonism within the magnetic landscape of the outstanding encounter.

The piano led Klosstrophobia explores a web of sound straight after; post and noise rock colluding with elements of death and post hardcore for an enthralling and intensive examination of songwriting and listener. It takes time to fully reveal its strengths, casting a slower persuasion compared to other songs but finding powerful success ultimately, which is not quite the same for “FASHION”=~S/(\$)/COLLAPSE/GSO. A patchwork of vocal samples over a mist of sonic distortion, the track is more an intro to the closing Haute Topic, though if not meant that way its intent was missed by our understanding. It is ok but easy to pass over after a couple of runs of the album foiled by the urge to dive into the triumph of Haute Topic. Grunge, noise, and melodic escapades all twist around each other for a thrilling and explosive conclusion to the album. It is the pinnacle of the release, helped further by the incendiary mixes of vocal delivery, sonic styles, and simply warped imagination, and almost alone gives the reason why Fashion Week should be on the catwalk of your attention.

     Prêt-à-Porter is a treat which might take time to steal your ardour but eventually will become one of the year’s favourite events.

Prêt-à-Porter is available now digitally, Cd, and 12” vinyl via Solar Flare Records @ http://music.solarflarerds.com/album/pr-t-porter

https://www.facebook.com/FashionWeekBand

RingMaster 25/02/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @  http://www.thereputationlabel.today

 

LongFallBoots – Wait For The Echo

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Though not exactly psychotic or schizophrenic, Wait For The Echo, the debut album from UK scuzzers LongFallBoots, definitely has a certain deranged edge and tenacity to its sound and character which makes it one of the most fascinating and enjoyable releases to hit 2015 so far. Brewing up a sound from a maelstrom of noise and punk to stoner and psych rock, and that barely covers it all, the Warwickshire band create a fuzzy sonic smog which almost visually ripples with ideas and imagination within its caustic surface. That again is only half the picture as rhythmically, the album is one of the heaviest predatory treats you are likely to come up against in rock music this year. It all makes for an intriguing and thoroughly exciting proposition from a band which manages to actually offer something new.

LongFallBoots is the creation of friends Alex Caithness (KOSS, Cincinnati Bow Tie) and Ben Holdstock (Paralus, Cincinnati Bow Tie), and came about by accident when the rest of the line-up in the pair’s other band failed to turn up for a rehearsal. That moment in time was filled by the duo writing first EP It Was Duke and the birth of LongFallBoots. Since its release in August 2012, the band has released a further six EPs, the first five in a 12 month period whilst the last, Good At Television was written after the new album and recorded before its completion to ‘keep busy’ as the band managed the logistics of scheduling in and recording the full-length with the numerous guests which feature on Wait For The Echo. The album was written by and primarily recorded by Caithness and Ben Holdstock, though with extended contribution from live bassist Chris Childs, who has since left the band, and vocalist Amy Smith, who has subsequently replaced Childs on bass and additional vocals, and recorded the Good At Television EP with the band. Further guests on the album include Andi Chamberlain (Eagles Born Vultures), Claudio Aníbal (Ash Is A Robot), and Marc Shinner (Those Loathsome Fishmen/Devi Ever) amongst many. LongFallBoots like to work fast when it comes to writing and creating songs, a frenetic approach to their recordings which again applies to the album yet does not in any way corrupt the quality and energy of the release, in fact it probably goes some way to make it as intensively dynamic and gripping as it is.

That strength is immediately on show as opener Transmission stirs up ears and senses; the opening scuzz of guitar and slapping rhythms a raw and feisty coaxing catching the imagination with ease, especially as it broadens with rich melodies and mellow vocals. It is a potent mix which from an early strong position becomes a much more instinctive persuasion as the band’s vocals a2819673812_2fiercely roar and bellow from behind the more relaxed delivery of guest Jonathan Martin. The track continues to grip tighter as beats get more agitated in tandem with the general manner of the song, the returning sway of Martin’s gentle caresses seeming to gain extra impetus from this for the magnetic ‘chorus’.

The 2nd Technic offers an instant increased snarl with its riffs and air, employing a post punk chilling around incendiary bursts of noise rock intensity. That alone is a compelling mix but with little flirtations of melodies and harmonic vocal mumbling, the song becomes an irresistible creative raging whose masterful heights are matched by the following False Flag immediately after. It rolls in on a contagious rhythmic enticing, a nibbling guitar adding to the exciting lure. Vocal squalls and tempestuous urgency break through soon after, not quite brawling but certainly bringing greater intimidation and thrilling rapacity to the encounter. Already thoughts of Melvins come to the fore but only as a scent of the raucous creativity being expelled by LongFallBoots.

Thoughts are thrown a curve ball in some ways by Thousand Hands, its fuzz pop breeding a warm and intriguing embrace, especially with the angelic tones of Amy Smith adding to the rosy colour of the song. Of course it is again only part of the picture as the surface of the sounds are woven with bracing fuzziness whilst throughout there is a veining of acidic heavy rock enterprise. The song is pure magnetism but does not quite light the appetite as those just before it, or the next up Loaded Question. Punk infused, the track is a thumping roar in ears with a warped mentality and design to its addictive presence and textures. There is a slight touch of The Zico Chain to it and at times Torche, and for just over a minute it provides another enslaving highlight of the album.

Both the groove bound Displacer with its rhythmic dance and the doomy prowl of Noctavia bring further diversity to the album and new adventure to ears, each in their individual persuasions worming under the skin and deep into the psyche before the riveting and infectious devilment of The Cruel Institution steals their thunder with its sonic winery and sinuous invention. It does not take long to become a firm favourite within Wait For The Echo, though the sultry twang and spicy croon of A Peculiar Hell gives food for thought before the bedlamic By Design hits with its Converge-esque vocal attitude and continually shifting landscape. At times it is a brawl on the senses and in other moments a sweet seduction; a post-hardcore like fury which as all songs is ultimately hard to pin down.

The Sham basks in a heavy rock predation as a Mastodon intensity mixes with a Kyuss like melodic blazing driven again by caustically delivered vocals. It is a slow burner compared to other tracks but has ears and appetite enthralled whilst Simultaneous Man simply has each turning somersaults of pleasure with its voracious and uncompromising punk raging equipped with a deliciously throaty bassline and sinister sonic endeavour.

A final piece of expectations defeating excellence comes with the closing An Apology, the band again slipping into mellower waters with charming melodies and the siren-esque voice of Smith; anticipation is already expecting special things ahead with her voice now a regular feature of the band. The final incitement cannot leave without a trespass of the senses though, guitars and hoarse roars adding to the increasing intensity and inflamed climate of the song as it brings the album to an impressive close.

   Wait For An Echo incites and delights in equal measure. It is an album for all fans of heavy and noise bred rock music to explore a healthy new adventure with, and whilst LongFallBoots is still a secret to a great many right now, the new release could change that privacy as it ignites more and more ears and emotions. And if it falls short, let’s be honest there will probably be another tasty EP or two right around the corner reinforcing its fine temptation and fighting the cause.

Wait For The Echo is available digitally and on CD now via http://longfallboots.bandcamp.com

https://www.facebook.com/LongFallBoots

RingMaster 24/02/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.thereputationlabel.today