Groteskh – Code:End

Band + Logo_Reputation Radio/RingMaster Review

Not startling but certainly striking and a captivating torrent of imaginative and enticing ideation, Code:End is a rich and creative persuasion which ensures its creators close attention within the black metal scene. The second album from Austrian metallers Groteskh is an intimidatingly immersive and malevolently seductive offering, one of persistently intensive craft and enjoyment but with a dramatic and inventive adventure pushing band and release well away from the crowd. Released via Austrian label Cursed Records, the album is a wake-up call to a broader audience and attention with Groteskh proving themselves as a potent emerging force.

Coming out of Sankt Veit an der Glan, a small town within the Austrian state of Carinthia, Groteskh was formed by vocalist/guitarist Malthus Holytoxicomaniac (ex-Hellsaw) and guitarist Goreman (ex-Obscure) in 2010. Within the band’s first year the line-up was joined by bassist Necrosodomizer (Vomition) and in 2012 drummer T. Martyr (Irdorath). The following year the recording and release of debut album Unconsciousness drew well-received responses and acclaimed interest, its success followed by the addition of guitarist Isiul (ex-Hellsaw) and an European tour with Demonical, as well as numerous show and festival appearances. It is fair to say the band’s stature and recognition has grown which every passing year, 2014 being an eventful one for Groteskh with Necrosodomizer leaving the band to be replaced by Mike Hell (Sakrileg /Disastrous Murmur) before the recording of their sophomore full-length. Now unleashed and increasingly impressing with every listen, expectations are that Code:End will take spotlights and awareness to new demanding levels whilst musically the album suggests the quintet has the presence to be a potent name within black metal.

CD_Reputation Radio/RingMaster Review     The sonically irritated and intriguing lure of Mystery Orbs is the first rapacious persuasion to the album, the opener an increasingly volatile maelstrom of riffs and melodic toxicity governed by the intimidating vocal scowls of Malthus. Equally though, there is a composure within the song which allows moments of tantalising beauty and calm to entangle with the ravenous black hearted hostility and erosive intensity. It is a seriously magnetic start to the album, guitars like rancor soaked troubadours in the design of the song and rhythms a barbarous framing to an impending apocalypse.

Delusions Of Immortality follows and quickly reveals itself a unique character to its predecessor, clean prowling vocals matched in tone and intent by spicy grooves and menacing rhythms. As in the first song though, unpredictability is prominent bait and exploited by the open craft and imagination of band members and the song’s own dark almost psychotic intent. Tagged as black metal, and rightly so, there is also as shown by the opening pair of songs, a wealth of additional flavours to the Groteskh sound, a progressive/doom exploration creeping across this track alone.

Next the imposing climate and ferocity of Displaced Axis transfixes ears and thoughts, its initial clearer air soon a muggy tempest of intensity and uncompromising emotion but still open to scythes of sonic magnetism and warped melodic enterprise. It keeps the impressive start to the album on a lofty plateau, pushing it higher with its ferociously invigorating second half before a calm of sorts comes with Posthuman. Expected turbulence is never far from the surface of the song though, throughout creating fierce whirlpools of rabid discontent which further ignites the relentless technical and provocative landscape sculpted and twisted across the absorbing encounter.

Both Doomdevil and Nothing Exists entwine ears in their own involved and insidious trespasses, the first a senses winding seducing of rock ‘n’ roll grooves bound in blackened voracity and its successor a proposition which is part savage beast, part infectious revelry, and all irresistible enthralment. As with all tracks, every listen reveals new nuances and dark resourceful corners, increasing persuasion and enjoyment a welcome result but fair to say the second of these two is an instantly inescapable thrill; much as the bestial might of Oblivion Of Being straight after. At times there is a similarity between tracks but again with continual focus an unveiling of individual creativity helps every song develops its own distinct character, this song a prime and fascinating example.

The album’s title track lays down another peak to the album with its almost revengeful ambience and prowl of sound whilst Illumination, from a deliciously grizzly bass opening courted by solidly jabbing beats, expands into a cancerous and venomously addictive incitement on body and imagination. Both songs come equipped with toxic grooves and contagious hooks within waves of creative and emotional enmity.

Moral Pessimism is the same, a tsunami of bad blood and ill-willed grudges skilfully crafted and delivered, if without the same spark of certainly the previous pair of tracks. Nevertheless it has the listener ensnared before the powerful beauty of Abandoned Mines closes things out with its melodic romance bred from superb guitar craft and expression. The instrumental is bewitching, a tantalising epilogue and temper to the creative malignancy before, and further evidence of the depths of Groteskh’s invention and imagination.

Code:End is maybe not the release to thrust Groteskh to the forefront of black metal, though it has the potential, but it is a notable and highly pleasing marker in the band’s continuing ascent to that destination. Both are proposals genre fans should definitely be checking out.

Code:End is out now via Cursed Records digitally and on CD @ https://cursedrecords.bandcamp.com/album/code-end

https://www.facebook.com/Groteskh

RingMaster 14/06/2015

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.reputationradio.net

 

Shark Tape – Marathon

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Filtering the best essences of punk, pop, indie, hard rock and more into their own industrious rock ‘n’ roll revelry, US band Shark Tape is a band which has been creating a buzz of their side of the globe for the past couple of years or so. Now their energetically flavoursome sound is concentrating on stirring up British attention through the UK release of debut album Marathon. A collection of songs as united in contagious enterprise as they are individual in character and imagination, the release is a sure fire incitement to body swerves, broad smiles, and feeling good.

Hailing from Philadelphia, Shark Tape emerged in 2007. They went through various project names before settling on the name we are now embracing. The trio of vocalist/bassist Stephen Lorek, guitarist Niles Weiss, and drummer Dylan Mulcahy released a pair of EPs in 2012, a self-titled debut and Eyes On You which were both well-received with the latter especially earning potent radio play from East Coast radio stations. Late 2013, the band linked up with renowned engineer Jeff Ziegler (Kurt Vile, War On Drugs) to begin working on their first album, Marathon receiving its acclaimed US release last November and now looking at sparking the same enthusiasm in the UK. With a host of inventively crafted songs bound in imaginatively woven sounds, it is easy to assume it is already a done deal in making the strongest persuasion over here too.

Picture 8     The album gets off to a seriously rousing start with Bronco, vibrant riffs and attention causing hooks instantly inescapable bait matched in potency by the varied vocal tones. The guitars jangle and entice right away with flirtatious indie rock endeavour, leading the listener and an already greedy appetite into an addiction forging chorus which swiftly enlists the listener’s vocal help to join their body’s already keen involvement. Like a mix of Weezer and UK band Asylums, the song is unbridled contagion and matched all the way by Marathon’s title track. Unveiling its own unique hooks and melodic temptation, the track has a healthy hard/glam rock urge in its fiery invention amidst another uncontrollable infection for ears and imagination. Totally different in sound it maybe, but song and indeed album not for the last time, shows the same instinctive ability to create hook laden, uncomplicated but precisely woven punk pop as bands like The Undertones and Buzzcocks, and with more encounters like this the potential for a similar status for Shark Tape ahead might be on the cards.

River Runs Deep comes next, opening with an eighties electro rock like welcome, backing it up with harmonious vocals before adding tempering through vivacious shadows from the bass. Swinging beats and more exotic electronic hues bring new colour to the slimline but rich landscape of the song as it grows, and though it cannot quite emulate the previous pair in strength it keeps the flames of satisfaction burning nicely before the more agitated charms of Long Time Coming take over. Lorek’s bass has a delicious dark tone as it brings the song into view, riveting coaxing quickly wrapped in the indie sparkle of guitar and vocals. As its predecessor there is also an essence of eighties colouring, a new wave pop invention infused with a rawer nineties rock pop that works away to create another choice proposal within Marathon.

Slightly mellower but no less compelling, Smell of Sirens provides a vibrant croon of melodic suggestiveness next. There is a sturdy rhythmic frame and emotional nature to it keeping its spatial melodies and airy atmosphere grounded as vocally and lyrically the song unveils its heart. Revealing further depth and strength in the band’s songwriting the track drifts away to be replaced by the captivating Neverlast with its more sombre but relentlessly catchy stroll. It is one of those songs which works away on the listener almost without them realising, making a deeper, more potent impression than first thought to return at will with its hooks and stirring melodies. Both impress but are soon overshadowed by the outstanding roguish presence of Black Panther. Surely bred from a diet of The Ramones and The Clash, the track is mischievous punk pop with robust rhythms and heavy duty bass riffs led by rebellious vocals. Equipped with a searing guitar solo, barb loaded punk hooks, and bracing rock ‘n’ roll tenacity, the track is nonstop anthemic devilment.

   Through the more controlled Runway and straight after Top Rock Seller, band and album continue to ignite ears and thoughts. Though the first of the pair is more restrained than the last song, its resolve is permanently taunted by the predacious bass tones escorting it through ears, its devilish stroll trying to incite greater aggression in energy to match the aggressive imagination of hooks and ideation around it. The second of the two tracks offers a post punk meets shoegaze suggestion initially but soon moves towards a dusty rock presence sporting essences of grunge, melodic rock, and punk. It is a fascinating mix which has you searching for references to its flavours, Psychedelic Furs one hinting thought, but basically coming up with little by the time it is replaced by the excellent Silly Things. Its successor explores a similar tapestry of ideation but is a more sinister and heavily darker proposition; one pierced by shards of harmonic and melodic light amidst surf seeded sonic spicing.

The album is brought to a close by the acoustically sculpted Dying to Know, a song which from its minimal seeds blossoms into a fascinating web of rhythmic traps and sonic enterprise within an orchestra driven evocative breeze. The song is glorious, a final fanfare for the invention and craft of the band in writing and invention.

With highlights which reach classic song standards and lesser successes that most other albums would cry out for, Marathon is one of those treats all rock fans need in their lives. Remember how excited you got when you first heard bands like Weezer, The Smiths, and Wheatus, well you might just find yourself getting those self-same tingles again thanks to Shark Tape and their debut album.

Marathon is available now @ https://itunes.apple.com/gb/album/marathon/id937432092 or http://sharktape.bandcamp.com/album/marathon

https://www.facebook.com/SharkTape

RingMaster 15/06/2015

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.reputationradio.net

Milton Star – Things Fall Apart

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Like for most a sound to riot too is a treat, music to change or ignite the day essential, but just as potent and thrilling are compositions which invite you immerse deeply into their depths so you can conjure your own emotional and visual experiences. Music to get truly lost in is the forte of UK duo Milton Star as evidenced by their previous two-song offering Salvation/ Storyville. Now the Scottish band returns with new single Things Fall Apart and arguably their most immersive and provocative embrace of sound yet. It is enveloping, it is sultry, and it is powerfully mesmeric; simply the track is a sinister fever of dark country romance to chill the bones and ignite the passions.

Things-Fall-Apart-cover  Milton Star consists of Alan Wyllie and Graeme Currie, two songwriters/musicians whose history together encompasses numerous projects and collaborations going back to the early days of post punk and most notably The Thursdays and Fast Records. The pair also understands the potency of fusing cinematic suggestiveness with atmospheric aural imagination, and indeed as evidenced by their singles how to achieve such fusions. Creating their music in a converted church in Fife which is also Wyllie’s home, Milton Star is the riveting equivalent of Nick Cave, Helldorado, and Mark Lanegan awash with the craft and vision of an Ennio Morricone and David Lynch, but with their own identity.

Straight away their new single has ears and thoughts engrossed, as a deep throaty tone resonates from within guitar, bass, and just the whole ambience of the piece. Things Fall Apart is an immediate seduction, its sombre gait and melancholic air a mesmeric croon on the senses reinforced by the grainy but vibrantly toned vocals. Whereas the band’s previous single had a slight mischievous essence, certainly to one of the songs, which reminded of Tombstone Three, this new proposition has an intimacy and drama which imposes itself on ears and appetite with more solemn intent. Its melodic prowess though brings smouldering warmth too, guitars and keys a haunting, at times almost regal caress inflamed with exotic hues that further enthral and spark the imagination.

The song is pure cinema, and pure aural temptation. Every listen increases its potency too, and from being a powerful successor to its stronger predecessor, Things Fall Apart has grown and evolved into the bands finest most pungent and thrilling incitement yet. Here is hoping an album is on the cards or at least a fuller adventure of an EP next.

Things Fall Apart is available from June 15th via Stereogram Recordings @ https://itunes.apple.com/gb/album/things-fall-apart-single/id991360030

https://www.facebook.com/miltonstar   http://www.miltonstarmusic.net/

RingMaster 15/06/2015

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.reputationradio.net

 

Serpent Seed – Debris of Faith

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There is little we can tell you about Polish metallers Serpent Seed, their background information as sparse as their sound is imposingly flavoursome, but one thing about the band easy to reveal is that their debut album is one potent and potential fuelled proposal. Consisting of seven attention feeding and appetite raising tracks, Debris of Faith provides instant evidence that Serpent Seed, though not yet a startling proposition, is certainly a fresh and fiercely enjoyable new protagonist in the extreme metal landscape.

Serpent Seed hails from Łask, forming in 2012 with the current quartet of guitarist/vocalist Aryman, guitarist Jatssa, bassist Jakub, and drummer Wojtass bringing experiences from playing in bands such as War, Lugburz, Iugulatus, and Slain to the project. Honing a sound merging death and black metal at its core, the band recorded their debut release last year, Debris Of Faith emerging via The End of Time Records. It is a challenging and compelling incitement on ears and imagination, an intriguing encounter which without tearing up the creative neighbourhood provides new and accomplished scenery.

The album opens with Demon’s Blade, guitars instantly casting a web of predatory riffs and enticing melodic intrigue as rhythms hungrily descend with their own infectious potency upon the senses. Its climate is dark and ravenous, nature inhospitable, but even with the menacing blackened tones of the vocals, there is a gripping and catchy lure fuelling the tempest. Just as swiftly evident as the consuming heart of the song, is the individual skills of its members and songwriting which takes every opportunity to twist expectations and keenly venture into new corners and depths within the band’s sound.

The strong start is eclipsed by the following stalking of ears and emotions by I Spit on Your Cross. The heavy oppressive maelstrom opening the song soon expels an irresistible groove which, as the song itself, continues to evolve and take on new guises without losing its potent temptation. It is also the spark to a matching invention from guitars and rhythms around it, a sonic tapestry seducing the barbarous and addictive landscape shaped by the grouchy bass and the rapier like barracking of the drums. Quick slavery of attention and appetite, the outstanding song makes way for the even more hellacious and uncompromising Mother Night. The song stalks the listener with its first and every subsequent breath, holding that intimidating restraint even through its intensive expulsions of sound and ire. As fascinating as it is invasive, the track is an apocalyptic suggestiveness for thoughts and a battlefield for the senses.

Both Płonie Stos and Unholy Trinity continue the tight hold of ears and satisfaction, the first the most dangerous predator on the album with its demonic sonic tones insidious and cavernous ambience debilitating. Despite that as further melodic craft and enterprise fiercely flames upon the rabid canvas of the encounter, there is a virulent persuasion and inviting air to the song leading, or misleading, emotions into feasting on the rancorous heart of the incitement. Its successor is similarly sculpted but soon uncaging its own distinct animus of sound and emotion, if without quite having the same extensive temptation as its predecessors. Nevertheless the song grows and blossoms as it persists with its creative ravaging, leaving only thick enjoyment in its wake before the thrilling song Serpent Seed, spreads its sonic and inventive malignancy through ears to devour the senses. There is at times a similarity in certain aspects and tones to songs within the album, noticeable again here, but everything is soon woven into new tapestries and violations which ensure diversity and the imaginative playing of the band are the lingering enticement.

One major moment makes way for another with closing track Bloody Vengeance, a song which prowls and erodes emotions with every one of its malevolent creative seconds. Though not as easily accessible as other songs, it is an engrossing provocation forging the sonic endeavour of the guitars to the unpredictable and gripping bait of the rhythms. With raw and caustic vocals driving the narrative deep into thoughts, the song is a powerful end to a thoroughly pleasing encounter.

For an introduction Debris of Faith is a concrete and promise soaked base for Serpent Seed to move on from, so expect to hear their name on a more regular and acclaimed footing over coming years.

Debris of Faith is out now via The End Of Time Records

https://www.facebook.com/pages/Serpent-Seed/706607769433831?fref=ts

RingMaster 14/06/2015

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.reputationradio.net

 

We Ghosts – Decade

WE Ghosts_Reputation Radio/RingMaster Review

A release of multiple charms and flavours, Decade the new album from Anglo-Swedish alternative acoustic duo We Ghosts gets its UK release this month and a tantalising treat it is. Such its distinct yet united variety, the album ebbs and flows in its strongest persuasions but from start to finish the band’s new encounter takes ears on a captivating adventure in celebration of the band’s ten years of creative life.

We Ghosts consists of the song writing team of Swedish vocalist/guitarist J.J.Woodall and English instrumentalist John Christopher, the band emerging in 2004. The years since has seen the band on a constant adventure of live shows and releases. On stage the band is expanded by the likes of Johan Persson and Richard “Rat” Westlake, both making contributions to the album too with the latter also co-producing it with the band. Record wise, We Ghosts’ blend of pop, jazz, blues, and folk has fuelled a clutch of EPs and acclaimed albums such as Things That Go Bump In The Night in 2009 and Almost Alone three years later. Now fourth studio album Decade, released as its predecessor through Deep River Records, provides the imaginative epilogue to the band’s first decade and increasingly seductive opening to the next.

A rhythmic acoustic coaxing opens up album and its first track Broken Sky; its initial lure alone pure magnetism which only increases as melodic intrigue and the instantly enticing vocals of Woodall link their tantalising lures. A spatial breeze soon immerses ears too as siren-esque harmonies float, but that early bait still provides the most direct and gripping pull for the imagination and appetite. With darker hues of bass adding to the elegance and temptation offered, the song is nothing less than a busy and warmly welcoming seducing.

cover_Reputation Radio/RingMaster Review    The masterful opening continues with the summery saunter of Out Tonight, a song with a Caribbean bred canvas and flirtatious melodic scenery matched by the vocals and the more wistful but equally colourful keys. The song’s dance is an irresistible contagion, a nudge to feet and emotions to eagerly join its warm revelry before the bluesy funk pop of Death or Glory casts its emotive persuasion next. Without quite matching its predecessors, the track sways and croons with a fiery attitude aligned to similarly intense enterprise from the guitar and easily leave ears smiling.

The folkish shimmer of Too Late to Learn merges a country twang with a sultry atmosphere next, its vocal offering led by Christopher this time. Though his delivery is potent and expressive, personal tastes hanker for the lures of Woodall whilst the song itself lacks the undefined but rich spark which lit the other tracks before it. Nevertheless enjoyment is still a given before the album hits another high spot with its next two tracks. Home Is Where the Heart Is comes first and from the glorious jazzy/blues vocal roar of Woodall to start things off, the song proceeds to stroll with a southern blues spicing across a melodic and rhythmic evocation. It is pure captivation, an inescapable anthemic and spiritual tempting to bask in, though quickly outshone by the even more exceptional Final Curtain. The track is virulent pop infused folk rock with a delta blues hue to its harmonies and invention. Like a mix of My Baby and Jingo, the song is a flame to the senses and rock alchemy for the ears, and quite outstanding with its voracious contagion and imaginative enterprise.

The lively acoustic balladry of Trying to Be Faithful makes a fine and bewitching effort of matching its predecessor, its Kirsty MacColl charm and tenacity compelling from start to finish. It is a success next up Suzie cannot quite emulate, though again there is little to pull it up for outside personal tastes and our always less than eager appetite for any countrified essence. Superbly crafted and intricately woven though, and with a host of creative hues, the song as the following album title track, is a keen persuasion, the latter’s enticing of melodies and poetic vocal expression leaving a glow in the air.

We Ghosts, the song, completes the album, its sixties psyche pop toning a final infectious serenade on the senses. It makes an engrossing end to a fine album, a release which just grows in strength and seduction with every listen. Like many, we have suggested a few releases to soundtrack your upcoming summers, and there is no way we cannot add Decade to those recommendations, especially for those provocative sultry nights.

Decade is out now via Deep River Records @ https://itunes.apple.com/gb/album/decade/id825383537

https://www.facebook.com/pages/We-Ghosts/170602999638293 http://www.weghosts.co.uk/

RingMaster 15/06/2015

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.reputationradio.net

 

Johnny Wore Black – Comfy Slippers

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Taken from the breath-taking album Walking Underwater Pt. 2 which gave British melodic/alternative rock an inspiring and thrilling fresh breath last year, the new video/single from Johnny Wore Black whilst making another potent nudge at newcomers to the band’s stirring release, reminds the rest of us just how provocatively powerful the band’s sound is. Comfy Slippers also confirms just how creative and exciting it is too and why Johnny Wore Black has been stirring up fans and media alike around the world these past couple of years.

The band is the brainchild of London based songwriter/producer and stuntman (Les Miserables, The Dark Knight Rises, Fast and Furious 6, Fury) Jay, and a vehicle for his invention and imagination which has been no stranger to acclaim thanks to the previously mentioned album and its predecessor, Walking Underwater Pt. 1 the previous year. With a wealth of attention grabbing and appetite igniting singles around both releases too, some of those and a few within both albums co-written with Megadeth bassist David Ellefson as well as also featuring his renowned musical talent, Johnny Wore Black has been an emerging force awakening not only the British music scene but also a far wider and attentive global spotlight. Comfy Slippers quickly reveals why, its anthemic and equally intimate resources inescapable evidence to their increasing success.

Awakening in a thick flaming of melodic guitar around welcoming riffs and crisp beats, the song soon settles into a magnetic enticement led by the smooth and emotive vocal tones of Jay. His voice is a gentle caress but with a steely edge which perfectly reflects the emotional drama and clarity of the lyrical narrative. Musically the song holds check allowing voice and words to paint the stirring picture but all the time it is also building an equally potent and tempestuous air. This only reinforces the strength of the song’s heart whilst creating its own captivating tapestry of sonic enterprise and striking adventure.

Comfy Slippers is an irresistible slice of Johnny Wore Black for fans and a masterful doorway into the creatively incendiary world of the band for newcomers. If you are yet to take that step then the band’s new single is the perfect and thrilling opportunity with its outstanding video, which we will leave for you all to explore without spoilers, an equally great starting place.

Comfy Slippers is unveiled June 15th with additional track and video Firefly also available.

http://www.johnnyworeblack.com   https://www.facebook.com/johnnyworeblack

RingMaster 15/06/2015

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.reputationradio.net

 

Still The Mind – Slow Dancing

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Going by their debut single Slow Dancing, UK rock band Still the Mind has a sound which entangles varied essences from grunge and blues rock to indie and metal based seeds. It is not a proposition which startles as it busily persuades ears yet there is striking freshness to it and a vitality which will ensure the band is not just going to be a passing interest. The song is rock ‘n’ roll in an honest and tenacious form from a band easy to assume we will be hearing a lot more of in the future.

The beginnings of the Newton Abbot, Devon quartet started with a friendship between vocalist/rhythm guitarist Matt Palfreman, who was writing and playing folk songs influenced by people like Bob Dylan and Elliott Smith, and bassist Joe Warriner who played in local reggae band Stokey at the time. Subsequently with ideas of a band lit, the pair enlisted local drum teacher and old friend Phil Hallwood and in turn guitarist Karl O’Neill into the line-up. With a band name inspired by a book on meditation by philosopher Alan Watts, Still The Mind was soon luring attention with a diversely hued sound to which their varied musical backgrounds and tastes has undoubtedly been a key factor. Recording an EP with producer Digby Smith (Led Zeppelin, Paul McCartney, Bob Marley and Eric Clapton) towards the end of last year, the foursome now uncage their first single, a song which was recorded in a live setup and gives a big hint to the band’s live prowess as much as it pleases the senses.

The song swiftly entangles ears in a great bluesy vine of guitar enticement, rapier like beats quickly backing their potent lures. Settling down soon after, the song sees Palfreman open up his Layne Staley like vocals, his delivery an alluring texture within a spicy groove which relentlessly teases the appetite alongside the rolling beats of Hallwood. Everywhere you listen though the song is bubbling with craft and adventure, the bass of Warriner less forceful but a great throaty tempting whilst the guitars of Palfreman and O’Neill steer and inflame the song respectively with their strong craft.

Fair to say Slow Dancing does not catch fire as it might, despite numerous hints throughout, but nevertheless it is a captivating and infectious slice of rock ‘n’ roll providing a strong and enjoyable introduction to Still The Mind. It also suggests this is just the start to bigger things, a happy thought indeed.

Slow Dancing is released June 15th

https://www.facebook.com/StillTheMind

RingMaster 15/06/2015

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.reputationradio.net

 

Immension – In Vain

Immension Press Shot

Continuing where their previous EP left off whilst showing greater rigorous invention and accomplished songwriting, British metallers Immension release debut album In Vain to reaffirm the potential of their already potent emergence. It is not an encounter destined to leave ears awe struck but certainly it is an album merging familiarity and fresh imagination in one persistently enjoyable proposition.

The Sheffield bred Immension was formed in 2008 by Jake Kearsley (vocals, guitar, bass and piano) and Tim Dolan (lead guitar), and soon began earning local attention with a sound seemingly Bullet For My Valentine inspired, certainly on the evidence of their self-titled first EP. Its successor The Enemy Within increased the band’s ever growing fan base whilst sparking a more national awareness too, its arrival also revealing a more Metallica influenced creativity and air was blossoming in the band’s sound and again part fuels Immension’s first and increasingly pleasing full-length. With drummer Jonni Sowter, who joined the band back in 2011, the trio are set to awaken the strongest and broadest spotlight yet with In Vain, with expected success.

Carrying a presence which is like nineties era Metallica meets Trivium, In Vain opens up with its title track and an enticing of guitar which in turn leads to a robust and skilfully tangled weave of melodic endeavour and rhythmic incitement. The vocals led by Kearsley, similarly have a tenacious and full presence, and like the music carry a Hetfield and co ring to them in varying ways. Rigorous in some moments, more energetically composed in others, the track grabs ears and attention with ease with Sowter a commanding and resourceful presence within the web of enterprise cast by Dolan’s guitar.

Immension Album Cover Art   The rich start to the album continues with The Fantasy, Sowtor’s heavy swings again instantly incendiary bait as riffs and grooves unleash a fiery magnetism against the dark swing riffs of bass. As the rest of the album, there are plenty of recognisable aspects to the song, of others and the band’s previous releases, but equally a new adventure is explored too via more provocative sonic textures and Middle Eastern spices. It is a climatic and richly satisfying encounter, its mix of deliberate prowling and ruggedly enthusiastic charges a contagious persuasion reinforced by the creative imagination and ever impressing vocals within all sides of the band.

All That Remains follows with a mellower and more restrained if still fiery character, vocals and guitar caressing ears as rhythms provide a sturdier framing. Impassioned energy flows through the heart and narrative of the song though, ensuring its more placid nature is always on the edge of emotional eruption before it makes way for the skilfully crafted and dynamic Lost & Forgotten. Neither track can match the persuasion of the first two on the album, and both also begin to reveal a surface similarity in certain areas between tracks within In Vain, but each has ears and appetite enthused for more with their also present elements of individuality, and again duly offered by In The Dead Of Winter and Shadow Of Yourself. The first of these two opens with an ominous yet regal ambience around dramatic beats before being further infused with wiry melodic hues of guitar. There is a rampancy to it which is just as highly persuasive as the ever evident technical and thoughtful potency going into songs. It is one of the loftier peaks of the album, a height its successor tries to emulate with its familiar inventive route clad in thoroughly engaging sound and creativity.

For maybe the first openly dramatic time a major twist of originality comes with the piano led and vocally harmonic Love Never Dies. Its opening charm and beauty is mesmeric but aligned to portentous shadows through the heavy tones of bass and firmly jabbing beats, it all gripping the imagination as much as ears. Continuing to evolve and expand its character and creative colour, the song becomes a blaze of melodic and emotional angst, sublimely capturing pleasure and thoughts before the just as excellent The Enemy Within uncages its barbarous and exhilarating turbulence. The track is never as aggressive and volatile as it might be due to the excellent smooth tones of Kearsley, but it thrills a treat with an enticing which is inviting and barbed simultaneously. The two tracks provide further pinnacles to the album before closing track The Father You Will Never Be offers a final imposing croon and emotional ferocity restrained by melodic temptation.

The song is a fine end to a consistently and increasingly enjoyable release. Immension are still a distance away from finding a truly unique sound but In Vain shows that in craft and sound they have taken big and impressive steps. This is not an encounter to be surprised by or find brand new terrains through but as a proposition to simply spend forty five minutes or so enjoying potent melodic metal, it is a success many other bands will envy.

In Vain is available from June 15th through all stores.

https://www.facebook.com/immension https://twitter.com/immension

RingMaster 15/06/2015

Copyright RingMaster: MyFreeCopyright

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Prog Metal beasts ‘Faces Of Eve’ lay down a marker with their spanking new EP

Faces Of Eve will be uncaging their EP ‘The Story So Far’, on Monday 29th June through all digital platforms.

Faces Of Eve Promo ShotEncouraged by an array of areas from Circles and Hacktivist to Alexisonfire and Slaves, Faces Of Eve can loosely be placed in the progressive / tech metal bracket. However, their deft ability to merge genres where ensuring widespread appeal and originality, is certainly impressive.

Hailing from the Hertfordshire area and born from the ashes of Brave The Moment, Shields, Trophies Of Dahmer and Olympus Must Fall, Faces Of Eve despatch technical riffery and ferocious power merged with unbridled energy and considered song structures. The quartet have also acquired a substantial following in such a short space of time, largely due to the strength of their set and work ethic. The band have just completed another successful jaunt around the UK with fellow rising hardcorers ‘Oaths’.

Faces of Eve now press on with their debut EP ‘The Story So Far’. The record is brimming with six slabs of sizzling progressive infused technical metal. From the dynamic and alluring beatings of opener ‘For My Fallen Heroes’ through to ‘Dwellers’, the band deliver each note and riff with heartfelt emotion and formidable force. With further touring and shows in the pipeline for the remainder of the year, just watch them take off…..

FACES OF EVE RELEASE ‘THE STORY SO FAR’ ON MONDAY 29th JUNE THROUGH ALL STORES

Faces Of Eve

EP Tracklisting:

 1. For My Fallen Heroes; 2. Feed; 3. Crime Of Passion; 4. Temporal Rotunda; 5. One Man Show; 6. Dwellers.

https://www.facebook.com/facesofeveuk   https://twitter.com/F_O_E_UK

UK post-hardcorers ‘CONDUIT’ have just unleashed new video single for the ‘Others’

Conduit Shot Online Promo_Reputation Radio/RingMaster Review

Born in the West Midlands in 2009, Conduit are comprised of Dave Boyle working on bass & guitar, Ian Harris dishing out the riffs, Steve Hodge providing rhythm guitar and Dave Roberts hammering at the drums. Far from possessing the typical CVs you’d associate with many of today’s up-and-coming melodic hardcorers, two of the band members helped create a floor that appeared in a James Bond film, another volunteered for work in Bosnia and Herzegovina, and their lead singer used to spend his days working in a giant freezer. There is certainly something oft-kilter about Conduit, and it makes the ascending quartet even more intriguing.

The four-piece have a strong bond and friendship, and this solidarity seeps from their music. The Midlanders have a clear philosophy and have grafted diligently for the past seven years on shaping their sound and spreading their manifesto. With influences ranging from Underoath, Haste The Day and Rise Against, Conduit have fashioned a brand of post-hardcore that will batter its way through your skull, tug at your heartstrings, and genuinely make you think. The foursome maintain an earnest approach to song-writing united with meaningful lyrical content, rhythmic refrains, and thoughtful arrangements.

The band have also clocked up the mileage on the road, and after a successful run of shows throughout the UK supporting everyone from War Of Ages, As Cities Burn, Listener, Continents, Heights, Oh Sleeper, Hacktivist, Through Solace, Max Raptor and Fathoms, to name a few, the foursome squirreled away, bracing themselves for a lengthy stint in the recording studio. They soon began work on their debut album, ‘Life On Repeat’, and emerged from the studio in 2015 with an absolute gem of a record.

‘Life On Repeat’ showcases the band at their best, casting a brilliant light on their shrewd ability to fuse and unify genres, despatching intoxicating songs that contort and wrap themselves around your ears. The rising combo have also just released new single ‘Others’; the video single highlights the foursome’s guile and astute use of dynamics to dramatic effect. Stay tuned to the band’s Facebook for further updates and show announcements.

WATCH ‘OTHERS’ NOW AT

https://www.youtube.com/watch?v=sY5bjtQPvvA&feature=youtu.be

https://www.facebook.com/thisisconduit https://twitter.com/ThisisConduit