Kyy – Travesty Of Light

KYY cover_RingMaster Review

Though blossomed in the heart of traditional Scandinavian black metal, there is no escaping the rock ‘n’ roller in the sound of Finnish metallers Kyy. It has a rousing quality which tempers yet equally accentuates the dark and creatively ravenous instincts of the band’s music which brews a toxicity living up to the meaning of their name, which in English means viper. The invasive evidence relentlessly roars from the band’s debut EP Travesty Of Light, four tracks of insidious black ‘n’ roll to breed a healthy appetite for.

Formed in 2013, the Lahti quintet fuels their music with the “sole purpose is to spawn an antithesis to existence of universe and to serve the Great Unknown.” The tracks making up Travesty Of Light were recorded towards the end of last year with E. Wuokko and came to the attention of Saturnal Records who signed the band up for its unleashing this month, a release coinciding with the same day the band’s first steps into the live scene, starting at Rooster Death Fest in Lahti.

The EP opens with Death – The Great Liberator and an immediate consumption of ears by thick riffs and challenging rhythms escorted by venomous vocal squalls. Already there is a devilish swagger to the track and subsequent scythes of steely sonic bait from the guitars, their lurking presence and occasional expulsions icing on the toxic cake of corrosive intensity and drama clad and hostile enterprise. The track continues to swamp the senses like waves of the sea across its harrowing length, at times a relative calm soaked in melancholic rapacity escaping whilst for the main of its body, the song is an undulating tsunami of inhospitable emotion and ravishing but eventful destruction, physically and emotionally.

Everlasting Fire follows and quickly exposes its rock ‘n’ roll attributes. Whereas its predecessor was a more ‘formula’ black metal affair, the second song instantly rocks like a horned goat in heat but infusing it with an increasingly intrusive and caustic soaking of blackened animosity and sonic brutality. It’s less than three minutes also flirts with understated but unmissable, almost siren-esque, whispers and tendrils of acidic post punk spicing which incite thoughts of bands like Sex Gang Children.

The EP’s title track crawls in next, its melodically honed citric vines of guitar veining a lumbering body of rhythmic punishment and raw intensity. As in the previous pair, vocals are varied but even more diverse and compelling to match the epically hued musical narrative of the encounter. With great choral chants across the band and the song erupting into a corruptively magnetic canter at times, it is a theatre of suggestiveness and imagination all on its own.

Travesty Of Light is brought to a close by Immaculate Serpent King, another track stalking the senses and imagination with shadowed gripped grooves, belligerent rhythms, and a spread of vocals as harrowing as its canvas of sonic and emotional pestilence. Once more there is an instinctive rebellion to the song, a rock ‘n’ roll roar which only enhances and inspires every festering tempting of the elements uniting for the excellent violation.

We are not going to say that Travesty Of Light is going to be the best black metal encounter you will come across this year or that Kyy is going to reshape the genre’s landscape in the future, but both has the potential and right now create one of the most enjoyable raw metal offerings over past months.

The Travesty Of Light EP is available from August 17th via Saturnal Records.

RingMaster 17/08/2015

Copyright RingMaster: MyFreeCopyright

Elements – Where We Once Begun

Elements Promo Shot_RingMaster Review

The band’s bio states that this year a line-up change for UK alternative rockers Elements has coincided, maybe sparked, a new sound from the band. With their new EP Where We Once Begun our introduction to the Southampton hailing quintet, we cannot say if the shift is dramatic or subtle, but for sure thanks to five tracks of rousing rock ‘n’ roll, their new release shows it has been a potent one.

Formed in later 2013, Elements quickly made a mark locally with their self-titled debut EP and a live presence which has earned them a reputation as one powerful proposition and seen the band share stages with the likes of Bad Rabbits, The Afterparty, DEAD!, Ashestoangels, The Hype Theory, and Public Service Broadcasting. As mentioned the band has recently undergone a personnel change which, taking the Phil Gornell (While She Sleeps, Bring Me The Horizon, Me Vs Hero) produced Where We Once Begun as our evidence, seems to have lit a fire in the creative belly of the five-piece.

Elements Cover Artwork_RingMaster Review   Once EP opener Shaman storms through ears, rapidly stirring up enjoyment and appetite, the band without being wholly unique, reveals freshness and adventure to their music which just grabs attention and sets them apart from the masses. Fair comparisons have been raised to bands such as early Biffy Clyro, YouMeAtSix, and Don Broco but there is plenty more rippling through songs suggesting something individual to Elements. The first track aligns winey blues wrapped tendrils of guitar with a flirtatious almost electro shuffle which is not too far away from the persuasion Blondie once blossomed. It blends well, the song brewing a virulent tempting to which the skittish beats of Ash Martin and the dark lures of Max Bakker’s bass add their own potent seduction. Vocalist Graham Rogers is just as vibrant and inviting, his powerful tones backed well by those of Bakker and guitarist Ollie Butler who alongside fellow string craftsmen Robin Small spins a web of hooks and melodic spicery to match. It is a contagious riot of sound and energy, and a quite irresistible start to the release.

High Time For Being Free comes next, emerging without a breath from its predecessor with its own brand of sinewy riffs and heavily coaxing grooves ridden by the vocal roar of Rogers. As the first track, it leaps on and bounces through ears with an infectiousness which is muscular and tenaciously anthemic, whilst showing a different shade of colour to the band’s sound. Major surprises, as across the EP, are not open bait yet there is again that fresh air and rich enterprise to it which only lures you in deeper before Plotting Treason Or Saving The World uncages its own chest beating anthem littered with blues honed grooves, merciless hooks, and a sultry air which dynamically ignites in a blaze of the chorus.

Up next is the melodic shimmer and emotive energy of Make It Out Alive which takes release and listener into another new landscape of sound and adventure. Again the imposing strength and sonic muscle of the band is a heady proposal but employed in a new strain of sonic fire and provocative drama. The track does take a little longer to grip but leaves a flavoursome and inventive taste in the mouth before Torchlight brings the EP to a fine close with captivating and aggressive melodies courted by tangy grooves and flaming vocals.

Where We Once Begun is not going to set the alternative rock world back on its heels but it does announce Elements as one of its more exciting emerging bands, so much so that already there is a tingle of anticipation for their future something akin to that felt when Jimmy Eat World first broke.

The Where We Once Begun EP is available from August 17th through all stores.

RingMaster 17/08/2015

Copyright RingMaster: MyFreeCopyright

Delicate Holly – Love • Hate • Control

Delicate Holly Online Promo Shot_RingMaster Review

   Love • Hate • Control is a release which has you nodding in acknowledgement of its strong initial introduction but over time one which increasingly impresses whilst sparking the licking of lips at certain potent moments. Whether the debut EP from UK alternative rockers Delicate Holly has enough to shake the UK rock scene into attention time will tell but certainly it is a thoroughly enjoyable entrance from a band with the potential of a big future in their creative hands.

Hailing from Cheltenham, the seeds of the 2013 forming Delicate Holly began with a trio of school friends in vocalist/bassist Reuben Lovett and guitar/backing vocalists Alec Hopkins and Dougie Stokes. Already jamming together for a while, the three eventually met and enlisted drummer Toby Jones, with Delicate Holly soon blossoming in songwriting and songs, subsequently making a striking presence on the local scene in swift time. Since then the band has played numerous shows and festivals as well as supported bands such as The Subways and Coasts. Taking inspirations from the likes of The Clash, Arctic Monkeys, Royal Blood, and Nirvana into their own invention, Delicate Holly has increasingly lured attention which the release of Love • Hate • Control through Paper Label Records can only reinforce. As suggested it may not be the break-through proposition for the band but still in their early days, the band make a tasty nudge to their presence with the EP.

Delicate Holly Cover Artwork_RingMaster Review   First track is Full Body Cast, a song quickly revealing the potent union of guitar and vocal enterprise which fuels all songs. Coaxing around a rhythmic and melodic swing, feet and neck muscles are soon involved with the track’s flirtatious canter with the bass just as vocal in luring a swerve of hips and courting of the imagination. As it continues to persuade with its catchy character and the expressive and greatly alluring vocal delivery of Lovett, the song reveals no real big surprises but quite a few almost cheeky twists, a momentary hook almost echoing The B52s’ Rock Lobster one flavoursome moment. The song’s body is lean but busy, the bass of Lovett alone an increasing drama of ear courting adventure, and all elements across the song combined, it makes a strongly engaging first look at band and EP.

The following Jaws infuses even juicier melodic enterprise into a similarly cultured canvas of sound and invention but does lack the livelier spark of its predecessor. Nevertheless with its infectious guitar jangle and broody bassline, the song leaves ears content and thoughts thickly engaged before making way for the EP’s best offering, Rain-O-Rack. From the first caustic caress of guitar there is open attitude to the song, one which lines the choppy riffs, belligerent bass sound, and tenacious vocals. Simply the track has a snarl; a punk bred carriage and psychosis which lifts it above the rest with ease. There is a feel of Mojo Fury to the encounter too; a volatile air sparked by the unpredictability and aggressive flame which sizzles in ears through the song.

Lemon Man completes the line-up with its warm melodic seducing and temptation, as well as a healthy whisper of R.E.M. in its verses and bluesy tempting to its broader landscape. The track is a fiery but composed croon of rock ‘n’ roll revealing another flavour to the Delicate Holly songwriting and sound and, as the EP itself, growing bigger and more persuasive with every listen.

With the CD treating ears to a clutch of live tracks too, Love • Hate • Control is an accomplished and alluring start from the band and the anticipated beginnings of highly enjoyable times with them.

The Love • Hate • Control EP is available from August 17th via Paper Label Records.

RingMaster 17/08/2015

Copyright RingMaster: MyFreeCopyright

They Say Fall – Deadlights

They Say Fall Promo Shot_RingMaster Review

Their fans will state that it is not rare for UK rockers They Say Fall to provide a track that rouses the senses and gets the blood surging through veins with energy and drama, but they also might just agree that the North Lincolnshire quintet has outdone themselves with new video/single Deadlights. Energetically bold and creatively tenacious, the track is a maelstrom of flavours and styles honed into one attention grabbing, imagination firing proposal.

They Say Fall Cover Artwork_RingMaster Review    Since emerging in 2010,They Say Fall has been luring in loyal fans and acclaim, though arguably it was when the line-up of band founders, guitarist/vocalist Kyle Leeman, drummer Joseph Sleight, and bassist/vocalist Tom Manning were joined by lead vocalist Kehn Gembalczyk, and guitarist/vocalist/programmer Brad Bishell in 2012, that band and sound creatively ignited. Since then a trio of EPs and a slew of singles and songs have sparked enthused spotlights whilst seeing an evolution in their original pop punk sound. Live too the band has been a growing force with a reputation to match, shows with the likes of with Madina Lake, While She Sleeps, InMe, Fearless Vampire Killers, and Elliot Minor, as well as playing last year’s Download Festival on their growing CV. Seemingly ahead of a new EP, Deadlights is the new They Say Fall assault and a thrilling incitement to boot.

From its first breath muscular riffs and antagonistic beats gnaw on and swipe at ears, a metal/post hardcore fusion colluding with contagious punk and pop rock imagination. As much as the raw intensity and drama of the song excites so does the array of potent vocals and virulent infectiousness fuelling the calmer elements. Every second of the song is a new theatre of persuasion and unpredictability, synths helping the chorus brew a My Chemical Romance like symphonic/gothic air whilst the flirtation of choppy riffs and sparkling hooks brings a tempting which has seeds in bands like Every Time I Die, The Fall Of Troy, and Atreyu.

To be honest that still only grazes the wealth of enterprise within the single, and the promise of greater things to come. So go treat yourself to Deadlights free availability and its thrilling video.

RingMaster 17/08/2015

Copyright RingMaster: MyFreeCopyright