Skindred – Volume

Skindred_RingMaster Review

Skindred need no introduction we are sure; a band rising from the ashes of the also one of a kind Dub War in 1998 and proceeding to enslave ever since the imagination of initially the UK metal scene before expanding into broader territories with their unique sound, ferociously compelling releases, and a live presence second to none. We make no apologies for declaring the band as one of our all-time favourite passions since those early days of both of vocalist Benji Webbe’s bands or for over enthusing over Skindred’s massive new release Volume. Admittedly it is hard to say that this sixth full-length from the band is their best album to date, an already invested lust for their sound and previous releases preventing that full declaration, at least just yet, but Volume is without doubt the most concentrated tempest of Skindred blockbusters so far. Stocked with creative bitch slaps perpetually building to momentous choruses and tidal waves of voracious sound, it is simply one gloriously riotous and anthemic beast.

The album at times seems like it is inspired by and drawing on essences of past albums, whilst tenaciously forging its own identity within the sculpting of fresh mountains of inventive noise. Volume is no slave to nostalgia though, except the kind which always comes with a sound truly distinctive to one protagonist, but it does spark the fierce kind of excitement first found in the creative claws of Babylon and later the likes of Roots Rock Riot and Union Black. The fact is for fans every release has got us hot under the collar, even, for personal tastes, the less potent Shark Bites and Dog Fights having truly irresistible moments, but the Skindred fusion of metal, rock, reggae, and electronica has been honed into its most inimitable and ferocious shape yet for Volume. Certain plateaus at certain times have been breached by the band over the years, and by drawing on all their years of creativity and aligning it to new experiments of imagination Skindred has hit their newest with Volume.

623_Skindred_RGB_RingMaster Review     The successor to last year’s Kill The Power, the album opens up with Under Attack, a song instantly smelling of Skindred from its warning tones and Webbe’s vocal prowess alone. In no time song and sound is into a recognisable swagger and intimidating prowl, riffs and rhythms a battlefront of contagion and muscle led by the expectantly gripping vocals. Just as you think you have a hold on it though, the track slips into an atmospheric croon and seventies funk twisting, returning to its tenacious canter for a dynamic and fiery finale.

It is a great start but just a teaser of bigger and bolder things to come, starting with the album’s title track. A flirtatious start sparks the predacious tone of Dan Pugsley’s bass and the scything strikes of guitar from Mikey Demus, they leading the song in a slightly schizophrenic shuffle as warm and melodically alluring as it is at times grouchy and emotionally rabid. With the skills of Dan Sturgess conjuring, twisting, and distorting throughout as the rapier swings of Arya Goggin ebb and flow in viciousness, the track is a fire of intensity and enterprise with a (Hed) P.E. like spicing especially tasty.

Hit The Ground is another fiercely animated flirtation straight after, rhythms a cantankerous dance as throaty bass and spicy guitar endeavour get entwined by the prowess of electronic suggestiveness within the thick air of the Skindred trademarked song. A roar to wither the senses and incite a rebellion, energies are aflame by the song’s end but given no time to regroup as from an enticing lure of drums, Shut Ya Mouth has feet and imagination leaping around like a puppet. Talking about Volume, Webbe said the band wanted to emulate their renowned live sound more than ever in the release, and for sure Shut Ya Mouth epitomises that success especially when almost physically feeling the vocalist’s ire and confrontation alone in face and ears. Musically the track also has a hint of fellow UK band Anti-Clone to it, who we know has also supported Skindred live, inspiration going both ways maybe?

The scent of Southern rock spices up guitars upon The Healing next whilst vocally and rhythmically it swiftly turns a ska flavouring into an incitement of heavy rock ‘n’ roll. Biased we maybe, but it is hard to offer many frontmen up as rich and explosive in presence and tone as Webbe in full roar, and not for the first or last time upon Volume, he whips up air and energy with ease, unsurprisingly repeating the feat with Sound the Siren. As beats go on an addictive dance, guitars tunnel into the psyche with their nagging groove whilst the bass just oozes dark hues as the vocals romp and stroll anthemically through ears. The track is superb, a kaleidoscope of sound and ideation as unpredictable as it is virulently incendiary; Skindred laying down another template to inspire others.

A calm of sorts as Saying It Now emerges, allows a breath or two to be swallowed but soon Goggin is back working a web of infectious and dramatic rhythms as a sonic ambience aligns to the mellow delivery of Webbe. Each passing minute sees Pugsley’s craft get more predatory and skirting grooves become sharper as the track’s intensity simultaneously escalates, it all subsequently erupting in a furnace of energy and passion posing as the chorus.

The body is soon flung around as Straight Jacket breaks out its agitated contagion next, another slightly deranged imagination gripping verse and listener, building to a colossal chorus which is simply anthem from head to toe. It is that fierce and volatile temptation around it though that turns ardour lustful, that and the ingenious evolution of its mania.

No Justice strides commandingly in on a chorus of band roars, ska seeded hooks and poppy riffs emerging from that great stormy entrance to help the track into a buoyant canter with eruptions of searing sonic flames and vocal rapacity. Becoming punkier with each burst of verbal defiance and rebel rousing creative outburst, greed for more escalates before it steps aside for the just as irresistible Stand Up. Loaded to the gills with sinew lined grooves and swordsmen like rhythms jabbing and swinging with zeal, the track equally growls and bellows with bestial and invitingly defiant prowess.

Completed by the reflective fire and sonic tapestry of Three Words, again the band at their emotive best, Volume is a maelstrom of Skindred invention and power. It is a heavyweight confrontation in a year of big successes; a creative ‘bullying’ that just gets the ears throbbing, body aching, and passions roaring.

Volume is out October 30th via Napalm Records.

http://www.skindred.net/   https://www.facebook.com/skindredofficial  https://twitter.com/skindredmusic

K1600_Skindred Volume 2015 Europe Dates_RingMaster Review

Upcoming Tour Dates:

04.11.15 UK – Southampton / Guildhall

05.11.15 UK – Norwich / UEA

06.11.15 UK – Nottingham / Rock City

07.11.15 UK – Manchester / Academy

08.11.15 UK – Newcastle / Academy

10.11.15 UK – Glasgow / ABC

11.11.15 UK – Leeds / Stylus

12.11.15 UK – Bristol / Academy

13.11.15 UK – Birmingham / Institute

14.11.15 UK – London / Brixton Academy

15.11.15 FR – Paris / Glazart

16.11.15 NL – Tilburg / 013

18.11.15 DE – Cologne / Stollwerck

19.11.15 DE – Munich / Backstage Halle

20.11.15 IT – Novara / Rock N’ Roll Arena

21.11.15 IT – Scandiano / Corallo Rock Club

22.11.15 CH – Lyss / Kufa

23.11.15 CH – Zurich / Dynamo

25.11.15 AT – Graz / PPC

26.11.15 AT – Vienna / Arena

28.11.15 HU – Budapest / Akvarium

30.11.15 DE – Hamburg / Markthalle

02.12.15 SE – Stockholm / Debaser Medis

03.12.15 DK – Copenhagen / Pumpehuset

04.12.15 DE – Berlin / Postbahnhof

Pete Ringmaster 29/10/2015

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

Norm Nightmare – She

She Cover_RingMaster Review

He has given us the thrilling Norm & the Nightmarez and been part of the mighty Mickey and the Mutants in the past couple of years or so alone, but now Norm Nightmare unveils his new solo single in the shape of the dark romance She. It is a croon from the shadows, a haunted serenade from a melancholic heart; quite simply acoustically shimmering rockabilly for emotions and the imagination to immerse in.

As mentioned Birmingham hailing singer/songwriter/guitarist Norm Elliot, with already a long and potent CV of bands and success behind him, created psychobillies Norm & the Nightmarez a couple of years back, a quickly and eagerly supported band which released the outstanding album, Psychobilly Infection last year. Now ahead of maybe hopeful rumours of another offering from the band in the future, the man has gone into the studio to record, as well as a Xmas treat to be freed ahead, new single She.

Haunting from its first breath, the song is an enticing lure of Norm’s captivating warbling tones and nimble guitar craft. Lyrically it has an intimacy which translates into the swarthy air and charm of the track, and equally a wonderful sinister shadow which courts the narrative and physically ebbs and flows in resonance across the song. At times, Norm toys with the listener, building crescendos that swing away from expectations whilst once or twice he lingers on a note before springing to the creative point with relish and a mischievous invention.

She is a flirtation, one as imaginative and resourceful as its central character and a song relishing its simplicity as it seduces with magnetic charm and attraction.

She is released via Western Star on November 2nd.

https://www.facebook.com/Normandthenightmarez

Pete RingMaster 29/10/2105

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

Steaming Satellites – Self Titled

Steaming Satellites_RingMaster Review

Steaming Satellites is an Austrian band that for the past ten years has been a major lure and adventure in their country’s music scene, underground and within stronger spotlights. The fact that it has taken their new and third album to find, like for so many others, our attention shows how little of the vast music world anyone has a hold on at any given time. We can only be thankful that the Salzburg band’s new self-titled release has found its way through to thrill ears and ignite the imagination though because it is simply bewitching.

Consisting of Max Borchardt (vocals/guitar), Emanuel Krimplstätter (keys/bass), Matthäus Weber (drums, programming, keys), and the recently joined Manfred Mader (bass), Steaming Satellites casts a sound bred from indie rock but welcoming to an array of flavours from blues, funk, soul, and electronic enterprise. Their previous pair of albums were strongly acclaimed propositions whilst live, with shows alongside bands such as Thin Lizzy, The Ravonettes, and Portugal. The Man amongst a great many, the band has earned a potent reputation for sound and performance. Now it is the turn of album three to stir things up and as for the umpteenth time the release lights our ears and revitalises emotions, the thought of Steaming Satellites becoming a ‘household’ name across numerous territories seems a thick possibility.

It opens with Together and a caress of acoustic guitar; a gentle coaxing aided by the immediately enticing and expressive tones of Borchardt. Soon stringed tempting wraps around ears and in turn a dark moody bassline strolls through the emerging colourful and creative landscape of the song. As keys jab and harmonies unite, the song blossoms into an infectious romance for the imagination and a swiftly open appetite for the release. As catchiness and shadow kissed drama similarly grows within the fascinating proposal, feet and hips become eager whilst thoughts only greedily consume the impressive entrance of the album.

cover_RingMaster Review   Its indie rock swing is emulated in the following Rocket, though electro tempting is the first bait to engage ears to lead them into the military funk of the rhythms and the fiery dance of the guitar. Its air becomes a sultry breath at certain points, always returning to its lively endeavour though as varied spices burst from the festive heart of the track, again with feet and voice in eager involvement. Like The Flaming Lips trying on the psych rock of The Doors and the creative intimacy of Billy Momo, the song excites before departing, leaving lingering trails behind it though the fuzzy revelry of Unreal soon has attention all to itself thanks to jangly hooks and a deliciously roaming, slightly grouchy bassline which toys with the melodic radiance of the keys and harmonies. At its heart, the track is a funk bred romp but as already shown, Steaming Satellites never leave anything to settle into predictability, always keeping invention and surprises potently shimmering.

Both Honey and Restless Robot keep pleasure high and enterprise blooming, the first with its tangy Arctic Monkeys/Kings of Leon shuffle within a flirtatious smile and the second through a rhythmically dark and sonically sultry Portugal. The Man meets Futureheads tango. There are many other slithers of spice bringing a whisper of varied bands to the song, and album, but in the hands of Steaming Satellites all get turned inside out and honed into something unique and as here forcibly captivating.

Door is a heavier emotive croon which, without matching the successes before it, enthrals with its evocative textures and instinctive bounce aligning perfectly with the song’s moodier atmosphere and vocal heart whilst Circles slips into a bluesy Black Keys-esque character with stomping riffs, crisp rhythms, and spicy grooving. It too pleases without tapping up the lustier reactions found by earlier songs and definitely ignited by the outstanding Unfold straight after. The track is pure magnetism, a resourceful serenade of intimate vocals and emotive smouldering which just gets bigger and more persuasively spellbinding with every passing chord and melodic spice. It is as much an anthem as any raucous sing-a-long rocker, a compelling contagion of sixties keys, seventies melodic drama, and indie imagination.

Through the raunchier funk ‘n’ roll of Back And Forth, the feisty post punk meets indie/electro rock of Phone, and the dark White Stripes rock ‘n’ roll of Fill The Cup, album and listener continue to be fully involved in each other whilst Secret Desire employs a more restrained stride and melodic haze to its crystalline sparkle of keys and guitar to further engage the imagination. Tempered by the earthier tones of the bass and the grounded delivery of Borchardt, the track is the perfect blend of dark and light; maybe a slower burn on the passions than other treats within the album but another leaving long term hooks in its wake.

The album is completed by Move On, a gorgeous slice of lively balladry cored by ever impressing vocals and coloured by a virulent and imaginative tapestry of melodic and sonic colour. The track is a tremendous end to an outstanding release, an encounter which gets more commanding with every listen. It is hard to imagine Steaming Satellites being a relative secret from now on, but then as we said music is so big that the ease with which one can miss things is inescapable. Our suggestion is that band and album, is not another you allow to pass you by though.

The Steaming Satellites album is out from October 30th

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

Pete Ringmaster 29/10/2015

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

Firelord – Hammer Of Chaos

Georgette Pavanati Photography.

Georgette Pavanati Photography.

     Firelord seems like a name more than recognisable but truth is the band’s new EP Hammer Of Chaos is for us our first encounter with the Italian trio, and a long overdue meeting it is too. Fusing stoner-esque hues in rousing metal and heavy rock aggression, or as the band tags it, Doom ‘n’ Roll; the five track inferno of rock ‘n‘ roll is one of those propositions which energises body and emotions with ease.

The Turin hailing trio emerged in 2007 from the ashes of doom metal project named Saint Judas, which was also founded by Firelord vocalist/guitarist Mario E. Bussini. Initially a quartet with the addition of Beppe Tozza, Daniele Biffaro, and Giulio Buscaglione, the band drew on inspirations from the likes of Black Sabbath, Count Raven, Gates of Slumber, Earthride, and Saint Vitus as they developed their own sound. Line-up changes came with the subsequent years before some stability brought the release of the band’s debut EP, The Burning. Another shuffle happened before their well-received first album Among The Snakes was uncaged in 2013 whilst current line-up of bassist Alessandro Ferrari alongside Bussini and drummer Buscaglione, was in place earlier this year and is the creative force behind the thickly enjoyable Hammer Of Chaos.

Coverartwork by Randy Ramdhani _RingMaster Review

artwork by Randy Ramdhani

The EP opens up with A Good Way to Die, instantly smothering ears in a tirade of riffs as Ramones like as they are heavy rock bred. Against them the beats of Buscaglione resonate with every swing as Bussini brings his sandy roar to the mix alongside the punk scented prowling of Ferrari’s bass; all essences weaving their raw prowess into a blend of ravenous southern toned stoner and sludge thick rock ‘n’ roll. It is gripping stuff, not necessarily boundary worrying but with addictive grooves and fire spewing hooks, the song feeds all wants and needs from a slab of heavy rock.

The following Dancing on Your Grave is the same, originality maybe one of the more slimmer aspects but with fierce ear entwining grooves, hungry riffery, and rhythms that border on bestial, the song stomps along with irresistible attitude and an incendiary presence easily and swiftly recruiting full attention and involvement. At times the song, as the EP, has a feel of French rockers Face Down to it as well as some of those influences earlier mentioned, but all are spices adding to the highly agreeable devilry confronting and pleasing ears.

Devil’s Wonderland comes next with its own bruising intensity and tenacious tempest of forceful riffs and rampant rhythms amidst a trespass of dirty grooves. It is only possible to get involved with and hungrier for the band’s sound especially once confronted by the EP’s title track and its apocalyptic suggestiveness which leads to a gloriously hellacious maelstrom of intoxicating temptation in sound and ideation. Buscaglione crafts a persistently shifting torrent of rhythms, their stampede or more deliberate stalking each unpredictable involvements for ears and as anthemic as anything within the tremendous incitement. They are certainly matched by the searing flames of guitar and cantankerous bait of the bass too whilst vocally Bussini is an alluring wind of expression and matching incitement.

The track is an outstanding and increasingly inventive and galvanic encounter which would be a mighty end to any release, though Hammer of Chaos, song and EP allows that task to fall to a great cover of the SloBurn track Pilot of the Dune, Firelord turning it dirtier and punkish with resourceful zeal and strongly engaging enterprise.

For personal tastes, the name Firelord does not particularly entice but as we found the band’s music certainly leaves nothing on the table of persuasion as it takes ears and emotions on a thoroughly pungent and thrilling rock ‘n’ roll escapade.

Hammer Of Chaos is out now on CD through Sliptrick Records and digitally at https://firelordoom.bandcamp.com

https://www.facebook.com/FIRELORD999   https://twitter.com/FirelordStonerD

Pete RingMaster 28/10/2015

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

The Silverblack – The Grand Turmoil

TheSilverblack_RingMaster Review

Starting with a core blaze of industrial metal and twisting and stretching it thereon in by infusing a horde of rampant flavours, styles, and waves of imagination into its roar, Italian rockers The Silverblack have come up with one thoroughly enjoyable trespass of the senses in The Grand Turmoil. The band’s new album is a physical and creative holler of sounds, new and familiar, that captures the imagination and exhausts the breath across a volatile landscape, and though it might be pushing it to say that The Grand Turmoil is the best industrial metal incitement this year, it is firmly amongst the leaders in pure enjoyment.

The Torino hailing band is the brainchild of multi-instrumentalist and producer Alessio Nero Argento (NeroArgento, The Stranded) and vocalist Claudio Ravinale (Disarmonia Mundi, The Stranded, 5 Star Grave), the pair forming The Silverblack in the opening weeks of 2014. Live the band becomes a quintet with the addition of bassist Ivan King, drummer Rob Gaia, and keyboardist Nisha Sara, but for the album it is the founding duo exploring ears and their own invention alone with just a couple of guest solos for extra spice.

It opens with its title track, a stomping beast of a proposal with a sonically fetid atmosphere and pulsating electronic scenery crowding a stalking gait. It is immediately intensive and busy on the senses as the band springs a trap of agitated rhythms and great fiery and openly varied vocals, the raw emotive roars of Ravinale balanced skilfully by cleaner tones courting their confrontation from the background. With keys and guitars jostling for attention, each getting equal share as the track casts its maelstrom of adventure, the song makes a dramatic and heftily alluring start to The Grand Turmoil, though bigger and bolder things are on the horizon.

cover_RingMaster Review   The following Anymore with its vibrantly lighter breath and shadowy presence follows and if not one of the bolder tracks certainly whips up ears and appetite with its Dope meets Celldweller parade of electronic enterprise and vocal magnetism. It is not a song stretching the imagination or finding major originality but it does leave an energetic satisfaction and hunger behind which the outstanding King-Size Vandalism pounces on with virulent and ravenous prowess. Bursting in with robust rhythms and a joyfully warm melody, the song becomes a boisterous romp sizzling with the energetic tenacity of a Pendulum and grouchier lilt of a Combichrist, whilst vocally variety reaps a slight scent of Marilyn Mansion at times. The track quickly infects feet and emotions; it’s an electro rock anthem soon having the body bouncing as high as its own.

Retaliation comes next, its immediate heavy predacious gait a thick intent that defies the effort of the keys to lighten the ambience and mood. Nevertheless they shimmer and tempt engagingly as the song prowls through an early Rammstein leering towards an electro pop chorus. The band’s eagerness to venture into unpredictable turns and styles is a stirring quality in the album but for personal tastes not as potently impacting here with the track’s ‘nice’ pop essences, though it does not stop ears being more than content overall and ready to leap on the kaleidoscope of sound and light that is Make It Worth The Grime. Dirty and melodically glowing, the song is a great fusion of dark and light that loosely comes over like a meet up of Hanzel und Gretyl and KMFDM yet sculpts its own identity along its compelling length.

The fiercer tempest of As Good As Dead raises the levels of addictiveness next; its blended contrasts of emotive rapacity and antagonistic sounds with vocal harmonies and warm infection a perfectly crafted union whilst Attic Hime straight after quickly eclipses it. With a great vocal weave within a climate which at times is like a still warm melodic day and in other moments a blustery sonic wind that ebbs and flows to distort and enhance the drama of the song, it provides an ever evolving and constantly gripping parade of diverse sound. The track leaves ears on a lofty high; a plateau extended by the blistering examination of Pyromanservant, a track drawing on as broad a canvas of metal as it does electronic invention. Like Die Krupps, Powerman 5000, and Skinny Puppy blended, the song incites and engrosses as it takes top song honours within The Grand Turmoil.

The initial gentle shimmer of Great Expectations allows a catching of breath before it too uncages a dark and contagious theatre of emotion and enterprise, an angrier and bitter version of Gravity Kills coming to mind as yet another excellent and lingering encounter within the album exciting ears.

The release is brought to an end by firstly the pleasingly sonically thick and physically volatile Might Get Worse Before It Gets Better, a song brawling with the senses as it lays down its ultimately successful persuasion, and lastly Fragmentary Blue, the darkest, most melancholic offering on The Grand Turmoil and one of the most forcibly compelling even as its departure leaves a sense of unfinished business. It is a fine end to a richly enjoyable offering which as suggested has all the invention and adventure to be, for a great many, deeply entrenched amongst their favourite 2015 industrial releases.

The Grand Turmoil is out now via Sliptrick Records.

http://www.thesilverblack.eu/   https://www.facebook.com/thesilverblack/ https://twitter.com/silverblackband

Pete RingMaster 29/10/2105

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

Seconds Alive – Bitter Moments

Seconds Alive Press Shots.

Seconds Alive Press Shots.

With a sound laying somewhere between metalcore and post hardcore, UK hailing Seconds Alive provide us with one interesting and firmly enjoyable confrontation with new EP Bitter Moments. Consisting of six tracks pouring out emotional torment and ire within technical scenery that is never less than captivating, the release makes a solid case to take the Exeter quartet’s under attention’s wing, though not the reason to get over excited for their open potential quite yet.

Formed in 2014, Seconds Alive have spent the past eighteen months brewing up a potent reputation across the South West of England, spreading outwards through an intensive live presence which has seen them play with the likes of with Idiom, I Divide, and Heck (formerly Baby Godzilla), and release a small clutch of singles. Now it is the turn of Bitter Moments to try and awaken stronger attention, success easy to see happening though maybe not to the extent that it is easy to feel was within the band’s grasp.

Seconds Alive Artwork_RingMaster Review     One of the prime reasons for that missed opportunity feeling is that despite the obvious talent and craft on show within the band, the EP lacks a certain spark to immediately elevate it out of the writhing throng of similarly sounding, genre bred bands. Close focus reveals they do have the imagination but in a time where attention in music is at best a fleeting breath in so many, Seconds Alive have not yet discovered, certainly here, that swift ‘hook’ to standout right away. The other element we would suggest the band might gain by looking into is the vocals. We have read many landing blows of displeasure upon the delivery of Robert Doran, something we cannot align to, the frontman has a good presence and attack but does, with great raw expression and emotion, only and repetitively offer exactly what is assumedly wanted in their raw style of music. The issue is again that his delivery easily slips into the crowd at the moment, another with an attack which never ventures too far from the caustic roar that as a style is becoming expectation feeding and thus frustratingly predictable for personal tastes. Hopefully though, the fact that Bitter Moments truly comes alive and steps out of the shadows when a diversity of vocals is released to match the busy sounds around them will not escape him and the band and spark adventure in that area ahead.

As said, it is always down to personal tastes though and there is no denying that EP opener Red Blood has ears on alert from its first sonic breath in all departments, especially once the guitar of James Hosgood begins his web of melodic and enterprising endeavour contrasting perfectly with the ruggedly aggressive rhythmic and vocal tempest quickly brewed. The bass of Rich Earle is especially carnivorous in tone whilst the beats of Rach Adams resonate with every impact without disrupting the contagious energy and craft fuelling the track. The fingers of Hosgood are as nimble as they are busy, and as elegant in touch as they are grouchy in craft to match and encourage the song’s growth in character.

It is a potent start taken up by Where Are You Going With This, another where musically the band is unafraid to twist and turn in their interpretation and use of familiar metal hues, though maybe again not bold enough at times. Vocally Doran again hits the mark in his angst driven, anger soaked delivery; never turning away from that singular attack but in a song swift in time more than playing his part in a potently satisfying incitement.

It is fair to say that the elements mentioned earlier which are lacking only really come to impacting light through latest single Drawing The Line, and because it does offer the essences to create something singularly potent. Opening on a more classic metal seeded lure aided by a great bestial tone from the bass, the track leaps into a regular metalcore proposal though again Hosgood is weaving tasty designs. It is the unexpected turn into a punk infused passage of virulent rock ’n’ roll guided by great clean vocals and hungry rhythms that things explode. An atmospheric aside shows adventure, if seeming a little out of place, but also reveals an experimentation and boldness of ideation that outshines the plainer metalcore causticity around it and of other songs on the release.

Upon Yourself steps up next and also impresses most dramatically when it employs cleaner vocals within an imaginative hug of sound, though also to be fair, the track is a tempest of craft and enterprise that might not lift the band’s too far away from a host of like sounding bands, but has ears keenly gripped throughout .

The slow emotive instrumental of Speechless engages the imagination next, its post rock lit coaxing a captivating suggestiveness reinforcing the evidence that this is band whose individuals can compose and play to the highest level. It haunting ambience leads into the ferocious throat of closer Jenna, a wind of squirming guitar imagination and emotive turmoil that easily invites if not overly excites ears, it again missing that indefinable element to prevent it quite reaching its potential.

A release for fans of bands such as While She Sleeps, August Burns Red, and Architects, Bitter Moments is a strong step in the growth of Seconds Alive that definitely courts attention and support. With personal hopes that they will get even bolder in composition and diverse in voice to forge their own unique identity, our expectations are that this quartet has a rather healthy future ahead of them.

The Bitter Moments EP is released October 30th through all stores.

https://www.facebook.com/SecondsAliveOfficial https://secondsaliveofficial.bandcamp.com/

Pete Ringmaster 29/10/2015

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

DREAM STATE ‘Consequences’, out 20th November

Dream_State_Cover_Artwork.jpg_RingMaster Review

Ascending South Wales post-hardcore crew ‘Dream State’ unleash their enticing debut

EP ‘Consequences’ through all platforms and stores on Friday 20th November.

Sparking glowing comparisons to Emarosa and A Day To Remember, Dream State strike you with hard hitting vocals, powerful guitars, and earnest emotion. The five-some are picking up a plethora of new fans on a daily basis, and many are labelling the energetic combo ‘as one of the breakthrough bands of 2015’.

Formed at the end of 2014 in South Wales, and featuring the impressive collective talents of Charlotte-Jayne Gilpin (lead vocals), Aled Evans (lead guitar), Sam Harrison-Little (rhythm guitar / backing vocals), Danny Rayer (bass guitar) and Jamie Lee (drums), Dream State are already taking flight. The band have released their first single “Burn Them Down’ earlier this year, and it has already chocked up over 10k views in the last six months and was premiered by Blank TV. The alt-rockers have also racked up supports with The Dirty Youth and Fearless Vampire Killers, and other tours are currently in the works.

The post-hardcorers prise open the envelope with the launch of their captivating debut EP ‘Consequences’. The record offers five slabs of hardcore fused alt-rock and draws influence from a slew of areas from ‘A Day To Remember’ and ‘Alexisonfire’, through to fellow South Wales heroes ‘Funeral For A Friend’ and ‘Bullet For My Valentine’. ‘Consequences’ soars in superb fashion with the opener ‘Burden’ which batters a stunning refrain and woven guitar lines deep into your head. Their previous single ‘Burn Them Down’ is next up, and it highlights the band’s agile use of devastating dynamics and alluring edgy riffs. ‘Try Again’ utilises a nifty bass groove which again shows the quintet’s desire to experiment and diversify. ‘Relentless’ and the explosive forthcoming single ‘Rebuild, Recreate’ only further drive home the band’s message to colossal effect; Dream State have arrived — catch the rising rockers now before they explode.

| DREAM STATE RELEASE ‘CONSEQUENCES’ ON FRIDAY 20th NOVEMBER THROUGH ALL STORES |

https://www.facebook.com/DreamStateUKOfficial www.twitter.com/DreamStateUK