Whisky and ferocity; downing the metallic liquor with Down In One

Down In One_RingMasterReview

If you thought heavy metal was on the wane with modern invention, then you obviously have not come across UK metallers Down In One. Hailing from Nottingham, the quartet unleashes what they declare as “Whisky fuelled, heavy-goddamned-metal”, and their fans roar as being bruising, exhausting, and irrepressible rock ‘n’ roll. Sent their way by a man with an ear for talent, Andrew of Stencil PR, we grabbed a moment or four with vocalist Gon who, with guitarist Jonny offering further insight into the band, let us get to the root of this emerging force from the Midlands.

Hello and thanks for sharing time with us.

Can you first introduce the band and give us some background to how it all started and what brought you all together?

Sure thing! I’m Gon and I’m the vocalist. We’ve got Jonny, our resident guitarist, Rich on the bass and Jimmy on drums. The four of us make up Down In One and we like to call ourselves whisky fuelled heavy-goddamned-metal. Meghan Trainor might think it’s all about that bass, bass, bass but for us it’s all about them riffs, riffs, riffs!

I met Jonny a couple years back through work and we quickly realised we had a mutual passion for loud metal and getting stupidly drunk, forming a band was clearly the logical progression! Jonny was looking for a vocalist at the time and as luck would have it my last band had just called it quits.

Jonny then met Rich through his next job and we got together and talked about the band over cheap whisky and an outdoor showing of Batman. It was a good evening! Lastly, I’ve known Jimmy since we were fresh faced 16 year olds. We used to play in a band years and years ago so I asked him if he wanted to come and jam with us, he was in the band that first sesh!

Photo by John Daykin

Photo by John Daykin

So you have been involved in other projects before? Has that experience had any impact on what you are doing now; in maybe inspiring a change of style or direction for example?

I’ve been playing in bands since I was 14 and I’m 27! I think previous bands are a lot like previous relationships, every band I’ve been in has taught me something and had an impact on who I am as a musician now. The biggest impacts so far are from two of my previous bands. I was the guitarist and main songwriter for my first band Diyu, with Jimmy, and I try to use that experience when we write as a band in Down In One. You never forget your first love either and I’ll always remember the good old days of my youth, when we were a bunch of scene kid teens trying to be brutal! (OK, so maybe I was the only scene kid, but let’s gloss over that point…)

After a couple of short-lived projects, I then joined RH Conspiracy as a frontman with next to no experience as a frontman. I think I’d only played two gigs as a frontman by that point. RH Conspiracy had been going for a while before I’d joined and the guys in the band were way, WAY more experienced than me. The first few times I jammed with them definitely felt like a sink or swim kind of situation! But I thrive on that kind of situation and I think the whole jumping into the deep end thing made me work damn hard to catch up. RH Conspiracy really helped shaped the frontman I am now.

As for changes of style, I’ve tried to move away from what I used to do and become more versatile as a vocalist. I used to be a full on screamer/growler and I’ve shed most of the anger that fuelled most of that, though I guess I used the experience and technique from before to build on.

What inspired the band name?

Like a lot of important band decisions we decided on the band name while drunk! We were down at our local haunt one night, mulling over what name to christen our new found band with, and Jonny suddenly bursts in and goes “Guys! I’ve got it, Down In One! Because y’know, drinking!”

So in a word: Booze!

Was there any specific idea behind the forming of the band at that moment in time and also in what you wanted it and your sound to offer?

I think the why of forming the band was simply because we love playing loud metal, getting drunk and partying hard! If there’s one thing about the band that I love (and trust me, there are many things to love!) it’s the passion we all have for music and the genre. An old friend of mine once said that being in a metal band is a labour of love and he’s absolutely right. If we wanted to take the easy route we could have been something radio friendly like indie but no, we love metal. We live for metal. We breathe and bleed metal and we’d fucking die for metal! I’d rather stop playing music altogether than write and play something just because it was popular!

We didn’t really have a specific sound we wanted to go for when we formed, it was more general than that. We just wanted something heavy and riff driven, music that you can get drunk and party to! And really that’s what we wanted to offer; we love to entertain and nothing puts a bigger smile on my face than when I see a crowd headbanging, dancing and singing along.

I imagine then that the same things still drive the band as back when it was fresh-faced, or have they evolved over time?

We’ve only been going a couple of years so far, but I’d say the same things definitely still drive us. The love of music and that passion I talked about keeps the fire burning bright; we want to get out there, entertain on stage and party like mad bastards after!

How would you say your sound has evolved over those couple of years?

The main way our sound has evolved is half because our skills as musicians have improved and half us finding our sound. I’ve said this before but I’ll gladly say it again; I am incredibly honoured to be playing in a band with such a talented group of lads, we’ve all improved so much since we started and now our earliest stuff sounds so different to how we play it now! It’s not that we’re not happy with our songs; it’s just that we’re always improving them. We record a song and then within a week we’ve changed this and that, it’s a never ending march of self-improvement!

For me personally I’ve tried to really make my vocal style my own. Before Down In One, my vocal style was basically screams and growls. After RH Conspiracy I’d shed the anger that fuelled that and the lyrics I was writing at the time began to reflect that. Not only did I want a new vocal style to better suit and explore what I was writing but when Jonny showed me some of the new riffs he was working on I knew I definitely needed something different, the style of music was completely different to anything I’d done before! So on our first EP I was still finding my feet with this new vocal style I’d only really been using for a few months by that point. A lot of it was me testing out what I could do. A couple years on and I now have much better control of my voice and I’ve definitely developed what I sound like, but I’m always pushing myself to do new things.

It been more of an organic movement of sound or more the band deliberately wanting to try new things?

It’s definitely been an organic movement of sound, we’re always pushing ourselves and each other and as we’ve improved new things have come about naturally, we’ve never really sat down and thought “We should do X thing”.

Presumably across the band there is a wide range of inspirations aside your early projects; are there any in particular which have impacted not only on the band’s music but your personal approach and ideas to creating and playing music?

Pic Vapour Trail photography

Pic Vapour Trail photography

See, that’s another thing I love about this band, there’s a huge range of inspirations both inside and outside of metal driving what we do.

It’s funny because nearly all of my inspirations aren’t metal and I’m the vocalist for a metal band! My main inspirations when writing would have to be H. P. Lovecraft and Aesop Rock. The way Lovecraft writes and crafts this immensely oppressive atmosphere of dread in his stories is amazing. When I write lyrics I like to tell a story and I love trying to create the same magnitude of atmosphere, giving the story and lyrics life. Aesop Rock is an utter genius when it comes to manipulating and crafting the English language into metaphor and imagery. I love toying with language and I always try to make my lyrics interesting, I’m nowhere near as good a writer as Lovecraft or Aes but I damn well try!

Mötley Crüe has had a huge influence on my performance, it’s the whole entertainment thing and that’s something I always keep in mind on stage. When Mötley Crüe play, it’s not just four dudes on stage playing their songs, it’s a full on show y’know? I want to be the embodiment of rock ‘n’ roll when I’m on stage, holding nothing back and going fucking crazy is the name of the game!

Jonny: I think we all have our own inspirations and things that impact us as individuals but one thing that always sticks out more and more the longer we have been together, is that the way we approach writing and letting these influences flow is exactly the same. Somehow we all seem to be able to get our different ideas, styles and influences to complement each other nicely. My favourite moments are when we’re just dicking around at practice and someone will just come out with an idea that someone else will chuck another idea onto and then you get that electric moment when you know something awesome is about to happen and it all clicks. Pretty much all of our tracks have been written this way and it seems to work for us pretty well so far! I’m pretty sure that, other than a few obvious staple bands, if you were to go through our individual member’s music collections you’d get pretty much every genre out there! It’s something that I’m pretty proud of really.

You talked of songwriting there, is there a particular process which generally guides the writing of songs?

We do most of our writing at band practise; usually one of us will come in and play a riff or hum an idea and then another one of us will go “Do that again, I’m gonna try this…” and it just builds up from there. We all work off each other really well when it comes to writing, as soon as we get going ideas start bouncing back and forth until we get a basic song structure down. Then I write some lyrics for the structure we’ve got down, we jam the song with the lyrics and see what needs tweaking or if anything needs adding. After that we just keep improving and tweaking!

DIO art_RingMasterReviewWhere do you, more often than not, draw the inspirations to the lyrical side of your songs?

My biggest source of inspiration is personal experience. As I said, I love to tell a story and I can put so much more into my voice and performance if it’s something connected to me. I also like to write songs about things I’ve read or seen that interest me, so for example The Call, from our first EP, is based on The Call of Cthulhu by Lovecraft.

Give us some background to your latest release.

So our latest release is going to be the Mad Gun / Elena EP. We recorded the two tracks a while ago with our good friend Mr. Kev Simpson and I think the two tracks really represent what our sound is becoming. I do love what we put down on our first EP, but that was sort of us four finding our footing and style; we’ve changed how we play the songs on that first EP a lot. These two new tracks are absolutely fucking huge and I’m massively excited to release them!

We also recorded a video for Mad Gun, which we can’t wait to release either. We’re currently planning on releasing that very very soon; keep an eye on our Facebook and YouTube channel!

As an early spoiler, can you give some insight to the themes and premise behind the songs.

Mad Gun is all about how much I love going on wild nights out, drinking myself stupid and saying a massive “Fuck you” to the consequences and how drinking myself stupid should be something I enjoy rather than how I deal with my problems, a lesson I learnt very slowly…

Elena is based on the real story of Count Carl von Cosel and Elena de Hoyos. For years Carl had visions of his true love during his dreams and in the 1930’s he met and developed a morbid obsession for Elena, as he recognised her as that vision. Unfortunately she died from tuberculosis in 1931, but Carl’s obsession was so great that he dug up her corpse nearly two years after she died, wrapped her in plaster and lived with her corpse for seven years. It’s one of my favourite weird stories.

Back to the music side and are you a band which goes into the studio with songs pretty much in their final state or prefer to develop them as you record?

I’d say we go into the studio with songs in a state where we’re happy to record them, definitely not in their final state though! We do tend to make a fair few changes or tweaks when we record. I find inspiration always strikes when you can sit back and listen back to something you play instead of actively playing it. And the ideas start to flow like water when the four of us are sat around listening! Kev, who recorded all of our stuff so far, always has good ideas too.

Tell us about the live and maybe one of your major favourite sides to the band?

Oh hell yeah! I absolutely love playing live; one of the things Jonny always says is that what we record is great, but you really need to see us live to see and hear what we’re all about. I think a band’s live performance is every bit as important as the music itself, I’ve seen a lot of bands who’ve recorded great music but they just stand there on stage going through the motions and it’s honestly not very inspiring. I love to see the passion behind the music and on stage is where that passion for what we do can come out. We never do things by half measures, especially on stage!

We most definitely pay for our live shows the next day as well, finding odd bruises and injuries is the norm, as well as a horrific bangover that feels like whiplash to accompany the hangover! You’d think we’d gone ten rounds with Mike Tyson with the state of us the next day!

It is not easy for any new band to make an impact regionally let alone nationally and further afield. How have you found it? Are there the opportunities to make a mark if the drive is there for new bands?

I’ve been playing in bands in Nottingham since I was 16 and I’ve gotta say, the music scene here is absolutely fantastic. We’ve got loads of rock pubs/venues like The Tap, which are run by people who absolutely love what they do. A lot of the local venues here do “Introducing” nights, where they give local bands a chance to shine. We’ve also worked with some fantastic promoters from Nottingham, people like Phil of Torturous Promotions and Mick Devlin always put on amazing shows that we always have fun playing. There is definitely loads of opportunities for new bands to make a mark!

City to city has been a little harder though, every city has its own scene and players; trying to break into that local scene can be a little difficult. But we’ve gigged with a lot of bands from around the country and that’s been great for meeting new folks and swapping gigs to get us out there to other cities.

I’ve not had a gig yet where I’ve thought “Christ, we really went down like a lead balloon” with Down In One (amusingly there was the time a promoter booked my last band RH Conspiracy, a very heavy metal band, to play on an indie night. We went down about as well as you’d expect…). The crowds we’ve played to have always been fantastic and enthusiastic, and that’s not just in Nottingham! A lot of boring, miserable, cynical people like to bitch and moan about how the scene is dead and how it was better back in their day, but honestly? The scene is alive, well and rocking like a bastard!

Jonny: I think bands these days have it harder than ever, with downloading and everyone wanting their music for free. That said this ain’t no sob story and we aren’t the kinda people to sit back and whinge about it! The same can be said for promoters, venues, and almost anyone involved in the underground music scene in any town or city. Despite the challenges, there are people out there doing great work to keep their local scenes alive and that is definitely true here in Nottingham. We have been lucky to have worked with some great promoters so far and gigged some fantastic venues and we are truly grateful every time we are offered the chance to play and show what we can do.

How has the internet and social media impacted on the band to date? Do you see it as something destined to become a negative from a positive as the band grows and hopefully gets increasing Down In One2_RingMasterReviewsuccess or is it more that bands struggling with it are lacking the knowledge and desire to keep it working to their advantage?

Christ, I’m going to sound like such an old man now but back in my day when I started playing and gigging MySpace was still relevant! Shit, I suppose most kids nowadays won’t even know what MySpace is! But anyway, old man rambling aside, I cut my teeth during a time when every band already HAD to have a social media presence. I think I’ve been responsible for social media for every band I’ve been in so far! For the most part, social media has had a great impact on being in a band. Social media has allowed us to easily get out there in front of a near limitless audience and connect with fans and promoters while keeping them updated on what we do. It’s a very useful tool if, as you’ve touched on in the question, you know how to use it. My favourite thing about social media is the interaction with fans; we can get the banter on and hopefully entertain some people off stage! I also like how social media gives every band a level playing field. Any band, no matter their technical proficiency can get started with it and get themselves out there.

But it’s definitely a double edged sword. I’ve never seen social media as the be all and end all of being in a band and the thing I dislike the most about social media is that we all have to have it. I can’t think of one underground band I’ve ever met that have actively avoided social media and being able to keep going. While it’s a useful tool, the fact that we all have to be on social media has fostered this culture now where a lot of the music scene is focused way too much on metrics. There’s an obsession with likes, views, followers and all that shit and I think that pulls us away from grassroots and the point of being in a band in the first place; the music. Metrics are exactly like social media, they’re a useful tool yeah, but they aren’t the be all and end all. We shouldn’t be measuring our worth as a band or as a musician by random numbers, especially when you do need a fair bit of knowledge to use social media “properly”. It’s exactly as you said, if a band lacks the knowledge and desire to keep their social media going then they’re at an automatic disadvantage.

Once again a big thanks guys for sharing your time with us; anything you would like to add or reveal for the readers?

No worries! It’s been a pleasure, thanks very much for having us! As for anything to add…drink booze liberally, fuck authority, listen to loud music and support your local scene!

Check out Down In One and their music further @ http://downinone.bandcamp.com/ and https://www.facebook.com/downinoneband

Pete RingMaster

The RingMaster review 28/02/2016

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Crossing Rubicon – No Less Than Everything

CR_RingMasterReview

Roaring out of Connecticut, Crossing Rubicon is a band tagged as hard rock but has plenty more to their potent sound as evidenced by new album No Less Than Everything. Entwining incisive strains of metal and variations of classic rock with their own modern rock ‘n’ roll adventure, the Bristol hailing band makes grabbing attention look like child’s play. Their debut full-length is the proof; twelve songs which for the main just leap out. At times they provide a familiar incitement of sound and other moments offer a rich bloom of the uniqueness openly brewing within the band. Throughout though, No Less Than Everything is a sonic charge of passion and craft which demands to be taken notice of.

Since being formed by in 2009 by vocalist Scott Anarchy (Wawrzyniak) when linking up with Pete Ahern (Red China Blue), and soon after drummer Brandi Hood, Crossing Rubicon has been through a few line-up changes whilst emerging as a generally recognised impressive live proposition. Before and since the release of first EP, In Pains Of Sleep in 2012, the five-piece has opened for and shared stages with the likes of Motley Crue, Queensrÿche, Bret Michaels, Tantric In This Moment, Nonpoint, Pop Evil, Saving Abel, Rev Theory and the list goes on. Their live presence has been a reputation building success which, with the band’s potent sound, has ensured No Less Than Everything was a highly anticipated proposition.

Straight from the off, band and release reward that eagerness. The quintet of guitarist/vocalists Zach Lambert and Jesse Near, bassist/vocalist and former All That Remains member Jeanne Sagan, and the pair of Anarchy and Hood, immediately entice ears with Tomorrow Never Comes. Flames of guitar provide the first inviting bait; they quickly joined by punchy beats and a throaty bassline, which in turn welcome the full and quickly impressing tones of Anarchy. Hitting its stride, the thrash tinted, riff driven persuasion has body and appetite hooked, with the imagination gripped by the front man’s rich vocals and emotions grabbed by the great band provided backing vocals and simply the virulent contagion flowing through the opener.

CoverArt_RingMasterReviewA great start is pushed on again by the outstanding Unhinged. Its initial sonic shimmer holds a sinister air which relaxes as the vocals come forward, though the gait and nature of the song remains predatory if skilfully restrained. A mix of vocals, with presumably Sagan one half of the two prong dark temptation alongside Anarchy, adds to the track’s intimidating seduction. It is enthralling stuff which blossoms further as spirals of guitar shared melodic enterprise wraps prowling rhythms, their magnetic alignment ridden by the increasing strength of the fiercely alluring vocals.

Never Again has the hard task of following the great encounter, living up to the demands from its initial lead of Hood’s heavily scything swings before casting its own predacious stalking of the senses. Enticing melodic suggestiveness soon infests the track, though its instincts remain grouchily confrontational before the mellower but still fiery charms of The Fallen and Bittersweet Day step forward. For personal tastes, neither can match up to their predecessors, though both leaves ears involved and satisfaction lively with their accomplished hard rock croon and classic rock blaze respectively.

Grooves create a web of tempting within Cut Deep next, the band weaving alternative metal and stoner-esque spices into the song’s pungent and devilish confrontation of variety soaked rock ‘n’ roll whilst with Who’s Gonna Save You, with a gorgeous growl of bass leading the way, they are back sizing up the listener with a predatory intent. This comes with venomous riffs which crawl through ears and the stirring up of attitude loaded revelry by the ever enjoyable vocals. As for the rhythms, they simply stalk the listener. The track is another major favourite to emerge, especially with the subsequent addition of an exotic mystique courtesy of the guitars, and another of a number of particular pinnacles across No Less Than Everything.

Crossing Rubicon continue to reveal diversity in sound and imagination within the release. Violet Carson reveals itself a track which is almost ritualistic in its dark character and emotive fire whilst Reason to Beg is a slice of sinew sculpted rock ‘n’ roll entangled in searing strands of sonic tenacity and uncompromising attitude, in word and emotion. It would be fair to say that the songs, as the album, create something fresh and fascinating from the use of recognisable flavours on familiar templates at times, but invigorating and enticing it ultimately is as proven again by the classic rock infused, plaintive rumble of Do We Not Bleed and straight after, the similarly woven and magnetic I’m Here. Neither of the pair quite lives up to the major high points of the release, but both potently please before Return to Atlantis brings the album to a close of rich sonic enterprise upon an eighties bred melodic rock landscape.

The track provides an increasingly impressing album with a rich climax summing up all the qualities and infectiousness of the Crossing Rubicon sound and imagination. As the band’s sound evolves, expectations are of bigger and bolder things to build on, what is right now, a thoroughly enjoyable adventure and a thick nudge on the broadest attention, No Less Than Everything.

No Less Than Everything is out now via Pavement Entertainment through most online stores and @ https://crossing-rubicon.bandcamp.com/releases

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Pete RingMaster 28/02/2016

Copyright RingMaster: MyFreeCopyright

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I, Ohms – Parallel Connection

I, Ohms Promo_RingMasterReview

Making a potent debut with their new EP, US quintet I, Ohms is a metalcore band from Virginia with an appetite for fiery melodies and djent inspired confrontation. As the five-track Parallel Connection shows, the blend of flavours they embrace makes for an attention luring proposition which, without reeking of major originality, is fresh, aggressive, and an invitation to find out more.

Consisting of vocalist Andrew Belmont and guitarists Rachel Scott and Ryan Baggett alongside the rhythm section of bassist Andrew Horn and drummer Brittany Yarnell, I, Ohms is a bit of a mystery in background information but certainly forceful with their music. Their first release is proof of that; an encounter which drummer Yarnell talked about ahead of release, saying “Recording the EP was really fun and we’re super excited to be sharing it with everyone! It’s meant to reflect our darkest times and the way we heal; be it a riff that feels empty, a chaotic breakdown, or words that you would tell yourself repeatedly to dig yourself out of a hole. We’re all one way on the surface, but there’s so much more beneath.

Parallel Connection opens with Terms and Conditions which comes into view upon an ear caressing guitar melody. It has an evocative air which flirts with the imagination, all the time setting up the moment for carnivorous riffs and heftily swiping rhythms to erupt and invade the senses. Belmont’s raw growls are just as formidable too, but they, as the sounds around him, only leading to another twist of a clean vocals led stroll of melodic enterprise. As the song settles down a touch, all the elements are soon entangled as the unpredictable encounter grabs the imagination even tighter. Simultaneously it is a predator and temptress, the band weaving a tapestry of contrasting textures and volatile emotions to excite and wrong-foot with accomplished craft.

Deep Divide is even more predacious and intensive once taking over from its predecessor. The swinging beats and bass enticement borders on bestial as djent seeded riffs create a jagged wall of senses tearing teeth again backed by the harsh attitude of the vocals. As is soon realised with the band though, any uncompromising endeavour is cleverly tempered by melodic and harmonic imagination. The end product is something which may not be unique but always, as here, proves to have an individualism which sparks thorough enjoyment and intrigue.

The band’s songs also come with their own noticeable characters too; the following Civil War showing a more rabid nature compared to the controlled but ravenous stalking of the last song for example. To that though, it has no qualms about slipping into bolder passages of suggestive calm with infectious percussive bait as well as senses gnawing trespasses courtesy of the guitars. Together it all goes to create one of the most adventurous and arguably original tracks on the release.

The pair of Scream Your Heart Out and latest single End: Disclaimer brings the EP to a close. The first is an imposing tempest of sound and emotion from its first breath; a maelstrom of wiry grooves and bone cracking beats corralled by throat bruising vocals and a brooding bassline, not forgetting belligerent riffery. It too shows a great shade in catchy tempting and melodic dexterity, musically and vocally, whilst its successor is a drama of cantankerous sound drawn into an antagonistic brawl and a melodic soothing enticed into a harmonic hugging of the senses. It is a skilfully nurtured and shaped proposal, and with the previous song, taking favourite song honours with Civil War running them to a photo finish.

Parallel Connection is a very strong and increasingly impressing offering from I, Ohms; an introduction which suggests that the band is still developing its own sound but already has developed something rather refreshing about their music which can surely only blossom further.

The Parallel Connection EP is out now @ https://iohmsband.bandcamp.com/album/parallel-connection

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Pete RingMaster 28/02/2016

Copyright RingMaster: MyFreeCopyright

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Heartfelt – Heartfelt

Heartfelt_RingMasterReview

Hailing out of Tennessee, melodic metalcore quintet Heartfelt punctuate their recent signing with Imminence Records by releasing a self-titled single this month. Whether the release should be actually described as an EP, with neither of its tracks bearing the name of band or single, can be debated, but as a rousing introduction, the encounter is a potent slice of melodic metalcore persuasion.

Formed in 2013, the band emerged as vocalist Brian Medley moved on from previous band Woe Is Me. The life of Heartfelt to date has been eventful; numerous line-ups changes and being the victims of a burglary which cost them thousands of dollars in stolen musical equipment and related items, amongst the band shaping experiences. Now though stability has hit the band in personnel, with Dyllan Puckett, Billy Roberts, Brett Boatman, and Brandon Cain alongside Medley, and through the link up with Imminence Records. Heartfelt’s previous singles, in Crossroads and Slip Away, certainly awoke ears to the band but the lead track on the new release, Be Strong, alone has the qualities and power to really spark strong attention, especially alongside its accompanying Ben Greene filmed video.

Heartfelt Single Cover_RingMasterReviewProduced by former A Day To Remember member Tom Denney, Be Strong rises on a wave of harmonies and evocative melodies whilst being steered by robustly tenacious rhythms. Almost as quickly, Medley’s impressing vocals step forward to provide their own warm yet feisty coaxing, to which, a collusion of rawer roars and those alluring harmonies add further magnetic drama to the growing sound. Bass and drums make no show of hiding their aggressively boisterous incitement , getting straight to the point alongside matching riffs and harsher vocal trespasses to provide a formidable confrontation, but one superbly tempered by the soaring clean deliveries and flaming melodies that similarly ensnare ears and appetite.

The song’s companion is an even more hostile affair, certainly initially, but soon White Eyes reveals its own recipe of sonic seduction whilst increasing in belligerence soaked tone and anger fuelled aggressiveness. The extremes of textures within it are even more pronounced than in its predecessor and undoubtedly it blossoms all the more for it.

Between the songs, Heartfelt reveal signs of potent depth to songwriting and sound as well as the potential of a uniqueness which it is hard to say is really there within the single. Nevertheless, both songs carry a freshness and vitality to their creativity which grabs ears as much as the force of their tempest of sound. It is fair to say therefore, that Heartfelt is worth keeping a close ear upon with no doubt more enjoyment being the reward as they progress.

The Heartfelt release is available now digitally through Imminence Records @ https://imminencerecords.bandcamp.com/album/heartfelt and includes exclusive Bandcamp bonus tracks of the 2013 demo versions of Crossroads and Slip Away.

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Pete RingMaster 28/02/2016

Copyright RingMaster: MyFreeCopyright

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