Scream Blue Murder – Rock Bottom

Certainly with their debut album three years back, metallers Scream Blue Murder more than teased our attention; a release which coaxed strong praise around the metalcore scene. Now the band has just uncaged its predecessor and the teasing upon our personal attention is over, replaced by a forceful grip from an encounter which confirms the Coventry quartet one as one of the UK’s most striking proposition.

Formed in 2014, Scream Blue Murder quickly gained eager support through their first EP, a release leading to the band signing with Stay Sick Recordings. It was that debut full-length two years later which really stirred things up, Hollow Stories a collection of imagination soaked and boldly delivered songs. Since its success, the band has toured the USA three times and cross EU/UK countless times sharing stages with the likes of Bury Tomorrow, Crossfaith, Of Mice And Men, We Are The Ocean, Cancer Bats, The Defiled, I, The Breather, With One Last Breath, The Red Chord and so many more. Rock Bottom though is a whole new ball game, the new strength and maturity in songwriting matched by the new depth of adventure and imagination fuelled its tracks.

The album opens with Death Sentence, Aaron Bloomer‘s easily engaging vocals kissed by a warm melody in the song’s shadows. It is a potent invitation which soon catches light as the song looms nearer and erupts in a fiery melodic metal roar. Intensity and aggression soon joins the growing tempest, but one which ebbs and flows in its assault as the band’s melodic and harmonic prowess entangles the core volatility of the encounter.  As it expands its landscape atmospheric intimation brings another compelling exploration within the already infectious proposition, the guitar of Jack Roddy constantly shaping and entangling the inescapable tempting with rich enterprise.

Inside follows and immediately confronts and trespasses the senses, the hefty swings of drummer Jamie Bloomer driving its incursion. Even so, the invasive proposal is infectiously wired, again raw and clean vocals to the core of a virulence embracing the untamed nature of some of the surrounding sounds. Jacob Houghton’s bass adds a thick moodiness as well as its own rousing endeavour, the song all the while, as its predecessor, aligning mellow and melodic intimation with metal irritability and creative hostility.

The album’s title track and new single lays out its own particular magnetism next, Rock Bottom eventually seeing its opening melancholic sea bubbling up with harsher emotion and intensity. Every wave crashes in with instinctive catchiness amidst intimate self-reflection, drama soaking every note and syllable before recent single Bury Me eclipses its haunting success with unbridled virulence. Bass and guitar collude in a swiftly tempting web of riffs and grooves but a mere twist in the emerging landscape of imagination and enterprise creating one of the album’s major highlights. Every angle of the song is devious in its captivation and incitement, anxiety and angst soaking the fluid union of prickly attitude, spirited aggression, and calm repose.

Light It Up is just as dramatic and potent straight after, it too equipped with inescapable hooks and delicious grooves within a tapestry of texture varied adventure. Easily the most infectious moment within the release despite the contagious might of so many others, the song just manipulated and enslaved participation from body and throat whilst relishing the band’s open imagination does miss the target yet with its tetchy air and keys bred melodic climate offering plenty to become engaged in, striding rhythms and vocal contemplation adding to its persuasive fuel, it leaves thick satisfaction in its wake before The Anchor offers up its own inventive web, rancor and splenetic emotion lining its harsher threads alongside causticity less catchiness. It too took a touch longer to fully tempt but with a rousing chorus and individual flair constantly uniting for a rich recipe of sound it left little else to be desired.

A new harshness and irascibility soaks the latter part of the album, Friends Like Judas ear grabbing proof yet that fractious increasing does nothing to diminish the instinctive catchiness of songs and choruses which just light up the senses. Another big highpoint within Rock Bottom, it leaves a hunger for more in its wake as it makes way for the equally imposing and spitefully enticing Over the Line where every dynamic breath and inventive turn left another layer of praised for release and band.

Victims of Violence completes the line-up of pleasures, its haunting intimation and threat soon a fertile tempest of craft and emotive volatility whilst providing a striking and thrilling end to a just as potent release.

There is something familiar about the Scream Blue Murder sound at times across Rock Bottom yet it is hard to define and is more than tempered by the bold uniqueness which surrounds it. From their more metalcore beginnings, the band has evolved a rich multi-flavoured sound which inspires as it thrills. The fact that it feels like Scream Blue Murder are still to fully tap into their potential means it is hard not to be rather excited for times ahead whilst enjoying this triumph of a release.

Rock Bottom is out now via Stay Sick Recordings; available @ https://screambluemurderofficial.bigcartel.com/

Upcoming live dates…

May 17th – Coventry – Kasbah (Hometown show)

May 18th – Kingston – Fighting Cocks

http://sbmofficial.com/   https://www.facebook.com/sbmmetal/   https://twitter.com/SBMmetal

Pete RingMaster 01/05/2019

Copyright RingMaster: MyFreeCopyright

Blood Command – Return Of The Arsonist

It is fair to say that we did not know too much about Norway’s Blood Command; certainly their name had cropped up but their death pop had never quite exploded on our radars here. That is until now and the release of new EP Return Of The Arsonist. Uncaging six tracks bred in the band’s voracious fusion of raging hardcore, rapacious metal, irritable punk and virulent pop, the new release simply demanded attention and as we found a lustful one at that.

With plaudit luring shows alongside the likes of Refused, Tragedy, Comeback Kid, and Gallows to name a few under their belt and following a successful tour supporting Rolo Tomassi at the end of 2018, Blood Command are certainly no strangers to real and eager praise and they can expect plenty more through their new offering too.

A conceptual successor to 2011 EP, Hand Us The Alphamale and specifically its opening track, Summon the Arsonists, the quickly inflamed Return Of The Arsonist roars and stomps like an entanglement of Animal Alpha, Deathcrush, and Mannequin Death Squad yet is defiantly unique within its own rapacious skin. The Bergen quartet kick it off with Don’t Strike A Match, Use The Lighter, the song rising up through dark atmospheric mists until settling into its contagious instincts and tenacious incitement. Karina Ljone’s tones quickly challenge and brawl with ears but soon cast their harmonic glamour over the senses too as sounds storm with similar hues. Hungrily brief, too much so in our mind, the track is a seriously rousing punk squall loaded with pop soaked catchiness and simply irresistible.

The EP’s title track follows, seducing with its volatile first breath before chaining attention with appetite feeding hooks and loaded rock ‘n’ roll. The rhythmic trespass of bassist Simon Oliver Økland and drummer Sigurd Haakaas is as infectious as it is punishingly incisive with the guitar of Yngve Andersen equally as animated and mercurial within the caress of keys. A fiery slice of temptation it craftily backs up the potency of its predecessor and the dextrous antics of next up No Thank You, I’m More In To Fake Grindcore. It too aligns instinctive rock boisterousness with its punk instincts, imagination lining every rabid twist and provocative turn.

Live Right Or Go Straight To Hell prowls and stalks the listener across its two minutes of unapologetically catchy punk ‘n’ roll, the track another aggressively manipulative proposal before which resistance is never a thought, while the fifty odd seconds of Ritual Knife is pure agitational contagion and just delicious.

The EP departs on the anthemic exploits of Afraid Of Water, again a proposition which from its throbbing bassline and swinging beats to flavoursome sonic trespass and skilled vocal commotion just hit the spot.

With their rescheduled our alongside Skindred ahead, 2019 is looking a major attention busting year for Blood Command with the rather superb Return Of The Arsonist leading the way.

Skindred/Blood Command European Tour Dates are:

November

29th Amsterdam Melkweg

30th Cologne Kantine

December

1st Karlsrue Substage

2nd Bremen Schlachtof

3rd Frankfurt Batschkapp

5th Berlin Binuu

6th Erfurt HSD

7th Dresden Beatpol

8th Prague Lucerna Music Bar

11th Munich Backstage Halle

12th Milan Legend Club

15th Madrid Mon

17th Toulouse Metronum

18th Paris La Maroquinerie

19th Lille Aeronef

Return Of The Arsonist is out now via Fysisk Format; available @ https://bloodcommand.bandcamp.com/album/return-of-the-arsonist

http://www.fysiskformat.no/wp_ff/roster/blood-command/    https://www.facebook.com/Bloodcommand/

Pete RingMaster 01/05/2019

SPQR – Low Sun Long Shadows

Liverpool has and always will produce some remarkable bands, its musical landscape and history perpetual inspiration for those to follow. Another with the real potential to become another leading light is SPQR, especially if their new EP is the clue and guide to things to come. Low Sun Long Shadows is a four track parade of the band’s bold art rock nurtured sound, a release uniting unpredictability with imagination in almost mischievous and certainly emotionally empowered adventure.

For the first time, SPQR worked with an outside creative force for their new offering, the trio inking up with producer Margo Broom (The Fat White Family, Calva Louise, Yassassin, Phobophobes). As often is the case, Low Sun Long Shadows sees some of its songs seeded in in the myriad of mental illnesses guitarist/vocalist/songwriter Peter Harrison struggles with; that depth of anxiety and emotion a powerful lining to the rich tapestry of just as dramatic sound.

The EP opens up with Slowly and straight away attention is led astray by the pulsating bassline cast by Jack Sanders. Quickly it is joined by the percussive zeal of Bex Denton and the ear clipping teases of Harrison’s guitar, the latter’s equally magnetic vocals adding to the swiftly gathering temptation which soon had these ears hooked. Hitting its boisterous stride, the song’s eager rock ‘n’ roll in full bounce, persuasion is complete but only intensified by the blossoming of every aspect making up its captivating character. As lively and spirited as it is, melancholy also sweeps across its landscape, unpredictability adding a further shapely lure to a thrilling start to the EP.

As superb as it is, the song is still eclipsed by the noise embracing clamour of Our Mother’s Sons. The track was liquor to our instinctive cravings; a fusion of raw melody and sonic dissonance driven by a just as entangled web of contrasting emotions, though each in the throat of Harrison soaked in their own particular tension and agitation. Keys add another dimension of intrigue and limbo, the track escalating in disquietude and magnetism by the twist before slipping away and letting the EP’s lead single Josephine bring its dance to bear on already enraptured ears. A touch grungy, a little funky, and teasingly indie rock in its animation, the song is an infestation of dextrous catchiness and melodic temptation spread over an array of flavours and elements.

This Gore completes the release, swiftly matching its companions in creative intoxication and individual imagination. Swinging and swerving with a cosmopolitan blend of styles and flavours as rhythms nag and lead song and listener alike, the EP closer simply captivated as Harrisons’ tones explored a Lydon-esque lining to their own personality. Increasingly volatile and inflamed, the track provided a striking end to a simply outstanding encounter.

It is not easy to become a favourite son in one of music’s most influential cities but with more gems like Low Sun Long Shadows and we would not bet against the possibility.

Low Sun Long Shadows is out now via Modern Sky UK.

 http://www.spqrmusic.com  https://www.facebook.com/spqrband/   https://twitter.com/spqrband

Pete RingMaster 30/04/2019

Copyright RingMaster: MyFreeCopyright