Maven is a band which since emerging back in 2012 has earned an increasingly potent reputation for their alternative rock sound loaded with big rousing choruses, captivating melody, and emotive intensity. Increasingly individuality has also been a growing aspect in its persuasive character and all are in full roar within new EP, Am I Awake?
London hailing, Maven has endured a host of personnel changes over the years but with a stable line-up now established, the quintet has built their way towards the encroaching of major spotlights. Their previous well-received EP, Closed Doors, Open Minds, ignited a strong underground following and support and it is easy to see its successor nudging the band towards even greater success and exposure.
Embracing inspirations from the likes of Don Broco, Mallory Knox, Breaking Benjamin, and Story of The Year in their sound, Maven offer up a proposition which is still to find uniqueness but openly comes with individual imagination and bold enterprise as proven by the first and title track of Am I Awake? alone. The song initially wraps ears with a melodic caress, its voice evocative and melancholic as similarly respectful beats court its solemnity. An eruption of guitar and intensity then breaks before another calm reflection of keys as the potent tones of vocalist Dan Nash share their hearts; this in turn leading to another impassioned roar of sound and emotion from which an infectious stroll ripe with tempestuousness breaks. Barely half way and already band and song reveal an unpredictable and fascinating landscape of imagination reflected in sound and enterprise, the guitars of Joe Marshall and Rob Barlow weaving a striking mix of melodic drama and sonic turbulence around the rhythmic agility of bassist Sam Tindal and drummer Josh Stillwell.
The following Stronger Than You is cast in the same theatre of thought and prowess, turning calm reflection into aggressive declaration and rousing intensity into melodic intimation with craft and ear grabbing instincts. Though it just misses rivalling the heights of its predecessor, the song is an inferno of anthemic passion and drama within an infectious landscape of successful sonic persuasion while its successor Heart Time, prowling a similar trail to those before it, strikes out with its own agitated and arousing emotions and contagious melodic rock fertility. As with the previous track, it too lacks the rich unpredictability of the first but only provides a compelling invitation and adventure within a volatile body.
Am I Alive? brings the EP to a close, deep thought and reflection soaking its heart and words as the maturity of the band’s earnest sound and songwriting erupts with poignant intent and sonic power. As the EP started, it ends with a striking and stirring proposal while across its compelling length it increasingly suggests that Maven are heading the right way to sparking eager recognition.
Am I Awake? is released December 6th
http://www.mavenband.co.uk/ https://www.facebook.com/MavenBandUk/ https://twitter.com/MavenbandUK
Pete RingMaster 05/12/2019
Copyright RingMasterReview: MyFreeCopyright
Formed a year ago, Crostpaths take the inspirations of bands such as Linkin Park, Skindred, and Papa Roach to their nu-metalcore tagged sound and it is the latter of the trio which most comes to mind across the EP’s three tracks. Even so there is plenty to their music which is refreshingly unique as it is familiar and as it evolves its true identity over time and maturity you can only see the former being the overbearing hue.
It is Tight Jeans which opens up the EP, its instantly infectious presence shaped by the dark breath of bass and the flirtatious shuffle of keys and guitar. In its midst as Saint’s beats egg on the song’s controlled but eager boisterousness, Keenan’s vocals swing adding further catchiness to the track’s stroll. Across its thick contagion, a host of flavours unite; classic rock wires escaping the guitar as electro pop instincts line its earthy rock ‘n’ roll.
Two Margaritas at the Fifty Five opens with that previous single and fair to say that No One Cares instantly grabbed ears with its first lure of guitar, its melodic clang equipped with a swing which is soon equally embraced by rhythms and vocals as the track hits its catchy stride. The fuzzy grumble of Venturini’s bass in turn takes over the virulence, its lone coaxing delicious before Moro’s guitar returns with its own shade of the contagion as Gallato’s beats bounce. The song is an irresistible slice of garage pop ‘n roll, its repeated cycle all the more addictive, and itself as a whole as potent as when it graced ears alone to provide a great start to the release.
The EP opens with Crown Of Flies and immediately lured intrigue with its cinematic sample and sparked eager attention with the tempest of sound which swiftly follows. It in turn breeds a punchy and lyrically pungent canter as infectious as it is barbarous. The striking tones and imaginative words of vocalist Stefano Sebastianelli stand at the core of the captivation, the voracious rhythms of drummer Adam Parker and bassist Lee Davidson predacious temptation alongside breeding the drama as the guitar of Bean sonically shapes he song’s adventure. A fusion of punk, noise rock, and metallic dexterity, the song is simply superb and more compelling by the rock induced twist and imagination flooded turn.
It is a great start to the EP and maybe it’s most potent moment though persistently challenged by its companions led by next up Cover Up And Die. If not as dramatic and punchy as its predecessor in its entrance, the song soon reveals its own contagious exploits and imagination in pop punk fuelled rock ‘n’ roll. Its bounce and snarl is unapologetically infectious and body an accomplished persuasion with Deans’ backing vocals a strong addition to Almond’s potent lead.
Fair to say given our enjoyment with previous encounters including acclaimed last EP, Half Middle Child Syndrome, anticipation was certainly alive with maybe unfair expectations of something certain to spark our appetites but it took little time for opener Linger to set the first breach of a whole new ardour for the band’s voracious assault and bold adventure. Within a breath, the guitar is winding its acidic lure around ears whilst invading them with clamorous thrusts, Hervé’s lurking beats just as invasive before the song explodes in a body jerking, attitude fuelled roar of noise and temptation. Vocals are equally as confrontational and magnetic, swinging from the threads of the continuing infectious clamour with matching voracity. Unpredictable twists and ear gripping enterprise simply add to the ingenuity and rabid flirtation of the track as a whole new level of Tarah Who? incitement unfurls.