Vanity – Perspective // Empathy

If there is one thing to describe Perspective // Empathy from British metallers Vanity, it is that it is riveting. There are plenty more striking attributes to the five track metalcore tempest, craft and imagination among them, but it offers a fascination which upon personal tastes few similar genre propositions have come close to.

Formed in 2012 and formerly known as Vanity Draws Blood, Vanity has climbed up the UK metal scene with increasing brutality and invention accompanied by an equally ascending amount of acclaim which began simmering with their debut EP, I Witness, released in 2014. From its success, the London sextet began working on a series of works under the title of Perspective. The first in Perspective // Dread appeared to rich praise last year, the single Anxiety which featured CJ McMahon of Thy Art Is Murder leading the way. It is easy to expect that Perspective // Empathy is destined to make an even bigger impact; its body alone establishing Vanity as one of Britain’s most promising and imaginative confrontations.

The EP opens up with the atmospheric enticing of Empathy, the instrumental piece a haunting yet inviting lure with drama and portentous suggestion in its air and elegance in its character before slipping into the waiting jaws of Tranquil. Featuring the warm tones of Lilly Macieira, the track explodes on ears, guitars winding venomously around them as rhythms pounce to spear the senses. To the aggression though, there is an instinctive catchiness which fuels grooves and the overall surge of the song, an infectiousness which even infests the uncompromising assault of raw throated, emotionally open vocals. Alongside an inventive unpredictability and imagination festers and boils over, the subsequent duel vocal attack of varying discontent and subsequent melodic temptation lying at the heart of the track’s captivating evolution. Add Macieira’s almost angelic presence and it is a song which enthrals.

Sorrow swiftly follows, it too emerging from a suggestive harmonic calm with ferocious intent and wind but equally with that wealth of undisguised enterprise and imagination. Stabbing beats and bone shaking riffs devour as melodies and vocal dexterity blossom, every second a fresh adventure but united in the flowing and certainly uncompromising yet inviting storm. As all tracks, with every listen a new depth and side to elements within the song emerge and though it is fair to say that just on the initial engagement the EP and its contents stir the appetite real fascination grows with every submission to the fire.

Again Macieira features on the EP’s fourth track, opening Extrovert with her harmonic caress as melodies cradle her presence. In time the mellow temptation becomes the bed for emotive and physical turbulence where vocals and guitars are almost in conflict within their intensive unity, a fight which ignites the ire and creative dexterity skilfully consuming ears. Clean vocals in turn rise from within that fire, just part of the imaginative depth and adventure persuading ears and pleasure.

Final track Affinity is more of the same but individual in its tapestry of sound and imagination, contrasts and extremes coming together in a kaleidoscope of sound and emotion just gripping attention. It is a magnetic close to an encounter which dares you to look away even for a second and miss something memorable, a challenge impossible to take on.

We would say Perspective // Empathy needs time to truly blossom in ears though as mentioned earlier it undoubtedly pleasures from its first breath; in return though the rewards increase and impress. The final line of the press release for the EP suggests that the sextet of Kerrie Alexander, Ryan Stevens, Elliot Plummer, Charles Jones, and Luke Jervis is one “of the most exciting and original bands at the vanguard of the UK scene.” There is nothing within the new EP to suggest otherwise.

Perspective // Empathy is available now on iTunes.

http://www.vanitydrawsblood.co.uk/    https://www.facebook.com/VANITYUK/

Pete RingMaster 26/09/2017

Copyright RingMaster: MyFreeCopyright

The Likkor Men – There Will Be Blood

There is something primal stirring in the depths of the UK rock scene, a lascivious force brewing up filthy attitude stained rock ‘n’ roll which is salacious and destructive, rabid and addictive and it goes by the name of The Likkor Men. The quartet from Redcar has just released new EP There Will Be Blood, a carnal beast of a release infesting the psyche as sonically it tries to live up to its declaration, and a fear breeding proposition it is truly hard to get enough of.

Formed in 2014 supposedly to “keep the members out of trouble”, The Likkor Men create a ravenous sound which is hard to pin down but openly corrupts everything from blues, garage, and punk rock to industrial, noise, and psychedelia. Most likely an introduction of the band to a great many, There Will Be Blood is their second EP but easy to feel the moment The Likkor Men asylum comes under true scrutiny.

The release instantly has the senses challenged with the outstanding Black Widow, noise and samples colluding to tenderise before heavy footed riffs stroll hungrily in as swinging beats bite. Blues grooves entangle the trespass as vocals prowl, a punk throated backing adding to the pleasure as the controlled chaos twists and turns. There is something of The Birthday Party meets Th’ Legendary Shack Shakers as Down fingers the union about the infestation but equally more than a whiff of bands like The Sonics and MC5 in the swamp of sound and dirt though what emerges is a scuzz storm all Likkor Men.

The opener remains the pinnacle of the release but is seriously harassed throughout with next up Young Blood needing little time to seduce and pervert ears and imagination. Ravishing the senses like a defiled fusion of Rob Zombie, Arthur Brown, and The Stooges, the track is wired rock ‘n’ roll as off-kilter as it is skilfully woven to invade and trespass the psyche. Deceptively catchy it is aural loco, a ruinous psych rock invasion infecting the listener like radiation.

Crazed easily applies to Sweet Talkin’ Mamma too, a sexual corruption built on the most addictive rhythmic strolls as fuzzy flames and toxic grooves like spewed by the pied piper like trespass. It is sonic bedlam, an insatiable lure of noise and rhythmic flirtation which maybe is a touch over long but teases and seduces from its depraved start to its libertine finish.

That sexual edge is taken to greater tension within closing song, Hunter. It is a nagging throb of rhythms and heavy riffs beneath sonic breezes of guitar. From the midst, gravel throated vocals, as throughout the EP, stir up the dirty business around them, grooves and hooks seeming to react decadently around them though everything is in its basest most single minded form to simply incite the listener’s rock ‘n’ roll instincts. Sixties garage rock is a rich fuel to the final assault, its contaminated strains sweet liquor within the soiled goodness.

There Will Be Blood will not be for the clean cut appetites among you but for those with wanton urges for rock ‘n’ roll in its grubbiest invigorating form no-one will be left wanting, only feeling very, very dirty.

There Will Be Blood is out now through Moon Skull Records @ https://moonskull.bandcamp.com/album/there-will-be-blood

https://www.facebook.com/TheLikkorMen/

Pete RingMaster 15/09/2017

Copyright RingMaster: MyFreeCopyright

Cranely Gardens – House of Decay

Allowing no hiding place, House of Decay is a tempest of psychotic noise and vicious dexterity; quite simply one of the best things to escape the extreme metal scene this year. The EP is the venomous creation of US band Cranely Gardens, an outfit which plunders the diverse landscape of metal to forge its own distinct and striking tempest now raging within one impressive encounter.

Formed in 2008, New Jersey hailing Cranely Gardens soon began weaving and honing the diversely flavoured sound which was to make debut EP Locust Valley a well-received encounter in 2015. The band has continued to nurture their individual sound and creative character, House of Decay a new plateau darker and more tempestuous yet finely crafted and a declaration that the band is ready to take on the biggest attention.

Once the sample built Muswell Hill sets the tone and atmosphere, History of a Drowning Boy seizes ears and imagination with its multi-textured tempest. It is a maelstrom of sound bred from a fusion of death and thrash metal, its imagination growing to create a cauldron of everything from nu and groove to blackened heavy metal in a forceful trespass which infests ears and psyche. Like a blend of French outfit Trepalium and UK’s Anti-Clone to give it some kind of identity, the track savages and seduces with every passing second whilst embracing an unpredictability which is not constant but brings rich surprises and twists when it breaks.

The excellent trespass features guest Will Ramos from A Wake in Providence, its successor Seven Faces sees For the Fallen Dreams vocalist Chad Ruhlig guesting. The track instantly submerges the listener in an invasive cloud of predatory noise, from the midst of which winding grooves and rampant rhythms driven by the vicious swings of Victor Figueroa break. His beats are pure venom in every touch, the bass of Alex Niszczak a predacious companion whilst the guitars of Randy Mac and Joe Fedele cast a sonic tempest built on technical and instinctive dexterity which is pure toxicity. The threat loaded throat of vocalist Chaz Macklin centres it all with an almost carnal prowess, his intensive examination just as compelling within next up Savages which has Dan Watson of Enterprise Earth and Sims Cashion additionally on board. On the surface, the song seems less adventurous than its predecessors though its grooves swiftly wind persuasively around ears but time and intent reveals the devious web at its core luring increased attention as a swarming of sonic temptation offers delicious bait.

Still it does not quite match up to those before or the following threat of Rapture where Narrow Vision frontman Josh Frazier adds his rapacious tones to the animosity unloaded by Macklin. Venturing into a more nu meets melodic metal terrain without defusing the same raw antipathy and corrosive fury of its companions, the track punishingly takes the passions.

Carry the Earth steps up next, the rhythmic ingenuity of Figueroa leading the way and not for the first or last time running with rock ‘n’ roll instincts before guitars and bass spread their cathartic animosity. The melodic hook feels a relatively familiar tempting across the EP but this certainly does not damage its impact either across the whole or in a track which scorches the senses and runs with the imagination like an unhinged predator.

The Challenger brings things to a close, its body also coaxed in by Figueroa’s tenacious invention; the subsequent highly resourceful sonic disturbance cored by a malignant cyclone driven by creative rancor. In saying that, its melancholic melodies are emotional sighs which add further drama and adventure to the concussive but gracefully primal finale. It is a volcanic close to an EP which just impresses more and more listen by listen. It is not the perfect offering but the potential sealing any cracks ensures it makes for a truly powerful and lingering incitement.

House of Decay is out now @ https://cranelygardens1.bandcamp.com/album/house-of-decay

http://www.cranelygardens.com/    https://www.facebook.com/CranelyGardens/    https://twitter.com/cranelygardens

Pete RingMaster 14/09/2017

Copyright RingMaster: MyFreeCopyright

Scanner – Under the Devil’s Tail

If there is one thing you are sure of getting with US outfit Scanner, it is a healthy and seriously persuasive outing of punk rock and so it is again with their latest EP, Under the Devil’s Tail. Offering four slices of unfussy rock ‘n’ roll sculpted with an openly accomplished hand and imagination, the EP embraces the mixture of old school punk, garage rock, and virtually every other rock ‘n’ roll scent you might imagine which has already fired up previous successful releases, boiling it up for another highly enjoyable stomp.

Formed in 1979 by lead vocalist/bassist Joe Brady and guitarist Junnie Fortney and adopting the name Scanner two years later, inspired by the David Cronenberg film Scanners, the Pennsylvania trio has become a potent part of the local punk scene. The current line-up, completed by drummer/vocalist Troy Alwine, was in place by 2012 and followed by the release of debut album One Foot In The Grave, And More Pissed Than Ever a year later, then live outing Exploding Heads in Harrisburg – Live Recordings From 1982, and in 2015 second studio full-length Splat. The latter saw increased attention looking the way of the trio which Under the Devil’s Tail will surely re-energise.

Maybe due to it only being four tracks, the EP seems less broad in its sound and adventure than within Splat but uses that restraint to nurture a character which is the heart of the band’s sound and more tenacious and persuasive than anything before. The release opens up with its title track, Under the Devil’s Tail strolling in on Alwine’s tempting rhythms which are soon joined by the equally teasing mumble of Brady’s bass. The hook spun out by Fortney’s guitar quickly after has The Damned all over it, a hue especially potent when combined with the continuing bait of that moody bass. Dirty rock ‘n’ roll soon consumes ears and song as Brady’s eager tones jump on board, the song drawing on a mix of seventies punk and pub rock along with heavy rock textures lured from across the decades.

More persuasive with every listen, it is a potent start soon eclipsed by next up Tapeworm which starts up like a rock ‘n’ roll Pere Ubu before note by note hints at greater Ramones like revelry in its cranky romp.  Like its predecessor, the song only strengthens its grip on ears and appetite over time though it too finds itself overshadowed by its own successor.

Without doubt Membrane Men emerged the firm favourite within the EP, its opening bass lure and subsequent synth misting deliciously Devo-esque before Dead Kennedy like devilry leaps on the imagination. The track hits the spot straight away, emulating its companions in tightening its hold and our involvement with every passing minute spent in its presence.

Final track is Hippie Authority Song, a slice of street natured punk rock unafraid to add some bluesy hard rock strains to its raucous escapade. As all the songs, it has mischief on its face and in its heart which alone endears itself whilst fuelled by a sound which refuses to be anything other than true to its instincts and inspirations. It all makes for one inescapably enjoyable time; a description fully fitting the whole of Under the Devil’s Tail which may not make your top ten end of year but will still be satisfying your punk appetites as others slip away.

Under the Devil’s Tail is out now and available through   http://www.scanner1979.com/Music.html

https://www.facebook.com/Scanner1979

Pete RingMaster 14/09/2017

Copyright RingMaster: MyFreeCopyright

Zebedy – Set The Pace

British alternative rockers Zebedy have been on a steady and upward climb since emerging in 2008, previous releases alone establishing the North Wales outfit as one of UK’s most promising propositions. Now they have new EP, Set The Pace doing the persuading; a release which sees the band pushing their sound and invention to new heights to make the biggest nudge on major spotlights yet.

From Conwy, Zebedy initially comprised of guitarist/vocalist Jonny Harding-Smith, bassist/vocalist Dave Harding-Smith, and drummer Tom Dyson and through their jams created progressively nurtured instrumental soundscapes. Subsequently adding vocals, the trio also expanded ranks with the addition of guitarist/vocalist Ben Chamberlain. 2011 saw the release of debut album Exist, its release supported by an extensive UK tour. Its well-received outing was followed by the This Is My City EP which only increased their reputation with second album Marionette subsequently making an even bigger impact. Embracing inspirations from the likes of Karnivool, Reuben, Fightstar, and Biffy Clyro for a multi-flavoured rock and metal bred sound as unpredictable as it is rousing, and coming off successful shows alongside the likes of Psychostick, Soil, Closure In Moscow, COMA, and Brutai, Zebedy look ready to take things to the next level with Set The Pace to the fore.

The EP opens up with its title track, distant vocals running to ears with emotive urgency before guitars spin their wiry web and rhythms rumble with boisterous imagination. Pretty quickly it is easy to see where those Reuben and Karnivool influences come in, though in many ways the song offers a lively enterprise more akin to At The Drive In meets The Martini Henry Rifles. The track continues to twist and turn keeping the listener hooked and guessing, every change an organic shift from what was before. Vocals singularly and together impress as potently as the sounds and craft building the EP’s striking start with the antics of the bass a particularly appetising essence to personal tastes.

The following Of Revelations has a more controlled and restrained body compared to the tempestuous character of its predecessor but equally its blend of metal toned grooves and heavy rock riffs build a highly tempting canvas for the track’s progressive and melodic enterprise to conjure greater adventure. It is a slice of muscular rock ‘n’ roll which also swings from one imaginative endeavour to another, never staying in one style of attack or flavouring for long but making each a memorable moment to greedily lock on to.

The brief instrumental of In is pretty much the lead into final track Bloom, its melodic suggestion a stirring appetiser for the compelling drama of its successor where a tempest of rhythms trespass as sonic espionage grabs and twists the imagination. Within that trap ears bask in a cauldron of technical dynamics and impassioned energy and fair to say, as with all tracks, the more time they spend with the proposal the greater richness of its layers and the fresh nuances they bring are discovered within another truly captivating experience.

For all their bold moves and rich textures, the songs are also virulently infectious, the band sealing a real catchiness to their enterprise which has the body bouncing as ears explore. The thoughts of others are that Zebedy is about to break into the biggest attention and we can only say that Set The Pace offers nothing to derail that suggestion.

Set The Pace is available from September 15th @ https://zebedy.bandcamp.com/album/set-the-pace

https://www.facebook.com/zebedymusic/

Pete RingMaster 15/09/2017

Copyright RingMaster: MyFreeCopyright

Moi Saint – New Moon EP

Potently introducing itself as well as the artist behind one of its first releases, UK label Syndicol Music has just unveiled the New Moon EP from singer songwriter Moi Saint. The four track encounter is a haunting and bewitching embrace of dark electronic music, an intriguing fusion of various electronically bred atmospheres and textures as intimate as it is surreal and perpetually fascinating.

Hailing from Manchester and now Liverpool based, Moi Saint emerged in 2015 intent to bring a sound to her deep thoughts and emotions. Embracing the inspirations of artists such as Depeche Mode, Gary Numan, Coil, and Enigma, Saint explored her emotional escape in ambient and electronica adventure with the first explorations making up New Moon on the Charlie Dawe, of British alternative rockers Ventenner, founded Syndicol.

The release opens with Lost in Time (Kind) and an initial melody with an inviting Visage like feel to it. Saint’s voice swiftly wraps around the potent lead, her tones charming and seductive as more industrial nurtured essences crawl into the mix. Shadowy and alluring in equal measure, the song immerses ears in electronic noir pop, its air as suggestively visceral as its heart is melodically poetic and sheer mesmerism from start to finish.

The catchiness of the first is replicated in the even thicker shadowed Reptile though it too is a beguiling fusion of light and dark as gothic overtones lie romantically across the imagination enveloping soundscape. Once more intimacy aligns with a broader ambience as the track boldly simmers in ears, each second a dramatic and smoulderingly erotic suggestion and every note and syllable an ethereal incitement to devour.

Void comes next with the EP’s most transcendent exploration, synths and vocal chords embroiled in a gaseous trespass grabbing ears and imagination like celestial smog. There is that ever present intimacy to the tide of suggestiveness too, melodic venture lighting its melancholic yet rhapsodic heart. Saint in voice is gossamer on the senses while her sounds caress the senses with a matching addictive gentleness which simply haunts thought and emotions.

The release closes with Faded, an arguably more defined proposition in individual textures as an ever present eighties synth pop influence across the EP keenly teases from within melodies and hooks. The track is equally enticingly spiritual in tone and breath with Saint again pure magnetism in voice alone.

It is a kiss on the senses bringing the fine release to a memorable close, each song living up to that description in their various explorations. New Moon is an increasingly striking introduction to artist and label and the first step in the rise of both we suspect and eagerly anticipate.

The New Moon EP is available now across most stores.

 

https://www.facebook.com/moisaint/    https://www.syndicolmusic.com/

Pete RingMaster 05/09/2017

Copyright RingMaster: MyFreeCopyright

Flaw – United We Stand

With their acclaimed last album, Divided We Fall, still raising high praise and attention, US rockers Flaw release a companion piece in the shape of new EP United We Stand. Offering four new tracks and a pair of live cuts of songs first appearing on the highly successful 2001 debut album Through The Eyes, the EP is a prime slice of Flaw’s melodically rich and enticingly muscular rock ‘n’ roll.

Released through Pavement Entertainment, United We Stand is a fiery often irritable fusion of nu and melodic metal with hard rock driven by similarly fired emotion and intensity. As soon as opener I’ll Carry You envelops ears it is easy to see why the release is described as a companion and continuation of Divided We Fall though it soon shows it has plenty of its own character and imagination to be a fresh and potent step on. The first track coaxes ears with a suggestive melody, Jason Daunt’s guitar a swiftly captivating lure soon joined by the potent and distinctive tones of vocalist Chris Volz as bold rhythms stir. As in turn sonic flames escape that melodic enticement a similar urge hits the throat of Volz, his initial smoulder becoming an emotive roar before the crescendo of sound settles once again. The magnetic cycle repeats with increasing appeal, the track a crackling fire of sound and heart further stoked by the enterprising swings of drummer Dan Johnson and Tommy Gibbons’ brooding bass.

It is a striking song quickly backed up by the darker air of Fall Into This. Bass stirs the senses with melancholic prowess initially before the wiry heat of the guitar cradles the melodic expression of Volz. It is a captivating mix of dark and light, emotional and aural shadows colluding with again fire bred textures as the song croons with infectious dexterity. At times imposingly heavy and frequently seductively inviting, it is a fascinating incitement before My Style uncages its volatile adventure, submerging ears in a Staind meets One Minute Silence like drama. It too has tempestuousness to its heart which infests the sounds shaping its proposal and it too leaves ears and appetite thickly satisfied.

The live tracks are Only The Strong and Payback; two rousing encounters showing why Flaw is such a powerful and skilful draw on stage which leaves Such Is Life to bring United We Stand to its conclusion. There is a raw edge and air to the whole of the EP but is especially vocal in the final track, feeling like it was recorded live in one take to pull the listener right onto a face to face union. With each passing second it becomes more ferocious and turbulent but without losing its melodic craft as the EP come to a fine close.

In some ways there are no new surprises within United We Stand, the release Flaw as you know and fans embrace them, but rarely do you feel like old waters are being stirred only fresh pleasure.

United We Stand is out now digitally and physically via Pavement Entertainment.

https://flawband.com    https://www.facebook.com/FLAWBAND/    https://twitter.com/officialflaw

Pete RingMaster 05/09/2017

Copyright RingMaster: MyFreeCopyright