Five Mile Smile – The Truth About Dogs and Wolves

Apr15

Five Mile Smile is a duo from Belfast in Northern Ireland, The Truth About Dogs and Wolves their new EP and highly infectious proof that the band creates some rather tasty blues lined rock ‘n’ roll.

Originally formed in 2000, Five Mile Smile split up three years later after a time playing extensively around Ireland and recording some well-received songs. Connecting again through Facebook, the band reformed as a trio in 2014, initially just for fun. In no time though they began writing new material and played a few small private gigs. Things have continued to grow, culminating in the release of The Truth About Dogs and Wolves; an encounter which mixes familiarity with fresh passion and mischievous adventure.

The EP opens with Brawlin in Belfast, a track “about local boxing, and small time boxers making it big.” From the announcement every boxing fan gets a tingle from, the track stomps into view with bold rhythms and a hungry tide of riffs. Quickly it slips into its rock ‘n’ roll stride, vocals roaring from the midst of the swiftly contagious proposal as fifties and sixties rock ‘n’ roll collude with fresher essences to wrap attention up in the song’s swinging antics. It is an excellent start to the release, a slice of almost feral infectiousness veined by ear enticing guitar and rhythmic craft.

Call to Arms comes next, the second track making an equally alluring start as vocals harmonically unite against the more aggressive but no less enticing jab of beats and the sonic glaze of guitar. There is a heavier gait and swing to the song compared to its predecessor and a darker air seemingly to its intent which only adds to its drama and though it does not quite match up to the heights of the first song it leaves a keen appetite for more which Beg Borrow or Steal with its dirty rock ‘n’ roll soon feeds. Again it is a song unafraid to embrace sixties inspirations, The Rolling Stones an obvious but invigorating hue in its highly enjoyable nagging infectious roar.

The lively almost salacious exploits of Working Man and the licentious deeds of Drinkin All Day keep the record rocking and body rolling; the first a raw and firmly catchy offering with highly flavoursome melodic flames licking at its virulent infectiousness. Its successor is sandwiched between a great burst of cigarette nostalgia, blazing away with blues rock passion and energy not forgetting creative enticement. Both tracks challenge the first for best song honours, the first swinging it.

The EP closes with Touch the Lightning, a song which hints at and promises more than maybe it delivers even with its eventful twists, never quite following through their boldness, but still does nothing less than please and add to the potency of a release which may not be obviously unique but has plenty to get into and more importantly really enjoy. Check out the band’s other new track This Is Not a Drill too on their Bandcamp page for more blues rock goodness.

The Truth About Dogs and Wolves is available now @ https://fivemilesmile.bandcamp.com/album/the-truth-about-dogs-and-wolves

https://www.facebook.com/Five-Mile-Smile-604400046245516/

Pete RingMaster 11/04/2018

Nosebleed – Scratching Circles On The Dancefloor

Apr13

The last four years has seen British trio, Nosebleed establish and declare their voracious presence on the UK live scene; time which equally has seen their sound honed and reputation built, it all leading up to the moment they launch themselves at nationwide recognition. That time is now with the release of their debut album, Scratching Circles On The Dancefloor. It is a brief but relentless stomp of garage punk nurtured devilry allowing no time for a breath but giving a wealth of insatiable moments to breed instinctive lust for.

Thirteen virulent songs over twenty and a small handful of minutes, Scratching Circles On The Dancefloor flies from the speakers flinging song to song hooks like confetti and springing inventive twists like a mad professor. It is a rock ‘n’ roll dervish but with a devious control and scheme which sees feet, hips, and the imagination merciless to its manipulation.

Recorded live across one weekend alongside producer Andy Hawkins (Hawk Eyes, The Pigeon Detectives), Scratching Circles on the Dancefloor sets its intent with its first lungful of breaths. The initial guitar lure of opener I’m Okay wags an inviting finger before being quickly joined by hungry rhythms and the vocal mischief of guitarist Eliott Verity and bassist Ben Hannah. For fifty odd seconds the song rigorously hops around, Dicky Riddims’ beats setting the tone for the punk infested romp.

As the excellent start lays its last jab, its successor I’m Shaking is in the starting blocks, loco grooves teasing away as the track bursts into manic life. As rhythms pounce and hooks infest, the song sinks its mania into the imagination like a fusion of King salami and The Mobbs; teasing and fingering the psyche with its viral appetite and character. Superb does not quite cut its magnificence; a height of bliss eagerly backed by the addictive antics of Time And Time Again which quickly entangles the listener in its swinging grooves and excitable rhythms.

The voracious design of the album simply continues with the next pair of Wrong and Start Again. Not for the first or last time across the album, there is a whiff of seventies punk band The Cortinas especially in the first of these two with its sharp almost spiky hooks and instinctive catchiness while the second uncages a riot of bullish rock ‘n’ roll as punk as it is fifties scented honed into another irresistible and individual Nosebleed infestation.

As soon as the rhythmic rumble of Everybody breaks the momentary silence between songs, body and greed was sparked here; the track trapping an easy submission with its web of grooves and hooks let alone vocal incitement while Slow Down does the complete opposite as it had hips swinging and limbs flying with its dirt stained rock ‘n’ roll. Both tracks not only get under the skin but deep into the blood taking over spirit and soul simultaneously yet still get outshone by Scratching Circles. Like a puppeteer, the song dictated movement and energy; its Stones kissed heat and tenacious enterprise delicious spice in its creative irritancy and riveting manipulation.

Can’t Stay Here harasses like a child which will not take no for an answer to what it wants, the song bouncing around with its eyes firmly on the prize before Psycho grabs best track honours with its psychobilly hued rascality. Like the bad kid your mother warned you to stay away from, the track leads to wicked habits and salacious antics and boy does it reward for going astray.

A sixties garage rock hue lines the attitude soaked Kick Me When I’m Down next; swinging grooves and agitated rhythms gripping attention from its first touch, flames of melodic seduction from the guitar adding to its rich lure while I Can’t Tell You Anything creates a maze of hooks and grooves impossible to escape from, not that you will want to; an intent which is seeded in the album’s first note and only intensified thereon in.

It all comes to a close with What You Have Done, a ravenous collusion of grumbling filth lined bass, intrusive beats, and predacious riffs all linked by the band’s persistently anthemic vocals. It too has rockabilly/psychobilly infested fuel to its roar as well as a mouth-watering Misfits seeded glaze bringing the album to a close in majestic but certainly rampantly salacious style.

There are encounters which just inflame the individual instincts of us all, Scratching Circles On The Dancefloor is one for us, a release leading us to drooling ardour. We will not be alone as quite simply the album is a garage punk classic, indeed a rock ‘n’ roll masterclass from a band surely about to take national attention by the scruff of its neck.

Scratching Circles On The Dancefloor is out now through TNS Records and available @ https://tnsrecords.bandcamp.com/album/scratching-circles-on-the-dancefloor

https://www.facebook.com/nosebleedband/

Pete RingMaster 11/04/2018

Sonic Tides: talking Oceans with guitarist Tom Hollands

Apr13

The release of a new EP suggests 2018 is set to be a potent and busy year for Brighton, UK based Oceans. It is a multi-flavoured, ear grabbing incitement of the band’s post hardcore and alternative rock blended sound building on their previous encounters whilst venturing into new imagination. We recently had the pleasure to dive into Oceans and their new offering with guitarist Tom Hollands, exploring their beginnings, fresh endeavour and more….

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

Much like the actual Oceans, we are a band made up of 5 mostly water based entities: Zach Silver – vocals, Conor Hyde & Tom Hollands – guitars, Jack Warren – bass and James Gillingham – drums. We all either lived, partied or performed alongside each other before the current line-up was formed, that and our shared desire to create made Oceans happen!

Have you been involved in other bands before? If so has that had any impact on what you are doing now, in maybe inspiring a change of style or direction?

Collectively we’ve all played in bands or made music of many different genres. Perhaps without being fully aware of it we draw on this when writing – We’re all quite different as musicians too so I think we’re bound to end up with quite an eclectic sound.

What inspired the band name?

We came to Brighton and based it on things we saw – So it was either something to do with seagulls, falafel (love it), or the ocean… No unfortunately that’s not true; our guitarist Conor got it from a Mallory Knox song!

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

The idea has always been to try to make music that we love and hopefully others do too, and to do this as a career – We always strive to be somewhat original yet familiar enough to still fit into a scene.

Do the same things still drive the band when it was fresh-faced or have they evolved over time?

Most of us didn’t have any real direction until we decided to pursue music. We also love playing live and like most bands can’t wait to hopefully play to bigger crowds and do more tours!

Since your early days, how would you say your sound has evolved?

We’re evermore critical with our songwriting and I’d say we’re starting to really refine our sound – The music has grown darker sonically and thematically and we’ve tried to strike a balance between more poppy hooks and heavier riffs.

This has been more of an organic movement of sound or more the band deliberately trying new things?

Although it’s felt like a natural progression, we’re actively trying to make the best songs we can and sometimes that means tearing apart or scrapping ideas we’ve worked on for ages and doing something completely new instead.

Presumably across the band there is a wide range of inspirations; 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?

We all have rather different tastes in music; artists that have had a considerable impact on us are Incubus, Don Broco, Black Peaks, Deftones, Marmozets… There’s so many. We’ve heard of some bands that will try dozens of different melodies or ideas before settling so we’re just trying to be as critical as possible!

Is there a regular process to the band’s songwriting?

We don’t have a set method, however it usually starts with guitar riffs written at home and then built upon bit by bit in rehearsals. We all have a say in every part of the process so it really is a collective effort. Now we do demos and backing tracks to try out synths and things like that.

Where, more often than not, do inspirations to the lyrical side of your songs come from?

Our singer Zach writes the lyrics – Subject matter is usually based on personal struggles or stories relative to what’s happening in our lives (get over ourselves, right?) – We try to leave things open to interpretation, we want our audience to be able to relate.

Could you give us some background to your latest release?

Our new EP, Far From Composure dropped on March 13th. It’s available on practically all platforms and we see it as a big milestone for Oceans.

How about some insight into the themes and premise behind it and its songs?

Thematically the EP spans elements of coping with mental instability and it’s causation due to physical condition, relationships with yourself/others, escapism… The premise of this EP was to really capture our progression as a band from previous works and most importantly create something very emotive that connects with listeners. We also wanted to write big riffs, hit stuff and make loud noises.

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?

Our intention has always been to enter the studio with finished songs, however we always end up adding bits and pieces and coming up with extra ideas – We actually recorded a whole extra song last time!

Tell us about the live side to the band?

We play with a lot of energy and really like to throw ourselves about, I’d like to think if you don’t enjoy our recorded music at first our live set would… Captivate you… (Pun FFO Marmozets…)

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

It can be tough for any new band to branch out from their hometown and it certainly hasn’t been any different for us. It helps being driven for sure – We lost count long ago of the amount of gigs we’ve played around trying to make a name for ourselves. We’ve had our fair share of bad luck but we’ve found that the harder you work the more chance of creating positive opportunities you have – Though there are many other factors to consider!

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 success or is it more that bands struggling with it are lacking the knowledge and desire to keep it working to their advantage?

Social media has played a big part in enabling us to reach people we otherwise wouldn’t have been able to. However, working round changing algorithms and the like can be difficult when trying to connect with fans (Or gain new ones). It’s a big discussion, though now it’s pretty much a necessity for new artists to engage in social media. Like with anything, it’s really about figuring out how to utilize it most effectively for your band, we’re definitely still learning! I’d say do what you can without losing sight of what’s important, the rock and/ or roll (or whatever genre you play). Cliché I know…

For further dips into Oceans check them out @

https://www.facebook.com/pg/oceansukband https://twitter.com/oceansukband http://instagram.com/oceansukband http://oceansuk.bandcamp.com

Pete RingMaster 13/04/2018

Sharone and The Wind – Enchiridion of Nightmares

Apr11

Like a series of dark fairy tales, Enchiridion of Nightmares the new album from dark rockers Sharone and The Wind captivates, seduces, and haunts. Each of its notes, let alone songs, comes with a shadow to their beauty, melancholy to their light, and intimacy to their grandeur with it all colluding in an adventure which just steals the imagination from everyday reality.

Hailing from Denver and emerging from the solo project of vocalist/songwriter Sharone (Borick), Sharone and The Wind is one of those propositions impossible to ignore or forget however their similarly striking songs appeal to personal tastes. Enchiridion of Nightmares is the successor to their well-received 2017 album Storm but sees an almost completely new line-up alongside Sharone. It was an emotionally traumatic time for the songwriter; the departure of her band inspiration within the new album fuelled by the emotions she became embroiled in; Sharone admitting “Writing this album was therapeutic to say the least. Before I began writing, I had just gone through one of the most difficult changes of my life and I felt more alone than ever. I felt angry, scared, and hurt, and I took everything I could from the experience as a lesson that allowed me to grow as a person as well as a songwriter.”

There is a rich cinematic and theatre-esque feel to Enchiridion of Nightmares which equally adds to its captivation; indeed its songs entwine an influence of horror movies, vintage and modern, into their personal nightmares. With just as richly layered and dramatic sounds to its exploration, the album is a persistent unveiling of new twists and shadows listen by listen. On our first meeting intrigue soaked the pleasure, through a couple more captivation, each subsequent listen leading to the inescapable bewitchment these words spring from.

The album’s piano nurtured atmospherically chilling Intro sets the tone alongside Sharone’s painting of words; its poetic scene setting the portal into the dark charms and cold breath of the following Graveyard. Once more the piano of Michelle Bailey captures ears and imagination as richly as the powerful and imposingly graceful tones of Sharone, both aligned to the infectious rhythmic manipulation of bassist Zach Barerra and drummer Anthony Hester. With sonic flames from the strings of guitarist Alex Goldsmith adding to the captivation, the outstanding track immerses the listener in dark magnetic theatre where whether calm and seductive or aroused and burning the senses, it engulfs the senses and imagination.

It is a rich success repeated across the release the following Haunted House instantly transporting ears and thoughts into its foreboding setting, anticipation looking through its piano built windows to find the melodic and infectious weaving of the band dancing to the song’s rhythmic swing. Again fluid passages of energy and emotional intensity flow through ears, the band’s multi-flavoured rock simultaneously gothic, symphonic, and melodic woven into another entrapment of creative suggestion and emotional release.

The initially punchier presence of Demons lures the listener into even darker depths and self-exploration, to places we have all felt in degrees. It is an intimate proposal with broad arms, an invasive entrapment of seduction and agitation brought with real craft and creative animation before managing to still be eclipsed by the gorgeous Music Box. An innocence lined melody caresses ears first with unsurprisingly intimation lining its charm before piano and guitar set their individual threads to the song’s vocal and musical reflection.

Elegant smoulders and fiery flames arouse the haunting might of Mirror Ghost next, emotive intensity and melodic drama soaking successor Zombie, both songs creatively and emotionally enveloping body and mind masterfully while Fire twists and bursts like its namesake within its dark carousel of temptation and seduction. The track is like a mercurial lover, coaxing and seducing before igniting in primal intensity and quite superb as it provides the inimitable pinnacle of Enchiridion of Nightmares.

Throughout the album the whole band simply impresses, spinning a web of dark fantasy and close to home intimation with the dexterous fingers of Bailey and the vocal prowess and majesty of Sharone steering the creative emprise, the power ballad Cursed another basking in the songwriting imagination and the quintet’s invention.

The final pair of Exorcist and Death of a Clown brings their own cabaret of invention; the first, featuring guest vocals by Hannah Maddox, an instinctively catchy yet thickly dramatic maze of shadow woven enterprise and macabre kissed seduction, its successor a melancholy spun serenade with beguiles as it haunts. Both leave ears captivated and the imagination engrossed and as the album just getting further under the skin by the play.

A unique tapestry of varied shadow bred rock, Enchiridion of Nightmares is a one of a kind adventure and tempting awash with emotional turbulence turned into cathartic beauty as compelling as it is magnificent.

Enchiridion of Nightmares is released via Syndicol Music on April 13^th, pre-ordering now available @

https://sharoneandthewind.bandcamp.com/album/enchiridion-of-nightmares

https://sharoneandthewind.com/ https://www.facebook.com/sharoneandthewind/ https://twitter.com/sharone_thewind/

Pete RingMaster 11/04/2018

Tides of change: Talking Currents with In Vain

Apr7

Photo by Jørn Veberg

There have already been some truly striking releases in 2018 and maybe no more so than the new album from Norwegian metallers In Vain. Currents is a progressive metal adventure which surprises at every twist and enthrals at every turn. With big thanks to him, we recently had the pleasure to explore the album closely with guitarist/songwriter Johnar Håland and the band, getting to its heart, its journey to release and much more….

Hi Guys, many thanks for sparring your time to talk with us.

It is fair to say that it is a busy time for the band with the recent release of your new album, Currents. Have you had time to sit back and reflect on its initial success and plaudits yet?

Hi! Thanks for your review and for taking the time to do this interview. Things are quieting down a bit now and as you say, the feedback has been really good. However, I am not really a person who looks back. My thoughts are more focused on the next album.

It seems that you have spent a long time in its creation, that time certainly reflected and heard in all its honed intricacies and bold adventures. What is the time scale for its creation?

Our previous album, Ænigma, was released in 2013 and there seems to be people who think we spent five years writing this album. That is not the case. There are several reasons for why this album was delayed. Personal issues forced me to put composing on halt for almost a year, and with me being the only songwriter in the band that forced the whole process to a standstill. In addition, I was working on the debut album of my other band, From Strength to Strength, which is a hardcore band that will release its debut album some time during 2018. On top of that I spent the majority of my spare time reading for the CFA (Chartered Financial Analyst), which is a self-study in finance I have been doing the last three years besides my full-time job. The album was actually finished in June 2017, but we could not set a release date until we had a proper tour booked to support the release. So there are many reasons for this long delay. Hopefully it will not take five years until the next album!

I am sure you will not disagree with us when we say it is your biggest, boldest, and most imaginative release. Did you have any specific aims when writing and creating Currents or it just organically evolved into what we hear?

I am not really sure to be honest. Our debut album The Latter Rain (2007) was also quite bold. Back then we were a totally new and unknown band who released an album of one hour with grandiose and complex music supported by 20 guest musicians. So that was definitely a brave musical undertaking.

In all aspects, we feel Currents eclipses its acclaimed and also richly enjoyable predecessor, Ænigma. Where do you see the biggest evolution?

To be honest, I am not a fan of comparing music. In my opinion, Currents is another strong album in our catalogue. It is a very diverse album full of contrasts and has high-quality music with longevity. I take it as a sign of quality that there are different opinions with regards to which of our albums people enjoy the most. I do not believe Currents is that much different from our previous work, but there are some changes. The production is more organic, there are some shorter songs and it is less black metal compared with our previous releases.

Currents embraces the widest array of flavours and styles in your sound yet, a truly expansive landscape weaved around bold yet often delicate contrasts but it still has that signature In Vain breath. Did you have to concentrate on keeping that character or it again just naturally evolved as indeed that broad tapestry of sound?

I think it is just a natural evolution to be honest. I do not really think that the music is that much different from our previous releases, however there are some new elements. For instance we have one song, Soul Adventurer, with mainly clean vocals. We also have a song with acapella choirs, Blood We Shed, and that is something we have not done before.

You linked up, as for the previous album, with producer Jens Bogren. It is fair to say he gets your sound and imagination but what does he especially bring to the mix which you feel adds to the realisation of your ideas?

We were very pleased with Jens’ work on Ænigma. We did not really have any other alternatives at hand and decided to go back to him. We wanted a much more organic sound this time around though, and I think we achieved that. Jens usually knows what we want and I think we have the same views on what sounds good and not.

Give us some insight into the recording of the album.

All the guitars and bass were recorded in my home studio, except for some lead guitar solos that Kjetil recorded at his home. Vocals and other instruments were recorded in Strand Studio in Oslo. Everything was re-amped by Jens Bogren and he also did the whole mixing and mastering of the album. However, we were never present in his studio and only communicated with him via email and phone.

We have had the real pleasure of having an insight into the lyrical side of the album ahead of its emergence. Can you share some of the themes and inspirations to the songs?

Currents is not a concept album in the traditional sense, however there is a topic and a red line in the music, lyrics and artwork. Currents, reflects on the colossal shifts and changes of our time. The present world is characterized by continental flows of people, traditions and cultures. Migration of people across continents and borders…Cultures merging. Dramatic shifts in lifestyle from one generation to the next. This topic exists in both the lyrics and the music however we only touch upon it in an abstract way with a top-down view. It is important for me to clarify that we do not have any direct political views on this matter reflected in our lyrics. Besides that, the lyrical themes are varied, ranging from personal experiences and struggles, to contemplations on nature, philosophy and the historical and political development of this twisted world we´re living in.

Was there a particular process to the writing of songs for Currents?

The process was the same as previously. I write the songs alone and present complete compositions to the rest of the band. Later on I involve Sindre in the preproduction, as he also lives in Oslo. All members are free to add their personal touch to the songs and to give suggestions, but as the songwriter I have the final word.

It also sees a few guests such as drummer Baard Kolstad (Leprous, Borknagar), vocalist and former band member Kristian Wikstøl (From Strength to Strength), and vocalist Matthew Kiichi Heafy (Trivium). Were these happy happenings or thought of early on in the album’s creation?

This was something we decided on during the preproduction process. All the guests added their personal touch to the album and we are very pleased with their performance.

I know as for so many bands finances make a major part in decisions and possibilities in keeping going let alone forging ahead with releases, tours etc. for In Vain. How did this put restraints on Currents and do you see crowd funding as a feasible way forward?

We are fortunate to be able to record albums of the quality we prefer. The total budget for this album is around 50 000 EUR I guess, so hopefully people understand that they need to support us financially if they want to hear more In Vain albums in the future. We have not paid anything out of our own pockets. The label pays and we are also fortunate to get some financial support from various grants in Norway. However, the label obviously needs to get in break-even before we will get any part of the potential profit. Touring is more challenging and a tour costs a lot of money. Financing definitely puts a limit on how many tours we are able to do.

As with your previous albums, Currents is available through Indie Recordings. How have they helped, apart from the obvious, in bringing the album to our ears?

We have been with Indie Recordings since 2005 and we are actually the first band they ever signed. We have a good relationship with them. Obviously there are things that could be better, but that is always the case.

For those new to In Vain can you tell them about the beginnings of the band…the early days?

In Vain is a Norwegian band that plays progressive extreme metal and was formed in 2003. Andreas (vocals), Sindre (vocals) and myself (guitar) are the founding members, while Kjetil (guitar) joined the band in 2009 during the recording of our second album Mantra. Our bassist Alex has been around since 2013 and our drummer Tobias joined us recently. So far we have released four albums and two EPs, and we signed with Indie Recordings after releasing our second EP Wounds in 2005. Our latest album Currents was released on 26 January 2018 and we just came back from a European tour with Orphaned Land, Subterranean Masquerade and Aevum.

What is next for In Vain, shows etc. and once the dust of its triumph settles ahead?

We just came back from a European tour with Orphaned Land, Subterranean Masquerade and Aevum. We covered London, France, Spain, Arnhem and Essen. Our hope is to do another tour later in the year where we cover the countries we did not have the chance to go to on this tour. Besides that we will play some shows in Norway and some festivals.

Once again big thanks for giving us your time. Any last words you would like to share?

Thank you very much for your support, we appreciate it! To the readers; keep supporting great music, have a go at our new album Currents, and stop by our FB page at https://www.facebook.com/InVainOfficial/ for news, music, tour dates and other stuff.

Check out the review of Currents @ https://ringmasterreviewintroduces.wordpress.com/2018/02/04/in-vain-currents/

http://www.invain.org/ https://twitter.com/invainofficial

Pete RingMaster

The RingMaster Review 07/04/2018

Basement Critters – Hurt Me With The Truth

Apr7

Currently working on their debut album, Belgian metallers Basement Critters recently signed a worldwide distribution deal with Wormholedeath for their first official EP, Hurt Me With The Truth. It has given their highly praised offering, originally released in 2016, a broader voice, an invitation to a host of new ears and a sure to be fresh wealth of anticipation for that first full-length.

Thrash metal bred but coming with a richer variety of flavours, the Basement Critters’ sound is a mix of crossover adventure and thrash ferocity emerging as a beast akin to a fusion of Stuck Mojo and Testament. It is familiar yet pleasingly individual and unafraid to embrace any spicing which takes the West-Vlaanderen hailing band’s imagination. It makes for a rousing roar as evidenced within Hurt Me With The Truth, an encounter deserving of a fuller landscape to tempt.

The EP opens up with Brain Bleach and instantly prowls the listener with predacious riffs and rhythms. Guitarists Sven Caes and Glenn Labie wind their bait and emerging grooves around ears as drummer Frederik Vanwijmelbeke pounds with controlled but voracious intent. In the midst of the sizing up vocalist Thomas Marijsse brings a raw agitation which in turn is courted by the heavy grumble of Frederik Declercq’s bass. The song continues to stalk and tenderise the senses, going up a gear or two but never going for the jugular. Instead it springs a virulent groove which had the body bouncing as a swift appetite for the band’s sound erupted. That cycle repeats with greater tenacity and intensity, the track making for a tremendous start with a vocal self-diagnosis adding to its instinctive contagion.

The following Storm similarly circles its target, guitars driving its intentions before inciting a voracious assault. Again the band twists and turns in its attack, urgency varying with unpredictable adventure as the song’s ferociousness ever deviates. The vocals of Marijsse epitomise that adventure, fluidly moving through a variation of dexterity in tandem with the sounds before Nature Strikes Back raids the senses with a more expected thrash offense but one lined with irresistible hooks and anthemic tendencies. The track is superb, a galvanic incitement mixing up the old and new with fresh boisterousness and craft. Declercq’s bass unleashes a delicious rabid growl throughout the EP, though sometimes seems a touch hidden by the exploits around him, and is in full rumbling voice here as it prowls the blaze of the guitars.

Hurt Me With The Truth concludes with the pair of Book and 39:16. The first saunters through ears with an almost doom laden gait, vocals reflecting their emotional tone and defiance within the song’s own thick voracity and predatory nature while its successor is thrash savagery and heavy metal flirtation rolled up in a multi-flavoured nagging of ears and spirit. It also slips into tantalising calm as the progressive instincts of the guitars conjure, rhythms rumbling alongside before sparking a further anthemic arousal.

It is a fine end to a release which we are so glad has been given a new chance to introduce the thrash adventure of Basement Critters. Like those things in the dark corners of the lowest depths, the band’s sound lurks and prowls, often teasing before lashing out with a delicious feral bite.

The Hurt Me With The Truth EP is out on all digital stores via Wormholedeath / The Orchard.

https://www.basementcritters.be/ https://www.facebook.com/BasementCritters/

Pete RingMaster 04/04/2018

One Last Daybreak – A Thousand Thoughts

Apr6

Creating a plaintive post hardcore roar with an emo tinged heart, British outfit One Last Daybreak release their debut EP this April. Offering up five ear luring tracks, A Thousand Thoughts is a potent introduction with a strong ability to grab attention while revealing the potent potential within its creators along the way.

Essex hailing, One Last Daybreak is as fresh as they come, emerging this past January. Whether they have taken time before then honing their style and sound we cannot say though it would not surprise such the accomplished nature of their first release. It has the great rawness which comes with a first endeavour from a newly uncaged proposition but equally a sure touch and imagination which suggests bigger things ahead even at this early stage. With inspirations including the likes of My Chemical Romance, Architects, and Underoath, One Last Daybreak quickly make a persuasive statement which to be fair becomes even more compelling by the listen.

A Thousand Thoughts opens with its first single According to Pleasure, I Was Low on the Food Chain. A lone guitar makes a keen melodic invitation and is quickly joined by bold rhythms amidst a colluding sonic jangle. Vocalist Connor Catchpole is soon in the midst of the lure with his melodic, angst lined proposal; his strong delivery just as potently backed by that of guitarist Jack Smith to create a fiery and enticing union. Quickly the song has the body bouncing as familiar strains meets fresh endeavour, the strings of Smith and lead guitarist Matt Pike creating a captivating weave over the darker moody hues of James Hicks’ bass. It is a strong start to the release enticing ears and intrigue with ease if offering elements of predictability but for personal tastes is soon outshone by the following track.

The Sand In The Hourglass, The Life In My Lungs instantly makes for a compelling affair, the resonance of drummer James Hart’s first swings ringing around the enticement of guitar before driving the blossoming track with boisterous energy as vocals and sonic imagination brew their winning persuasions. Swiftly there is a freshness and spark to the song less noticeable in its predecessor, its character and imagination bold with a fire in its belly which erupts with lava-esque intensity. Short and voracious, the song grabs and firmly retains best track honours though the EP’s title track soon makes for an eager rival with its infectious nature. Though it misses the keen creative invention of the last track it makes up for it with its rich catchiness and eager energy aligned to that natural flair in sound the band seems to have.

The release is brought to a close by firstly In The Movies, a blaze of sonic causticity and temptation further fired up by vocal ferocity and melodic infection, and finally A Coffin For Two. It is an assault of wiry grooves and voracious riffs backed by rhythms with the intent to split bone and a major rival to that top track title. With metal, punk, and rock essences all become embroiled in its physical and emotive furnace; the song is an irresistible predator which alone sparks a real appetite for more.

As suggested, A Thousand Thoughts only gets more enjoyable with every play as too anticipation for the potential it reveals. It is a great sign that the band’s strongest and most striking moments is when they replace familiarity with bold adventure and an edge of unpredictability and though too early to declare One Last Daybreak as the future of something or other, the ingredients to make a mark are brewing nicely.

A Thousand Thoughts is released April 7^th.