Fenrir – The Rise

Fenrir _RingMaster Review

The Rise is one of those releases which make a strong and enjoyable first impression but it is over time where the realisation of just how good and full it really is emerges. The new EP from British alternative rockers Fenrir is a quickly rousing and lively stomp which just grows in stature the more attention it is given. It is potent evidence of the growth and maturity which has blossomed in the band’s sound since the release of its predecessor two years ago. Their sound is still not the finished article we would suggest, but with similar steps ahead, the Ipswich hailing quintet is looking at very healthy creative horizons ahead hopefully matched by success.

Comparisons to the likes of Mallory Knox, Alexisonfire, and Fall Out Boy have often been offered for Fenrir via their explosive live presence and releases, easy to understand suggestions though fair to say The Rise reveals that an even more individual character to the band’s sound is emerging. Previous singles like Flash Fires, Confessions, and Ruins have alone been stirring up support from the likes of BBC Introducing, whilst the full UK tour Fenrir has just completed reinforced the band as one of Britain’s most voracious and dynamic live acts. They have yet to find the key to unlocking thick national awareness though, something The Rise may or may not prove to be but if the former, there is no doubting it will give the UK rock scene a hefty nudge with its impressive progression of the band’s songwriting and sound; the words of guitarist Mike Cockayne echoing that, “More than anything it’s more refined than our older songs and it really shows what we’re all about.

The Rise _RingMaster Review     The release opens with Tell My Wife I Said ‘Hello’ and an instant surge of guitar enterprise and heftily impacting beats from drummer Ben Brennan. Settling down a touch for the quickly enticing voice of Ben Slater, a sneaky dark and alluring bassline slipping in alongside him, the song is soon spinning a web of guitar enterprise from Cockayne and Krishan Alwis around the increasingly brooding and irresistible bait of bassist Lewis Rudkin. The vocals get stronger and more impressive with every passing verse and chorus, Slater’s voice potently backed by the strong tones of Cockayne, whilst the track itself just grows more anthemic and virulently persuasion to provide an enjoyably bracing and skilful start to the EP.

Its mighty lure is backed up by the following roar of Bones, a song alive with blazing guitars and rhythmic strength around impassioned vocals. At two and a half minutes the track is a turbulent spark for ears and imagination but niggles a touch when it brings out a glorious infection clad hook to lick lips over and then swiftly comes to an end. That frustration is soon forgotten though once Hurt Hands lays its melodic charm and tenacious adventure on ears. Again energy and emotive intensity ebbs and flows with an imagination to match that of the craft and the contagious heart of band and song respectively. Unpredictability is also a rich spice to the track, moments of calm alive with intrigue and bold adventure whilst emotion just oozes from its more incendiary expulsions of sound and intensity. Fair to say the track steals the show, even outshining the impressive opener.

A melodic kiss is provided by brief instrumental Einn, more evidence, as if it was needed, of the skills of the band and the variety in their composing, before Smoke Signals intensely smoulders and bellows to keep a greedy appetite happy. In some ways the song and subsequently its successor lack the same spark of the earlier tracks, bringing less uniqueness to their proposals, but it and the gentler and captivating, but no less impassioned Victory Rose II, only reinforces the potency of a thoroughly enjoyable encounter. Each show that the band is right on course to be that something which is distinct from the crowd and with tracks like Tell My Wife I Said ‘Hello’ and Hurt Hands sooner rather than later.

As suggested earlier, The Rise requires maybe a touch more time than others to become the forceful pleasure it certainly is but give it that and Fenrir rewards with one consistently appetising and enjoyable adventure we can only recommend you go take a listen to.

The Rise EP is available now at the Fenrir Bandcamp profile.

Pete RingMaster 22/09/2015

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Faces Of Eve – The Story So Far

Faces Of Eve Promo Shot_RingMaster Review

It may intensely fascinate more than it explosively thrills but The Story So Far, the debut EP from UK metallers Faces Of Eve, is a thoroughly enjoyable introduction to a potential drenched band. Across six compelling tracks, they create a tapestry of diverse sounds which at any given moment can be as progressive metal as they are alternative rock, as tech metal as they are experimental. It makes for a seriously enticing proposal keeping ears and imagination rigorously keen and though many songs just lack the final essence to ignite the biggest reactions, an ingrained appetite for more is a swiftly done deal.

The Hertfordshire quartet emerged towards the end of 2013, Faces Of Eve emerging from the ashes of Brave The Moment, Shields, Trophies Of Dahmer, and Olympus Must Fall. A potent following to their impressive live presence quickly grew and now fresh off a UK tour with Oaths, the band is turning up the heat on a national recognition with The Story So Far.

It all starts with For My Fallen Heroes and an enticing coaxing from guitars and a harmonic ambience. The strings of Dan Sloane gently dance with ears as the melodic tones of vocalist Benjamin Fordham Black add their caresses to the magnetic persuasion. The air of the song has an increasingly imposing texture, not intimidating but carrying open shadows enhanced by the heavily wiry tones of bass. It does all unite in a richer and thicker tempting, though that is for mere moments as the song suddenly stops. It is a strong opening but the abruptness of the track without being instantly replaced by its successor, or bleeding straight into it, feels slightly odd. It is a minor thing though and soon forgotten as Feed emerges from the distance with a tangy groove around punchy rhythms. Full in the face, the track is soon a thrilling web of spidery grooves and sonic tendrils wrapped in more strong vocals and contagious hooks. An increasing unpredictability almost as quickly erupts too, a weapon the band use to great effect over the release and here emerges in jagged riffs and barbarous snarls from the bass of Alistair Hines which strikingly flirt with the superbly crafted mesh of flavours and technical imagination. It is like a festival of sound, a collusion of textures hinting at bands like Circles, Muse, Alexisonfire, and Shattered Skies, and at its heart just an irresistible rocker.

Faces Of Eve Cover Art_RingMaster Review   The following Crime Of Passion opens with a sombre atmosphere, vocally and musically, as scythes of guitar court the imagination with the vocals in a melancholic yet charming invitation. The steely funk bait of Hine’s bass stirs the song’s air soon after as the blend of falsetto and emotive vocals entangle, the track eventually shrugging off its reserve as the potent beats of Oliver Jones incite a voracious and snarling tango of metal bred sound. As its predecessor, the song is soon evolving and weaving in various styles with every passing grouping of seconds and similarly gripping ears and thoughts through its bold adventure.

Temporal Rotunda also has a morose toned start, voices and sounds cloaked in a cloudy ambience which eventually sparks into a composed but fiery stroll littered with jabbing beats and gnarly riffs bound in spicy grooves and melodic incitement. The track prowls at certain points, imposing its weight and alluring intensity whilst veining its trespass with attention pulling slithers and twists of melodic and off kilter imagination. By its end the dark side of the track is a riveting enticement, leaving a lingering pleasure which One Man Show runs with through its own vivacious and agitated qualities. The technical growl and nagging of song and sound is a persistent beckoning but the band inventively send it spinning with swift flashes of avant-garde and progressive ingenuity, matched by resourceful vocals. It is an outstanding track which epitomises everything good about The Story So Far and how it just misses the mark. It is inventive and fiercely imaginative but never pushes its promise to the limits hoped, never quite finding the spark which tips a great song into a show stopper.

It is nevertheless inescapable evidence of the songwriting and technical qualities of Faces Of Eve and their infectious sound which is confirmed on final time by Dwellers. The closing song is another which is a born rocker at heart, its aggressive alternative rock core encased in a spiral of tenacious grooves, their union twisting into an increasingly dramatic and ferocious blaze. Things continue to move into new textures and scenery as the track increasingly lure ears and enjoyment, always returning to its creative spine but always providing new highly satisfying endeavours off of it.

Faces Of Eve is a name to make a note of and The Story So Far a release to seriously think about checking out. Both are destined to promote thoughts that here is a band with a very successful future before them if they want it.

The Story So Far EP is available from Monday 29th June through all digital platforms and as a name your price download @ http://facesofeveuk.bandcamp.com/album/the-story-so-far

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RingMaster 29/06/2015

Copyright RingMaster: MyFreeCopyright

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Prog Metal beasts ‘Faces Of Eve’ lay down a marker with their spanking new EP

Faces Of Eve will be uncaging their EP ‘The Story So Far’, on Monday 29th June through all digital platforms.

Faces Of Eve Promo ShotEncouraged by an array of areas from Circles and Hacktivist to Alexisonfire and Slaves, Faces Of Eve can loosely be placed in the progressive / tech metal bracket. However, their deft ability to merge genres where ensuring widespread appeal and originality, is certainly impressive.

Hailing from the Hertfordshire area and born from the ashes of Brave The Moment, Shields, Trophies Of Dahmer and Olympus Must Fall, Faces Of Eve despatch technical riffery and ferocious power merged with unbridled energy and considered song structures. The quartet have also acquired a substantial following in such a short space of time, largely due to the strength of their set and work ethic. The band have just completed another successful jaunt around the UK with fellow rising hardcorers ‘Oaths’.

Faces of Eve now press on with their debut EP ‘The Story So Far’. The record is brimming with six slabs of sizzling progressive infused technical metal. From the dynamic and alluring beatings of opener ‘For My Fallen Heroes’ through to ‘Dwellers’, the band deliver each note and riff with heartfelt emotion and formidable force. With further touring and shows in the pipeline for the remainder of the year, just watch them take off…..


Faces Of Eve

EP Tracklisting:

 1. For My Fallen Heroes; 2. Feed; 3. Crime Of Passion; 4. Temporal Rotunda; 5. One Man Show; 6. Dwellers.

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Robes Of State – [Double A-Side]


Announced as their new and final offering, the double A-sided single The Bay/Directions is a potent farewell from, if this is to be the end, of British alternative rock band Robes Of State. Linking two vibrant and emotionally fuelled songs, the single provides a striking statement of what has been missed by those new to the band and will be missed ahead by their fans. Neither are songs to turn the UK music scene on its head but both have a craft and passion to songwriting and sound which leaves many others looking a touch bland in comparison.

Formed in 2006 and hailing from Colwyn Bay, Robes Of State consists of vocalist Hev Roberts, guitarist Jezza Bruce, bassist Dave Huds and drummer Perry Batty. Listing influences as the likes of Blink 182, Alexisonfire, Taking Back Sunday, ‘A’, and Feeder, the band’s sound is an atmospheric weave of provocative melodies and immersive intensity as perfectly illustrated by the latest release. From the first infectious hook of The Bay, song and band has ears and attention gripped. With heavy beats and anthemic vocals soon adding their bait, the track is swiftly a raucous yet controlled proposal which only increases its lure as riffs abrase and rhythms stomp with almost angry attitude. Vocally too there is an adventure and energy which challenges and coaxes whilst the song itself whilst lacking the spark to the anarchy it hints at, revels in the restraint and almost teases with its suggestiveness and the increasingly tempting hooks it possesses.

Directions is a gentler caress on ears but no less infused with emotion and evocative textures. The song glides across the senses with moments of increased energy interspersing its warm but melancholic embrace. Those expulsions of intensity bring a climactic presence to the song, giving it an almost emotionally stormy and intriguing character, like an aurally portentous yet unrealised tempestuous sea. It is a song to explore over time, every listen revealing another depth and shade to its heart.

The single also comes with a free bonus track in View Of the City, a song worth the price on its own. A vivacious stomp of sonic enterprise and progressively tinged imagination, it flirts and croons with drama and almost mischievous invention. It is a voracious treat of a song throwing out another reason why the band will be missed if this is to be the end.

It is never too late to discover a great band and the new single from Robes Of State certainly proves that they are just that.

The Robes Of State single is available now via Take Point Records @ http://takepointrecords.bandcamp.com/releases


RingMaster 06/01/2015

Copyright RingMaster: MyFreeCopyright

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Fayne – The Queen of Kings

FAYNE - Press Photo

The first release since returning from a hiatus in 2013, Canadian metallers Fayne have unleashed a maelstrom of a fury in The Queen of Kings EP. Bracingly raw yet just as feverishly sculpted the five track metalcore fuelled encounter reasserts the Montreal quintet as a seriously compelling proposition. It is merciless and ravenous examination of the senses and a perpetual spark for the imagination to feed upon. It is probably not an incitement for those liking an easy life with their music but for the rest it is an increasingly rewarding savaging which impresses more with every listen.

Before the break in 2008, Fayne drew strong attention and a potent following through their uncompromising sound, similarly imposing live performances, and the EPs You Took it All Away and Delivering The Final Blow in 2004 and 2006 respectively. Those releases led to numerous tours across Canada as well as the sharing of stages with the likes of Alexisonfire, Underoath, Hopesfall, and Blessed By A Broken Heart. Now the band unleash their new exploit, returning with an even more ferocious and creatively gripping sound but still sparking from inspirations such as Counterparts, Mastodon, and Periphery which have always spiced their invention. Produced by the band’s guitarist Alex Gonzalez with Alan Douches of West West Side Music (Dillinger Escape Plan, Every Time I Die, Between the Buried and Me) joining him for the final mastering, The Queen of Kings is a rabid blaze of sound and enterprise from its first second, never relenting even after ears and emotions are frayed and seduced.

The title track opens up the EP, its initial epic melodic coaxing swiftly turning to a blistering fury driven by the hoarse malevolent roars of Joseph Espinosa. Just as quickly an array of vocal tones join the mix, captivating as strongly as the EP Cover - Fayne - The Queen of Kings 2014abrasing riffs and intimidating rhythms alongside them. With no info to the contrary, the varying degrees of raw aggression and clean vocals are all assumingly bred within Espinosa and it is an impressive and unpredictable aspect of him and the band’s attack. Just as ferocious and inventively riveting is the web of intrigue crafted by the guitars of Gonzalez and Nick Fazioli, riffs hellacious and technical prowess in abundance as the pair spin a fascinating and enthralling weave of enterprise and adventure. The track continues to impress, whether a bestial assault or a flavoursome tempest, everything caged within the more directly intensive and predatory rhythmic tenacity of bassist Chris Kasp and drummer Carlo De Iuliis.

As evidenced by the whole release, there is plenty going on and involved in the structure of tracks with repeat listens the only way to discover the heart and depths of each offering. It is a demand which may test some but will reward all as shown by the following Believers which emerges from the tail of its predecessor with blistering grooves, rampaging rhythms, and further vocal diversity. Even more of a predator of the senses than the first track, it has an almost deranged and certainly fiercely agitated attack to its persuasion, everything driven with urgency but also a technical rabidity which almost deceives its quality through hostility. As it unveils more, the song is almost schizophrenic in its enterprise and twists, moving through shades of spite and aggression to explore more melodic pastures and sultry climates, though it is never too far away from savaging the listener.

This song and the fourth, is linked by Isonic Flight, a just short of two minute sonic drift through a haunting atmosphere with dulled rhythmic pulses for company. It is a piece which probably means more to the band and the journey of their release than it will for the listener, especially with it soon being forgotten once the outstanding Concord rises powerfully and contagiously from its tail wind. Riffs and rhythms are instant potent bait, across which raw flames of guitar erupt and a cleaner delivery from Espinosa lures, though he is soon entwining hoarse squalls into his again gripping attack. You would not call the frontman the most skilled vocalist in metal but there are few who are brave and daring enough to test themselves on songs with such a varied and successful arsenal. Arguably less vicious than the early tracks, though not short of malice and rage, the song is a potent fire of melodies and inflamed grooves toying with numerous styles and venturing into alluring experimental pastures.

The release is finished by Nomad’s Land which features Karl Schubach of Misery Signals. A spicy mix of metal flavours combine to encase the hoarse growls of Espinosa as the track sizzles venomously and engagingly from its first breath. Not quite matching the might of its predecessor, certainly until it’s dramatic and rigorously antagonistic final third, the song still provides an engrossing tapestry of interwoven sounds and textures which at times become quite muggy in their union but only provide a proposal which grips and excite ears and thoughts.

Though Fayne is not exactly a new band, they are still relatively a secret outside of their homeland, something The Queen of Kings will go some way to addressing and the unbridled potential within the band will eventually turn into something of the past.

The Queen of Kings is available digitally now via Crystal Math @ https://itunes.apple.com/ca/album/the-queen-of-kings-ep/id937274484 and http://faynemusic.bandcamp.com/track/believers


RingMaster 21/11/2014

Grab the track Believers free below…

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MANUMIT goes ‘Digital & Hostile’, from 1st September‏

Manumit Online Promo Shot

Welsh solo artist Manumit is poised to unveil his explosive debut album, Digital & Hostile on 1st September, through Lost Generation Records, a release which be an anthem for anyone looking for originality.

In an increasingly over saturated market, every fan, record label, radio station, music channel and magazine are screaming for something new. Manumit is certainly that. Spawned in 2012 and coming at you from Bridgend, South Wales (home to the likes of Bullet For My Valentine and Funeral For A Friend), Manumit has strived to bond genres whilst sculpting  genuinely distinctive songs that pull you in from their first breath.  Taking from a plethora of influences, ranging from Alexisonfire and Paramore, to Nine Inch Nails, Pendulum and Nero, whilst drawing from the fundamentals of dubstep, drum n bass, and electro and fusing them with cutting edge rock, metal, and post-hardcore, Manumit has amassed a sound that packs pulsating rock riffs with thoughtful melodic vocal and synth vocal work, all broken up by brutal digital breakdowns. The end result is an original onslaught of contagious, anthemic tracks that are loaded throughout with intricate dynamics.

Mamumit hit the ground running with the release of both his debut EP ‘F**k Genres, Love Music’ and his first music video for the track ‘Walk Away’; people across the world couldn’t help but take note. Turning industry heads, ‘Walk Away’ made it to the Top 10 Fresh New Videos on Scuzz TV, coming in at No. 2 ahead of Bullet For My Valentine, Biffy Clyro and Limp Bizkit, among others. Following this, Manumit went on to release two other singles and videos for ‘Can You Hear Us?’ and ‘Afterglow’, all of which were extremely well-received and also featured on Scuzz TV.

On September 1st 2014, Manumit will nationally unveil his hugely anticipated debut album ‘Digital & Hostile’ through independent imprint ‘Lost Generation Records’. A DVD featuring all music videos, interviews and live performances is also available alongside the album, which consists of ten killer slabs stemming from past singles ‘Walk Away’, ‘Can You Hear Us?’ and Afterglow’, as well as seven new tracks. The album takes you on a breathtaking and formidable journey, and it’s destined to break Manumit into the national sphere.


Manumit Cover Artwork

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Castor Troy – Across The Water

Castor Troy Online Promo Shot

Over the course of this review there will be a wealth of reasons supporting the whole hearted recommendation of Across The Water, the debut album from UK rockers Castor Troy, but with just one reservation which is it lacks the spark to ignite the passions. Certainly there are times where appetite drools eagerly but these are scattered moments within certainly an impressive and enjoyable yet merely simmering landscape. Undoubtedly it is a personal thing which is why we heartily suggest a b-line for the album is taken by fans of heavily boned and rigorously punchy alternative rock. As suggested there is little to throw against the nine track encounter worth a skirting around of its presence, its songs thoughtfully and skilfully composed and delivered with individual craft as vibrant as the passion which drives its heart, but there is just that one niggle that it is missing something.

Consisting of four school friends, Castor Troy began in the middle of 2012 in Newcastle upon Tyne and has taken only a short time to make their presence known and eagerly followed by fans across the North of England. The quartet has drawn comparisons to bands such as Alterbridge, While She Sleeps, and Alexisonfire but for a first plus about the release, it is hard as the album fills thoughts and emotions to really find an equivalent to the band. Though their sound is not so distinct as to be shouting from the rooftops it is a proposition which leaves the band with an individual presence from the pack.

The Sam Grant produced release opens with Chapter One, an atmospheric instrumental which casts a sonic mist over ears before a Castor Troy Cover Artworkmelodic haze paints an evocative if underwhelming scenery. There are little hues like the vibrant picking of the guitar and erupting sonic flames which spark enough intrigue to have attention keen before welcoming Winter Lights which flows seamlessly from the climate of the opening piece. With bold rhythms and brash riffs courting the ear first, it is an instantly appealing suasion, one enhanced by the great lead vocals of rhythm guitarist Benn Gibson. His voice has a hint of gravel and a full wash of emotive expression which has little problem lighting ears as sounds work away on the imagination. Soaring melodies, heated passion, and a rhythmic tempting engage senses and thoughts from start to finish but epitomising the album as a whole it lacks the fuse to reap the fullest reactions and ardour it probably deserves. It is strange as raging crescendos and earnest expulsions of passion only lift the song to greater heights across its body but certainly for these ears something indefinable is smouldering rather than burning feverishly within the song.

The following Undivided though is a different beast, a major triumph on the release which almost alone reveals the potential and fire that is still to be explored within the band. Riffs from the first second have a snarl and crackle to their voice which immediately grips, a hold soon reinforced by the dark shadows offered by the bass of Joey Dryden and antagonistic rhythms from drummer Chris Gilks. Standing boldly above all of this are the vocals of Gibson whilst beneath him intensity begins to boil as those earlier riffs take on a carnivorous aspect as lead guitarist Michael Fulcher sculpts a web of sharp sonic netting. Despite its predatory intent there is plenty of room for melodic endeavour to also flame and seduce, its presence almost tempering the aggression as it eventually evolves into a rampant stroll of heavy weight rock which again twists and entwines with the many designs of the song. This is another big attribute of Castor Troy, creating songs which defy predictability and keep attention and imagination alive even if emotions have yet to find the same depth of submission.

Nineteen next brings another twist and diverse episode in the album, its semi-acoustic entrance of guitar and vocal a seducing caress where the voice of Gibson really shines. He may not be destined to be put in the list of classic vocalist but he is one of the more interesting and extremely listenable to have emerged in recent years. With floating harmonies and crystalline shards of additional melodic guitar graced by a dark throated bass line, the song from a strong first showing evolves over time into another big highlight of the album, its broad band crowded closing stretch bringing a potent finale before the piano led instrumental Infatuation engages ears. The piece is a melancholic reflection which as the first track, is masterfully crafted and presented but underwhelms a little, though it is hindered by being between its brilliant predecessor and the excellent title track. Like Undivided, the song strides purposefully across the heaviest side of the band’s sound and passion, riffs and rhythms a rapacious treat around which Fulcher colours air and the muscular canvas with evocative flames of sonic invention. For some reason, and it has to be said not for the first time on the album, Castor Troy remind of nineties rock band Skyscraper even though sound wise they are very different. Merging aggression with emotive elegance, the track is an enthralling adventure which again in itself holds all you need to know to feel that the band can be a potent and important protagonist ahead.

Both Jenny 23 and This Is Not…. impress without finding that essence which made the last song leap into ears and passions so effectively. The first is deeply passionate in sound, intensity, and delivery whilst the second is melodically tender which is emulated in the vocals and its emotionally sultry breath as well, and both are beautifully presented but neither find the same formula to excite, though to be fair the album’s penultimate song is another which grows and flourishes given time to become a compelling joy over time.

Closing with the thoroughly enjoyable and rivetingly textured The Condemned, a track which right away found a hunger for it with an opening melodic coaxing which reminded of Julian Cope’s Spacehopper before evolving into a different kind of invigorating incitement, Across The Water is an undeniably captivating and impressive introduction to Castor Troy. There is so much to praise about the album and very little to find issue with but that most important ability to excite us means it is more potential in waiting than realisation, though you can only feel that the band will be succeeding in lighting a fire in our belly at some point as they evolve and grow.

The self-released Across The Water is available now!



RingMaster 26/05/2014

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