Kill The Ideal – Heritage

Ferociously melodic and raucously captivating, it is fair to say that our introduction to UK alternative rockers Kill The Ideal has been a fiercely enjoyable infestation of ears and appetite. It came through the band’s debut EP Heritage, an invigorating four song ride of anthemic proportions cast with intimate passion and explosive energy. It is an encounter which roars and croons with equal tenacity, very often simultaneously, and leaves a real hunger for more of its fresh invention and warm familiarity.

Formed in 2010, the Boston quartet release Heritage off a highly successful 2014 which saw the band light up stages alongside the likes of Lost Alone, Lonely The Brave, and Hawthorne Heights, shows adding to their CV of playing with bands such as Nine Black Alps, The First, Climates, and Emp!re. The foursome also left a mark on BBC Introducing in East Midlands before heading into the studio to create their first EP. Recorded with producer Lee Batiuk (Deaf Havana), Heritage is the potential spark to broader national awareness, and such its impressive body there is no doubting fires will be lit in a great many.

The EP’s title track stokes attention first, a raw stroke of guitar licking at ears initially before it all boils up into a pleasingly fiery stroll littered by the jabbing beats of drummer Jordan Bell and veined with a great dark bassline from Luke Farmer. Though the edge to the riffs is still slightly caustic there is a sharper and spicier tone to the subsequent melodies and hooks of guitarists Ross Gallagher and Ash Wilson hereon in, whilst the latter’s vocals bring an expressive and potent heart to the increasingly compelling encounter. The track is seemingly always on the precipice of a riot yet manages to bind its unbridled passion for a controlled yet incendiary anthem of a proposition. The song is a gem of a start to the release, an offering unleashing the addictive lure of a Lower Than Atlantis with the melodic fire of a Thirty Seconds to Mars and the impassioned angst of a Billy Talent.

   There is no lessening of pleasure with its successor either. Higher again enters on a single caress of guitar though this time Wilson is there with the first breath to begin unveiling the song’s narrative. Once more it is an engaging start which swiftly becomes a contagion as Bell’s swings thump away with addictive bait whilst hooks and harmonies flame within the striking frame of his incitement. Fluid moments of melodic seducing only accentuate the potency and aggression of the band’s explosive tenacity, the anthemic virulence reminding of Always The Quiet Ones as the ability of Kill The Ideal to entwine tempestuous musical bellowing with gentle melody rich reflections simply impresses.

It would be fair to say that after two tracks the band had thoughts and emotions won over, leaving the remaining temptations of The Fire and My Friend an easier persuasion to make. Both though take nothing for granted and uncage their own individual inventive storms of sound and imagination. The first of the two probably feels the most recognisable of all the songs, offering more expected elements but still forcibly convinces with great jagged riffs and an excellent vocal union across the band whilst its successor is a slice of seriously catchy and similarly impassioned melody soaked rock ‘n’ roll with a roar to its heart and ruggedness to its energy.

Both tracks complete in fine and riveting style one outstanding release; in fact it is hard to imagine that Kill The Ideal could have made a better entrance into the wider spotlight of the British music scene than Heritage but easy to suggest even bigger and bolder things are destined to come from the exciting band.

The Heritage EP is available now @ https://itunes.apple.com/gb/album/heritage-ep-ep/id967280243

https://www.facebook.com/KillTheIdeal

Ringmaster 31/03/2015

Copyright RingMaster: MyFreeCopyright

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Clear The Auditorium – The Final Broadcast EP

Released in May this year to strongly positive responses, The Final Broadcast EP from Welsh electronicore band Clear The Auditorium gets a national reboot November 17^th and such its gripping presence a new wave of acclaim and recognition is a certainty. It is not a release which startles with originality yet presents a striking and rigorous confrontation which is as compelling as it is invigorating. The band’s second EP, The Final Broadcast is an attention grabbing statement of intent from a band with the potential to light major fires ahead.

Hailing from Pontypridd and formed in 2011, Clear The Auditorium entwines electronic and rock essences in a voracious merger spawned from the inspiration of bands such as Enter Shikari and Linkin Park. Last year saw the release of their debut EP 2021, a concept release following a young soldier in the midst of the third World War. Its thematic enterprise brought references to bands such as My Chemical Romance which continue to apply in The Final Broadcast, its drama centred on a post-war wasteland and rebellion against a tyrannical superpower formed in the wake of first EPs scenario. It is a lyrically enthralling encounter, though it is the music where the creative theatre is most successful. The Todd Campbell produced EP leaves appetite and its hunger greedy and satisfaction full to bursting whilst anticipation for their next endeavour is already brewing up some impatience.

The release opens with Prologue, an introduction surrounding a news alert with heavy shadows and tempting electronics before the band pushes forward with the start of the apocalyptic narrative. The electro provocation unleashed by Dafydd Richards instantly raise intrigue and sinister incitement which is simultaneously tempered and accelerated by his outstanding vocals, the vocalist strong and bullish in his raw squalls but even more impressive with his clean tones. Musically the song too seduces and threatens on its way to its successor If We Burn, a song similarly bred from the same climate of the first track. The song is a blaze of a provocation, one aflame with electronic devilry aligned to muscular rhythmic intimidation cast by drummer Caleb Priday-Jeremiah and bassist Conor Evans and courted by the predacious intent and enterprise of guitarist Matthew Bennett-Jones. The song shows where those earlier mentioned comparisons are seeded but even more it holds a strong similarity to bands like Jensen and Dead By April whilst their at times raw aggression suggests The Browning. The track is a beast of an incitement which flares up and sizzles like a battlefield.

The following Vacant Streets is a less forceful encounter, certainly at its start but is soon imposing with rabid beats and fiercely simmering electronic vivacity. Across its equally rugged and welcoming terrain, vocals roar and spit malevolent intent whilst within the embrace of the sizzling flight of melodies, Richards croons with warm and thrilling clean tones. As all tracks, as well as being part of the overall story, there is individual drama to the song inspiring intimate reflections and connections alongside the stark landscape of the central theme. As its predecessor, an exhausting and thrilling offering it leads into Intermission, a fascinating short piece which is hard to read, but with the turning of a radio dial connecting the two tracks it feels like it represents a moment of light and lost enjoyment found by souls locked in the cold reality and broken world they hide within.

It is followed by the extraordinary We Are The Danger, easily our favourite track on the release and the band at its most adventurous and imposing best. Ignited by a dance of Morse code which is the spark to a rebellious uprising in sound and defiance, the track rages with scythes of beats and riffs, all matched by the acidic rants of electro pulses. It instantly gets body and emotions fired up ready for the heroic emprise of grooves and rampant riffing which follows. Everything about the song is anthemic from the hoarse and warm vocals, through the aggressively agitated rhythms, to the hellacious devilry driving guitars bass and mass vocal shouts. An uprising and creative brawl, the track is one of the most rousing and exhilarating songs this year reminding of now demised UK band Always The Quiet Ones.

Ozymandius comes next with gentle and elegant sonic mystique within a psychedelically kissed atmosphere. Swiftly catching the imagination with a seeming tour of lost wonders and hopes, it explosively evolves and broadens its inventive weight and passion as it strives for a new horizon of sonic light. The track is a powerful slab of evocative textures and expression potently holding its own against the masterful triumph of the previous track.

The EP is brought to a close by the slow burning and persuading Epilogue, an ultimately engrossing song which from bare voice and keys erupts into a pungently brewing tempest of emotion and climactic rhythms aligned to burning melodies. It is a fine end to an excellent adventure of sound and story. Already there are seeds of uniqueness to the character of Clear The Auditorium’s sound but there is still a fair way to go to be truly individual but with offerings like this, a release which just impresses more with every listen, we can happily wait.

The Final Broadcast EP is available now @ http://cleartheauditorium.bandcamp.com/

https://www.facebook.com/ClearTheAuditorium

RingMaster 17/11/2014

Copyright RingMaster: MyFreeCopyright

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Diamond Days – We’ve Come A Long Way

Swiftly proving the growing buzz around them is bred from rich potential and an invigorating sound, UK alternative rock band Diamond Days are poised to release their We’ve Come A Long Way EP. Made up of four songs which burst with creative vitality and exuberant invention, the encounter is a captivating proposition which reveals there is still plenty more to uncover within the band but that they are knocking on the broadest spotlights already.

Bursting out of Liverpool, Diamond Days took time from forming to hone their sound before unleashing debut single Start It From The End. It was from there that the clamour over them began, the track drawing over 60,000 views and more than 20,000 followers across YouTube and Twitter swiftly from its unleashing. Backed up by a hunger to play live and just as potent stage performances, the band has earned a growing fan base and acclaim, being compared to the likes of You Me At Six and Fall Out Boy. Diving back into the studio to record their EP alongside producer Seb Berrios, Diamond Days have taken the next impressive step in their ascent, a rise which though still early days you can see finding rich horizons.

The EP opens with the outstanding Let Go, a track emerging from a distant and potent enticing to stride with sinew driven rhythms and drama clad riffs. It is soon exploring inventive scenery as electro spiced keys and sonic intrigue lurk to tease the imagination as the impressive vocals of guitarist Alex Fearn open up the narrative. He swiftly proves himself to be a stylish and accomplished provocateur as he leads the senses into a virulently catchy chorus, whilst his and the guitar of Tom Shepherd continually provide a fiery weave of melodies and sonic intrigue across the track which the rhythmic enticing of bassist TJ Jackson and drummer Mark Highdale punctuate and spear with skilled and energetic tenacity. The track, which has to be a single at some point, is an inescapable contagion for feet and emotions, its blend of ferocious and seductive adventure superbly marshalled by the vocals and crafted by the invention of the band.

The following Home (A Million Miles Away) also has a punch to its entrance and body though it is not quite as instantly commanding as its predecessor. With electro essences around a spicy and wiry tapestry of guitar endeavour, the song is soon taking its share of attention and emotions though. It has a bounce and confident swagger in all aspects which shines like a beacon in the heart of the encounter, whilst its infectious character is as sublimely persuasive as the song’s melodic textures and theatre

Featuring Harry Radford of Yashin, I Rewind lays down its own striking slice of melodic incitement and addictive vivacity next. Evolving around a great throaty bassline, the song flames and soars with vocal and sonic voracity, exploring new flavours and creative shades along the way. It creates a compelling web which is like Dead Til Friday meets Always The Quiet Ones, whilst is pop punk dynamics have a spice of Jimmy Eat World to them. Its rampant enticing leads into final song You’re Not Alone, an undemanding but again intriguing pop rock escapade revealing more of the inventive and melodic resourcefulness of the band. Though it does not quite have the spark of its predecessors, due to their impressive qualities, the track still leaves appetite wanting more and anticipation boiling up for the next encounter.

We’ve Come A Long Way is a treat of a bigger introduction to Diamond Days which without quite showing the band with a distinctly unique voice right now, has all the evidence to suggest it is coming and that we are set for more hunger feeding adventures ahead.

The We’ve Come A Long Way EP is available from 17^th November via http://diamonddaysuk.bigcartel.com/

https://www.facebook.com/DiamondDaysUK

RingMaster 16/11/2014

Copyright RingMaster: MyFreeCopyright

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Syren City – Escape EP

Seemingly labelled as post hardcore, UK rockers Syren City has a sound which almost defies tagging as it employs a wealth of rich flavours such as punk and metal through to alternative and hard rock, and that is still only scratching the surface. It makes for a rousing incitement as evidence by their new EP Escape, a release which is best described as one almighty roar. Consisting of five tracks which twist with the flair of a pole dancer and has more moves than a senses ravaging roller coaster, the band’s new proposition is quite simply a ferociously compelling and thrilling adventure.

Hailing from Bristol and formed in 2011, Syren City took little time to light up venues around Wales and England, supporting the likes of Turbowolf, The Alarm, Max Raptor, Futures, Young Legionnaire, Attack Attack, and Blitz Kids, whilst festival appearances has seen them share stages with bands such as Brand New, Don Broco, We Are the Ocean, Mallory Knox, Kids in Glass Houses, and Feed The Rhino. Their live performances and their impressive portion of a split EP with fellow Bristolians and metalcore band Koshiro, has led to keen anticipation for Escape, an appetite fully fed by the impressive collection of contagious anthems.

The band hits top gear straight away with opener Bleed. It is a rampage of a song, heavy hitting and rigorously coaxing rhythms from drummer Louis Catlett aligned to the throaty lure of Adam Armour’s bass, an irresistible entrance soon enhanced by the scything riffs and chords provided by guitarists Ian Chadderton and Adam Hopton. Instantly there is a feel of Foo Fighters to the muscular persuasion which increases as vocalist Simon Roach reveals his strengths. With gripping backing vocals and shouts adding to the incendiary array of hooks lining the charge, there is also an essence of Max Raptor and the now defunct Always The Quiet Ones to the stomp though all mere spices to something openly distinctive to Syren City. The track continues to set a fire in ears and emotions, its unpredictable invention and side steps in its imaginative emprise as swiftly addictive as the face on tempest of aggression and melodic enterprise.

The stunning start is followed by Our Disease, another track taking mere seconds to seduce senses and passion with its vocal bellow. This bait leads into a punkish antagonism in voice and sound before it in turn evolves into a hard rock stride. As it predecessor, the song mixes up gait and attack with seamless and skilled resourcefulness, never relinquishing its grip on ears and imagination with its increasingly catchy and enterprising temptation. It does not quite match the opening triumph, due to the majesty of that song, but easily ensures that the EP continues to inflame body and emotions as does its successor Fire In Your Name. The third song unveils an enticing sonic groove straight away which rapidly makes way for the potent lead and backing vocal mix, before returning to bind a stroll of punchy beats and raw riffs. As with most songs, that earlier mentioned post hardcore essence is a rich colour to the canvas of the track, but as with all it comes soaked in variety and diversity, melodic hues and a metallic sonic veining adding to the pop punk seeded emotive howl of the song.

The treats keep coming as Long Way Down enters the affair next. The blend of raw and aggressive confrontation within Roach’s predominantly melodic coloured vocals alone make a rigorously enticing offering whilst grooves and hooks in the heavily swinging tempest of the song, only add to its addiction sparking tendencies. The track shows a more savage side to the band’s sound and songwriting whilst still embracing their melodic natures; providing yet another highlight before final song Asphodel brings it all to an infectious close. Revelling in a hard and melodic rock web of enterprise, the song bulges with rhythmic sinews and fiery sonic endeavour whilst vocally Roach impresses once more as does the contributions of the band in the same department. At times raging with nostrils flaring and in others an evocative croon, the track is a mighty end to a similarly impacting release.

Escape is a riveting encounter from a band easily living up to the buzz around them whilst even in its impressive presence and success, revealing the potential for much more in Syren City.

The Escape EP is available now @ http://syrencitymerch.bigcartel.com/

https://www.facebook.com/SyrenCity

9/10

RingMaster 15/09/2014

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Always The Quiet Ones: Drought / Ghost In The Filament

Though only in August, our list of certain singles of the year has meant shoes and socks have had to be removed to keep a tally of our claims so far. Obviously it is too early to really make declarations though here we have a single which possibly leaves all in the shade. It comes from UK rock band Always The Quiet Ones and is formed of two tracks, Drought and Ghost In The Filament. Quite simply it is one of the most exciting and exhilarating things to come along in recent months and though we will keep a rein on claims it is hard to think to date of many singles which rival it.

Always The Quiet Ones first drew a wave of feverish attention with their debut EP Freakshow from not only us but from media and fans countrywide. It was a release which once it took hold led to a deep connection and near adoration of their sound though the new songs have ignited things to an even  higher intensity. Formed in 2010, the Liverpool quintet of vocalist Blas Barragan Jr., guitarists Joe Danher and Adam Lucas, bassist Chris Nicholls, and drummer James Lorenzo, took no time in owning audiences through their live performances which saw them sharing stages with the likes of Deaf Havana, Mojo Fury, The Safety Fire Axis Of, Turbogeist and Fighting With Wire. As mentioned their EP drew strong responses upon its release earlier this year with the band seeing heavy play on Total Rock Radio, XFM and Kerrang! Radio, as well as extensive press coverage. Already the new single has been eagerly featured on The Reputation Radio Show and upon its release August 20^th is sure to fire a real acceleration of acclaim upon the band.

The promo for the release opens with the line ‘Pounding on your front door like the bastard love child of Tool and early Biffy Clyro…’, and you can definitely apply that to the song Drought though the swapping of Biffy Clyro for The Manic Street Preachers would be more accurate. The track opens with slapping beats on the senses from Lorenzo brought with the eagerness of kids playing the old classic prank though there is no running away involved. Group shouts bring the hairs on the back of the neck to attention as they scorch ears with tribal intensity, before things erupt in to a storm of feisty riffs and melodic incision to further rile up the passions. Things take a breath as the band settle into an emotive vein, the bass of Nicholls throbbing with a deep resonance amidst the sharp enticing play of Danher and Lucas. The vocals of Barragan Jr. are immense continuing on from their strong showing on Peepshow but with even greater expansive expression and control.  There is a definite James Dean Bradfield feel to his tone and delivery, the emotive feel and expressive power he brings to the songs immensely striking and impressive.  The track expands with angular strides in sound and energy as it explores its limits, its muscles and invention sprawling over the senses. The track ends as it begins to leave one breathless and fully agitated in the very best way.

Ghost In The Filament makes its introduction in a less dramatic way but with just as much infectious force with the guitars twisting and immersing the ear in sonic imagination. Again it takes a step back in intensity to let the bass stomp with its hungry breath whilst the vocals hungrily prowl and growl over the senses. Distinctly different from its companion but equally as mighty the track is a fiery captivation, its flames of imagination and intelligence igniting the deepest satisfaction. There is great rock music and there is the place where Always The Quiet Ones goes where the word brilliance seems the only appropriate one. The song as does Drought , leaves one on the edge of exhaustion and urgently eager to hear more.

Both songs show a band improving at a gallop and set to explode UK rock music into places it has not graced in a long time. Always The Quiet Ones really are that good and getting better all the time.

www.facebook.com/alwaysthequietones

Listen to Always The Quiet Ones on The Bone Orchard podcast from The Reputation Radio Show .

RingMaster 16/08/2012

Copyright RingMaster: MyFreeCopyright

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Always The Quiet Ones: Freak Show

If there was ever a release to epitomise the term a grower than it is the new EP from Liverpool rock band Always The Quiet Ones. The first couple of listens to Freak Show and one hears a strong and well crafted trio of songs which engage instantly if not distinctly. What it does not immediately reveal is how infectious that same music is and how once one gives it more attention it will return to mind often and far away from the disc itself. Though not a perfect release subsequent plays place Freak Show deeper and firmer into the heart with especially two of the songs within its expressive walls, lifting the spirit and emotions to lofty levels.

Formed in the later part of 2010, the quintet of Blas Barragan Jr. (vocals), Joe Danher (guitar), Adam Lucas (guitar), Chris Nicholls (bass) and James Lorenzo (drums), hit the ground running with lively and ear catching live shows supporting the likes of Deaf Havana, Mojo Fury, Axis Of and Turbogeist. With a show as impressive and unforgettable as their sounds the band soon gained strong attention from fans and undergrounds media alike. With the release of Freak Show the band are surely about to stir up the UK and accelerate the enthusiasm already gaining momentum to an even greater height.

The EP opens with Sign Of The Times and no reticence in spicing up the ear with commanding rhythms, wanton riffs and melodies to tease and mesmerise. The track twists and turns with great imagination and diversity. The inventive beats of Lorenzo lead the track up and down distinct avenues whilst the bass lines of Nicholls cajole the ear to jump on board the heartily driven express train of sound. Whilst the guitars of Lucas and Danher rage and intrigue to equal measure and often at the same time vocalist Barragan Jr. rides the sound with an expressive hard rock type delivery which grabs and sets off the imagination. The song sets a stunning start to the release which leaves a formidable challenge for the next track to follow.

Valentina sadly fails to rise up to the question. The song is actually very good but with the band taking a more straight forward approach with it there is not the inspirational and originality to it as so apparent on the opener. The melodies within it are graceful and the vocals once more dripping emotive skill. Musically the band is impressive and really there is not anything wrong with the song at all, but there is something missing from it which lit up Sign Of The Times and returns with full force in the closing song on the EP. With a chorus that digs deep and guitars which scorch the senses the song is certainly one that is not easily forgotten once it lays down its last note though.

Title track Freak Show completes the trio and is the best song offered. From a momentously striking mouth watering melodic crawl the song evolves into a muscular beast that ripples attitude and might within a chorus and crescendo of sound that envelopes the ear like a tempest. Switching back to the mellower tone and intent it feels like one is in the eye of the storm soon to be buffeted again by the delicious intrusion of heavy riffs, caustic melodies and driving rhythms. The song growls and snarls at times and in others offers a mischievous but inviting smile, all intended to lead you into the maelstrom of creativity, madness, and wonderfully unpredictable sounds within.

Many seem to cite early Biffy Clyro and the likes of A Perfect Circle and Tool as influences in the sound of Always The Quiet Ones and one can see that especially with the darker elements of the latter but the one band that seems to lurk within the songs, especially the addictive and expressive side was Manic Street Preachers, throughout the way the melodies and songs attached themselves with an eager and irresistible grip echoed the Welsh band.

Freak Show is quite simply excellent and a sure doorway into the heart and vast invention of Always The Quiet Ones. With already a double-A sided single planned for just a mere few weeks ahead, 2012 could and should be the year the band twists us all to their way of thinking.

RingMaster 02/03/2012

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