Ninjaspy – Spüken

It is fair to say that Spüken, the new album from Canadian metallers Ninjaspy has been a long time in the making. With its ten tracks spanning a decade and its recording beginning late 2014, the band’s second full-length has had time and attention given its creation and character; it all reflected and more in its thoroughly enjoyable and imaginatively dynamic adventure.

Consisting of a trio of blood brothers in vocalist/guitarist Joel, bassist Tim, and drummer Adam Parent, Ninjaspy has honed a fusion of groove infested metal, reggae, and other heavy natured flavours which now roar mightily within Spüken. It is a web of sound which grabbed attention in the Vancouver threesome’s 2007 debut album Pi Nature and even more so in the following EP, No Kata six years later. Their new offering is the natural and lofty evolution of these earlier successes; a release weaving occasionally familiar but always unpredictable proposals which tease, flirt with, and persistently arouse the senses and imagination.

Linking up once more with producers GGGarth Richardson (Rage Against the Machine, Red Hot Chili Peppers, Mudvayne, Gallows) and Ben Kaplan (Biffy Clyro, Atreyu, Haste the Day), Ninjaspy gets the album under way with the single Speak, a track certainly sparking anticipation of Spüken with its release last August. Its relatively low key Australasian entrance cored by an emerging bait loaded groove soon leaps into a smouldering swinging stroll with more than an air of Dog Fashion Disco meets Faith No More to it. Subsequent raw outbursts come loaded with ferocity and zeal, trespassing with the same catchiness as the song’s mellower teasing where rhythms dance and the bass grumbles.

It is a stirring start swiftly eclipsed by Shuriken Dance. It too shows restraint in its initial coaxing, melodic twang and rumbling rhythms colluding in an understated but bold tempting before a web of sonic and creative espionage binds ears and appetite. A punk roar escapes the throat of Joel, his aggression matched by the punching beats of Adam and both tempered by the melodic exploits of guitar. Their calm is as deceptive as the raw touch they temper, each beckoning ears into a waiting System Of A Down-esque bedlam of psychotic sound and invention. The track is pure virulent infectiousness, drawing body and voice into union with its own twisted exploits.

The following Brother Man warmly grabs ears next like a collusion of Ruts and 12 Stone Toddler; its stalking groove and melodic coaxing a delicious mix soon embracing a reggae and metal induced tempest in turn proceeding to entangle all earlier aspects within its similarly and seriously catchy landscape. The further into its depths the more deranged twists show their voracious enticements as too mellower melodic but no less certifiable essences. Thorough captivation, it is more than matched in aberrant adventure by Dead Duck Dock. The song also follows those before it by making a relatively gentle melody woven entrance but also one soon showing argumentative discord in sound and intensity as its groove metal instincts rise. With hues of Slipknot and Society 1 to its growl, the song is a roar of creative irritability and intrigue never resting for long in one flavour or mood.

The outstanding Become Nothing is a loco romp revelling in a sound and imagination something akin to again SOAD  this time in league with Kontrust while What!! infests ears and satisfaction with a Skindred/American Head Charge scented escapade though as every reference used as a hint, it is a potent hue in a Ninjaspy bred roar.

The sweltering infection fuelled funk of Jump Ya Bones soon spins its own particular tapestry of rich flavours and various styles as it flirtatiously bounds through ears before Grip the Cage provides a more even tempered shuffle though it too expels moments of incendiary emotion and energy. They both equally push the diversity of the album and songs, that ten years of writing and maturing giving birth to Spüken skilfully shaping their varied designs.

The melody rich and increasingly agitated Azaria stretches that variety yet again, the song deceptively straight forward initially, luring ears into its own expectation defeating maze before Slave Vehemence brings it all to a thrilling close with a cauldron of capricious invention and impulsive ideation wrong-footing and exciting ears at every turn.

It is a fine end to an increasingly pleasing album unveiling new nuances and moments with every listen even after double figure plays. It is a release sure to harass global attention the way of Ninjaspy but more so leave new legion of fans lusting for their sound and presence.

Spüken is released April 14th

http://www.ninjaspy.net/    https://www.facebook.com/ninjaspy/    https://twitter.com/ninjaspy

Pete RingMaster 12/04/2017

Copyright RingMaster: MyFreeCopyright

They Say Fall – Deadlights

They Say Fall Promo Shot_RingMaster Review

Their fans will state that it is not rare for UK rockers They Say Fall to provide a track that rouses the senses and gets the blood surging through veins with energy and drama, but they also might just agree that the North Lincolnshire quintet has outdone themselves with new video/single Deadlights. Energetically bold and creatively tenacious, the track is a maelstrom of flavours and styles honed into one attention grabbing, imagination firing proposal.

They Say Fall Cover Artwork_RingMaster Review    Since emerging in 2010,They Say Fall has been luring in loyal fans and acclaim, though arguably it was when the line-up of band founders, guitarist/vocalist Kyle Leeman, drummer Joseph Sleight, and bassist/vocalist Tom Manning were joined by lead vocalist Kehn Gembalczyk, and guitarist/vocalist/programmer Brad Bishell in 2012, that band and sound creatively ignited. Since then a trio of EPs and a slew of singles and songs have sparked enthused spotlights whilst seeing an evolution in their original pop punk sound. Live too the band has been a growing force with a reputation to match, shows with the likes of with Madina Lake, While She Sleeps, InMe, Fearless Vampire Killers, and Elliot Minor, as well as playing last year’s Download Festival on their growing CV. Seemingly ahead of a new EP, Deadlights is the new They Say Fall assault and a thrilling incitement to boot.

From its first breath muscular riffs and antagonistic beats gnaw on and swipe at ears, a metal/post hardcore fusion colluding with contagious punk and pop rock imagination. As much as the raw intensity and drama of the song excites so does the array of potent vocals and virulent infectiousness fuelling the calmer elements. Every second of the song is a new theatre of persuasion and unpredictability, synths helping the chorus brew a My Chemical Romance like symphonic/gothic air whilst the flirtation of choppy riffs and sparkling hooks brings a tempting which has seeds in bands like Every Time I Die, The Fall Of Troy, and Atreyu.

To be honest that still only grazes the wealth of enterprise within the single, and the promise of greater things to come. So go treat yourself to Deadlights free availability and its thrilling video.

RingMaster 17/08/2015

Copyright RingMaster: MyFreeCopyright

Us Amongst The Rest – Follow the Truth

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Impassioned and skilfully driven, the alternative rock bred sound running through Follow the Truth is an easily impressive proposition. The debut album from UK band Us Amongst The Rest, it contains twelve tracks which are ablaze with invention and emotive fire to spark a definite keen appetite for their creators. It is a curious affair though, in that it impresses and oozes enterprise on every level but lacks the indefinable spark to completely excite. To be fair there are tracks where it is easy to shout loud about their potency and thrilling presence but ultimately the album is more about the sizeable potential within it leading to an anticipation of big things for and from the band ahead.

Formed in 2012, the quartet from York is a maturely accomplished proposition through the previous exploits and experiences of its members and an obvious instinctive ability to write infectious and intelligently sculpted rock songs. Follow the Truth provides all the evidence needed to back up that claim, the album which was recorded with Sam and Joe Graves (Axewound, Glamour of the Kill, Asking Alexandria) at InnerSounds Studios, a collection of stylishly crafted and passionately paraded intriguing encounters. Lyrically its songs are themed by personal struggles and emotional conflicts and again this only adds to the undeniable emotive blaze at the heart of release and contents.

From its piano shaped atmospheric Intro, the album swiftly cages ears and imagination with Fields of Fray and its feisty blaze of thumping rhythms and aggressive riffs. It comes bound in an instantly engaging melodic enticement from guitarists Danny Beardmore and Dan Stockdale, resulting in a stirring entrance soon enhanced by the excellent and increasingly impressive vocals of bassist Karl Sandor. Once established the track settles in to a powerful stride of sonic and melodic tenacity, like a mix of Atreyu and Alterbridge with spicing from 30 Seconds to Mars and the band’s own inventive twists. It is a pleasing if unspectacular beginning to the album which is straight away reinforced by Love Is the Bull. Punctuated by the punchy beats of Paul Fernandez, the track supplies emotional flames over persuasive guitar and bass temptation to wrap ears and thoughts in provocative textures and expression. As the album in many ways, it is hard to announce real originality to the song but easy to announce the superb craft and melodic depths within it.

Bring the Fuel is another matter, a track to wax lyrical about with pumping energy and contagious enterprise uniting for an anthemic stomp lorded masterfully over by the voice of Sandor and the inventive adventure of the guitars. The Us Amongst The Rest album artworksinger’s bass exploits too find a heady virulence in their temptation matched by the crisp jabs of Fernandez. With essences of Avenged Sevenfold definitely spicing up the excellent track, it makes for the first pinnacle of the album and no surprise it has raised such interest and anticipation for the album as a single alone in a great many.

The track gives a tough task to follow for both Blood in Me and Angels, one which they provide strong offerings in reply. The first of the two is a pungent mix of scorching melodies and stabbing riffs resulting in a track which sways from seductive warmth to antagonistic intensity with seamless success whilst the second is a radiant power ballad confirming the vocal and individual skills of the band perfectly. As with many of the songs it does not startle but leaves a healthy appetite in place for the album and the band’s emerging diversity in songwriting and presence.

The excellent title track steps up next, it’s initial almost melancholic idle up to ears again a refreshing caress of vocal and melodic expression which leads to a richer and forceful sonic fire framed by probing rhythms. It is a slow burner of a song to some extent but another emerging as one of the album’s highlights before stepping aside for the less successful but enjoyable Silver & Lead. Expectations are not left hungry by the track but still fed a tasty slab of melodic metal which sparks only satisfaction which next up Horizons gives a spicier rewarding incitement to through its catchy grooves and dramatic heart bred tenacity.

Unforgettable similarly gets feet and ears swiftly on board if passions are left more reserved with its creative resourcefulness and vocal potency whilst Rise whips up another riveting anthem. Arguably the most inventive track on the album with its subtle vocal twists and entwining sonic threads, it is a tantalising proposition which as all tracks is drenched in the potential suggesting that the band will ascend to impressive heights ahead.

Completed by the very decent and pleasing Falling Skies, which also vocally features Sam Graves, Follow The Truth is undeniably an impressive and attention grabbing release which raises expectations and hopes for Us Amongst The Rest, something going by their first release you can see the band probably surpassing with relish and ease.

Follow The Truth is available now on Two Star Records @ http://www.amazon.co.uk/Follow-Truth-Us-Amongst-Rest/dp/B00MO2DSZQ/ref=sr_1_1?s=dmusic&ie=UTF8&qid=1412009363&sr=1-1&keywords=Us+Amongst+the+Rest

http://www.uatrband.com

RingMaster 29/09/2014

Avastera:The Clocks Have Ticked Too Long

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On the eve of making a big splash across the globe with the release of their debut The Clocks Have Ticked Too Long EP, to emulate its success in homeland Australian earlier in the year, Avastera is set to be a noisy whisper of the lips of a great many. This is a band which defies pigeon holing such the eclectic flavours and styles veining the exciting sounds created within striking and compelling songs. The music is not arguably unique, the spices making up the aural recipes openly familiar but no one else is brewing up the same kind of stirring encounters as the band.

Starting out in the early weeks of this year, the Perth quintet has made a major impression in a very short time. From recording and releasing the EP to great acclaim and success in Australian a few months back, the band has shared stages with the likes of Silverstein and The Getaway Plan whilst lighting up a festival as a chosen headline act alongside Mayday Parade, The Pretty Reckless, The Wonder Years, A Skylit Drive, The Maine, Forever The Sickest Kids and Marinas Trench. Press attention has also been keen and led to the band featuring on cover CDs for Blunt and Big Cheese magazines. Produced by Paul Leavitt (All Time Low, Yellowcard, The Dangerous Summer). The Clocks Have Ticked Too Long is set to grab the world by the scruff of the neck and make a very persuasive argument for the band, as though as stated it may not be the most ground breaking or even original release it is without doubt one which is very enjoyable.

Avastera cleverly and seamlessly infuse strong essences of alternative rock, melodic post-hardcore, and metal into a pop punk core avastera_coverleading to engaging and appealing songs with plenty of passion, energy, and invention. The music is certainly distinct to the band if at times familiar from the multi-flavoured essences employed but without question the EP is a continually intriguing and pleasing encounter right through to its very end from the opening treat Hear Me Out. The track alone tells you all you need to know about the band and their imaginative intent. The song is an immediate compulsive encounter of forceful rhythms and pop punk urgency completed by sturdy riffs and angular sonic guitar invention which offers an Avenged Sevenfold like heat to the melodic coaxing. The guitar work of Chris Crole and Chris Hanssen is exceptional whilst the rhythms of bassist Dave Thoomes and drummer Jamie Savage are unrelenting in strength and inventive composure. It is clear to hear that the band has a musicianship equalling their imagination which undoubtedly allows the songs to fuse so many potent flavours into an immense creation of their own, with vocalist Mike Lang the striking and impressive pinnacle to spear the songs forth.

It is a mighty start followed up just as strongly by As The Tables Turn and December Sun. The first of the two is veined by wonderful bright keys amongst the muscular riffs and thumping rhythms to start the diversity which marks the release. With extra metalcore tendencies and symphonic caresses to captivate, the track is magnificent and the best on the release. As it plays one band comes to mind, The Urgency though they do not arguably have the same palate of sound which Avastera work from or the Atreyu like muscle which the Australians also infuse. The second is a slower emotive wash of passion and thoughtful ambition further unveiling the expanse to the sound of the band.

Next up This Beautiful Nightmare continues the dynamic start though the song is a close mix of the previous two songs without finding their heights, but with the persistently skilled guitar enterprise and perpetually evolving landscape of the song it is a more than welcome companion. As the song and the following pair dance with the ear and thoughts the feeling that the band will soon emerge with a unique guitar sound, like the aforementioned Avenged Sevenfold has, is rife such the distinct style of the band. Highways From Home is another to match the earlier songs and an energetic partner to the senses which one would assume is a crowd favourite whilst Ms. Conception is another to engage fully without lighting the same fires as elsewhere. All the tracks reveal a band which is as powerful in sound as it is in constructing the canvasses their play works with, the songs unmistakably finely crafted and composed. Add the accomplished artistry of each member and you have a release which only catches the imagination.

Completed by a fine acoustic version of December Sun, one can only recommend The Clocks Have Ticked Too Long and Avastera to all melodic rock fans especially those of groups previously mentioned and others like All Time Low, Mayday Parade, and A Day To Remember. The Aussies are coming feel free to enjoy.

www.facebook.com/avasteramusic

RingMaster 01/12/2012

Copyright RingMaster: MyFreeCopyright