Syren City – Paradise In The Dirt

Syren City Promo Shot_RingMasterReview

Almost two years ago, UK rockers Syren City laid a hefty punch on attention with the Escape EP, five tracks of multi-flavoured rock ‘n’ roll which was as compelling as it was thrilling. Now the Bristol quintet returns with its successor Paradise In The Dirt and three more encounters which leave ears ringing with pleasure and an appetite for more simply greedier.

Formed in 2011, Syren City swiftly bred a sound from essences drawn across the likes of post hardcore, punk, metal and alternative rock. The 2014 Escape EP quickly showed it was a formidable and striking mix, echoing the band’s live reputation earned through festival appearances and shows with the likes of Turbowolf, The Alarm, Mallory Knox, Max Raptor, The Hell, Roam, Black Foxxes, Futures, Young Legionnaire, Attack Attack, and Blitz Kids. The release of their new proposition shows that the band’s sound has continued to expand and indulge in greater adventurous traits, increasing in magnetism with equal measure. The first in a series of EPs which have a conceptual thread and link, Paradise In The Dirt captures ears and imagination with swift deftness of enterprise and a rousing boisterousness, never relenting upon or releasing the listener until its final note has shared its mighty bait.

Syren City Cover Artwork_RingMasterReviewIt opens up with It’s Morphine Time, a song which descends on the senses like a tempestuous challenge from its first breath, but a threat just as quickly seducing ears and appetite as riffs and rhythms launch their hungry persuasion. In no times wiry grooves are entangling song and listener while anthemic vocal roars across the band find a great Beastie Boys feel to them. As it proceeds, the scent of bands such as Rage Against The Machine and Refused also colour the encounter, with frontman Simon Roach taking vocal charge as the barbarous rhythms of bassist Sam Leworthy and drummer Mat Capper badger and incite. It is a virulent infectious affair with the enterprise and fiery grooves of guitarists Ian Chadderton and Josh Mortazavi arousing, aiding and shaping the songs twists and turns as its metal/heavy rock antagonism and inescapable catchiness fuels pleasure, the song alone surely ensuring the EP’s certain success.

It is quickly backed up by its companions though, Danielle coming next and opening on a melodic caress which inspires the following vocals and flirtatious gait of the song. Little time passes before again a volcanic quality and energy erupts, its theatre creating a My Chemical Romance like attraction before things slip back into the captivating calm and the repeat of the galvanic cycle. As within its predecessor, there is a kind of tempestuousness to ideas and intensity which only adds to the riveting drama provided before 10,000 Knives steps forward to grab its share of the plaudits. Initial riffs and lures have a slight Therapy? feel before the punk heart of band and song grips and adds a Reuben meets Taking Back Sunday hue to the outstanding encounter.

All three tracks are uniquely distinct to each other but fuelled by a sound with a character all Syren City’s. The band impressed with their last release and have only made a bigger impact with Paradise In The Dirt, a release sure to be the favourite EP of 2016 for a great many.

The Paradise In The Dirt EP is out now through all stores-

https://www.facebook.com/SyrenCity  https://twitter.com/SyrenCity  http://instagram.com/syrencitymusic

Pete RingMaster 30/06/2016

Copyright RingMaster: MyFreeCopyright

The Decoy – Parasites EP

The Decoy (7 of 20)

It seems like South Wales is truly ablaze with exciting emerging talent right now, not that the area has ever been slow in producing striking and very often impressive propositions. The past months, indeed couple of years though has seemingly seen a new flood of adventurous bands and sounds to wake-up and capture the imagination. Few bands and releases have whipped up ears and passions as potently and excitingly as The Decoy with the Parasites EP though. The Cwmbran trio’s new four-track incitement is a raucous fire of sound and flavouring, a fiery storm of alternative rock ‘n’ roll which fills in the gap still there since the demise of Reuben whilst creating its own agitated pop infused creative brawl. There are certain times it is impossible not to get a little excited and the release of Parasites is one of those moments.

Consisting of guitarist/vocalist Lewis “Biffy” Barber, bassist/vocalist Joel Williams, and drummer/vocalist Luke Blake, The Decoy since forming in 2009 has been steadily brewing up a loyal fan base and increasing attention. Shows with the likes of Attack! Attack! [UK] and Press To Meco confirmed the band as an aggressively alluring live presence whilst a self-titled EP and a second called Mirrors, established the band’s sound as one to watch and simultaneously get fully engaged with. Parasites is another level to what has come before though, a coming of age for the sound and songwriting of the band whilst still retaining the mischievous and volatile adventure to both aspects which has already helped the threesome stand out.

CoverArtThe swift jab to the ribs of opener Moustache Cash Dash reveals the new plateau breached. From the initial roar of vocals across the whole band, the song has ears and attention gripped, that first flame of voices the trigger to a rowdy stomp of unpredictable hooks and twists aligned to a flirtatious swagger and pop seeded contagion. With the two minute mark a distant glimpse, band and song are as lyrically and vocally bright as they are technically and inventively resourceful, creating a busy proposal which just captivates from start to finish.

The following Vultures is equally as magnetic, its rhythmic shuffle a highly persuasive introduction leading to a web of bass and guitar enticement as jagged as it is fluid. There is funkiness to the agitated stroll of the song too, especially in the bass swing, whilst its core sound comes over as agitated and irritable as the centre of the lyrical relationship explored. Again the creative magnetism cast is irresistible as the band shows the variety in their ingenuity as another already established essence finding new heights, and proven again by Parasite. The third track caresses ears and hugs thoughts with a great vocal and melody rich ambience initially; it’s almost haunted nature a gentle coaxing which suddenly expels a roar of angst and volatile energy. There is a certain creative theatre to the song, a dramatic ingenuity which makes every twist from a gentle vocal kiss to a fierce spilling of rage musically and lyrically, a breath-taking and unique endeavour. The track is superb, as all of the tracks, and quite outstanding in its very distinct and individual presence within the EP.

The release is concluded by ANDYOUISM, the rawest, fuzziest slice of voracious pop rock you will have the treat of coming across this year outside of Parasites. Rhythms pound from the off, the senses virtually shuddering at their potency, whilst effect clad vocals sizzle in ears as the guitar slips its own fierce simmer of sonic tenacity around it all. There is a touch of Engerica to the encounter; a dark intrigue like the now demised band used to express, a striking hue to the infectious furnace of imagination stoking drama. Simply it is an ingeniously imposing and scintillating end to an equally masterful release.

Parasites is from first note to last, an outstanding proposition, something to stir up the passions and bring a fresh and invigorating adventure to the British rock scene. A new signpost has been set down in the rise of The Decoy but there is still the feeling that we have not heard anything yet.

The Parasites EP is available now via Ghoulish Records @ https://itunes.apple.com/gb/album/parasites-ep/id991452997

https://www.facebook.com/TheDecoyUK   https://twitter.com/TheDecoyUK

RingMaster 28/05/2015

Copyright RingMaster: MyFreeCopyright

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New Model Army – Between Wine and Blood

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New Model Army has never been slow in impressing and stirring up thoughts and passions since forming back in 1980 with their uncompromising and inventive sound, lyrical confrontation, and inspiring stage presence but it is fair to say that the Bradford band hit a new pinnacle with last year’s Between Dog and Wolf album. It showed as if fans needed reminding, that the band has become more impressive and essential with age, the rigorously acclaimed release being rewarded with being the UK band’s fastest selling offering and charting top 30 in UK and Germany. Now the band unleash the similarly outstanding and eventful 2 CD encounter Between Wine and Blood. Made up of six brand new songs on one disc and eleven live cuts of tracks from the previous album on a second, it is an invigorating continuation of the riveting creative plateau set out upon Between Dog and Wolf.

Following the potent release of the last album, NMA set out on the Between Dog and Wolf Tour to equal praise and success. Part two of the tour was scheduled for the spring of 2014 but due to drummer Michael Dean being diagnosed with blood clots in his leg and advised not to play shows, the tour was postponed until this autumn. The break enabled the band to hit the studio and to record 6 brand new songs for the mini studio album accompanying the live CD. The songs are bred from and continue the weighty impressive presence of Between Dog and Wolf, pushing and exploring further its creatively imposing and thrilling emprise. The tracks make for a compelling and enthralling companion to the live portion of the release. Recorded from the first part of the aforementioned tour at venues in London, Nottingham, Cambridge, Cologne, and Amsterdam, the CD sublimely reinforces and the power and impressive stature of the last full-length and the band live, easily capturing the raw and emotive energy which marks their songs and stage presence. Combined the two sides of the proposition makes for one of this year’s most enjoyable and striking incitements from a band as mentioned earlier just get better and better.

The new tracks start off with According To You and needs little time to consume ears in a slow yet heavy and throaty embrace of bass and guitar. It swiftly slips into a pungent stroll of predacious riffs and sonic enticement from the guitars of Justin Sullivan and Marshall Gill, whilst vocally Sullivan imposes himself with the distinctively confrontational yet expressive calm which has always marked his delivery. The grouchy tone of Ceri Monger’s bass brings another breath of drama to the prowl of the track whilst its flowing chorus is unafraid to dabble in rock pop without defusing the intensity and weight of the impressive opener. It is a stirring encounter, but emerging in hindsight as just the tasty appetiser for greater things to come starting straight away with Angry Planet.

The second track has barely time to coax the imagination before raw riffs incite a rampant stroll of anthemic beats from Dean, which in turn are caressed by a gentle but vocal melody and the ever riveting lure of the bass. Exploratory electronic breezes from Dean White enhance the dramatic evocation cast by the song for a stunning challenge where lyrics and vocals work on thoughts as magnetically as rhythms enslave limbs and the inventive sonic weave steals the imagination. Sure to be a crowd favourite ahead, the song builds and boils into a climactic finale driven by the discontent and unrest theming its narrative, ultimately cementing itself as a show and album stopper.

Guessing is equally anthemic in its individual stomp, beats and riffs an irresistible incitement over which melodies and sonic designs twist with flirtatious hues as vocals and the increasingly impressive bass endeavour of Monger, nestle 46f67d33-e5e6-4afa-b8eb-68050a268a25perfectly between the song’s antagonistic rhythmic drive and seducing creative enticement. Another to chalk up as a classic NMA proposition, the song is rivalled by the bewitching Happy To Be Here. An emotive folk embrace wraps ears as a sultry melodic temptation and ambience provides a mesmeric colour to the vocal draw of Sullivan and a courting acoustic beauty. An energetic bounce to the track just as rapidly emerges but is never allowed fully off its leash, the band instead simply breeding it into an infectious swing driving the provocative and intimate adventure.

The new material is completed by firstly the stunning Devil’s Bargain, again a tribal seeded bait opening up the track as keys build a haunting yet engaging atmosphere. It is an instant trap in which feet are unable to stay motionless as the body subsequently succumbs to the baiting. Thoughts and emotions are not far behind in their submission either, keys and vocals leading the resourceful and radiant temptation. As all the songs, there is a potent unpredictability and intrigue to every twist and shift of ideation in the track but skilfully explored with seamless ingenuity and passion. The closing Sunrise, the band’s new single, is a punk folk treat if it can be tagged as anything, which simply oozes irresistible melodies and spellbinding harmonies across a sinew sculpted spine. To be honest it is not the standout song on the release but still an easy choice to lead people into the album.

The live side of Between Wine and Blood just as tightly and swiftly grips passions and appetite, from the fist pumping thrills of the opening Stormclouds through to the closing contagion of Horsemen, band and CD steal total interest in ears and attention. The opening track sets the tone, pulling the listener into the middle of the tempestuous glory of song and occasion, skin almost tingling as ears are immersed in the passion and energy of the night it was recorded.

With every track a roar of intensity and passion delivered with the craft and snarl which has always been NMA, there is no point in the album where you wish to be anywhere else but certainly tracks like March In September with its fiery provocation, the impossibly addictive and brilliant Did You Make It Safe?, and especially the voraciously transfixing I Need More Time take the biggest plaudits. They are rivalled by the excitingly hostile shuffle of Between Dog and Wolf, a classic track and imperious live version in anyone’s book. As said though every song is a transport right into the heat of their recording and the evidence that there cannot be many finer bands live than New Model Army right now.

Mixed by Joe Barresi (QOTSA, Soundgarden, Tool and Hole), Between Wine and Blood is a must for fans and all with a yearning for impassioned and powerfully inventive rock ‘n’ roll, whether from the studio or stage. NMA also have a voice which never shirks taking on the world’s injustices and social wrongs and that as shown by this outstanding release, is just as masterfully engrossing.

Between Wine and Blood is available now on the band’s own Attack Attack label in various packages @ http://shop.newmodelarmy.org/ and https://itunes.apple.com/gb/album/between-wine-and-blood/id907118636

Check out New Model Army’s current tour dates and more @ http://newmodelarmy.org/

RingMaster 02/10/2014

Copyright RingMaster: MyFreeCopyright

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Syren City – Escape EP

Syren City Online Promo Photo

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 PromoImageenhanced 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

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

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Amberline – The Art Of Reinvention EP

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Proving that the potency and success of their debut EP two years ago was not a flash in the pan, UK pop punks Amberline return with its appealing successor. The Art Of Reinvention carries on where its predecessor left off, with a fresh voice and vibrant enterprise. It does not exactly show a deep evolution, defying its title, but undeniably band and release skirt their boundaries as the band remains one of the most promising British power pop encounters.

Hailing from Guildford, the quintet formed in 2009 and was soon garnering a potent fan base and praise for their energetic thrilling live performances. Debut EP Soundtrack Of Your Life of 2011 sculpted a strong mark for the band within thoughts and British pop punk and laid out an impressive base from which the band went on to support the likes of Attack! Attack!, Kids Can’t Fly, Lost Boys, We Start Partys, and many more to further acclaim whilst their own shows saw them sell out Camden Barfly and light up festivals such as Defest, Step Up Festival and 100% Bitchfest. Now The Art Of Reinvention EP is unveiled and you can only suspect it will continue the rise of the band. It is not a confrontation which takes the genre on a new course or finds Amberline tearing down walls of uniqueness but there is undoubtedly a craft and presence to the release which sets them apart from most similarly spiced bands.

The thumping stride and heart of I’m A Grower, Not A Show-Er opens up the EP, rhythms rolling out their sinews and guitars bringing TAOR Front Coversonic caresses to ears and air. With the vocals of Mark Steggall, ably backed by those of bassist Jack Morris at times, unveiling their narrative the song relaxes into an eager and firm companion, riffs keen to make an impression on the passions with fine invention whilst the rhythmic potency of song and band cage in the senses with a predacious intensity and hunger. The closing group calls are too predictable to truly work but they do not take away from a strong and pleasing start to the encounter.

The following Years Gone By without reaching the same heights still continues the rich bait of the sounds and release, the drums of Rich Hemley commanding and veering the lip of brawling whilst Morris skirts their antagonism with his own rapacious energy and bass temptation. The stalking nature of the combination makes for a captivating call from the song overall which is soon matched by the more than decent The Lost And Hopeless. The guitars of Nick Blair and Rob Rees carve out a dramatic and enticing presence for the track, their mix of melodic and almost primal invention an enthralling and carnivorous provocation which seamlessly fuses musical extremes and intensities for another pleasing call upon the ears.

Things are truly ignited though as When All Else Fails stomps into view and the passions. The guitars conjure up an opening lure when is almost Generation X like in its hook and retains a strong voice as the rhythms again storm the barricades with a heavy towering impressive presence. Into its slightly bruising stride the track lurches and charges with craft and passion which leaves the previous couple of songs slightly pale in hindsight. A fiery pressing of thoughts and senses, the track is itself surpassed by the excellent Here Comes The Colonel, easily the best track on the EP. Once again the rhythmic skill of Hemley lead the way into the heart whilst the riffs show no restraint in making military strikes against the ear before the song expands into a melodic and sonic emotive battlefield. The vocals and harmonies flare up perfectly against the sturdy hungry stalking from the song to only deepen the enticement, so much so that when in league with the imaginative intent and sound of the song it emerges an anthemic triumph.

Closing song Fingers Crossed ensures that The Art Of Reinvention EP ends on a high, the track an appetising burst of adrenaline and melodic thought which without challenging for top honours on the release leaves a healthy appetite for the band and a return to the EP. Amberline still do not stand truly apart from the rest and occasionally there is a spark missing from songs to ignite the emotions into a fire of passion, but leaving a want and hunger for more of the same it does not do much wrong it has to be said, and for fans of the likes of New Found Glory, Blink 182, and Four Year Strong it will be a flavoursome morsel indeed.

www.facebook.com/amberlineuk

www.twitter.com/amberlineuk

8/10

RingMaster 02/10/2013

Copyright RingMaster: MyFreeCopyright

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Pump Action Radio – Cheating Perfection

Pump Action Radio Online Promo Shot

To get the obvious out of the way with Cheating Perfection the debut EP from UK pop punks Pump Action Radio, there is nothing startlingly new about the four track release, its sounds bred from well-drawn wells from the likes of You Me At Six and Kids In Glass Houses. Against that though is an energy and creative passion from the band which simply turns each song into a memorable and excited blaze of melodic enterprise. Ultimately the EP is a richly satisfying romp which leaves only bold favourable reactions in their wake, and as for a unique breath the release simply says enjoy and we will sort that out later.

Formed in 2008 from the ashes of the band’s previous identity Our Time Heroes, the Bournemouth quartet of vocalist/guitarist Jim Dyke, lead guitarist/backing vocals Richie Blandford, bassist/backing vocals Chris Smith, and drummer Mat Jessop have built an eager following in the south of the country  whilst sharing stages with the likes of Attack! Attack!, Sonic Boom Six, Spunge, 4ft Fingers, Reef, Gavin Butler (The Blackout), Natives, and Tiger Please. Cheating Perfection is the key to working on the rest of the nation and such its refreshing presence it is hard to see it failing to ignite a wealth of further passion for the band.

The thumping appetite of Famous starts things off, riffs greedy for the ear and hungry rhythms making an initial riot for the senses to Pump Action Radio Cover Artworkgrip onto before the song nestles into a reserved gait for the arrival of the strong vocals of Dyke. Into its full stride the song prowls and taunts with excellent bursts of intensively keen bursts of melodic fire and anthemic temptation punctuating the potent continually shifting charge of the track. There is also a great snarl to some of the guitar craft which adds to the fullness of the encounter and its persuasion. It might not be, like the EP, carving out new unseen adventures but it is certainly unleashing exciting ones.

The title track steps up next, resting a melodic enticement over the ear before opening up its sinews around the temptation, its intent driven by rolling provocative rhythms and again a well-crafted mix of riffs and sonic invention. With a chorus even more contagious than that unveiled by its predecessor, the song strides into the passions with a rigorous and fresh aural attitude and lyrical passion. Epidemically engaging and catchier than a viral contagion, the track shows plenty of thought and imagination leading to an almost fury like crescendo just before the final hook of chorus and anthem bred potency.

The Difference continues the excellent start even if it fails to emerge from the shadows of the first two triumphs. Again rife with sharp hooks and devilish rhythms, the song is a pleasing and effective companion with plenty to enjoy and little to dismiss. The same can be said of the final song Pow!! Right In The Kisser, another stomp of strikingly composed invention and instinctive energy. With a more than a whisper of Blink 182 to its underlying raucousness, the song makes for a thumping pleasure which sums up the whole release, energetically wholesome and melodically ablaze slice of creative virulence.

There is a hidden track on the EP, a dub infested version of the title track which is not worth talking about, but as four tracks of enjoyable high tempo power pop/pop punk, Cheating Perfection is a great introduction to a band in Pump Action Radio which has plenty of promise and time to hone their own aural distinction.

www.facebook.com/pumpactionradio

8/10

RingMaster 13/09/2103

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Reaper In Sicily – Islands

Reaper In Sicily Online Promo Shot

Listening to the debut album from Reaper In Sicily who cannot help wondering and going as far to suggest that the band has all the ability and creative strength to become Britain’s alternative to Billy Talent. Apart from strong whispers of the Canadians in sound across a lot of Islands, the quintet also has the same skill and invention in landing a mighty punch with their sound whilst seducing with melodic imagination and inciting the passions with anthemic crafted vocals and hooks. The ten track album is excellent, exceeding the promise earlier single Horizons suggested and setting the Aberdare band as one of the most exciting and promising emerging rock bands.

Reaper in Sicily began in 2009 and with a sound which has been compared to the likes of The Blackout and Rise Against and a potent and lively live show, soon became the winners of the unsigned live act in Kerrang! Magazine. Their debut single We Are The Show garnered strong responses and widespread play on TV and radio across the UK but then in 2010 guitarist Matthew Jenkins diagnosed with leukaemia taking the band on hiatus until he was able to return, which thankfully he did later the same year. Two EPs swiftly followed to continue the rise of the band as well as successful appearances at both the Reading and Leeds festivals and supporting and playing alongside the likes of Kids In Glass Houses, The Subways, Max Raptor, Attack! Attack!, Mallory Knox, Hawthorne Heights, Fightstar, The Xcerts, Straight Lines, I Spy Strangers, Evarosa, Hildamay and many more. Islands was recorded in the closing weeks of 2012 with Romesh Dodangoda (Funeral For A Friend, Kids In Glass Houses) and as mentioned the release of Horizons set up a urgent anticipation for its debut though even that hunger we would suggest did not expect such an impressive encounter.

The Prisoner sets things ablaze with dawning caresses of guitar before shrugging off any restraint to open up sinews and melodic Reaper In Sicily Album Cover Artworkpersuasion framed and veined by the firm hand of drummer Damon Miles’ beats and the rumbling tones of the bass of Mike Evans. With energy flowing freely and attention fully captured the guitars of Jenkins and Jonny Chappell carve a distinct and captivating character to the song whilst the excellent expressive tones of vocalist Rhys Bernardo drive the ride with slight squalls within his enticing delivery. The song is an immediate draw which without lighting the same depth of fire as following songs, sets the listener up to eagerly embrace what is to come.

The following 50 raises the bar again with muscular riffs and strongly beckoning grooves casting their temptation over senses and passions. The tight craft and melodic enterprise reminds of bands such as The Blackout and even Avenged Sevenfold whilst the punk snarl edges things with hardcore confrontation. Once it makes way for Down But Not Out it finds itself outplayed whilst the album continues to get better and better. The third song builds on the base of its predecessor to expel even stronger scowling venom and caustic winds within ridiculously infectious enterprise and sounds. Into its stride the track takes its recipient on a riotous dance with moments of bruising attitude and exhausting passion which again cements and accelerates the growing presence and promise.

The single Horizon still impresses as it did on its unveiling, thumping rhythms alongside the thick tones of the bass wrapped in fiery guitar washes thrilling whilst Bernardo lights another emotive heat to engage and entice things further, whilst the likes of Old Dogs and the title track romp and emotively stroll respectively to weave continuing creative textures and calls before thought and heart. It has to be said that there is a similarity to the surface sound of many of the songs but with the invention beneath and accomplished polish of its shine it is not an issue and will evolve out ahead as the band mature.

The tail of the album is its most impressive as Islands continues to get even stronger song by song. Sunnydale Sucks encloses the ear with addict forming riffs and a varied bluster of vocals, coarse and melodic, which enslave the imagination whilst the guitars bound it all in sonic teasing to set richer flames in their fire. Then Boys Will Be Boys comes in to steal top honours with its furnace of passionate vocals, virulent melodic contagion, and energetic imagination, every second a bouncing and incendiary companion uniting for a fervour crafted triumph.  Those Billy Talent references are at their most inviting at this point of the album with both The Catalina Wine Mixer and the closing Chuck Norris Got A Chainsaw making their thrilling interpretations. Both songs leave a breathless appetite rife which immediately snatches at the play button to enjoy the outstanding album all over again at their completion.

Islands should and will be a trigger to an unbridled new sea of attention and acclaim for Reaper In Sicily and it will be all deserved we can assure you. Check out the album and remove any doubts the very best way.

www.facebook.com/reaperinsicily

8.5/10

RingMaster 10/06/2013

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