Everyday Sidekicks – Hope

It has been around eighteen months since British post hardcore outfit Everyday Sidekicks caught ears and appetite with their debut EP, The Things I’ve Seen. It was a release which suggested this was a band with real potential. Now the Bristol quartet uncages its successor, a collection of songs which not only realise much of that promise but show a big leap in fresh adventure and maturity, as well as identity in their sound. Hope is a stirring encounter, a warm and spirit inspiring proposal equally showing a new rousing aggression and raw energy in band and music.

The time between releases has obviously seen Everyday Sidekicks concentrate on honing their sound and writing. There is boldness and a far keener character distinct to the band in the songs roaring from within Hope. According to the band, some of the new qualities revealed have been pushed and nurtured by the EP’s producer Tom Manning, the band stating that, “He pushed us to play better and really put in the effort, so that we feel now that a big part of our sound has actually come from working with him. He likes to make things a lot less over produced and more stripped back and raw, which we are really starting to dig in our sound.” What and wherever the seeds, Everyday Sidekicks have hit a new plateau with their EP, yet still a mere but potent step in expected greater evolution ahead.

Glass House starts things off, the song an immediate bluster of sound and impassioned vocals with frontman Archie Hatfield, a blaze of emotion and word under the mesh of melodic enterprise cast by Tim Brown’s guitars. A raw edge is swiftly apparent but equally too an infectious tone as the song blazes away in ears and imagination. In many ways, it is not overly unique as a post hardcore proposal yet has a fresh breath and nature to its roar urged on by the muscular tenacity of drummer Mat Capper and the brooding catchiness of bassist Sam Hughes.

Its strong presence and persuasion is followed by that of Bury Your Friends, the song from a melancholically melodic start erupting into a metal coaxed rock ‘n’ roll tempest. Its body and tone is irritable, its swing ultimately infectious but constantly feeling like it could turn on the listener at any time even in its calmer and fierce pop scented passages. It is a striking track, a bigger outburst of the band’s new creative prowess matched in power and thrills by recent single Fracture. Riffs and grooves lead with antagonism, rhythms barely taking an ounce of venom from their punch as melodies and vocal harmonies subsequently escape from a brooding storm never far away. Richly enjoyable when first unveiled last August, it seems to have just grown in temptation and stature; blazing superbly from within Hope with greater attributes being found with every outing.

The poetic melancholy of Lacuna takes the imagination away next, the brief instrumental a solemnly suggestive detour before the EPs best track launches its mouth-watering squall upon the senses. As much as their sound is hardcore/punk bred, Business Secrets Of The Pharaohs is equally a proposal of carnivorous metal intent; a snarling, intrusive treat fluidly merging with melodic and post hardcore spawned endeavour. From vocals to sound, writing to cantankerous air, the song is superb and if a sign of things to come, maybe the first step in truly big things for Everyday Sidekicks.

The band themselves admit hints of inspirations from bands such as A Day To Remember and Beartooth can be heard in their music but as the excellent Hope shows, and especially its closing gem, all are becoming passing whispers in something warranting, as good as demanding attention.

The Hope EP is released March 31st and available @ https://everydaysidekicks.bandcamp.com/album/hope

Upcoming live Dates:

4th April – France, Dunkerque – Bobble Café

5th April – France, Angers – T’es Rock Coco

6th April – Belgium, Namur – Le Temple

7th April – Switzerland, Zurich – Wallstreet Bar

https://www.facebook.com/everydaysidekicks   https://twitter.com/EDSKOfficial

Pete RingMaster 31/03/2017

Copyright RingMaster: MyFreeCopyright

Under Paris – Transitions

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A release does not always have to totally blow you away to make a compelling and perpetually appetising proposition, but it needs something at its core and invention which through any uncertainties and ‘issues’ acts like an alluring beacon. That is exactly what Transitions, the debut album from US metalcore band Under Paris has. There are elements which do not whip up the imagination and passions as pungently as others within it but consistently the release has ears and imagination seriously engaged, and though it might not take metalcore into something approaching new pastures the Iowa quintet’s ferocious incitement definitely has plenty about it to stir up serious attention.

Clinton hailing Under Paris began in 2012 and swiftly went to work enticing appetites with their first single If the Drugs Don’t Work, Can You Drive Me Home?, a track featuring Rene Lopez of Scarlett O’Hara. An acoustic EP called Clean Lungs and shows with the likes of Beartooth and The Ghost Inside only enhanced their emergence before the beginning of 2014 saw the release of debut full band EP Our Stories, recorded with Derek Moffat of 608 Studios. The encounter and the two singles unveiled from it before hand in the shapes of You’re Going Nowhere and Hold On Pain Ends sparked yet another influx of attention and interest. From there and later that year Under Paris ventured into the studio to record Transitions, releasing its first single Midwest Winters as a flavoursome teaser soon after. It lured in another dose of keen interest, which the band having signed with Imminence Records this past February, hope to exploit with the worldwide release of their new album.

IR032     Release and band prey on the senses immediately through opener Shallow Graves as irritant riffs and venomous vocal growls collude with vicious beats and bestial bass tone from the off. It is an imposing and gripping start which relaxes a touch as melodic toxicity and rampant rhythms erupt and smother ears in familiar yet fresh metalcore hostility. The guitars of Jayden Serrano and Evan Morrow spin a web of sonic enterprise within their barbarous riffery, enticing and holding the imagination whilst rhythms and vocals create a hellacious trespass of the senses. It is a strong and consuming beginning to the album but a nagging doubt arises in thoughts during it too. The excellent caustic vocals of Michael “Thorr” Alexander unleash an impressive and enjoyable ferocious fury yet with a singularly inhospitable delivery which admittedly personal tastes wondered if they might fail to provide the diversity the album potentially would need. Hopes that there will be something to temper and contrast his imposing are swiftly realised by Under Paris with At War with Myself. Once again Alexander and the vicious side of the sound is a merciless single minded tempest but in no time finds itself bound in a spicy enterprise of guitar aligned to the excellent clean vocals of bassist Rylie Phillips. He has a warmth and catchiness in his tones which works perfectly with the expressive brutality of Alexander, the song musically matching their ferocious and melodic union in creative kind. The sinew swung beats of drummer Lucas Richards create a rugged yet understanding companion to both sides too as the band merges light and dark impressively, calm and violent textures bonding with captivating ease.

The album’s title track crawls with the senses next, Transitions an instant wall of bruising provocation but also soon veined by the magnetic voice of Phillips. The track grows into an ever twisting tempestuous exploit of emotion and sound, the guitars managing to flirt and scar ears with their invention whilst rhythmically the encounter reveals sheer brutal rapacity. Its hellacious but enthralling presence is matched by What’s the Big Deal About Alaska though the song lacks the incendiary spark of its predecessors. It does come dramatically alive though around midway when the band slips into an evocative and thoughtful passage of relative peace and intrigue away from the fierce bluster, though that subsequently returns in a bellow of greater infectiousness.

The very swift rage of Yoloswag#420 provides an inescapable contagion next, the viciousness coming with a virulent swing before descending into a corrosive bedlam of spite. Its brief assault is followed by the heavily engaging Midwest Winters. The song’s landscape is a turbulent terrain of heavily delivered rolling rhythms and sonic acidity, again under a murderous atmosphere cast by riffs, predatory basslines, and vocal fury. Across it though, fiery melodies and the clean tempting of Phillips, provide the light in the dark, for a union of extremes which need each other to work and in turn flourish impressively together.

Both Devil’s Trap and Too Far Gone hold ears and attention tightly, the first a web of jagged riffs, bass imagination, and tremendous crippling beats from Richards. As in all tracks unpredictability is given plenty of exposure but often elsewhere comes shadowed by the storm around and above it. Here though it is allowed the strongest clarity enhancing the drama and appeal of the experience. Its successor is simply a torrential ravaging of malevolence and emotive rancor aligned to a fascinating weave of sparkling melodies and harmonies, each an imposing magnificence whether presented alone or entwined.

A tantalising warm reprise of At War with Myself leads the listener into the explosively fearsome and seductive throes of closing track At Peace. Featuring The Color Morale vocalist Garret Rapp, the song brings all the impressive and flavoursome aspects of the album into one bewitching intrusive roar; contrasts and rigorous extremes embroiled in one emotionally fierce and sonically intensive fire. The best track on the album it ensures Under Paris end their confrontation with a gripping and lingering incitement.

Transitions is a thoroughly satisfying proposition. It does not always go as far in its imagination and boldness as it should and would be liked, meaning at times it fails to meet its potential but certainly the release shows Under Paris to be a band which should be locked into the radar and their album a regular proposal to embrace.

Transitions is available now via Imminence Records at most online stores and physically @ http://www.underparis.bigcartel.com

https://www.facebook.com/underparisband

RingMaster 01/04/2015

Copyright RingMaster: MyFreeCopyright

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Where Giants Once Stood – Live Above EP

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The word in the ear before making our introduction with Canadian metallers Where Giants Once Stood through their new Live Above EP was that this is a band striding the lip of major things. Having been buffeted and captivated by their new four track proposition it is easy to see why the keen buzz around the Toronto quartet. The release brawls and seduces with equal success and potency, its tracks each an unpredictable and exhaustive adventure which lingers to inspire swift and regular returns to their persuasion. The band merges a wealth of styles and flavours into their imagination igniting metal and though some tracks excel with the passions stronger than others, there is no escaping the constant magnetism and voracious enterprise of the band.

Drawing ever increasing attention and acclaim through their live shows, which has seen them share stages with bands such as Born of Osiris, Veil of Maya, Chelsea Grin, Iwrestledabearonce, and Beartooth, Where Giants Once Stood made a powerful mark with The Changing EP. It set the band out as having the potential to ignite major fires within metal and Live Above does nothing to deter that suggestion, instead pushing the band’s sound and presence to even richer heights. Produced by Jon Howard from Threat Signal, the EP roars with passion and invention from its first breath, driven by metal which is as transfixing as it is aggressively bruising.

New single Living in Security opens up the fury, its heart soon raging from within the initial sonic coaxing which starts the track off. Riffs swiftly create an imposing wall of vicious stabs aligned to the hostile beats of drummer Austin EP COVER - Where Giants Once Stood - Live Above 2014Hamilton, before exploding into a magnetic stride with a swing to the grooves and rhythms and raw passion to the vocals of Reshaun Page. It is a blistering persuasion which continues to twist and evolve with every passing stretch of chords and sonic endeavour, and increase in temptation as the impressive angst soaked squalls of Page pass over parts of the song to the outstanding clean vocal tones of guitarist Jordan Turnbull backed as potently by those of rhythm guitarist Scott Major. Entwining melodic and progressive bred metal with metalcore ferocity and antagonism, the song is as resourcefully contagious as it is dramatically sculpted, Turnball igniting its air and canvas with some delicious and exceptional creative string skills.

Every second of the track is an imaginative and startling emprise, never allowing thoughts and expectations to settle. It is as much an impressive part of the song as the sounds themselves; that ingenuity continued with Illuminate and subsequently the rest of the release. The second track makes a less hostile entrance, mellow croons casting the first tempting before Page rages impressively from within the swirling warm maelstrom of sound. Expanding with tempestuous animosity and seduction combined, the song squalls and seduces with its emotive and physical turbulence whilst engrossing ears and thoughts with the tenacious skills of each member. Maybe without the final spark which makes its predecessor so incendiary, the track still sparks another vein of hunger in appetite and emotions before drifting off for The Damaged to begin releasing its sonic lures and voracious narrative. A virulent infectiousness roams the chorus whilst a spiteful but riveting toxicity soaks every scarring riff and syllable of the vocal malevolence. As by now expected, the song moves through more revolutions and curves of sound and ideation than a swing door, again thoughts bewitched by the entwining strands of widely varied metal weaved into the masterful and irrepressible incitement.

The release ends with the exceptional Myths Lies And Crimes, a track which is mouth-watering in its tapestry of sound and invention. At its core, the track is like a meeting of August Burns Red and Trivium under the influential potency of My Chemical Romance at their early best. It is as fascinating as it is dominating, a sensational encounter which like the EP as a whole, leaves ears ringing, thoughts full, and emotions greedy for more.

Whether the Live Above EP is your introduction to Where Giants Once Stood or the next instalment on the journey already embraced, it thrusts the band to a new dramatic and impressive status within metal. Canada’s creative sons could and should be devoured by the wide metal world thanks to the EP and if it is not now, certainly it is easy to expect it at some point in the near future.

The self-released Live Above EP is available now @ https://itunes.apple.com/us/album/live-above-ep/id907144882

https://www.facebook.com/wheregiantsoncestood

9/10

RingMaster 04/09/2014

Copyright RingMaster: MyFreeCopyright

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