‘ELEMENTS reveal ‘Where We Once Begun’, on 17th August

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New Brit alt-rock outfit ‘Elements’ nationally unveil their spanking new EP ‘Where We Once Begun’, on Monday 17th August, through all digital stores.

Hitting you with a groove likened to the early Biffy Clyro records, fused with the rock sensibilities of YouMeAtSix and Paramore, and the invention of Don Broco, Elements are primed to burst out to the nation, and these lively South Coast rocksters have the perfect bait in the shape of their new record, ‘Where We Once Begun’, out this Summer.

Formed in late 2013 and coming at you from Southampton, Elements are comprised of Graham Rogers (Lead Vocals), Ollie Butler (Guitar and Backing Vocals), Robin Small (Guitar), Max Bakker (Bass and Backing Vocals) and Ash Martin (Drums). Gathering steam, the dynamic five-some soon embarked on a series of compelling live shows supporting such artists as Bad Rabbits, The Afterparty, DEAD!, Ashes To Angels, The Hype Theory and Public Service Broadcasting, to name a few.

After a recent change in personnel, the five piece hit the studio and are now ready to strike out with their alluring sophomore EP ’Where We Once Begun’, produced by Phil Gornell (While She Sleeps, Bring Me The Horizon, Me Vs Hero). The record is a genuine scorcher and boasts five engrossing cuts, from the infectious bouncy vigour of ‘Shaman’ to the energetic craft of ‘High Time For Being Free’. The new lyric video for the track ‘Plotting Treason Or Saving The World’ (https://www.youtube.com/watch?v=osuUea3Xiww&feature=youtu.be) is also sure to pull in any discerning listener with its weaving guitar lines and layered vocals. ‘Make It Out Alive’ displays the band’s ever-increasing maturity and further explores the use of dynamics to dazzling effect. The stabbing riffery assault and full frontal vocal attack of ‘Torchlight’ pulls the curtain down on a record that is as engaging as it is imaginative. With a UK tour set out for July and festival appearances waiting in the wings, you need to catch Elements before they explode.

-ELEMENTS RELEASE ‘WHERE WE ONCE BEGUN’ ON MONDAY 17th AUGUST THROUGH ALL STORES-

EP TRACKLISTING: 1. Shaman; 2. High Time For Being Free; 3. Plotting Treason Or Saving The World; 4. Make It Out Alive; 5. Torchlight.

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

The LaFontaines – Class

The LaFontaines_ Reputation Radio/RingMaster Review

Tagged as Scotland’s biggest independent band, there is no doubting that anticipation for The LaFontaines’ debut album has been in full swing on the back of acclaimed releases and a live presence seeing the band headline shows in New York, tour the UK and Europe with Watsky, and play their biggest headline sold out show to date at Glasgow’s ABC amongst numerous successes. The majority of that happened in a triumphant 2014 for the band but it is easy to expect bigger, more forceful spotlights upon the band in this with the release of the thrilling and fascinating Class.

static1.squarespace.com_ Reputation Radio/RingMaster Review   Formed in 2010, the Motherwell hailing quintet first snatched attention with the All She Knows EP in 2013, following its success the following year with the similarly eagerly received Under The Storm EP. The absorbing diversity and sounds of the Matt O’Grady (You Me At Six/Don Broco) produced Class now blends the qualities of those previous releases with a new adventure of invention and enterprise. It is at times a startling release, persistently a striking one, and even when its persuasive energy slips a touch, album and indeed band just enthral as they brew up an impassioned and tenacious incitement. The words of frontman Kerr Okan probably describes it best when he says, “We’ve spent the past 3 to 4 years leading up to this point. Everything we’ve seen on the road or experienced together as a band has finally made its way onto record. It’s guaranteed to shock those who assume we’re simply just the best live band in Scotland. There’s so much depth to these songs, a load of pain and struggle, but underlying throughout all of the writing, is some real grit and determination.

There can be few albums this year with as rousing a start as Class offers through Slow Elvis. From a distance the song looms on ears, hitting them on arrival with pungent anthemic rhythms and fiery riffs. It is not particularly aggressive or explosive yet within seconds the opener has ears and appetite seriously aroused and hanging onto its swing. Spatial sonic endeavour fills air quickly too, surrounding the swaggering vocal rap of Okan as bass and drums intensify their bait with a snarl and punchy attitude. Additional vocal calls and melodic revelry only adds to the incendiary brew, the track evolving into a Rage Against The Machine meets Lazy Habits encounter wrapped in the sultry hues of Muse.

The sensational start is quickly backed by the similarly electrifying Under The Storm, a burst of guitar sparking handclaps and melodic vocals with fire in their breath. The track is soon shrugging off any restraint and with sinews flexing, it strides resourcefully through ears behind scythes of guitar and bass which in turn are led by the stirring mix of clean and rap cast vocals from bassist John Gerard and Okan respectively. Though openly unique compared to its predecessor, that description of references again applies, and like the first song is twisted into something unique to The LaFontaines. Unpredictability also is a ripe asset to both songs, and indeed the album, that and the great Scottish lilt fuelling the jabbing potency of the rapping.

     The album’s title track comes next, a gentle caress of melodic temptation crooning over the senses as rhythms fling their enticement around in a robust dance. Once more the mix of vocals is a magnetic tempting in the indie seeded and lively serenade of the song, the melodic lure of Gerard as potent as the creative jangle of guitar from Iain Findlay and Darren McCaughey. Revealing more of the depth and imagination in the band’s songwriting and sound alone, it is replaced and emulated by Castles. This too has a reserved touch yet its heart is a blaze of sonic expression and evocative intensity. A sizzling start slips into a mellower embrace around Okan’s delivery, both taking ears and thoughts by the hand and leading them into new eruptions of emotional drama. Without quite matching the plateau of the first few tracks, the song easily steals full attention with its Biffy Clyro meets The Kennedy Soundtrack like canvas evolved into something distinct to this new breed of Scottish rock ‘n roll.

King steps up next, its great bluesy guitar twang an immediate tasty enticing to which a throaty bass groan from Gerard and the punchy spits of Okan bring their own irresistible tempting. Featuring guests Luke Prebble and Michael Sparks, the song whilst wrapped in the tangy keys of McCaughey and vocal harmonies prowls rhythmically and emotionally. Gospel like in ambience, mischievous in imagination, the track has ears and appetite hungry, their need fulfilled by Junior Dragon. Not for the first or last time, drummer Jamie Keenan stirs up body and emotions with his skilled incitement from which the song exposes an even grittier and volatile side to the band’s sound. Arctic Monkeys like in devilry, Freeze The Atlantic like in energy, and Able Archer like in creative grandeur, the track grows into a rich bellow of voice and sound for another major highlight of Class.

A fiercely shimmering persuasion comes with All Gone next, another with a predacious edge to its rhythms and character backed by a great rapping stroll from Okan but maybe for the only time on the album a strong impact slips as the melodic and harmonic side of the song flows. Nevertheless the track captivates and solidly pleases if without finding the spark which ignited earlier songs, an ingredient the outstanding Window Seat has in strength. A more smouldering persuasion, it takes time to reveal all its rich levels and qualities but over time becomes a mighty peak of the album. It is an intense slice of emotional balladry built on a muscular frame, this draped in quite superb and mesmeric vocal strengths. It might be ballad like but there is a tempest at its heart which makes the song a volcanic croon and just irresistible.

Enjoyable but less dramatically engrossing is All She Knows, an easy going and arguably formula song in respect to the band’s songwriting. It is relatively unique to outside references but finds it difficult to stand out in the richness around it, though again to be fair the track is only enjoyment for ears, something which again applies to Paper Chase. Its eighties indie pop essences definitely add something fresh but once more the track struggles to linger like the insatiable successes elsewhere upon Class.

The album closes with the thick and shadow enriched caress of Pull Me Back, keys a melancholic but dramatic expression against the anthemic beats of McCaughey. They are a mere moment in the ever evolving landscape of the excellent song of course, every second, note, and syllable from across the band just inventive theatre.

It is a fine end to a thoroughly exciting release. Certainly there are moments when Class slips from its loftiest perch but it is generally down to the brilliance of some songs in comparison than the failures of others. As suggested, the first album from The LaFontaines has been long and greedily awaited and now here it undoubtedly lets no one down.

Class is available now via 889 Records from most online stores

http://www.thelafontaines.co.uk/   https://www.facebook.com/thelafontainesmusic

Ringmaster 17/06/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

 

 

 

Peur – Future Architects EP

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Only days in and June 2015 is proving to be the source of some striking and seriously exciting encounters across a wealth of styles and genres. Another to add to that potent list is the Future Architects EP from UK trio Peur. Uniting their past two attention grabbing singles with new imagination loaded tracks, the Manchester band easily and forcibly confirm their growing stature as one of the more mouth-watering prospects on the British music scene.

Formed in 2013, the threesome of guitarist/vocalist Joe Lomax, bassist Ryan Greenhalgh, and drummer Sam Tempest quickly sparked support and attention with first single Anarchy and following debut EP We Can Build Astronauts in their band’s first few months. Live they did not take long in making a strong, acclaim earning impression either, 2014 seeing the band sharing stages with Empty Yard Experiment, DZ Deathrays, Allusondrugs, and Dearly Beloved. It was a busy and successful year which has continued into this with the release of a trio of singles, including This Will Destroy You, and now the Neil Treppas produced Future Architects.

The band’s inspirations includes artists ranging from Biffy Clyro to Nine Inch Nails, essences amongst many which make a swift spicing in the EP once the atmospheric Intro lays down the almost dystopian air of the release. The brief sonic narrative slips into the following They Have Destroyed Everything, and immediately the guitar of Lomax is casting melodic veins of acidic expression through the encroaching shadow thick landscape of the instrumental. That oppressive ambience is an imposing hue over pungent rhythms and a striking electronic colouring but suddenly lifts as the music in turn seamlessly flows into the gripping stroll of Explosions.

FA_Reputation Radio/RingMaster Review   An open and immediately magnetic Queens Of the Stone Age bred groove ignites ears first, its swinging persuasion matched by the rhythmic tenacity of Greenhalgh and Tempest. Contagion is a quick infestation of the song whilst drama and emotion is as rich through the enjoyable vocal tones and delivery of Lomax. That Josh Homme like spicing is an on-going tempting but as it expands and proceeds, the song explores a Muse like croon in chorus and voice where the early dramatic quality enriches every irresistible hooks and addictive groove within the encounter; familiarity and originality aligning for one voracious roar of a proposition.

     It Ends Before It Starts steps up next and it too is quickly enslaving ears and thoughts with healthy grooves, the thick lure of the one conjured by the bass especially captivating. Though it does not quite have the consistent swagger of its predecessor the track ebbs and flows with powerful energy and evocative invention. At times it offers a reflective, angst hued sigh and in others a bellowing expulsion of passion and intensity with both contrasts as potent and alluring as the other. Once more a Matt Bellamy and co breath coats the adventure but fair to say that again both songwriting and sound only use such influences as colour to their own designs.

The release ends with Hollow Skies, and if atmospheres and emotional intensity was thick before, they combine here for a smothering seduction fuelled further by the harmonic richness and craft of Lomax’s voice. Once more shadows line the noir lit theatre of the guitars and the emerging depths of the song, its body almost cavernous in feel with jabbing beats and darkly toned bass enterprise. Fair to say this time though it is the songwriting and the voice of Lomax which steals the show, even if unavoidably you have to also offer Muse as a close but certainly not quality defusing comparison to his presence.

The EP is as compelling as Peur is openly inventive, every track blossoming from the technical and inventive canvas the band members skilfully craft. They may still be looking for their truly distinct sound but more treats like Future Architects will see few complaining as Peur continues their impressive emergence and exploration.

The Future Architects EP is available now @ https://peurofficial.bandcamp.com/album/future-architects

http://www.peurofficial.com   https://www.facebook.com/PeurOfficial

RingMaster 04/06/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

Brightlight City – Adventures EP

BrightlightCity2015

The Adventures EP is a proposition which might not be going to set the rock world ablaze but with three tracks of virulent alternative/melodic rock, the new release from Brit tunesmiths Brightlight City is still likely to be a greedily devoured feel good encounter. It is one of those incitements easy to turn to for an energetic and feistily contagious time. It is not changing the landscape of rock ‘n’ roll but definitely the release gives it a healthy dose of feisty enterprise.

The Surrey quintet began in 2014, swiftly releasing a trio of songs and embarking on mini tours across the UK. Inspirations come from the likes of Hundred Reasons, Million Dead, Foals, Yourcodenameis:milo, At the Drive-In, Refused, Biffy Clyro, and Jimmy Eat World, spices evident in the band’s debut EP Breaking Straight Lines which was recorded with producer Jason Wilson (You Me At Six, Fightstar, We Are The Ocean, Reuben) and released last October. Now the band unveils its successor, Adventures, which was also recorded with Wilson. As its title hints at, the new EP explores new aspects to the band’s sound; the band recently commenting on the release with “Adventures is an EP, as the title suggests, that takes the listener on an adventure; stories of late nights, life, death, love and society all set against the instrumental back drop of a massive alternative rock sound.”

Adventures Artwork iTunes    The release opens with new single The Finish Line, and instantly sparkling guitar bait is sunning itself in the imagination as rhythms provide a sturdy and darker company. The vocals of Jamie Giarraputo similarly are a warm and vibrant invitation, nestling perfectly in the weave of enterprise cast by guitarists Justin Giarraputo and Jono Staunton. The track strolls along with an endearing quality and a catchiness which really sparks in the addictive chorus whilst the resonating bass of Dan Stubberfield adds further potent magnetism alongside the punchy beats of Ben Bell which punctuate all the hooks and melodies with relish.

The following I’m Only Good At Adventures backs up the impressive start to the EP with its own infectious swing and dance on ears. Once more hooks and melodies seduce, though with less impacting bait than found in its predecessor. Nevertheless the song is an easy to consume and get involved with proposal of rock ‘n’ roll warming up ears and appetite for the outstanding closing track.

Reaction is superb, from its opening earthy groove and dirty riffs attention seizing bait which never loosens its grip even when slipping into a slow caress of voice and melodies. It is just the teaser though for the contagion to follow, bass and beats prowling with a glint in their eyes as guitars spin a web of imaginative melody clad temptation. Vocally Jamie Giarraputo is just as magnetic, his delivery carrying a gentle swagger to match the bass groove and sonic devilry seducing ears and imagination. Jimmy Eat World is mentioned as an inspiration and there is no escaping the similar potency of hooks and enterprise within the song to the US band’s greatest moments.

The track is irresistible and brings an excellent release to a masterful close. Listening to the Adventures EP, it does feel like Brightlight City is still searching for their truly unique sound. When it happens though and if songs carry the same qualities discovered on this new encounter, it is hard to imagine anything stopping a global success.

The Adventures EP is out digitally from May 11th and physically on the 15th May.

http://www.brightlightcityofficial.co.uk/   https://www.facebook.com/brightlightcityofficial

RingMaster 11/05/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

Earthist – Lightward

Earthist Official Photo

Hailing from Italy, alternative rockers Earthist have announced themselves on a wider landscape with a debut album which is full of surprises, invention, and most of all thoroughly enjoyable encounters. Lightward has moments where things are not as imposingly convincing as in other thrilling parts but from start to finish it is fair to say that the Parma quartet has presented one captivating, potential drenched introduction.

The band was formed in 2012 by young musicians whose ages (20 to23) are a deception to the maturity of their invention and sound. Drawing on a diverse array of influences and flavours to spice up their own imagination (folk, progressive, and Britpop amongst them), Earthist swiftly found eager support in their homeland for their Now. Here. Or Nowhere. EP of 2013, which in turn helped open up opportunities for the band to spread out live and subsequently play alongside numerous other emerging and better known bands from within and outside of Italy at important festivals. A critically acclaimed feature film by Emanuele Valla called Dreaming Alaska also featured some of the band’s songs, but now with the worldwide release of Lightward via Epictronic, the foursome of Federico Ronchini (lead vocals / guitar), Francesco Parrino (lead vocals, keys), Giacomo Giuffredi (guitar / backing vocals), and Alberto Tanara (drums) are knocking on broader attention, and with its unpredictable invention and smiling imagination it is easy to suspect potent success coming their way.

Opener Not Today is a swift melodic anthem in the ear, its rhythms and riffs a sturdy initial wall of tempting within which keys dangle bright temptation. A great bassline emerges from a following calm, its throaty lure in thick contrast to the just as engaging vocals which if you did not realise the band was Italian give no real hint to the band’s nationality. As the song’s shadowed but summery stroll continues, guitar and keys offers sparkles of light hooks and teasing enterprise over the stirring core drive of that bass and accompanying similarly intensive riffs. The band has been compared to the likes of Biffy Clyro and Mumford and Sons and it is easy to see why, especially in reference to the first of the two in this track alone.

Earthist _ Lightward   The following Miracle moves into view with a coaxing of jagged chords before inviting crisp beats and another dark throated and catchy bassline. Emerging as a flavoursome slice of indie rock it also has a pop punk air to its chorus and aligning vocals, whilst across its whole length the song almost teases with its busily creative nature. The same can be said of Sirens Sing within its own unique presence. Creaking wood is a suggestive start to the song before an acoustic caress of guitars and growing melodies across keys and strings snuggle provocatively upon ears and imagination, each voicing the haunted romance of some kind inside the track’s elegant presence. The song, as the album, increases its potency and appeal with every listen, blossoming from an enjoyable first encounter to another peak within the album.

A spatial atmosphere instantly engulfs the senses and next song The Astronaut, keys a celestial breeze from which the song suddenly slips into an energetic and vivacious indie pop romp. Hooks gleam as they take and sonic endeavour shines as it entwines the infection posing as a song. Like a mix of Super Happy Fun Club and Good Charlotte, nineties and more current essences collude for a fiery anthem, inciting a new flush of hunger in the appetite before Brighter Later and after it Fox When The Night show another twist in the nature of the release. The first of the two is a rock pop serenade with a feisty heart and lively tenacity whilst the second with an equally lusty energy, explores a more new wave/indie inventiveness. Neither quite lives up to the previous songs yet each provides moments of richly pleasing ideation in a constant feel good proposition, the second of the two especially engaging a smile of satisfaction.

Classically seeded keys and a great earthy bass tone make Step Out Of The Shade an especially flavoursome proposition next, though the great vocals and a Beatle-esque whiff to the chorus certainly help its appeal too, whilst Helicon straight after, is another slow to light the emotions encounter. To be honest it never quite finds the spark needed to truly excite but enjoyment is never in doubt whilst in its increasingly tempestuous company. Neither song can match up to Jolly Roger (A Pirate’s Tale) though, the track from its opening boot on wood rhythmic march gripping body and thoughts. It reinforces the opening gambit with a radiant piano coaxing and a guitar crafted seducing. Vocals again impress and add new texture and quality, their joyful swing matching the shanty like swagger of the track. Bass snarls and folk revelry only colour the full blooded adventure further, all alluring hues going to make the pinnacle of the album. Revealing yet another new facet to album and songwriting the band’s imagination shows an experimental side easy to hope they explore much more ahead.

Sealance (In My Eyes) provides a raucous flight of radiant keys and thumping rhythms within an intensive sonic embrace next whilst Time For A Fight manages to weave strains of Muse, The Doors, and Weezer into a blustery and again increasingly magnetic collusion of sixties, seventies, and a more current festivity. Their satisfying sounds make way for The Lighthouse, a more than decent close to the album with a Coldplay like croon within a lively simmering melodic landscape. Like its predecessor, the track pleases without setting fires yet each have something within their presence which is nothing short of pleasing.

The album is a treat of a first glimpse into the creative world of Earthist, a realm sure to only grow and breed new thrilling experiments and creative emprises ahead. We for one cannot wait and suggest fans of melodic contagion do not either by taking a punt on Lightward right now.

Lightward is available now via Epictronic/Plastic Head Distribution LTD @ http://www.plastichead.com/item.asp?ex=fitem&target=EPIC005 and https://itunes.apple.com/gb/album/lightward/id958116679

https://www.facebook.com/Earthistmusic

RingMaster 31/03/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://reputationradio.yooco.org/

Oh Captive – Two Mirrors

Oh Captive Online Promo shot

It is hard to supress a roar of frustration and disappointment when after enjoying a new and thrilling encounter from a band with all the tools and sounds to be a major presence in British alternative rock, they announce ‘on the eve’ of its unveiling they are to be no more. That is what has happened with Bristol quartet Oh Captive. Just a couple or so weeks before new EP Two Mirrors is released to light up ears and appetites, the band announced it had called it a day, though it might emerge to be more an internal evolution resulting in a name change and new direction rather than a full departure. Time will tell but whatever the outcome, they leave behind two impressive releases and a collection of vibrant and inventive songs, their latest the most captivating yet.

Formed in 2012, Oh Captive swiftly lit their local music scene and subsequently set about the whole UK scene with their energetic live presence, playing with the likes of Sonic Boom Six, UK Subs, Straight Lines, Max Raptor, Sharks, Blitz Kids, I Divide, Fighting With Wire, and Scholars along the way. Their sound has drawn comparisons to the likes of Biffy Clyro and Twin Atlantic, open and potent spices in the band’s debut EP Advance Creature, which was released in the March of 2013. It was a stirring and dynamic offering rippling with a potential which has been realised with sizeable success within Two Mirrors. The past year has seen Oh Captive supporting the likes of Marmozets and Arcane Roots, and make highly successful appearances at festivals such as Leopalooza and New Age, whilst media attention has grown as potently too. Now it may be over, but if so the band has gone out with a bang and ensured attention for their next exploits will be eagerly attentive.

Oh Captive - Cover Artwork   Two Mirrors opens with Recover, an instant ear grabbing proposition as vocalist Tim Kelly and a tangy rub of guitar combine a minimalistic but highly tempting bait to bring the song into view. It is not long before the heavy throated bassline of Tom Hitchins and the punchy beats of drummer Chris Hill leap in, accompanied by sonic flames cast by the guitars of Curtis King and Kelly. Immediately there is a drama to song and sound, light and dark textures colluding in an imposing but inviting web. Settling down a little for the continuation of the narrative from Kelly, the song increases its lure as it builds to energetic crescendos and an anthemic chorus. There are no major surprises in the melody soaked track but there is a bold invention to match its gait, which leaves expectations and predictability absent protagonists in the outstanding encounter.

The impressive start is backed with similar strength by Motion / No Motion. The second song is a rhythmically raucous stomp from its first breath with Hitchins offering a magnetic lure of a bassline. It is a dark coaxing surrounded by the concussive stick ability of Hill, a thick drawing of attention never wavering even as they are immersed in the sonic and melodic blaze of the guitars and the ever impressing tones of Kelly. There is something missing compared to its predecessor though, a small element just stopping it drawing the lustier satisfaction bred by Recover, but nevertheless the song has feet and imagination leaping in tandem with its resourceful enterprise.

Live Fast Don’t Last explores more of a croon for its creative shape and emotive intensity next. It has a slower flow and a more immersive canvas than the last songs with melodic tenacity and evocative expression from the vocals providing a deeper reflective colour and emotion to the encounter. It smoulders and tempts pleasingly as it shows another side and depth to the band’s songwriting and its creative realisation, though again cannot quite emulate the success of the first track and indeed its successor.

The EP’s title track brings it all to a lively and impressive close. Two Mirrors bounds along with another invitingly dark bassline aligned to eagerly swung beats, whilst their union is drenched in an anthemic energy and charm which the band seems to conjure at ease. Veined by richly enticing and tenacious guitar craft, the song makes a pungent end to a fine and enthralling release. If this is to be the end of Oh Captive, song and EP has seen them go out on a high and will leave fans saddened and newcomers kicking themselves for not discovering their promise and quality before.

The Two Mirrors EP is available from March 23rd through all digital outlets.

https://www.facebook.com/ohcaptive

RingMaster 23/03/2015

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Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://reputationradio.yooco.org/

Following Foxes – Self Titled EP

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When an artist or band has a background which involves in part the Academy of Contemporary Music in Guildford, there is always an intrigue to learn more, partly because the town is a part of our musical heritage too and mostly because of some of the talent which has been nurtured at the ACM. From one of the UK’s most potent and impressive place of musical education, the likes of Newton Faulkner, Guy Davis who was part of the UK’s finest alternative rock antagonists Reuben, Joe Butterworth of Talanas, and Alexis Demetriou who formed the criminally unrecognised rockers Lost In Wonderland, have made varying impacting but potent marks on the British music scene. It is a long list also including members of Lawson and some bloke named Ed Sheeran, successes to which you can now add home town boys Following Foxes.

With its members all meeting at ACM, Following Foxes formed in 2013 and having a strong past year on the live scene now release their self-titled debut EP to nudge a broader attention to their presence. The five track release is a captivating introduction to the quartet, a handful of songs bred in a melodic caress of folk and indie/acoustic rock which energetically and skilfully bring a summery and creatively tenacious proposition to the senses. Drawing in inspirations from bands such as Biffy Clyro, Mumford & Sons, City and Colour, and Pink Floyd, Following Foxes shows themselves to be a thoroughly magnetic proposal and their EP more than likely to pick up wider media attention to back up already eager play on local radio stations across the South East of the UK.

The band’s new single, Almost Lost It is first up and right away with punchy bass lures from Mike Chapman and a great shuffle of beats within a caress of guitar, has ears and imagination paying close attention. The song relaxes soon after to welcome the strong vocals of Gid Sedgwick, his tones as warm and alluring as the melodic venture already shown by his and Alex Hill’s guitars. Subsequently with ears transfixed, another bait of thick beats from Steve Price adds fresh adventure before the song settles into a vibrant stroll loaded with a folkish revelry and melodic

Artwork by Harry Murr @ Roberts Clothing

Artwork by Harry Murr @ Roberts Clothing

swagger. There is still plenty of variety to gait and sound across the song though, sometimes more subtle than in others but a great unpredictable essence which grips the appetite and certain enjoyment.

The following I Saw, You Saw Me Back makes a less dramatic entrance though Sedgwick immediately holds court with his melodic croon and lyrical intimacy. It is still a strongly appealing first touch though which expands into a feisty but composed dance of voice and rhythms within a melodic seduction. As its predecessor, the track soon worms under the skin and into the psyche, a Lennon and McCartney whisper spicing part of the song whilst others times it romps along like a mix of Knots, Common Tongues, and The Radioactive Grandma.

Waiting for Someone, like those before it, simultaneously manages to be a warm reflective hug and a fiery little rocker, the great vocals across the band and occasionally a rigorously driving rhythmic thrust respectively igniting another memorable and increasingly enjoyable offering. It does not quite match up to the first pair such their might, but leaves satisfaction full before making way for Mother Brother. Though you cannot describe any of the songs as aggressive, there is a definite edge to the song when it steps up its energy around harmonically and melodically seductive embraces. It is a compelling end to a fine release; well not exactly an end as there is the brief melodic Outro to come but the party has ended by this point, its atmospheric haunting that drifting away of guests and excitement like after any slice of major fun.

Following Foxes has made a very impressive first step with a release which could straight away set them on a potent journey towards sparking the country’s attention. If not now it is impossible not to think or expect it will happen eventually but seems silly to wait, so go check out this highly pleasing release.

The Following Foxes EP is available now @ https://itunes.apple.com/gb/album/following-foxes-ep1-ep/id964894157

https://www.facebook.com/FollowingFoxes     http://followingfoxes.com/

RingMaster 02/03/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://reputationradio.yooco.org/