Deadly Circus Fire – The Hydra’s Tailor

DCF_RingMaster Review

Casting a creative and impassioned roar which just gets richer and more compelling with every listen, The Hydra’s Tailor is a majestic beast of an album; a release that invasively seduces and cantankerously snarls. The second album from UK metallers Deadly Circus Fire, it has been the source of much attention and highly enthused praise already, so time we thought to get involved in its acclaimed proposal and fair to say disappointment was not on the agenda.

Fusing persistently unpredictable explorations of progressive metal and rock with just as magnetically carnivorous textures, The Hydra’s Tailor is already no stranger to drawing keen attention, just like the band’s debut album The King and the Bishop which was heartily embraced by fans and media alike. Drawing on inspirations such as Tool, Mastodon, and Deftones, the London based Deadly Circus Fire laid down a fiercely inviting teaser for this their latest emprise of sound and imagination through a couple of eagerly welcomed singles and since their release, they have signed with Musicarchy Media for the release of the crowd-funded, The Hydra’s Tailor as well as share stages with the likes of Crossfaith, Funeral For a Friend, and Bleed From Within across the UK and Europe. Right now they are lighting up European venues supporting Skindred on their Pump Up The Volume tour, just as The Hydra’s Tailor does the same to ears and speakers.

Artwork_RingMaster Review     The album starts with In Darkness We Trust, its keys spawned melancholic air embracing the immediately enticing and impressing voice of Adam Grant. The duet is bewitching, a solemn yet magnetic coaxing into the heart of the album and second track Animal. Riffs instantly begin prowling ears as it opens up predatory scenery, vocals again a potent enticement as the firm swings of drummer Paul Igoe resonate and the guitar of Save Addario spins expressive sonic enterprise around the still ravenous riffery. Grant again strikes with compelling vocals, his presence backed as resourcefully and potently by the tones of Mike Enort, whose basslines are no slouch when it comes to casting dark temptation either. Whereas the opener was a minimalistic treat its successor shows the shape of things to come with its unpredictable and seamlessly diverse landscape, it also a triumph in its own right.

The following Where It Lies expands from an acoustic flirtation into another mesh of wiry guitar tendrils and emotive flames, ebbing and flowing in aggression and intensity but relentlessly seducing in charm and adventure. As vocal craft and imagination shadows every step made by the ideation building the track, a scent of bands like Circles and Palms lay upon the fascinating encounter, Karnivool too in the song’s mellower moments but all spices to something already showing Deadly Circus Fire uniqueness.

Victim is another entering with an antagonistic glint in its creative eye, rhythms and riffs aligning their rapacious natures as Metallica-esque grooves line the emerging tempest. This time there is a whisper of bands like Bloodsimple and Lamb of God to another song which needs little prompting to evolve into new pastures of tenacious ideation and compelling craft, subsequently an air of Porcupine Tree and Tool just as suggestive across the outstanding incitement.

Another pinnacle comes with the stunning blaze of Devil’s Opera, a track as infectiously catchy as it is mouth-wateringly involved. It takes ears, emotions, and the imagination on a heady ride of united enterprise and individual exploration, a flight which twists and turns with an inventive turbulence that only ignites the appetite to greedier intent towards album and band. It is a forceful yet respectful invasion of the senses continued in Rise Again, it too aligning riffs and rhythmic rabidity with a fire of sonic invention and emotion driven melodic expression guided by the superb voice and delivery of Grant.

The brief instrumental tempting of Martyrs provides a relaxation for the senses next and a new spark for the imagination to play with before the exceptional House of Plagues groans and grinds ears with guitar endeavour around an enjoyably volatile blend of vocals. That bestial intent continues as melodies catch flame and rhythms jab with the stealth of a predator, all contrasts uniting in a scintillating emprise of emotive and provocative ingenuity, one that gets more ravenous and thrilling over each passing minute. Amongst so many within The Hydra’s Tailor that linger and relentlessly lure constant attention, as the album itself, the track is pure addictiveness as it takes best track honours.

Through the bold air and wonderfully fluid and varied tapestry of Aeden and the climatic atmosphere and soundscape of the album’s title track, The Hydra’s Tailor continues to enthral and tempt lustful reactions, its namesake another especially mesmeric blaze of dexterous songwriting and skills matched in sound. Both songs add thick layers to the epic nature of the album with the next up Turning the Tide equally as mighty with its agitated rhythms and sonic swirl of discontent. Equally within its stormy nature though, melodies brew, calm emerges, and bewitching harmonies entice to engross and excite before the turmoil returns in similarly exhilarating style.

The album is closed by the celestially lit, intensively aired Universe; a song which soars and bullies its way into ears and the psyche whilst leaving a great resonance and glow from its respective merger of harsh and tempestuous textures with absorbing beauty. The song is just masterful, repeating the major success cast before it across The Hydra’s Tailor with its own impressing adventure.

The good things heard and read about Deadly Circus Fire barely do the band justice, and now having been infected by The Hydra’s Tailor it feels safe to say if there are those yet to feel the power and prowess of the band the chance of finding reactions breeding the same kind of enthusiasm as us here, is high. There is only one way to find out of course and that is one of the heartiest recommendations made at The RR this year, go explore.

The Hydra’s Tailor is out now via Musicarchy Media @ https://www.musicarchymedia.com/project/the-hydras-tailor/

http://www.deadlycircusfire.com   https://www.facebook.com/deadlycircusfire

Pete RingMaster 17/11/2015

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

I Cried Wolf – Hollow Heart

Lamp Shade Press Shot _RingMaster Review

Real uniqueness in music is a long sought after and if we are honest rarely found aspect in the current music scene. But there are always a few exceptions and many more which come pretty close to finding that clear originality, and one such incitement is UK post-hardcore/punk ‘n’ rollers I Cried Wolf. The band is poised to release their new EP Hollow Heart, and it is a rousing roar of fierce invention and raw intimacy which sets the case for the Banbury quintet being the next big thing in certainly the British hardcore scene, if not its rock ‘n’ roll landscape, whilst creating an incitement which sets ears aflame and the band well away from the crowd.

Hollow Heart is a diverse and unpredictable encounter which you can at times reference to the likes of Dillinger Escape Plan and Every Time I Die as well as others such as Pantera and Reuben in certain moments and aspects, but an invigorating trespass on the senses and imagination which has a character and invention of its very own. The EP is the work of a band formed in 2012 and becoming quickly renowned for their ferocious live presence which has in turn garnered an increasingly potent and loyal following. The past couple of years or so has seen I Cried Wolf share stages with the likes of Bleed From Within, Hacktivist, Create To Inspire, Let’s Talk Daggers, Red Seas Fire, Bad Sign, and Surrender The Coast around the UK. Recorded with producer Sam Winfield (Bring Me The Horizon, Dry The River), Hollow Heart is the band’s broadest wake-up call for the country yet and one hard to imagine being ignored by very many.

Lyrically relating to the life of vocalist Harry Davies, “his reluctance to let go of the past….Of loss, lust, and betrayal”, Hollow Heart opens up with Scratching My Head With Ink and a scratching of riffs before exploding in a howl of sonic turbulence and vocal angst. To that though, is an immediate swing and volatile stroll bursting with imagination and quickly gripping hooks. The guitars of Louie Hodgson and Alex Gibbons cast raw smog of irritable riffs and gripping grooves whilst the drums of Oli Hampshire ransack the senses with their rugged yet rousing incitement. It is a thrilling and bracing proposal enhanced by the roaming throaty bassline spread by Jacob Rudman and the impassioned squalls from the lungs of Davies. That alone would be enough to provide potent bait for the appetite but it is the unpredictable nature of the song which makes a great song something special. The grooves just get heavier and spicier whilst Davies as he digs deeper into his emotions discovers a gripping Anselmo like grizzle to his delivery, whilst the song, well that just bristles punk attitude and heavy rock tenacity as it twists and turns.

ICW_Hollowheart_EP_RingMaster Review     The outstanding start is not let down by its successor, Massokiss Me an agitated swarm of toxic riffs and rhythmic rumbling from the off only breeding keener grooves, greater vocal diversity, and serious invention as it explores a host of flavours all bred in rock ‘n’ roll of some design. That subsequently leads into an impassioned post-hardcore seeded outpouring of melodic and vocal emotion, the track evolving within ears with broader and bolder enterprise before making way for the enthralling It Takes A Slave. It starts with a swing which is best described as blues meets ska punk meets jazz rock where Davies uncovers a dusty growl to his tones as the guitars weave a sultry enticing and the bass a funky lure behind him. It is an entrance which eventually expands into another fascinating and exciting entwining merger of diverse flavours, Faith No More a suggested hint to the ingenuity at play. Each song in a way is ordered bedlam, a vat of individual textures and styles twisted and aligned for songs which, as here, smash expectations and leaves a lingering and inescapable intrigue which simply draws ears keenly and swiftly back into its midst for more exploration.

Kensopia is a spiral of melodic revelry and suggestion from the off next, guitars almost duelling with their individual exploits as rhythms tenderise ears ready for the vocal prowess of Davies and band. Jagged riffs bring another new shade to the sound and release whilst an air of bands like Bring Me The Horizon comes forward briefly as the track moves on to pastures new and old in the strike of a chord or swing of a stick. It is another enjoyable aspect to the I Cried Wolf sound, it never stands still, always in creative motion meaning ears and thoughts have to be lively and willing to rerun the bruising fun again, and again to grasp all the rewards.

Sharkfeet brings Hollow Heart to its close, the track another cauldron of emotion and mouth-watering revelry in songwriting and a tenaciously uncaged tempest. Sonically burning, rhythmically intimidating, and consistently engrossing, the song simply boils over in adventure and almost psychotic invention yet, as all songs, manages to find a coherent and fluid passage across the whole of its explosive passage.

Impressive on the first listen and increasingly impacting and thrilling thereafter, there is only one word for Hollow Heart…remarkable!

Hollow Heart is digitally available from September 11th via Crooked Noise Records.

Pete RingMaster 11/09/2015

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent check out http://www.zykotika.com/

Islasorna – E.D.E.N

Islasorna Online Promo_Reputation Radio/RingMaster Review

Band and sound might be tagged as progressive metal, but the best description for both elements and the creative and technical fury of Scottish band Islasorna, is psychotic. The Edinburgh quintet’s debut EP E.D.E.N is a tempest of bedlamic ideation, a deranged onslaught of inventive noise which could be declared a sonic psychosis and should be acclaimed as one intoxicating slab of thrilling turmoil.

Formed at the beginning of 2014, Islasorna create the most unpredictable maelstrom of sound. It is indeed bred in from a progressive seeding, but from second to second comes infused with a diverse array of flavours and psyche twisting imagination. Inspirations for the band are drawn from the likes of The Devil Wears Prada, Northlane, Whitechapel, Sikth, The Dillinger Escape Plan, Animals as Leaders, and Metallica, varied spices adding to a striking proposition in sound matched by a live presence which has increasingly earned acclaim and attention as the band shared stages with bands such as Bleed From Within, Carcer City, Demoraliser, Martyr Defiled, and Continents over the past year or so. E.D.E.N is a fierce nudge on broader awareness and recognition, and though for some it might be a creative turbulence too far such the intensive nature of the EP, Islasorna will surely be a name on a much wider roar from hereon in.

The EP opens with Obliteration and a melodic twang of guitar which alone soaks the air in a sultry yet slightly portentous suggestiveness. It is a hint quickly realised by the forceful beats of Michael Devlin and the vocal roar of Justin Dilworth. At first their presence only brings a small element of imposing urgency with it, a slither of increased intensity but also a stronger and darker apocalyptic hue which toys with and ignites the imagination. At the song’s climax a voice skirts the senses and provokes thoughts, menacingly flirting from the shadows before the following Achluophobia emerges to bring its words to thicker destructive reality.

Islasorna cover_Reputation Radio/RingMaster ReviewThe second track instantly expels a djent spawned predation around a blaze of vocal scowling and sonic intimidation from the guitars of Dean Watson and Jamie McArthur. As the first track, it is more a prowling ravenous predator than a vicious onslaught yet the pathological agitation its title suggests is fuel to the attention gripping enterprise and imagination cast by the band. Simultaneously the track is savage and seductive, extremes entwining and in revolt against each other as the listener is dragged through a landscape of metalcore and grindcore to name two of the open essences sculpted in a progressive and experimental voracity.

Judas in comparison is a calmer incitement on ears and senses, and opens with a thoroughly engaging melodic caress of guitar courted by the darker lures of Mark Brunton’s bass. It is a fascinating start, the equally mellow tones of Dilworth adding to the tantalising proposal. The feeling that something is brewing is never far from the surface though and by midway the brief but potent offering has uncaged a caustic climate of sound and emotion though it is still with restraint as the band reveals more of their diversity in songwriting, sound, and individual prowess. Its magnetic bellow makes way for the harsher but no less inventive Choices. The song continues the melodic and dazzling progressive elements of its predecessor but cages them in a jagged confrontation of riffs and barbarous rhythms, both Devlin and Brunton as carnivorous in their attack as the guitars are melodically riveting. Arguably the encounter fits into the more expected template of progressive metal and the inspirations to the band mentioned earlier, yet it is a perpetual provider of unique twists and senses spearing sonic flirtation again setting the band apart from the crowd.

Creative mania returns in full lung bursting vocal and noise driven devilry next with 4-2-8, the track full warfare on the senses as Dilworth reveals his broadest vocal derangement yet and musically the band twists like a sonic and rhythmic dervish. The track is outstanding, not necessarily better than any other upon E.D.E.N but staking a favourite claim with increasing success over every listen. Its rigorous and rugged turbulence is instantly contrasted by the EP’s closing title track where once more Islasorna pull back the shades on another side of their imagination. An initial breeze of melodic beauty kisses ears and thoughts first, keys colouring a shadowed ambience with elegant charm before evolving into an electro rock seducing around militant rhythms and a union of harsh and harmonic vocals. Post hardcore, scream, post rock, they are all amongst the spices within the encounter, whispering hues within the enthralling finale going towards further proof of the band’s originality.

As outstanding as it is, E.D.E.N still feels like it is only the first big step of the band, one loaded with such promise that it suggests it is merely going to be the springboard for bigger, bolder exploits ahead. This only adds to the excitement of the emergence of potentially a new force in European metal.

The E.D.E.N EP is available from June 1st through all stores.

http://Facebook.com/islasornauk

RingMaster 01/06/2015

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

 

ISLASORNA REVEAL THEIR E.D.E.N’ ON 1st JUNE

Islasorna Online Promo shot

SCOTTISH PROGRESSIVE METAL OUTFIT ‘ISLASORNA’ NATIONALLY RELEASE THEIR DEBUT EP ‘E.D.E.N’ ON 1st JUNE, THROUGH ALL STORES.

Spawned from the depths of Edinburgh, and conceived at the start of 2014, Scottish experimental metal crew ‘Islasorna’ have picked up a legion of fans throughout the far North. And through dedicated and rampant gigging, word is beginning to spread about the band’s high octane live shows further afield in the UK. Adding more fuel to their fiery cause, the progressive metallers have supported the likes of Bleed From Within, Carcer City, Demoraliser, Martyr Defiled and Continents.

Consisting of vocalist Justin Dilworth, Guitarists Jamie Mcarthur & Dean Watson, bassist Mark Brunton and drummer Michael Devlin, Islasorna fuse together colossal riffs, tech playability and even hints of jazz to the melting pot. With inspiration coming from everyone from The Devil Wears Prada, Northlane, Whitechapel, Sikth, The Dillinger Escape Plan and Animals as Leaders to Metallica, the band offer a sound that is inherently steeped in metal, but undoubtedly pushes the envelope.

Islasorna are set to break out to the UK with the official release of their earth shattering debut EP, ‘E.D.E.N.’. The opening track ‘Obliteration’ pulls you in with its haunting atmospherics and pummelling drop beats. The five-some then crank it up with the sludgy riff assault of ‘Achluophobia’, which immediately grabs you by the nether regions. The band showcase their astute use of dynamics for the hypnotic track ‘Judas’, while the guttural attack of ‘Choices’ slams your eardrums, and the craft of ‘4-2-8’, framed by blistering guitars and jagged rhythms, is just pure intensity. The metallers draw the record to a close with the EP’s namesake ‘E.D.E.N.’, and it’s an eerie slab of moody heavy electronica which displays the band’s growing maturity. With shows in the can for this Summer, Islasorna are bursting to rise.

-ISLASORNA RELEASE ‘E.D.E.N.’ ON 1st JUNE THROUGH ALL DIGITAL OUTLETS-

Islasorna cover

http://Facebook.com/islasornauk

A Room Swept White – No Love Lost

A Room Swept White Online Promo Shot

As much as we all hope the next new thing we listen to will be an inflamed love affair for ears and the passions, sometimes a just as enjoyable contemplation is a proposition which manages to leave thoughts and emotions balanced between high praise and dissatisfaction. The new No Love Lost EP from UK post hardcore band A Room Swept White is such an encounter. Consisting of five tracks which at times with their raw persuasion ignite a lusty appetite for the band’s imagination and attempt to stand out from the crowd, the release is a potential soaked and ultimately promising first look for us to a band beginning to brew up a buzz. Tempering its success though, those same songs also provide a senses smarting abrasiveness in certain moments which rub personal tastes the wrong way. It all results in a sizeable confrontation which as it twists and tries to find its feet, provides a presence that ensures A Room Swept White will not be simply a passing interest.

Hailing from Crawley and Horsham, A Room Swept White formed in 2011 with the intent “to create a sound that inspires and attacks the senses.” From the first few seconds of the new EP it is fair to say that the quintet has that angle covered quite potently. They create a persuasion which live has impressed forcibly, as shown by gigs alongside the likes of Heart In Hand, Hacktivist, Bury Tomorrow, Feed The Rhino, Bleed From Within, Soulfly, POLAR, and many more persistently drawing strong praise. They have a stage power and intensity which you can suggest has not quite been discovered on No Love Lost, but as implied earlier, their promise is all there to be heard on the band’s new release.

It opens with the evocative melody fuelled Recollection, a brief caress of emotive guitar and cleanly delivered vocal angst over rugged rhythmic scenery. It is an inviting lure taking the listener A Room ...PromoImagestraight into the hoarsely throated This Life. The second track immediately assaults with heftily swung beats from drummer James Farrant against just as antagonistic riffs. Twists in the already inventive designs of guitarists Alex Kirrage and Michael Flood catch the imagination before the coarse vocal rage of Ryan Elliott adds to the antagonistic intent. It is a strong start which finds greater energy as the frontman expels his angry breath, an increase in intensity matched by the guitars great enterprise and the darker moodier basslines of James Nicoll. A further enticing colour comes with the clean vocals of Kirrage, firstly as a backing aligned to the calls of the band. It is a great mix and the track is soon winning over thoughts and appetite, especially as it slips into something melodically and atmospherically more comfortable at one point.

The song flows into the EP’s title track and it too is soon badgering and energetically squalling over the senses. Bulging with uncompromising rhythms and vocal predation courted by coarse riffery, the song is a maelstrom of fresh ideas and at times genre familiarity. It works well but is missing something compared to its predecessor, though the clean vocals and imaginative endeavour of the guitars is a tasty extra.

Vocally is where the EP seems to be raising most debatable points with people, though most seem to praise the hostility of Elliott over the warmer tempting of Kirrage. Personally it is the other way round where the band on this encounter flourishes; the latter providing great and impressive contrast to the less adventurous assault of his band mate. It is all down to taste of course but it would be good to see Elliott mixing up his venomous stance in the future to break the almost overwhelming causticity which at times defuses the success of the creativity elsewhere. Songs like the next up Time Heals especially blossoms from the angst soaked ire dripping from Elliott’s fine attack though, and just as pleasingly from the sonic adventure and melodic flames which wrap around the impressive bait set down by Nicoll and Farrant.

From the best track on the release, No Love Lost ends with the more than decent if slightly underwhelming Better Days. Like the third song on the EP, despite highly agreeable ideas and skilled enterprise, the song is missing the fire of certainly the previous incitement of ears. As No Love Lost as a whole, there is still plenty to get strong satisfaction from and things to be unsure about with the final outcome being that A Room Swept White is a prospect needing more keen attention. Both band and release provide pleasing and enjoyable company but are accompanied by a feeling it is still early days and there will be stronger and more exciting things to judge ahead.

The No Love Lost EP is available from January 12th through all digital platforms.

https://www.facebook.com/ARoomSweptWhite

RingMaster 12/01/2015

Copyright RingMaster: MyFreeCopyright

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

http://www.thereputationlabel.today

The Spanking New EP From A Room Swept White Hits The UK This January!

 A Room Swept White Online Promo Shot

Southern Melodic Hardcorers ‘A Room Swept White’ unleash their jaw dropping new EP ‘No Love Lost’ on Monday 12th January 2015. Taking from the edginess and potency of While She Sleeps and The Ghost Inside, and by adding their own absorbing dynamics and alluring melodies, the quintet have produced a forceful fusion of Post-Hardcore.

A Room Swept White were originally born at the tail-end of 2011 in the South East of England. The fiery five-piece wanted to create a sound that inspires and attacks the senses, and they have certainly more than fulfilled their objective. With a keen ear for hearty riffs and pummelling hooks, A Room Swept White have etched out a sound that is hard-hitting, yet still inventive; and that’s no easy task given the present over-saturation within the metalcore genre. ARSW have sparked glowing comparisons to The Ghost Inside, The Amity Affliction and Of Mice & Men; and although they’ve pulled from their influences, they’ve still managed to create a sound uniquely their own.

The five-some hit the ground running on the live circuit, and after a series of sweat-drenched UK shows throughout the south, sharing stages with Heart In Hand, Hacktivist, Bury Tomorrow, Feed The Rhino, Bleed From Within, Soulfly, Demoraliser, Palm Reader, POLAR, Continents and Bleed From Within, and with recent performances at the Redfest and Guilfest festivals, the band’s stock is on the rise.

The band are now set to kick on even further with their latest offering and new record, ‘No Love Lost’. The EP takes shape with the brooding and poignantly phrased ‘Recollection’. However, ‘This Life’ soon turns up the velocity with its breakneck riffage and full vocal assault. The record’s namesake and new single ‘No Love Lost’ twists and contorts itself around your ears to pleasing effect, while ‘Time Heals’ is additional evidence that these Southern metalcorers really have something different to offer. Lastly, ‘Better Days’ showcases the band’s growing stature and utilises dynamics to stunning effect. With five potent cuts, the EP is sure to thrust the band to the vanguard of the UK scene.

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– A ROOM SWEPT WHITE RELEASE ‘NO LOVE LOST’ ON MONDAY 12th JANUARY THROUGH ALL DIGITAL PLATFORMS –

 https://www.facebook.com/ARoomSweptWhite

WHEN WE WERE WOLVES reveal their ‘Heartless’, on 22nd September‏

When We Were Wolves
EXCITING SOPHMORE EP FROM WHEN WERE WOLVES RELEASED AND UK TOUR ANNOUNCED!
 ‘The Welsh quintet hold nothing back here, ensuring that their heavy parts are scathingly so and imbuing their melodies with heart-rending ethereal grace’ KKKK Kerrang!
Impressive South Wales Post-Hardcore quintet ‘When We Were Wolves’ unleash their explosive new EP ‘Heartless’, through all stores on Monday 22nd September. The rising bruisers will also tour throughout the UK this September.
Reared on a healthy diet of A Day To Remember, Slipknot and Parkway Drive, and adding to that genuine craft and an imaginative approach to penning highly engaging slabs of post-hardcore, ‘When We Were Wolves’ have sculpted a sound that is whole-hearted, progressive, and above all, utterly gripping.
Born during the middle part of 2011 and hailing from Bridgend, South Wales, the band soon set themselves on a course for playing as many shows as possible, which saw the five-some quickly amass a strong and loyal following. Their unbridled determination to deliver a ferocious, dynamic live performance at every show has earned them a glowing reputation, and in turn, has led the band to share stages with the likes of Bury Tomorrow,Born Of Osiris, After The Burial, Betraying The Martyrs, Bleed from Within, Heights, The Blackout, Devil Sold His Soul, Malefice and The Amity Affliction, to name a few! As well as being a growing force on the live scene, the band have worked diligently on recording, witnessed by last year’s ‘The More Things Change, The More We Stay The Same’ EP, which secured widespread national praise from Metal Hammer, Terrorizer, Big Cheese and Rocksound, through to radio airplay with XFM, Totalrock and Kerrang! Radio. The record also racked up a stunning KKKK in Kerrang!, as well as a new band featurette in the magazine. Further UK and widespread European touring followed in support of the record before the troupe decided to hit Bandit Studios (home to Devil Sold His Soul) to commence work on their new record, soon to be titled ‘Heartless’.
The band’s follow up EP certainly delivers on all fronts, exploding with innovate ideas and cut-throat riffs. The first track and lead single, ‘Dying On the Inside’, soon slams you in the gut with its infectious groove that stomps and sways before a killer refrain blows you over. The menacingly brilliant and adrenaline-fuelled ‘The Devil You Know’ pounds it ways into your head before ‘Blind’ continues to batter you into submission. ‘Confession’ is further evidence that When We Were Wolves knows how to execute an engaging slab of exhilarating post hardcore, packed with sheer intensity and gripping dynamics. Lastly, the EP’s namesake, ‘Heartless’, rounds off the record with a captivating and passionate vocal performance by Mitch Bock, who really pulls it out of the bag. ‘Heartless’ is an EP that is destined to be heard, and with a UK tour confirmed for September, there’s nothing stopping the band’s swift rise.
WHEN WE WERE WOLVES LIVE W/ Valiant – SEPTEMBER 18 – BRISTOL, The Gryphon; SEPTEMBER 19 – PLYMOUTH, Tiki Bar; SEPTEMBER 20 – WORKINGTON, Lounge Bar; SEPTEMBER 21 – NEWCASTLE, Think Tank; SEPTEMBER 22 – HULL, O’Rileys; SEPTEMBER 23 – STAFFORD, Grapes; SEPTEMBER 24 – SOUTHAMPTON, Unit; SEPTEMBER 25 – ADDLESTONE, The Cave; SEPTEMBER 26 – BRIDGEWATER, White Hart Hotel; SEPTEMBER 27 – CHELTENHAM, Two Pigs.
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