It might be fair to say that UK outfit Crimson Star have not yet found the widespread recognition that their previous EP, Bay View, suggested they deserved but certainly acclaim, a greater reputation, and a fresh wave of fans did follow its unveiling two years back. Now the band has its successor ready to tease and tempt and again we can only say that their voracious rock ‘n’ roll carries all the attributes to provoke richer attention.
The time between releases has seen vocalist/guitarist Jay D Shaw and bassist Roj Ash joined by new addition in drummer Chris Hopton; the Birmingham based threesome uniting to create a trio of tracks which almost prey on ears within The Olde Dawg. The new EP bears the same rousing roar of its predecessor but swiftly reveals something hungrier and more dramatic in character and presence.
Recorded with Romesh Dodangoda (Lower Than Atlantis, Bring Me The Horizon, Funeral For A Friend), as its predecessor, the new release opens with Living A Lie. Emerging on a sonic dawn, punchy rhythms are soon rupturing the air to be quickly joined by bass and guitar bringing the ripe grooves and hooks the band has already earned potent praise for. Once into its eager but controlled stride, engaging melodic enterprise wraps the muscular dynamics of the track which are especially fertile around its eruption of a chorus, dynamics emulated in the similarly potent vocals of Shaw. Groove thick, the track is a striking and stirring start to the EP revealing alone the new strength and imagination in the band’s sound.
The outstanding Norma is next up and immediately accosts ears with its own gripping grooves and rapacious rhythms. The growl of Ash’s bass instantly had ears and appetite greedy to be swiftly matched in touch and temptation by the swinging grooves of guitar and the firm flying beats of Hopton. Again Shaw’s vocals provide a similarly magnetic proposition, at times almost teasing the listener as the song twisted and turned as it got under the skin; unpredictability lining every move and creative trespass offered.
The EP’s title track closes up the release, The Olde Dawg again an insistent bordering on predacious enticement which devours the air in riffs and rhythms whilst tempting ears with melodic and contagious enterprise. Moments of harmonic imagination only adds to the track’s lure, moment s of siren charm within waves of voracity which sweep the senses.
It is a great end to an EP which left us thick in pleasure and keen to suggest all go sail upon The Olde Dawg with Crimson Star, one of the UK’s brightest rock bands.
The Olde Dawg EP is released April 3rd.
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Pete RingMaster 03/04/2020
Copyright RingMasterReview: MyFreeCopyright
Though a form of familiarity is bred from its hardcore instincts a persistent unpredictability also shapes the alluring character of the album and the likes of the following Ticket To Far Away and Modern Life Slaves. Both tracks sear the senses as much as they melodically stir the imagination, each a tapestry of passion and intensity relishing the recipe of flavours making up their adventurous natures. The second of the two especially hit the spot with its groove metal tinted dexterity, being rivalled by the just as dynamic and multi-flavoured inferno of Humanity’s Curse.
Was there any specific idea behind the forming of the band and also in what you wanted it and your sound to offer?
It is not easy for any new band to make an impact regionally let alone nationally and further afield. How have you found it your neck of the woods?
It is a great start to the release driven by the rhythmic powerhouse of drummer Frazer Parker and bassist Pete Cook; their muscle complemented by craft as echoed within next up Epitaph. Similarly the prowess of Allison’s delivery and tones are a potent essence in the track’s adventurous stroll, the guitars of Jamie Parker and Lewis Wheeler writhing and creating around all with sonic and melodic dexterity. As all tracks; it too is an offering which revels in its mix of metallic and melodic strains which teases of others yet never shares anything less than individuality.
The EP opens up with new single Oracles. Instantly ears are under a barrage of predacious rhythms but equally are wrapped in a wiry mesh of grooves hunted by ravenous riffs. Vocals come with matching force and attitude but soon reveal great diversity as clean strains alternate and unite with throaty squalls. Already that richness of sound within its metalcore breeding is working away, enticing and intriguing as simultaneously other aspects trespass the senses. Evolving through more placid but no less gripping moments before the track’s rock ‘n’ roll explodes it is an outstanding start and appetiser to the fresh impetus in the rise of Black Water Chemistry
The following Space To Breathe is just as swiftly imposing but inviting, taking a less invasive stance initially as its elements settle before uniting in its own ferocious trespass. Ash’s vocals again impress with their not vast but strong diversity within the emerging rich tapestry of sound. There are essences of bands like Spineshank and Static X to the track at times but equally it lusts after death and extreme metal textures with the same fervour and invention before the superb Split In Two uncages its own similarly but individually woven tempest. Harsh and melodic strains in both vocals and music make an easy union as the imagination in songwriting incites their drama, the track continuing the explosive success of the first pair ensuring that Hollow is already a riveting proposal.
The EP opens with recent single The Pragmatist and straight away riffs and vocals lure attention, the increasingly grooved invitation of the guitar aligning with the equally potent scowling tones of Edgington. As it establishes its eager stroll, the song ebbs and flows in intensity without losing its instinctively infectious nature whilst always looking to evolve as melodies and the ever captivating grooves share their imagination. More addictive than it seemingly appears at the time, the song is a masterful slice of rock ‘n’ roll setting the release off to a great heavy and rousing start.
The following Sympathy Apathy entices initially in a similar way to its predecessor if with less of an imposing trespass. It too casts a dramatic tapestry of sound swiftly upon ears, melodic suggestion wearing an early U2-esque hue to whet the appetite before Saltlake weaves their own individual theatre of sound and adventure. As with the first, there is a mix of the familiar and the fresh entwined to catch the imagination; creating a song which mixes unpredictable and recognisable flavours to push the release to another level.
Recorded with producer Gavin Monaghan, Apocrypha moves in on ears with an almost predacious atmosphere and similarly swinging beats, its threat dissipating slightly as Kyle Jordan’s expressive tones step into the web of suggestion cast by the guitars of Dan Houlbrooke and Sam Wyatt. The gnarly snarling bass of Lewis Hutchings though keeps the intimidation flowing; a delicious texture prowling the sonic temptation continuing to entangle the imagination of song and listener as Gaz Waddell’s beats bite.
A single which has already earned the band eager radio play, Lie To Me follows with its gentle but catchy swing and warm melodic embrace. There is a more caustic edge to the song which swarms its shadows to add further depth to its presence, but it is the emotive tide and melodic dexterity of the band and songwriting which fuels its character to great effect. Though for these ears its predecessor is a mightier lure into the EP, there is no denying the track gets under the skin and into the hips with its accomplished heat and tenacious catchiness.