Dream State – Consequences

Dream State Promo Shot _RingMaster Review

Approaching their first birthday as a band, South Wales post-hardcore band Dream State make a potent introduction of themselves to broader national attention with their debut EP Consequences. The quintet has already offered an enjoyable little teaser in the shape of previous single Burn Them Down, its catchy roar a strong enticing to a great many but fair to say it is the EP which provides real insight into the songwriting and sound of the band. Consequences might not be an encounter to turn the UK rock scene on its head but it does suggest that Dream State is a nicely brewing prospect to take a keen interest in.

Since forming, the band has become a potent live proposition too, shows with the likes of The Dirty Youth and Fearless Vampire Killers only helping their emergence and reputation for rousing slices of alternative rock/post-hardcore incitements. Inspirations include bands such as A Day To Remember, Funeral for a Friend, Bullet for my Valentine, and Alexisonfire; essences which maybe right now colour their songs more than originality but as proven by Consequences, it does not stop them providing thoroughly enjoyable exploits for ears and appetite to indulge in.

Cover _RingMaster Review   The EP opens with Burden, a track growing from an initial sonic mist punctured by firmly swung beats into an energetic and boisterous canter led by the quickly impressing vocals of Charlotte-Jayne Gilpin. Nicely backed by the more raw throated tones of rhythm guitarist Sam Harrison-Little, she is a potent focal point from which the magnetic shuffle of Danny Rayer’s bass and the melodic intrigue rich enterprise of the guitar spring. The track continues to entice and please, its body unsurprising but character and heart dynamic as it provides a thickly satisfying start to Consequences.

Individual craft is also a swift persuasion, the sonic endeavour of lead guitarist Aled Evans at times a fiery proposal always matched across the band, as shown straight away again with Burn Them Down. Opening on a robust stride with the rhythmic swipes of drummer Jamie Lee immediately shaping the entrance, the song slips into an infectious stroll of hungry riffs and melodic prowess with a great hook out of the Billy Idol songbook. Again there is familiarity to the track as it rumbles with aggression and sonic seduction, but once more recognisable hues only work in the song’s favour as Gilpin gives every syllable striking energy and passion.

Consequences is a release which satisfies throughout but gets stronger with every passing track, Try Again continuing that great trait with its reflective bellow and rapacious prowl. The rhythms almost dance with their restrained but open intimidation whilst twists and vocals create a drama between them which has ears and imagination quickly involved. The most inventive song so far, with great moments of unpredictability, it provides a tenacious outpouring of sound and emotion matched by the following Relentless. From its first acidic breath, vocal squalls blow and grooves entwine; Gilpin driving things with vocal flames as predacious rhythms have her back. Maybe it is a more formula offering than its predecessor but the song is a fire of emotive intensity and creative energy which only leaves enjoyment full and a wish for more.

That want is fed straight away by the excellent Rebuild, Recreate; a song soon proving to be our favourite. Initially caressing ears with an acoustic kiss aligned to the tantalising warmly emotive voice of Gilpin, it simmers then boils into a sultrily aired tempest of emotion and angst wrapped in just as impassioned and adventurous sound. Again drama lines every roar and twist, the guitars crafting a web of expression and enterprise to match the vocals whilst bass and drums add further potency to its tempting, especially when they subsequently become more agitated.

The track is a mighty end to a persistently enticing and enjoyable incitement. It is fair to say that Dream State is still working towards finding its own voice as a band but heading in the right direction as proven by Consequences. It is easy to assume that they have a very bright future ahead of them if they can really build on this rewarding first proper glimpse at them.

The Consequences EP is out November 20th through all platforms and stores.

https://www.facebook.com/DreamStateUKOfficial  https://twitter.com/DreamStateUK

Pete RingMaster 19/11/2015

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Saint[the]Sinner – Masquerades EP

S[t]S_RingMaster Review

Starting with the band name, Saint[the]Sinner weaves a thick web of temptation and drama that simply devours ears and imagination from within new EP Masquerades. The UK sextet are beginning to be renowned for casting tapestries woven with theatrical post-hardcore, melodic metal, and contagious pop rock, to simplify their sound. Their reputation in turn has grown by the year since forming in 2011 but after Masquerades it is easy to say that Saint[the]Sinner have stepped onto a new plateau and are ready to embrace the richest spotlights.

The past two to three years has seen the band share stages with the likes of Crossfaith, Bullet for My Valentine, and A Day To Remember amongst great many as well as play the Warped Tour in 2013 and Takedown a year later. 2015 has been no less busy for the band, culminating in the release of Masquerades, which Saint[the]Sinner recorded with and was produced by Romesh Dodangoda (Bullet for My Valentine, All Time Low, Bring Me The Horizon). The six track adventure of sound is pure magnetism and though arguably its contents bask more openly in inspirations than the band’s previous songs, it has only resulted in the most unique and exciting offering from the band yet.

Rich in the scent of bands such as My Chemical Romance, Panic at the Disco, Avenged Sevenfold, and Fall Out Boy, Masquerades is a perpetual torrent of creative adventure and imagination soaked in instinctive drama, as shown by the opener Theatre Of Broken Dreams. From its initial music box like melody the song holds court, swiftly throwing open the door to muscular rhythms and ravenous riffs as a two prong vocal attack spreads the emerging narrative. The raw squalls of Lukey Juan are uncompromising but superbly tempered and accentuated by the excellent clean tones of James Laughton, his impressive presence similarly illuminated by the enjoyably rabid delivery of Juan. With that first starting touch of symphonically laced keys still flirting within the intensive blanket of invention and sound, the track relentlessly twists and turns, its volatility seeded in a maze of styles and compelling imagination. Those early references are a vocal colour to the song, but as suggested, clear hues in something original and creatively vaudevillian to Saint[the]Sinner.



The outstanding start is followed by First Blood, another ferocious mesh of rich flavours and varied styles honed into something distinct to the band. Keys appeal early and again get smothered in the thick tide of sound and atmosphere but still continue to lurk as the guitars of Pash Stratton and Billy Muircroft evolve through seduction and predation, matching the vocals simultaneously. Whiffs of Muse and Bullet for My Valentine also drift across the tempestuous wave of multi-coloured sound, as the track creates an enthralling invitation impossible to refuse.

The next up Left For Dead revels in more pop rock scenery for its vibrant if still intimidating start, virulence instantly flowing through the magnetic proposal, especially in its Fall Out Boy like infestation of a chorus. The bass of Tom Bigg is a growl of shadows whilst drummer James Booth scythes through the air with instinctive intensity to match the contrasting grouchiness of Juan’s vocals. Along its thrilling length, the keys spread symphonic evocation whilst the guitars write their own dramatic persuasion within another striking proposition within Masquerades.

She’s a Vampire is the same, every element seeming to have its own story going on within the total play of the track, but all uniting with fluid and resourceful craft for one riveting croon come storm of emotion and sonic adventure. Across the EP, Laughton increasingly impresses with his expressive and potent tones, they the more dominant presence here, but that is something easy to say for all members as each song stirs up ears and appetite with zeal and a prowess of dramatic invention.

The EP comes to an end through the irritably imposing Set It Off and finally the alluring labyrinth of Asylum. Both tracks show another shade of the sound and songwriting of Saint[the]Sinner, the first of the pair entangling metalcore seeded savagery into its blossoming landscape of post hardcore and melodic metal theatre. Its successor also opens, as the first song on the EP, with a haunting melody, quickly casting a cinematic theatre of hooks and enterprise which is soon caught in the claws of rapacious metal and vocal ire, that in turn revolving within a melody honed calm and symphonic mysteriousness; all elements in league with each other from thereon in to masterful and gripping success.

It is a mouth-watering end to an equally mighty release. If the likes of the aforementioned My Chemical Romance, Panic at the Disco, and Avenged Sevenfold do not do it for you than maybe Saint[the]Sinner might be a proposal that lacks something but as said, the band takes all flavours and turn them into their own continuing to grow and impress body of invention so for all they are worthy of a listen. The bottom-line is that this is a band with the potential to go really places, and soon so do you want to miss out?

The Masquerades EP is out now @ http://saintthesinner.co.uk/shop/

http://www.saintthesinner.co.uk  http://www.twitter.com/saintthesin   https://www.facebook.com/SaintTheSinnerOfficial

Pete RingMaster 10/11/2015

Copyright RingMaster: MyFreeCopyright

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Black Tide – Chasing Shadows

blacktidepic_RingMaster Review

Miami trio Black Tide this month follow-up their well-received second album Post Mortem with Chasing Shadows, for their fans a long overdue successor which they will find makes the wait endured more than worth it. An accomplished blaze of craft and adventure, the release without starting major fires of uniqueness is Black Tide doing what they do best, unleashing rousing roars of highly flavoursome and varied heavy rock /melodic metal enterprise.

Formed in 2003 by vocalist/bassist Gabriel Garcia with drummer brother Raul, Black Tide went through subsequent line-up changes, drums included, before releasing debut album Light from Above on Interscope in 2008, with Garcia only fifteen at this point. Recorded with Johnny K (Disturbed, Machine Head, Soil), the album’s recording was the trigger to quickly bigger things including the band playing alongside Ozzy Osbourne, Lamb of God, and Static-X on the main stage at OZZfest 2007, and post release, an appearance on the inaugural Rockstar Energy Mayhem Festival alongside Slipknot and Disturbed as well as playing the main stage of 2008’s Download festival. Post Mortem appeared in 2011 to continuing acclaim and success for Black Tide, its release followed by the band’s hunger to play live and tour filling subsequent years. Now guitarist/vocalist Austin Diaz and drummer Cody Paige alongside Garcia are poised to awaken new keen appetites and their album’s storming body of fierce rock ‘n’ roll, to which expectations of more success coming the way of the band easy.

btamend_RingMaster Review     From an engagingly melodic Intro which emulates the opening to many metal releases today in its own imagination sparking way, the album erupts to full life with Guidelines. A hefty punch of drum sticks is the spark to weaving tendrils of enterprise from Diaz before a darkly strolling bassline and crisp rhythms join the already open vocal prowess of Garcia backed as potently by Diaz. Soon striding resourcefully with a My Chemical Romance meets Avenged Sevenfold like drama to its increasingly magnetic weave of diverse metal bred styles, the song provides an impressive full start to the album, quickly getting ears and thoughts fully involved and eager to know more about at the same time.

Recently released single Angel In The Dark steps forward next, its captivating body similarly designed and textured but with its own host of sonic swagger and fiery hooks against again powerful vocals. Major surprises are scarce yet a freshness and energetic passion to the song ensures satisfaction is as ripe as the sounds flowing through its skilfully sculpted and presented proposal. An acoustic aside adds to the richness of the song, adventure never low on the agenda of band and album, as shown again by the pair of Predator (Animal) and Burn. The first of the two rides in on baying wolves, quickly spinning a spicy web of guitar lined with tangy meandering grooves. Without making the same kind of immediate impact as the previous two tracks, the song still firmly and increasingly captures the imagination with an enticing blend of grooved and stringed blessed rock ‘n’ roll, eventually outshining its successor, a mellower melodic caress with pungent rhythms and a gripping central Bond like hook entwined in orchestral and harmonic tempting.

At times, and often, the song spellbinds but does lack the same overall spark as found in those before it. The same applies to the album’s title track though its classic metal meets modern rock canter ensures enjoyment still remains high especially as it increasingly swings with energy and technical flair. To be fair, both tracks become more compelling with each play, maybe providing food for expectations but leaving pleasure in their wake which the likes of Before We Form and Sex Is Angry revel in and prolong with their individual collusion of rock and metal honed with infectious imagination and emotion.

That catchy virulence which flows through Chasing Shadows finds a rich vehicle in Welcome To Misery, the song a sing-a-long anthem which quickly has its way with the listener’s ears and involvement. Seemingly simple in its lure, such its infectiousness, the song almost belies the layers and textures aligning to drive its persuasion, a craft in songwriting and sound more open in the alluring croon of Heaven and its warm ballad of emotive vocal and tender musical craft. Melancholic, tangy, and classically lined with great strings and orchestration, the song is an endearing and lingering offering which finally has to make way for the closing stomp of Promised Land, a song which though different in character, ends the album the way it started, with a raucously tenacious slice of Avenged Sevenfold scented, Bullet for My Valentine fuelled enterprise.

As suggested, Black Tide has not returned with a game changer for them or metal but Chasing Shadows will leave few heavy/melodic metal fans dissatisfied or lacking a spring in their step after facing its roar.

Chasing Shadows is out via Pavement Entertainment on October 16th with pre-orders still @ http://www.pavementmusic.com/product/black-tide-chasing-shadows-cd-pre-order/


Pete RingMaster 15/10/2015

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Immension – In Vain

Immension Press Shot

Continuing where their previous EP left off whilst showing greater rigorous invention and accomplished songwriting, British metallers Immension release debut album In Vain to reaffirm the potential of their already potent emergence. It is not an encounter destined to leave ears awe struck but certainly it is an album merging familiarity and fresh imagination in one persistently enjoyable proposition.

The Sheffield bred Immension was formed in 2008 by Jake Kearsley (vocals, guitar, bass and piano) and Tim Dolan (lead guitar), and soon began earning local attention with a sound seemingly Bullet For My Valentine inspired, certainly on the evidence of their self-titled first EP. Its successor The Enemy Within increased the band’s ever growing fan base whilst sparking a more national awareness too, its arrival also revealing a more Metallica influenced creativity and air was blossoming in the band’s sound and again part fuels Immension’s first and increasingly pleasing full-length. With drummer Jonni Sowter, who joined the band back in 2011, the trio are set to awaken the strongest and broadest spotlight yet with In Vain, with expected success.

Carrying a presence which is like nineties era Metallica meets Trivium, In Vain opens up with its title track and an enticing of guitar which in turn leads to a robust and skilfully tangled weave of melodic endeavour and rhythmic incitement. The vocals led by Kearsley, similarly have a tenacious and full presence, and like the music carry a Hetfield and co ring to them in varying ways. Rigorous in some moments, more energetically composed in others, the track grabs ears and attention with ease with Sowter a commanding and resourceful presence within the web of enterprise cast by Dolan’s guitar.

Immension Album Cover Art   The rich start to the album continues with The Fantasy, Sowtor’s heavy swings again instantly incendiary bait as riffs and grooves unleash a fiery magnetism against the dark swing riffs of bass. As the rest of the album, there are plenty of recognisable aspects to the song, of others and the band’s previous releases, but equally a new adventure is explored too via more provocative sonic textures and Middle Eastern spices. It is a climatic and richly satisfying encounter, its mix of deliberate prowling and ruggedly enthusiastic charges a contagious persuasion reinforced by the creative imagination and ever impressing vocals within all sides of the band.

All That Remains follows with a mellower and more restrained if still fiery character, vocals and guitar caressing ears as rhythms provide a sturdier framing. Impassioned energy flows through the heart and narrative of the song though, ensuring its more placid nature is always on the edge of emotional eruption before it makes way for the skilfully crafted and dynamic Lost & Forgotten. Neither track can match the persuasion of the first two on the album, and both also begin to reveal a surface similarity in certain areas between tracks within In Vain, but each has ears and appetite enthused for more with their also present elements of individuality, and again duly offered by In The Dead Of Winter and Shadow Of Yourself. The first of these two opens with an ominous yet regal ambience around dramatic beats before being further infused with wiry melodic hues of guitar. There is a rampancy to it which is just as highly persuasive as the ever evident technical and thoughtful potency going into songs. It is one of the loftier peaks of the album, a height its successor tries to emulate with its familiar inventive route clad in thoroughly engaging sound and creativity.

For maybe the first openly dramatic time a major twist of originality comes with the piano led and vocally harmonic Love Never Dies. Its opening charm and beauty is mesmeric but aligned to portentous shadows through the heavy tones of bass and firmly jabbing beats, it all gripping the imagination as much as ears. Continuing to evolve and expand its character and creative colour, the song becomes a blaze of melodic and emotional angst, sublimely capturing pleasure and thoughts before the just as excellent The Enemy Within uncages its barbarous and exhilarating turbulence. The track is never as aggressive and volatile as it might be due to the excellent smooth tones of Kearsley, but it thrills a treat with an enticing which is inviting and barbed simultaneously. The two tracks provide further pinnacles to the album before closing track The Father You Will Never Be offers a final imposing croon and emotional ferocity restrained by melodic temptation.

The song is a fine end to a consistently and increasingly enjoyable release. Immension are still a distance away from finding a truly unique sound but In Vain shows that in craft and sound they have taken big and impressive steps. This is not an encounter to be surprised by or find brand new terrains through but as a proposition to simply spend forty five minutes or so enjoying potent melodic metal, it is a success many other bands will envy.

In Vain is available from June 15th through all stores.

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

RingMaster 15/06/2015

Copyright RingMaster: MyFreeCopyright

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Bite The Shark -Tantrum EP


It is fair to say that the first Bite The Shark release, the three track First Blood, suggested that British rock ‘n’ roll had a new protagonist to breed some real excitement over. Now the Manchester trio return with the explosive Tantrum EP, a roaring, stomping encounter not only making that previous loud hint a reality but thrusting the band to the forefront of incendiary revelry. Consisting of five ferocious and mischievous punk ‘n’ roll anthems, Tantrum simply leaves bodies breathless and emotions blazing. Every exploit within its raucous walls is the host of volatile sounds, feisty imagination, and adrenaline soaked devilment; all providing a virulent contagion conducive to naughty habits and unbridled enjoyment.

Formed a couple of months past a year ago, Bite The Shark swiftly lit an eager and vocal local following which spread as potently and easily with the release of First Blood last year. Luring in acclaim and keen online radio attention with the Romesh Dodangoda (Motörhead, Bullet For My Valentine, Twin Atlantic) recorded release, the threesome of brothers Adam and Edd Langmead alongside Rory O’Grady have been kicking up a storm on the live scene too, the weeks leading up to the release of Tantrum alone finding the band rampaging round the UK on tour with Drop Down Smiling and Fake The Attack. Again recorded with Dodangoda, Tantrum is the band’s next mighty temptation on the nation, one with the qualities and tunes to ignite the UK rock scene.

Rock & Roll in the Soul hits ears first and lives up to its title instantly. An opening guitar hook makes the first rich connection, matched within seconds by an equally tempting heavy bassline. The song soon hits its stride with raw riffs and punchy rhythms led by similarly feisty vocals, a mix alone enough to have feet and emotions bounding along with its persuasion. Add a ridiculously compelling chorus and the first anthem of the EP is stirring up imagination and thrills. Imagination and diversity are never far from the forefront of Bite The Shark songs, as well as lyrical provocation, and both are as rampant as the thick sounds within the tremendous opener.

10897961_327152687479870_8976137320647029148_n   Good rowdy times continue with Little Fishy which follows, guitars brewing up a voracious and abrasing blaze within which vocals romp and mischievous ideation plays. With its mid-point merely a glimpse in its future, the song suddenly twists around from its initial stampede and begins prowling, indeed stalking the senses with predatory invention before returning to a frantic onslaught which in turn slips into a catchy TV show theme tune finale. The track is just irresistible just like Shiny Shoes straight after. Soon showing a heavier ferocious nature of its own to its riffs and rhythms, the song reveals an essence of classic rock entwined with power pop in its punk romp. Once more grooves and hooks breed addictiveness whilst vocals and fierce melodies offer searing magnetic hues.

There is no chance of a breather at any point within Tantrum either, each song a full on tempest of infection fuelled incitement as evidenced again by the outstanding Killzone. From the opening twang of riffs, ears and body are ready to accept the suggestive rampage in waiting The track’s entrance is almost a limbering up before chest beating rhythms and fury lined riffs explode in a steamy onrush. It is not a hell for leather charge though, hooks and band harmonies a tasty tempering to the aggressive foot to the floor energy offered, but it is certainly a seriously rousing slab of rock ‘n’ roll.

The release closes with Sleep when You’re Dead, though the CD also includes Burn em to the ground and Burn and Gas & Air which made up the bulk of the previous release. Drawing on blues rock spicing for its melodic essences, the track as its predecessor, is a balls to the wall rocker leaving no room for abstinence from joining in with body, voice, and energies. It is a glorious end to a spectacular riot of punk ‘n’ roll tenacity, a song unafraid to explore new depths and areas of songwriting and sound whilst the release simply bellows that Bite The Shark is one of the bands with the potential to take British rock ‘n’ roll into a new heyday.

The Tantrum EP is available now digitally @ https://itunes.apple.com/gb/album/tantrum-ep/id962681213 and on CD via http://bitethesharkmerch.bigcartel.com

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RingMaster 09/04/2015

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/


Forged in Black Online Promo Shot

With a mighty affection for British heavy metal and a kinship with Judas Priest, Iron Maiden and Black Sabbath, as well as taking inspiration from Machine Head, Forged In Black display a sound that is steeped in tradition but still truly relevant to a new audience. The Essex metal crew release ‘The Exodus’ EP on Monday 1st December through all stores.

The original seeds of Forged in Black were sown at the start of 2009 under the guise ‘Merciless Fail’. The band set out with the aim to deliver traditional heavy metal with a unique contemporary edge. From their early beginnings straight through to today, their operatic vocals lead the charge, backed by dark, hard-hitting music that includes full-throttle thrash, epic guitar harmonies, crushing doom riffs, and aggressive, guttural vocals. The band’s live show embodies a visceral energy, unleashing copious amounts of head-banging music with a charismatic stage presence.

Under their old moniker ‘Merciless Fail’, the band played the Bloodstock Festival and main stage at Red Roar Festival 2012, won ‘Metal to the Masses’ and ‘Band Quest’ competitions, played Metal Gods Festival 2013 (featuring Beholder and Savage Messiah), and have racked up supports with Skreamer and Beholder, as well as releasing their self-titled debut album ‘Forged in Black’ to critical acclaim. The band followed this release in 2013 with the EP “The Tide,” which displayed the development of the band’s sound and included tracks which have become a staple part of the metal crew’s live show. To mark both their progression and a shift in personnel, last year the quintet decided to change their name to ‘Forged in Black’. The metallers have recently been focusing their attention on recording and have just finished work with acclaimed producer Romesh Dodangoda (Motorhead, Sylosis, Bullet For My Valentine) for the recording of their latest single “The Exodus.” The band release ‘The Exodus’ EP and new video this Autumn and they plan to take the metal world by storm.

https://www.facebook.com/forgedinblacks  https://twitter.com/ForgedInBlack


A Mouth Full Of Matches – Smoke Signals


Swiftly showing a fresh maturity and adventure to their sound, the new Smoke Signals EP from UK alternative rockers A Mouth Full Of Matches, leaves no doubt that this is a band truly finding its creative feet. The four track release bulges with thick melodies and intriguing hooks, providing ears and imagination with a warm and persistently impressing landscape of evocative textures and adventures. It is a riveting encounter from start to finish and though it is possibly a few sparks short of the blaze it could have been, the EP is a stirring and rigorously captivating proposition from a band on the rise.

Formed in 2012, A Mouth Full Of Matches, the name taken from a piece by spoken word poet Anis Mojgani called Milos, took little time in drawing attention with their sound, live presence, and debut EP, Tasting Fire. The Manchester quintet’s first release was well-received and potently opened up the potential and invention of the band’s songwriting and sound, a promise skilfully realised by Smoke Signals whilst providing suggestions there is still plenty more within the band to be explored. Recorded with producer Matt Hyde (Bullet for my Valentine, Slipknot, Machine Head, Funeral For A Friend), and following the band’s success in making it to the final Red Bull selection of 15 bands vying to play Download Festival, Smoke Signals is a potent statement in luring a greater spotlight upon the band.

The release opens with a sultry and gentle caress as first track Danger High glides into view. It is an atmospheric start embracing the imagination but just the gateway into punchy beats from drummer Steven Hall and a weave of raw AMFOM Artworkriffs and sonic enterprise cast by guitarists Mark Holden and Jane Hebenton, the latter’s twin Helen providing dark portentous shadows with her brooding basslines to the mix. It is a masterfully magnetic entrance to song and release, which as it grows and brews in intensity, continues the charm offensive through the excellent mellow tones of Tom Buxton. Finally settling into a firm and contagious stride, as guitars and vocals spread evocative and harmony soaked expression respectively, the song almost growls in creative contentment and melodic temptation. It is an enthralling encounter which just gains in strength and depth over time.

The following One By One matches rugged riffery and imposing rhythms with more seductive melodies and vocal elegance. It works from a similar template to its predecessor but in its individual way builds a wall of lingering persuasion, which again over time shows inventive twists and avenues within its tantalising scenery. The rhythmic bones of the track are big and its melodic skin tight, creating an anthemic potency which is inescapable. The song, as maybe the EP, is missing a snarl or two to wrong-foot or intimidate ears and thoughts, but with the impressive design and skills of the guitars aligned to soaring vocals deeply flavoursome, the track easily makes the strongest engagement.

Wait For Me attempts to find a grizzled call initially, though it is tempered by keys which continually help enflame each song in varied ways, before slipping into an emotionally flamed flight of pungent melodies and vocal warmth veined by sinew driven rhythmic tenacity. It is a transfixing track which sits somewhere between Deftones and 30 Seconds To Mars, with the bordering on orchestral strength of keys finding seeds in the likes of an Evanescence or Flyleaf. Though not the most accessible song of the release, it is its most gripping in imagination and exploration, the band on a new plateau for invention.

Smoke Signals is closed by Young Blood, another track which suggests it is an explosion in the making but remains within an appealing restraint, swapping ferocity for spicily tanged short grooves and crystaline keys amidst guitar sculpted melodies. Once more individual flair combines for a lively smouldering of emotive colour and sonic expression, resulting in an engrossing melodic adventure.

The track sums up the strength of the EP, and also its only miniscule want, that of the previously mentioned aggression or snarl to draw a more distinct line between the overall sounds of songs. Nevertheless Smoke Signals is a tasty and bewitching encounter marking another big step in the emergence of A Mouth Full Of Matches, a band heading in the right direction with the prospect of major horizons in their own hands.

The Smoke Signals EP is available now @ http://amouthfullofmatches.bandcamp.com/


RingMaster 21/10/2104

Copyright RingMaster: MyFreeCopyright

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