Giving In To Ghosts – Chasing Waves

Giving Into Ghosts Press Shots 22/10/13

Bursting out from South Wales, post hardcore band Giving In To Ghosts have given a very solid promise drenched introduction to themselves with their Chasing Waves EP. The band’s debut is a vibrant and engaging, as well as pleasingly aggressive, entrance by the Cardiff quartet. It is an accomplished and imaginative proposition which without the spark to really light up the passions certainly leaves a hungry appetite in place for the band ahead. Its sound and the band’s presence is not as unique amongst other similarly fuelled bands as you feel both will become in the future, but again still feeds an intrigue and attention for the foursome which cannot be underestimated.

Formed only last year, Giving In To Ghosts have taken little time to trigger a keen and passionate fanbase around their region which is now starting to spread further afield with equal success. Pulling in inspirations from the likes of Funeral For A Friend, Architects, and Reuben their sound certainly has a wide appeal as proven by their successful support slots to bands such as Continents, The Browning, Acoda, and Beneath My Feet. Recorded at Not In Pill Studios in Wales with Martyn ‘Ginge’ Ford and Matt Bond (Slipknot, Trivium, Bullet For My Valentine), Chasing Waves is a potent first persuasion to hit the whole of the country, as said a tremendously solid attention grabbing declaration revealing the open potential within the band.

Rapture starts things off and immediately has ears under the cosh of the raw squalling tones of bassist James Hardiman, his vocals Giving In To Ghost Cover Artworkabrasing the senses and lyrical intent within firm rhythms and a sonic coaxing from the guitars. It is not a dramatic explosion but one with strong grooves and melodic designs from lead guitarist Julian Thomas alongside the equally welcoming riffs of Michael Thomas making an appealing start. The clean vocals of Michael Thomas equally impress; his delivery gentle and a good temper to the gruffness of Hardiman though you feel placing them side by side rather than alternatively could work better. The punchy beats of drummer Alex Bargh and solo casting of Julian complete the expressive forceful colour of the song and arguably stand out on the track most but all aspects skilfully unite for a strong first strike from the release.

The following Sirens makes a less forceful appearance but certainly is as fiery as its predecessor, going on to build a magnetic canvas for the switching extremes of vocals to unleash their narratives. The bass offers a mean growl to the rapacious riffs and antagonistic rhythms as do his scowls, but there is a less potent element to the song against the last which means the track fully satisfies but does not linger. Nevertheless with a pleasing sonic temptation and a belligerent intensity the song proves its worth and reinforces the potency of the band.

The title track opens with a riveting melodic caress instantly joined by the equally warm clean vocals. The bass adds tempering shadows to this embrace to expand the depth and pull of the initial coaxing before the sinews and passionate bruising within the song makes a loud shout. Evolving through both sceneries the best song on the EP provides an evocative adventure which reveals much more about the strength and depth of the band’s songwriting and sound whilst stretching the quality of the encounter. Employing emotively powered keys and a mesmeric spiral of sonic enterprise within a growing snarling dark side, the song is a formidable indication of the creative heart within the band and again its undeniable promise.

Final song To The Sun veers into the more brutal side of the band certainly compared to the reflective warmth of the previous song, it ravishing the senses with grouchy rhythms and caustic vocal spite whilst still drawing on the melodic craft and expression of the band. It is an intimidating and highly alluring end to a very satisfying release, one which maybe suggests more than it delivers but only in the quality you feel is there in the band waiting to evolve. Chasing Waves does not make claims as the new best thing in post hardcore but it certainly provides more than enough to suggest Giving In To Ghosts has the ability and sound to be a loud voice in the UK scene.


RingMaster 29/03/2014

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All To Ruin – Parables EP

All To Ruin Online Promo Shot

Unleashing melodic metal which has essences seeded in the likes of Friend For A Friend and Protest The Hero and a snarl and venomous aspect which you might find in an August Burns, UK band All To Ruin unveil their debut EP Parables. It is a release rife with potent promise and explosive craft, a record which maybe is low on offering something to right now set the bad truly apart from numerous other emerging bands stalking the same genre of sound, but a collection of impressive tracks which undoubtedly grab attention and stoke an appetite to see where the band go from their strong and pleasing debut.

Hailing from Port Talbot, South Wales, the quintet of vocalist Aaron Roberts, guitarists Luke Curran and Rhodri Williams, bassist Andrew Pope, and drummer Tom Richardson first drew attention with not only their live shows around their local area but a demo recorded in 2011 with Martyn ‘Ginge’ Ford and Matt Bond who have earned a big reputation for their work with the likes of Slipknot, Trivium and Bullet For My Valentine, the pair also handling the new EP. Shows alongside the likes of The Gallows, Young Guns, Deaf Havana, This Is Hell, Lower Than Atlantis, The Blackout, Fei Comodo, Funeral For A Friend, Heart Of A Coward, Heights, Sylosis, Revoker, Bury Tomorrow and many more has only enhanced their reputation of a young fired up and creatively striking band. Recorded early last year, Parables is the next thrust forward for the band and one which though still searching for that unique voice you only suspect will take All To Ruin up another rung or three.

Opener As We Exit takes little time to take a grip on ear and thoughts, searing melodic grooves and thumping rhythms instantly makingAll To Ruin - Parables Cover Artwork a potent persuasion aided by the raw caustic riffs and throaty menacing basslines, it all ridden by the excellent clean yet fiery vocals of Roberts. Before assumptions can be made that this is possibly nothing new the band and song unleash a lethally addictive groove and unbridled intensive passion to its sound and vocals. It is a striking and rampant start but one with thought and emotive craft which ensures an intriguing and enterprising ride. Each listen sees the song make a louder stronger declaration which leaves a lingering claw in passions and hunger.

The following A Part Of the Line certainly has fire in its belly but a less intimidating presence to start things off, guitars and vocals making an almost desperate emotive plea with their heart coloured narratives. Speared by the ever impressing beats and rhythmic caging of Richardson, the track is a strong if paler successor to the first though that is also left in the shade of the best offering on the EP, The King Is Dead. This is a song which shows that time could very well deliver a distinct standalone presence for the band, soaring vocals and raging rhythms within exhaustingly enticing grooves a rapaciously addictive and enthralling flood of expression and aggressive emotion. Virulently contagious without losing its stirring inventive potency, the track is a blaze of niggling burrowing beneath the skin riffs and sonic teases framed in another rhythmic trap by Richardson who also adds some strong melody tempering growls.

     Under The Shade steps forward next with what is arguably the most expansive sound and flavour of all the tracks on Parables. There is a definite familiarity across the chorus though the exact reference to whom eludes recognition, but then again all tracks for their only real issues have a breath and voice which is similar to others. Nevertheless the song is another burning fire of craft and melodic flame which impresses before allowing the grouchy Vultures to conclude the release. The most destructively aggressive and antagonistic of all the songs it still makes room for the continuing to impress vocals and inventive guitar weaves to bring their rich adventures and feelings. Without the same clarity as in other songs, the brawling atmosphere and the compact thickness of its sound only enhances the intensity and effective assault.

Parables is an impressive debut which only lacks that standout element or presence to step aside many other equally strong bands. That is not always the easiest thing to achieve but the promise offered by All To Ruin suggests it is within their imagination, though as ever time will tell.


RingMaster 22/09/2013

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Immension – The Enemy Within EP

Immension Online Press Shot

Taking the promise offered on their debut self-titled EP, UK melodic thrashers Immension explore and take things to another level with new release The Enemy Within EP. Consisting of four accomplished and captivating slabs of thrash fuelled melodic metal enterprise, the release is a richly pleasing and thrilling further indication of one rather potent band emerging with UK metal.

Whereas previous EP had the strong scent of Bullet For My Valentine to its enjoyable bulk, The Enemy Within comes with a late eighties Metallica breath wrapped in flames from the likes of In Flames and Avenged Sevenfold. Like its predecessor the release has a familiarity which is unavoidable but again like the debut it works in only a positive and invigorating way with the Sheffield quartet putting plenty of their own twists and imagination into its presentation. Formed in 2008 by vocalist/guitarist Jake Kearsley and lead guitarist Tim Dolan, the band like so many endured early times of instability in the line-up but once bassist Hasan Ahmed and drummer Jonni Sowter were recruited there years later things clicked into place and Immension began making their imprint into an awakening awareness for their sound. Pulling good critical acclaim their first EP put the metal community in the UK on alert and now with the new EP it is fair to say the band has set themselves up in a sure spotlight.

The self-released EP opens with its title track and instantly has the guitars creating hot melodic flames to warm the ear as strong rhythms Immension Cover Artworkfrom Sowter offers strong provocation. As the intensity steels itself and breaks out greater sinews, the track charges into an intensive romp of scarring riffs coated in a toxic tonic of melodic adventure matched by the excellent vocals of Kearsley which are just as impressively backed by additional tones from the band. It is a contagious anthemic call bringing extra addictiveness to the already compelling sounds where the guitar of Dolan stretches itself and the passions with excellent inventive craft and sonic persuasion.

It is a striking start from band and release which continues in the following Forevermore which seamlessly takes over. The only criticism here though is that the song is so similar in pattern and sound to the first that it is easy with less concentration to miss the fact that this is a new venture within the release. Despite that it is still a thumping encounter with the rhythms of Sowter and the throaty charm unleashed by the bass of Ahmed enslaving the ear for the vocals and once more scintillating guitar work to rise up and impress further within.

All That Remains takes top honours on the EP as it steps up next, the song stepping from a brewing emotive ambience cast by keys and guitar into a fiery expanse of melodic intensity courted by a muscular yet restrained breath. Steeped in Metallica like suasion and littered with at times metalcore bred vocals and sonic sculpting, the track is a masterful piece of songwriting and temptation stirred into a provocative wash of imagination and poetic melodies. Like elsewhere the fact that the song takes thoughts straight to an open source with ease is not an issue such the quality and skill presented within but it may be a problem ahead on future releases, though you also get the feeling that the band are evolving towards a truly distinctive voice anyway.

The closing In The Dead Of Winter returns to a similar appearance and presentation as the first two songs on the EP, but intensifies its rhythmic cage and melodic enticements to stand as another impressive and exciting confrontation of craft and passion. The mix of vocal deliveries is dramatic and outstanding as is the similarly blended sturdier and mellower essences of the sound, both aspects enrolled into a blaze of creative pulse racing, near riotous imagining.

The Enemy Within EP leaves you only wanting more from Immension and it is impossible not to return to it at least once more after any completion of its great offerings.  Though debatably we are still waiting for something truly original from the band, such the quality and inventive craft driving the EP, patience for that to emerge stance is steadfast and eager. Immension has all the tools to be a big presence in UK metal, just a matter of when if they continue to produce releases like this.


RingMaster 12/08/2013

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Harlot – Saviour


If you are looking for something a little fresh and promisingly explosive to your metalcore than allow us to suggest checking out the debut single from UK band Harlot. Infusing their sound with a captivating melodic weave, band and song is a richly satisfying and exciting slice of intensity. Equally as thrilling, as the song rifles the ear and senses with invention and enterprise, is that you can only feel that the band is still at the beginning of exploring its creative depths and that the quartet from Newcastle is only going to get better and more impressive in time.

Consisting of vocalist/guitarist James Mclackland, guitarist Adam Lathan, bassist/vocals Daniel Johnson, and drummer Cameron Brown, Harlot has earned a strong and passionate following since forming in 2007 through their relentless and continually impressive live performances which has seen them alongside the likes of Flood Of Red, Obsessive Compulsive, Tiger Please, Kobra and The Lotus, Voodoo Johnson, and Fury UK. With inspirations bred from bands such as Avenged Sevenfold, Bullet for my Valentine, Pantera, Metallica, Killswitch Engage, Protest the Hero and more in their invention,  Harlot make their the first wide declaration with Saviour, taken from their forthcoming debut EP Wolves, that they are a true emerging force in UK metalcore.

A barrage of drums opens the ear for the following eager guitar to lay down an initial fire before all combine with great intensity forSaviour Covera hunger bred rampage through the ear, this time driven by the caustic squalls of vocalist Mclackland. Into its stride now the track has a familiar groove and gait to its presence but it is a deceit as soon the great vocals, singular and group, lay down a compelling narrative across the constantly looking to evolve sounds. It is a stirring mix of melodic passion and voracious aggression, skilfully sculpted and merged in an inventive and persuasion sonic tirade. Jagged riffs and sonic lances have their moment to recruit further passion midway into the song before a drifting atmospheric and emotive breeze allows a welcome breath to be swallowed and evocative thoughts to breed, but soon band and song returns to an intensive blaze of enterprise and riveting fury.

Unpredictable, fiery, and potently imagined, Saviours is an outstanding introduction to Harlot sparking a certain hunger for the Wolves EP, due out later this summer. For a new breath to metalcore this is a band well worth taking stock of.


RingMaster 19/06/2013

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Everything Burns – Take Your Aim

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It is probably fair to say that Take Your Aim, the second album from UK melodic metallers Everything Burns, has been a lesson in determination, patience, and dedication for the band such its traumatic emergence. Through the likes of an injury to the drummer, shock departure of the bassist, long studio delays due to a refit, and several changes of mixing engineers, it has been a long drawn out process to the point of release. Add to that the delay due to vocalist Tim Kellow being run down by a car after a gig it has not been an easy ride for the release and quintet. Thankfully and miraculously the singer stepped away from the accident with only shoes flying down the road rather than him, and apart from being pissed that by the time he picked himself up the KFC he was heading to for a post London show feed had closed, the band is ready to make a big mark with their Meshhead released gem.

Everything Burns emerged from the ashes of Seven Days Awake in 2007 and signed with Rising Records the following year. 2010 saw their debut album Home released, the Mark Daghorn (Orange Goblin, Trigger The Bloodshed) produced earning strong positive responses. A mix of post hardcore and melodic metal, the eleven track album set the band up as ones to watch and bred a couple of hungrily viewed videos. The first release with their new label, Take Your Aim with its tightly carved aggressive traits and even more emotive progressive potency is set to take Everything Burns to a new level of awareness. It has a sound which is familiar, already the release pulling strong comparisons to Bullet For My Valentine with its voice maybe too close to the Welsh band for some, but also there is invention which intrigues and suggests the band is well on its way to finding its own true stance.

From the intriguing Intro, a very brief piece of combustible sonics and fiery vocals with metalcore tendencies, the release opens EverythingBurnsup its melodic arms with Ghosts & Angels. Initially it has to be said that there was a tinge of disappointment as the intensity and commanding first track suggests something similar ahead to what the second track delivers but song and band soon with a potent mix of crisp rhythms from drummer Jez Marshall alongside sonic flames of guitar from Chinn Lawlor and Vince Finch inspires concentrated attention. As the excellent vocals of Kellow light up the already bright encounter with strength and expressive melodic poise, ably backed up by the equally strong tones of Finch, it is impossible not to be excited by the first single from the album and release after all.

The skills of the guitarists and vocals easily impress at this point and only further their status as the title track steps up next. From a music box beckoning the song pounces with melodic elegance and inciting temptation, their seductive fire finding the equally inviting bass of Aaron Robins prowling the outskirts of their imagination. It is a captivating and contagious mix which spreads open the invention and thoughtful songwriting of the band into clear sight and though again you could claim the song is heavily whispered with the BFMV spice, it more potently reveals the promise and creative enterprise and class of Everything Burns, whilst again the vocals of Kellow and Finch leave a smile on the ear such the solo and combined talent and raw harmonic delivery they find.

Both Our Story and Interlude fall beneath the impressive stance set by the opening trio of tracks but at the same time reinforce the quality of band and sound especially the second of the pair where emotion and passion drips from every note and syllable. Neither find something truly new or distinctive to engage deeply though as the release is one which gets better with each and every listen, it has to be said to dismiss anything about this pair is wasteful with both revealing plenty to be enthused if not exhilarated about. The same can be said of Battlefields, another track where a flame of beauty accompanies undeniable passion and creative intensity. With almost carnivorous riffs and snapping rhythms the song is a formidable proposition but fails to find a strong snarl behind the wealth of melodic triumph. It is a thoroughly pleasing song though and one easy to return to, like the album itself.

Shadows and Whomper finish off the release, the first an excellent blend of growling bone splintering, riff guided antagonism in league with tempestuous emotive harmonies and searing melodic invention. It is an easy rival to the opening songs and again leaves only keen to endorse impressions of the band whilst the closing track is an unpredictable tempest of ideas and rhythmic shuffling honed with metal cursed invention. Both make a final persuasion which is pleasing and ear catching, something you can throw over the whole of Take Aim.

Yet to find their true voice, Everything Burns sets a satisfying and exciting base for their future endeavours whilst lighting up the appetite right now.


RingMaster 20/05/2013

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Immension: Self Titled EP

Immension - Promo Shot

For some reason there seems to be a bit of negativity going round towards the debut self-titled EP from UK melodic metal band Immension, not that it has been a slating upon the release but an apparent to our minds anyway misguided lack of appreciation of what is on offer from the Sheffield quartet. Now certainly the release does not forge new avenues for metal or unleash a storm of originality but at the same time it makes for a satisfying and reasonably thrilling encounter for the ear. For their introduction it has to be said the EP is an impressive enough slab of creativity offering plenty of promise for the band in the future and enjoyment right now.

The main accusation towards Immension is their closeness in sound to Bullet For My Valentine on the release, something you cannot dispute but is hardly a bad thing when mixed with a brewing independence of sound from the band though that is arguably not as realised on the record as you would wish. Nevertheless accomplished in musicianship, thoughtful in structure, and stirring in intensity there are more things right than ‘wrong’ with their introduction to the world.

Formed by vocalist/guitarist Jake Kearsley and lead guitarist Tim Dolan from jamming together five years ago, the band reached a stable line-up with the addition of bassist Hasan Ahmed and drummer Jonni Sowter. From there the band played a torrent of shows stretching from London to Leeds building a fine reputation and loyal fan base along the way. The EP is the first twist of the key to wider recognition and something which certainly amongst metal listeners if not the media seemingly, will stir up plenty more interest their way.

The release opens with the emerging power of Shadow Of Yourself, a track which initially stands tall with flaring riffs and rhythmsImmension Front Cover speared by sonic dazzling wrapping around its bulk. Soon it erupts into a charging fury of pummelling beats and scything barbed hooks and hungry riffs. It is not exactly formula stuff but using tested structures skilfully and to great effect. It is with the clean vocals of Kearsley that one is initially a little taken aback. Expecting the scowling squalls of malice and menace most bands employ the clean delivery is a refreshing variation with growling spite the additive rather than the other way round. Thoughts of In Flames and Avenged Sevenfold emerge from the muscular presence of the track as well as the previously mentioned band of course to make the song a familiar friend for the ear and an enterprising experience for thoughts and senses.

Like the opener the following Lost & Forgotten offers plenty of asides and unexpected ideas amongst the overall bluster of riffs and intense rhythmic assaults, the second song elevating things to a stronger aggressive level. The track is a raging tempest of spite and passion with again the dual vocal attack, and especially the sung vocals, quite compelling. Overall the song is treading the harsher territory of a Killswitch Engage or As I Lay Dying musically and is the best track and the biggest instigator of real promise from the band on the release.

The slowly brooding In Vain closes things off with a more adventurous gait than before on the EP. The initial mellow tones of atmosphere and vocals is a warm caress against the heated sonic play of the guitars, the infectious chorus merging it all into a brief fire with commanding drums to frame their flames. Soon it is another charged frenzy of energy and aggression which switches between full flame to simmer with seamless craft and ease. It is a song which takes time to make its persuasion but emerges as a dramatic and intelligent song, and again another showing the scope and promise of the band in songwriting and its realisation in the future.

Immension has arrived with an EP which deserves attention: it is not going to ignite the biggest ardour within most but certainly will be a pleasing and gratifying companion during its presence.

RingMaster 03/01/2013

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Fates Upon Us: Self Titled EP

In a year of what seems like a flood of emerging metalcore type bands, to truly standout from the masses a release needs to be exceptional and instantly inventive. Whether the debut self titled EP from Yorkshire band Fates Upon Us is such a release is debatable but the five track EP certainly marks the band as one full of obvious promise and refreshing imagination. The finding of their distinct voice is an assumption you can only see the band fulfilling ahead whilst their first release certainly elevates them enough within the ranks of similarly fuelled bands, to make them ones to watch closely.

Formed in August of last year, the Sheffield quintet took no time in finding a keenly receptive local audience to their live performances and sounds, a repeating occurrence as they slowly ventured out into the whole county and beyond. Good success in heats of the Corporation Battle Of The Bands competition has followed their strong beginning as well as a UK tour with Gold Skies Ahead. With comparisons to the likes of Asking Alexandria, A Day To Remember, and Bullet For My Valentine placed upon them, the band now unleash their debut release with a destined national awareness and fervour on their horizon.

Don’t Hate The Player, Hate The Game starts off the storm with resonating and intimidating riffs matched by towering rhythms and oppressive intensity. It is not a ferocious entrance but one which ensures instant focus in its direction. The vocals of Danny Costello send squalls of vehemence across the landscape of the song  whilst the guitars of Carl Tyler and Danny Hattersley fire flames of accomplished sonics and blistering melodic shards upon the senses. As a scowling predator the track is excellent but does suffer a little with the inclusion of clean vocals and an accompanying dip in intensity. It is not enough to unsettle the track but hindsight, after the others songs have stated their claim and disrupted the air, does offer a little surprise as to why certainly the vocals do not work as strongly as elsewhere where the cleaner tones are easily as impressive as the growling consumptions.

Nevertheless it is a  great start which is immediately elevated with the full steam stomp of Have Fun Storming The Castle, a track as unbridled in its passion and energy as it is in rifling the ear with sharp riffs and contagious ideas. The vocals are spot on in both extremes of delivery to put previous slight wrongs in context whilst the rhythms of Carl Jackson thump and barrack the ear with little restraint or mercy. As mentioned earlier whether the track is distinct enough like the release as a whole to garner the full praise it maybe deserves is arguable but as a feisty companion it leaves one wanting very little more.

The third track If Cats Had Opposable Thumbs brings another flaw, this time in its production levels which are too low so the track sounds like it is playing from a room away. It is a shame as the track itself is great but the drop does override the enjoyment somewhat. The track itself is a brawling confrontation merged with expressive melodic imagination and stirring energies. By this point though that similarity to other bands is strong, Fates Upon Us offer plenty to suggest their future sound will see them rise from the pack. The immersive mellow and enveloping weaves from keys and vocals sink seamlessly into the harsher heart of the song to show skilled craft and thoughtful endeavour to the songwriting, not something which can always be applied to other bands.

Back at full levels, Boys, We’ve Struck Gold is an instant winner, its expressive warm gentle initial tones erupting into a furnace of demanding yet rewarding aggressive and inventive ventures. The track barges one to the ground, leaving you a bruised victim to its intense anger but just as easily and passionately stretches out revitalising and reassuring melodic hands to steady and expand the heart to its imagination. Arguably for really the first time bassist Danny O’Keefe can step from the aural shadows to show his hunter skills as well as the continual depth he brings all songs. It is another exciting and captivating track offering great futures.

Closing with the relatively straight forward Hobo With A Shotgun, the EP is one which is impossible to lose in the pack whilst still within its stirring ranks.. Fates Upon Us though inspire expectations of great promise and a clear escape in the future to set them well apart from the throng.

RingMaster 25/10/2012

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Cry Havoc: New Life EP

Some band names just invite intrigue and eagerness to learn more. Such is the case with British metal band Cry Havoc, their name inspiring thoughts and impressions which one only hoped their sounds could live up to. Their debut release the New Life EP easily matched and exceeded those wishes, its muscular presence standing tall with music to fire up deep enthusiasm and satisfaction.

A band still in it informative years, Cry Havoc has been exploding stages with high octane live shows which has seen performances alongside the likes of Malefice, Revoker, The Defiled, Voodoo Six, Jettblack, Romeo Must Die, The Dirty Youth, and Guns 2 Roses as well as their own gigs and festival appearances such as Hammerfest III in 2011. They were also invited to contribute to the Ozzy Osbourne tribute CD No More Tears alongside artists such as Vince Neil from Motley Crue, Alice Cooper, and Kiss. Things were definitely on a rapid rise as the band entered Nott-In-Pill studio in the closing weeks of last year to record New Life alongside producer Martyn “Ginge” Ford and Matthew Bond, who have previously worked with the likes of Bullet For My Valentine, Slipknot, Trivium, Skindred, The Dirty Youth and Revoker. With its release this September one can only assume a full and eager hunger for the band and their furious blend of thrash and hard/classic rock, or as they call it thrash n roll, will follow.

Losing Everything is the first rampage through the ear, a ferocious and hungry fury of crippling artillery driven rhythms and ravenous riffs. The song is an immediate thrust of pleasure and power to ignite all the demands of a great metal song, the passion and energy as resourceful and striking as the outstanding guitar imagination alongside openly impressive vocals. It would be wrong to say the song, and EP as a whole has anything new to say or bring to the mosh pit but undoubtedly it sparks all the fires one could wish from a release of immense quality. The track has a Mudvayne flavour to its sound to add another spice and depth to its crushing presence and by its end the result is an explosive and outstanding start to the EP.

The following Ignition starts mesmerising the senses within seconds with a tightly woven groove and again unrelenting rhythms. Into its stride the song is a charged and thrilling ride, the riffs squeezing the ear tightly so that groove and the flaming guitar solos which strike can singe its flesh. Like the opener it is an infectious and highly memorable rampant slab of metal, originality compromised for a stirring and magnetic Metallica/Slayer/American Death Charge like mix.

The malevolent Alone swamps the ear next with further thrash and metal barracking to devour greedily. Thumping drums bludgeon the senses whilst the guitars continue their skilful and inventive pursuit of the heart, whether a riff or melodic enterprise there is only imaginative and greatly crafted play.

The release closes with the title track and of course again it is a uncompromising assault of thrash n roll, a raw and abrasive sound which leaves one wanting more by its final note. The song shifts its pace from top gear aggression to melodic ‘catch a breather’ asides at times but all is seamless and sculpted to leave a lingering burn of satisfaction behind.

The New Life EP is not the most unique in sound but one of the most enjoyable and riotous thrash driven releases sure to pass your way. Cry Havoc is a band with a big horizon ahead of them and sooner rather than later one suspects.

RingMaster 18/09/2012

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Beyond Betrayal: Money Can’t Save You Now EP

Barbaric and venomously twisting the new Money Can’t Save You Now EP from UK melodic metalcore band Beyond Betrayal is a stirring and impressive brute which leaves one bulging with satisfaction and anticipating even greater things ahead. There have been plenty of emerging metalcore bands over recent months, many offering a melodic element, but the quintet from Barrow in Furness easily stand at the fore. Arguably the band has still to define and unleash their own uniquely distinctive breath but they already sound apart from and head most of the new bands which makes the future for them and us very exciting.

Formed in 2009, the band has worked hard to shape and evolve their heavy inciteful sound through live shows, relentless practice and their well received self titled debut EP a year later. 2011 saw the band with a line-up change and arguably a new focus and strength to their sound, the metalcore heart energised with elements of death and progressive metal brought with a sure and keen touch. To this there is a sharp melodic enterprise which wraps around the intensity with intelligence whilst the grooves which rear up at times are borne from the wanton side of infectious. Released August 27th, Money Can’t Save You Now is the thrilling evidence of the depth and power which has emerged within the music of Beyond Betrayal, the release a mighty step on their accelerated ascent. As mentioned one feels their sound is still in progress towards its full identity but still leaves one deeply impressed whilst setting a level for others to aim for.

The Shane Frisby (Bury Your Dead, The Ghost Inside) mastered release opens up with the November, a track which goes for the jugular with aggression and fine craft. Within moments riffs are stripping and scarring flesh with expert sonic artistry whilst the vocals of Vinnie Dickinson seize ears to take them through a storm of guttural spite and sprawling serpentine malice. Driven by a sadistically manipulative groove the track is a maelstrom of energies and rhythms which only ignites the fullest fires. The guitars of Tom Fisher and Scott Shields are perpetually shifting the presence of the song, assaulting the senses with tight vindictive riffs or taunting them with insatiable and golden melodies. The song is an outstanding start elevated into something extra special by the seamless and unexpected progressive aside. Dropping into a tingling caustic whisper the track gives one time to step back and take it all in before surging back with intent and power for a towering climax.

With a distant drum n bass kiss to herald its presence the following Scott’s Got A Time Machine (He Told Me Tomorrow) crawls all over the senses and licking its lips over the onslaught and violation to be delivered. As with the opener the beats of drummer Jake Newton are crippling at the very least whilst bassist Arron Twinney drools rhythms like a ravenous not to be denied predator. As the track expands its grip and flexes muscles it whips up niggling persistent grooves to swarm around the corrupting tempest of undulating riffs and consistently shifting dynamics. The track is outstanding and asks for many returns to take in all on offer, though that can be applied to most of the five songs.

The following Tear Me Apart has a progressive soundscape and offers an air of Bullet For My Valentine to its sound whilst its successor What Lies Inside strikes with a violent purpose and incendiary melodic imagination. The second of the pair scampers all over the senses with intricate craft and disorientating intensity to again leave one unprepared and satisfied at the multi directional turns of the track. Neither song quite lives up to the first two tracks but still leave a deep and welcome mark in their wake, their sounds a sure pleasure for an fans of bands like I Killed The Prom Queen or Bring Me The Horizon.

The EP ends with the best song, the title track. It is a rampaging hungry bruising of energies which rages like an inferno at times and bewitches with dribbling melodic teases in other moments. It is a tremendous song which unveils the full expressive and inventive scope of the songwriting and accomplished skill of the band whilst triggering the imagination of what the band should and will create as they grow. The Money Can’t Save You Now EP is one of the best metalcore releases to be let loose this year and marks Beyond Betrayal as a band to stretch and take the genre into new and expansive places.

RingMaster 22/08/2012

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A Silent Escape: Self Titled

From a good but underwhelming start the self titled debut album from Swedish band A Silent Escape digs deep to unleash a series of diverse and imaginative tracks. It is a release which one can argue about in regard to its originality and uniqueness with at times some songs merging into the sea of similar fuelled and sounding songs elsewhere. What is not in doubt is the promise offered up and the skilled and intense imagination deployed when the band expresses and extends itself.

The band formed in 2010 though the seeds of the band can be said to have been planted further back in a band Union Square where A Silent Escape vocalist/bassist Patrick Stenborg, vocalist/guitarist Joel Nilsson, and drummer Nic Antoni Londqvist played together. On the demise of that band the trio linked up with guitarist and friend Eddie Hansala and A Silent Escape was born. June 4th sees the release of their debut as the band look to waking up the UK and beyond to their Comeback Kid/ In Flames/ Millencolin influenced and blended sounds.

The band slaps the senses around from the off with Blackhole Gravity a song of thumping rhythms and insurgent riffs. The track is punchy with a striking melodic grip upon the ear whilst being openly infectious and proudly eager. It does everything right especially with the reserved enterprising moment mid song but just misses lighting up the fires with any distinct individuality. The following Final Chapter is the same, though another good song which is impossible to feel anything but pleasure from it just does not inspire anything stronger, nevertheless both tracks unveil striking elements to ignite sure promise whilst easily entertaining whilst the senses in their presence.

Things truly lift though when From Words to Beating steps forward to ignite the senses. A melodic warmth permeates from it making a smooth yet bristling experience for the ear, the Avenged Sevenfold toned vocals a fine companion for the expressive sounds. From this definite lift to the album things truly explode with best track God’s A Liar(feat. Richard Sjunnesson from The Unguided). From the opening taunting and intimidating riff breakouts on the ear alongside punchy rhythms the track takes a hypnotic hold. Melodic wraps cover the metallic spine and contrasting venomous growls explore and illuminate the song alongside a great clean vocal delivery bringing the most compelling contrasts and startling interplay. The track is mighty and easily the major highlight of the album.

The album is in full flow now unleashing a series of undeniably impressive tunes as the following melodic metal Ticket Back and catchy hook luring Can’t Be The End show. The second of the two is almost like Bullet For My Valentine does pop punk but is not only far better than it sounds but is a captivating slice of infection.  Both songs are powerful and easily accessible without resorting to easy tricks and avenues. Again one could not claim they were breaking into new directions with truly unique sounds but one can easily state not many other releases bring as much fully appreciated pleasure.

The blistering attack of Bullets takes the album down another detour, its electronic spicery a great twist to the growing intensity, whilst Smalltown Outcast peers into the creative well of the likes of Silent Descent with great effect. Ending on another slab of intensity in Goodbye Mr Pig the album is an enjoyable creature with possibly more promise than realisation still upon its breath. The signs are all there and only time will tell if they can cultivate their own distinctive and even more striking sound but right now A Silent Escape, album and band leaves one more than merely pleased and satisfied.

RingMaster 31/05/2012 Registered & Protected

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