Deference / Vanity – Condemned To Repeat EP

The Condemned To Repeat EP brings together two of the UK’s most promising, indeed already exciting metal prospects and across rousing ear gripping tracks shows why both are creating a real buzz.

The release sees South London metallers Deference and Southampton outfit Vanity provide two tracks each of their increasingly individual sounds. It is an encounter springing from the idea of a prospective collaboration between both bands which Deference members, vocalist Rob Lea and vocalist/guitarist Matt Dennison, offered forward late 2017. Vanity guitarist Luke Jervis explains, “We decided against creating a hybrid band between the two but wanted to focus more on the initial project of creating music as a collective.” The four tracks do see the vocalists of each band sharing vocal duties in each other’s offerings though to add to the open adventure of the release.

Deference provides the first pair of songs, starting things off with Sins. The band has seen their melodic metal constantly lure a host of new fans particularly from sharing stages with the likes of Bless The Fall, Miss May I, Fit For A King, Currents, Rolo Tomassi and Napoleon in recent times. Their first track initially coaxes ears with a suggestive melody, a calm but potent lure soon joined by the carnivorous textures of Dennison and Jonathan Prince’s guitars. Rhythms are less eager but resonate with every growl of Shaun Kirtland’s bass and the swinging attack of drummer Mike Hill, until it all boils over in a rousing roar. Even then there is a certain control to the eruption, a creative prowess which perfectly aligns to the growing vocal spread of enterprise. Drama soaks every note unveiled as too rich imagination, the track giving hints as to why the band has been compared to the likes of Architects and Northlane.

Their second track is just as compelling, Burial a voracious slab of discontent and creative fury strapped with hungry grooves and rapier thrusting rhythms. It is a sonic wrath tempered by an atmospheric sigh and turbulence interrupting melodic flames, a song never settling or allowing the listener to before its tempestuous roar and like its companion hits the spot right on but the second unleashes an especially inventive spleen impossible to resist.

It is the same with the two incitements from Vanity, a band which has already excited our appetites as many others through the Perspective//Dread and Perspective//Empathy EPs a couple of years or so back. They too have made their mark on the European live scene, playing with bands such as We Came As Romans, Chelsea Grin, Thy Art Is Murder, Black Tongue and I Killed The Prom Queen. Humane is first up from the quintet, emerging from an atmospheric mist with a rich wiring of grooves and a hellacious web of vocal ire. Swiftly the song expands its sonic lures and suggestive atmosphere, unpredictability joining volatility in the breath and heart of the increasingly enthralling trespass as all the while it preys on ears with growing dexterity, stalking the senses to share fear and pleasure.

Disillusioned is equally predatory as it completes the line-up, the track crawling over the listener with carnal intent whilst equally providing a magnetic blend of vocal adventure and melodic intimation. Again, the invasion never follows expectations, every second and breath bringing fresh challenge borne of real imagination to arouse and captivate.

Condemned To Repeat is an outstanding incursion from two bands which so far are only growing more striking and thrilling by the release and declaring UK metal is in exciting hands.

The Condemned To Repeat EP is available now.

https://www.facebook.com/WeAreDeference   https://www.facebook.com/VANITYUK/

Pete RingMaster 30/04/2019

Copyright RingMaster: MyFreeCopyright

Black Water Chemistry – Return To Ashes

Though formed in 2014 it is the last eighteen months or so that the buzz around Welsh metallers Black Water Chemistry has really intensified. It has been a time where the band itself says that they have been “working tirelessly to cement their style and increase their fan base”, success of that intent in the first aspect now strikingly heard within and in the second poised to be ignited by new EP Return To Ashes.

Tagged as metalcore but with much more to its template of imagination and adventure, the Black Water Chemistry sound is a cauldron of aggressive energy and inventive enterprise. It has maybe yet to breach the walls of true uniqueness but as the four tracks within Return To Ashes shows, it has an individuality which is as memorable as it is unpredictable. Formed by blood brothers in vocalist Matt Saunders and lead guitarist Chris Saunders and completed by bassist Gizz, rhythm guitarist Murph, and drummer Dan, the Newport hailing quintet embrace inspirations from the likes of Architects, Parkway Drive, Killswitch Engage, Chelsea Grin, August Burns Red, Mastodon, and Periphery to their creative breast. They are strands of influences which light up the band’s sound but more seems to spark Black Water Chemistry’s own individual endeavour.

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 Last Iconoclasts follows, it also making a striking entrance as guitars and rhythms concoct a web of rabid temptation before vocals roar and croon to create the song’s very own lure of unpredictability and imagination. The punk ferocity of its predecessor is accentuated within the second offering as too its raw metallic animosity, the song prowling almost stalking the listener at times and seducing them with melodic elegance and angst in others.

There is no let-up in the great mercurial attack of the band’s instinctive imagination and feral enterprise within next up Masterstroke. The song is borne of a more heavy rock/melodic metal seeding but again an untamed but skilfully crafted maelstrom of extreme metal nurtured ill-content. Grooves and riffs tease and nag as rhythms stalk and bite, every twist and turn an ear luring confrontation before the EP concludes with the hellacious fire of its title track. If the last song nagged in certain ways, its successor simply harasses, rewarding its imaginative malefaction with a beguiling entanglement of senses infringing adventure and unexpected twists and turns; at times roaring like a natural union between Periphery, Bring Me The Horizon, and Reuben.

It is a fine end to a release which will surely thrust Black Water Chemistry forcibly into much thicker and eager recognition and attention. Excellent from the off and even more striking by the listen Return To Ashes is a wake-up call to the UK metal scene fuelled by a potential which will conceivably take the band beyond those boundaries.

Return To Ashes is released August 31st.

https://www.facebook.com/BlackWaterChemistry/   https://twitter.com/B_W_Chemistry    https://blackwaterchemistry.bandcamp.com/

Pete RingMaster 29/08/2018

Copyright RingMaster: MyFreeCopyright

Call To Arms – Invictus EP

Call To Arms_RingMaster Review

If the members of Call To Arms are as young as photos of them suggest, then it is hard not to be gripped by intrigue and excitement as to how good this band could become given the impressiveness of debut EP Invictus. Made up of five voracious and inventive metal tempests, the release hits the listeners straight between the eyes with its raw hostility cast into imaginative and confrontational anthemic persuasion.

The band began in 2013, formed by vocalist Dean Donnelly alongside original bassist Jordan Conway. Quickly the line-up was completed by guitarists Daniel Tyrell and Niall Ennis, lead and rhythm respectively, and drummer Ben Deane. Concentrating on honing their sound for the first few months, it is fair to say that the Ballymun hailing Call To Arms quickly whipped keen vocal attention and support. Making their live debut at The Academy, Dublin as part of The Blastbeat: Battle of the Bands, the band has gone on to share stages with the likes of Avatar, Fozzy, and Chelsea Grin and personnel wise seen Alex Caffrey replace Conway and recently after the recording and release of Invictus, Deane leave the band.

Produced by Joe Cleere, Invictus as suggested earlier, is an imposing and striking entrance by the band, needing very little time to make a potent impression as opener Our Salvation gets to work on ears and appetite. Featuring guest vocals from Sam Gorman of Enshrined, the track builds a thumping invitation with rhythms and spicy grooves, its lure heavy metal bred but keeping in its creative pocket for now, the subsequent rage fuelling its presence. Soon hitting a thick stride though, vocals spill antagonism and combat in their raw tone and delivery, matched in kind by the bass as the guitars spin an infectious web of hooks and abrasing riffery. It is like a mix of Biohazard and Killswitch Engage in many ways, yet has a freshness which especially hits as band and song twist in unpredictable and gripping enterprise. As it evolves and expands its imagination, a psychotic influence hits the song’s compelling bassline and vocals, their moment to stalk the psyche only leading to another ferocious assault posing as the climax.

Cover_RingMaster Review     Bullet With Your Name steps up next bullying ears with vocals and ravenous sounds though yet again there is an infectious spine and adventure to the track which has you welcoming its vicious assault. As in its predecessor and songs to come, there is as much a punk/hardcore richness to the tempest as a thrash/metal breeding, though it is the latter spawning another magnetic persuasion of emerging imaginative twists and endeavour. The individual skills and resourcefulness of the band is also in open evidence as well as an eagerness to push ideas and textures with elements of discord and unpredictability.

The release continues to impress and reveal new aspect within the band’s songwriting and sound as Imprisoned Darkness unleashes its fury next. Opening with a mesh of acidic grooves which in turn spark a delicious hook which can only be described as Dead Kennedys like, the song rallies attention and emotions. Those initial lures continue to grip within a sonic and vocal abrasion unafraid to colour its animus with elements of classic metal and metalcore like hues. It is inescapable persuasion though soon outshone by the upstanding Mirrors, its opening military in rhythmic tempting and militant in attitude. Once more metal and hardcore unite in one hellacious and infectiously alluring examination veined by skilled and flavoursome grooves amidst rich sonic exploits. The track takes top honours within Invictus and if you want a teaser before braving the Call To Arms onslaught, it tells you all you need to know about band, sound, and their stirring potential.

The EP is closed by The Core, a final uncompromising anthem you just know will have venues throbbing with bodies and attitude. Thrash and punk bred, the track is an intense and incendiary end to a tremendous first look at and feel of the Call To Arms sound and presence. Invictus is pleasingly raw and shows the band still finding its unique feet but there is no doubting that we have one rather promising and exciting protagonist in our midst which can only get big, bolder, and more fearsome.

The Invictus EP is available now @ http://calltoarmsirl.bandcamp.com/releases

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

RingMaster 03/07/2015

Copyright RingMaster: MyFreeCopyright

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Cries Of The Captive – Imperialist EP

Promo 2

Like a pissed off beast in season, the Imperialist EP from US metallers Cries Of The Captive is a raw and hostile slab of primal malevolence which only leaves appetite and ears wanting more of its exacting ferocity. It is a swamp of fury, an oppression of deathcore which from start to finish is rigorously compelling.

Formed in 2011, Cries of the Captive went through several line-up changes and shuffles before the union of rhythm guitarist Skyler Dustin, drummer Kyler Loughlin, vocalist Mason Blair, and bassist Jake Makley alongside one of the band founders, lead guitarist Jordan Huemiller. The band’s following and reputation has grown as forcibly as their sound over time, leading to the creation and release last December of the Imperialist EP. Recorded with Chelsea Grin guitarist Dan Jones, the release is an attention grabbing marker which now with its reboot through Imminence Records, pushes the Utah quintet into a new spotlight. Since its recording, Cries Of The Captive has seen Nate Barnes replace Makley and the band begin work on their debut album again to be unleashed via Imminence, with 2015 looking like being another big step in the band’s ascent.

The Muay Thai Body Obliterator opens up the tempest, a guttural snarl from Blair working with a guitar sculpted niggle to confront ears before dramatically pungent rhythms and caustic riffery break out to entice and erode the senses. It is an uncompromising squall of sound and intent; from the corrosive delivery of Blair which is indecipherable yet open in its malice and passion, to the flesh ripping spite of the guitars and bone splintering tenacity of the rhythms, the track is a brutal examination but just a teaser for greater things to come.

The following Condemned has its jaws deep in body and thoughts within seconds of an opening roar of vocal hate from Blair. Riffs spear and desensitise whilst rhythms bruise and exhaust, combining for a torrential outpouring which COCT_1500x1500alone grips attention. It is the excellent variation to the vocal attack, which still defeats all attempts to understand the lyrical maelstrom, and the sonic mesh of melody veined acidic grooves which thrusts the track to a new plateau to its predecessor though. Whether charging with nostrils flaring or crawling over the senses with a pestilential glee, the track is a glorious invasion of blistering sound and malicious enterprise.

Next up, Solipsism makes a less intensive though no less intimidating entrance. It is merely a few breaths though before the track stalks with bestial fury aligned to a scorching sonic enticing, creating its own distinct and addictive savagery. The vocal diversity is a horde of seductive demons, calling the passions with many voices as the turbulent sound and intensity collides with and irresistibly baits emotions around it. The track as all on the EP, is a nest of invention beneath its primal voracity, smooth turns through numerous flavours and striking ideation waiting for those brave enough to rupture the surface tension of the raging storm above it.

The title track brings the release to a close, setting another impressive standard and variation to sound and songwriting. Emerging from a sultry melodic climate of sound and expression, the track offers a bearlike ferocity of rhythmic swipes and carnivorous riffery, each taking its passion seducing toll on body and senses. Again lyrically there is little we can reveal such the raw onslaught of Blair but it is of little issue in the concussive and scintillating uproar surrounding him. Graced by a sonic beauty which manages to permeate the hate to equal success, the song is a thrilling and lingering finale keeping release and band a captivating proposition in thoughts and hunger.

Imperialist easily sets up swift and eager anticipation for the band’s full-length encounter and a thoroughly impressive and deeply satisfying incitement for itself. Cries Of The Captive is a fury on the march with a sound which does not take no for an answer.

The Imperialist EP is available now via Imminence Records @ http://imminencerecords.bandcamp.com/album/imperialist

https://www.facebook.com/criesofthecaptive

8.5/10

RingMaster 10/09/2014

Copyright RingMaster: MyFreeCopyright

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Where Giants Once Stood – Live Above EP

WhereGiantsOnceStood-Promo-LoganLights-1-HiRes

The word in the ear before making our introduction with Canadian metallers Where Giants Once Stood through their new Live Above EP was that this is a band striding the lip of major things. Having been buffeted and captivated by their new four track proposition it is easy to see why the keen buzz around the Toronto quartet. The release brawls and seduces with equal success and potency, its tracks each an unpredictable and exhaustive adventure which lingers to inspire swift and regular returns to their persuasion. The band merges a wealth of styles and flavours into their imagination igniting metal and though some tracks excel with the passions stronger than others, there is no escaping the constant magnetism and voracious enterprise of the band.

Drawing ever increasing attention and acclaim through their live shows, which has seen them share stages with bands such as Born of Osiris, Veil of Maya, Chelsea Grin, Iwrestledabearonce, and Beartooth, Where Giants Once Stood made a powerful mark with The Changing EP. It set the band out as having the potential to ignite major fires within metal and Live Above does nothing to deter that suggestion, instead pushing the band’s sound and presence to even richer heights. Produced by Jon Howard from Threat Signal, the EP roars with passion and invention from its first breath, driven by metal which is as transfixing as it is aggressively bruising.

New single Living in Security opens up the fury, its heart soon raging from within the initial sonic coaxing which starts the track off. Riffs swiftly create an imposing wall of vicious stabs aligned to the hostile beats of drummer Austin EP COVER - Where Giants Once Stood - Live Above 2014Hamilton, before exploding into a magnetic stride with a swing to the grooves and rhythms and raw passion to the vocals of Reshaun Page. It is a blistering persuasion which continues to twist and evolve with every passing stretch of chords and sonic endeavour, and increase in temptation as the impressive angst soaked squalls of Page pass over parts of the song to the outstanding clean vocal tones of guitarist Jordan Turnbull backed as potently by those of rhythm guitarist Scott Major. Entwining melodic and progressive bred metal with metalcore ferocity and antagonism, the song is as resourcefully contagious as it is dramatically sculpted, Turnball igniting its air and canvas with some delicious and exceptional creative string skills.

Every second of the track is an imaginative and startling emprise, never allowing thoughts and expectations to settle. It is as much an impressive part of the song as the sounds themselves; that ingenuity continued with Illuminate and subsequently the rest of the release. The second track makes a less hostile entrance, mellow croons casting the first tempting before Page rages impressively from within the swirling warm maelstrom of sound. Expanding with tempestuous animosity and seduction combined, the song squalls and seduces with its emotive and physical turbulence whilst engrossing ears and thoughts with the tenacious skills of each member. Maybe without the final spark which makes its predecessor so incendiary, the track still sparks another vein of hunger in appetite and emotions before drifting off for The Damaged to begin releasing its sonic lures and voracious narrative. A virulent infectiousness roams the chorus whilst a spiteful but riveting toxicity soaks every scarring riff and syllable of the vocal malevolence. As by now expected, the song moves through more revolutions and curves of sound and ideation than a swing door, again thoughts bewitched by the entwining strands of widely varied metal weaved into the masterful and irrepressible incitement.

The release ends with the exceptional Myths Lies And Crimes, a track which is mouth-watering in its tapestry of sound and invention. At its core, the track is like a meeting of August Burns Red and Trivium under the influential potency of My Chemical Romance at their early best. It is as fascinating as it is dominating, a sensational encounter which like the EP as a whole, leaves ears ringing, thoughts full, and emotions greedy for more.

Whether the Live Above EP is your introduction to Where Giants Once Stood or the next instalment on the journey already embraced, it thrusts the band to a new dramatic and impressive status within metal. Canada’s creative sons could and should be devoured by the wide metal world thanks to the EP and if it is not now, certainly it is easy to expect it at some point in the near future.

The self-released Live Above EP is available now @ https://itunes.apple.com/us/album/live-above-ep/id907144882

https://www.facebook.com/wheregiantsoncestood

9/10

RingMaster 04/09/2014

Copyright RingMaster: MyFreeCopyright

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