Lost Gravity – Self Titled

Lost Gravity Online Promo Shot

Though it would be wrong to claim that the self-titled debut album from UK based Lost Gravity set a fire in ears straight away, it certainly left a smouldering lure and attraction which over time has inspired a very healthy appetite for the band’s brand of heavy melodic rock. Consisting of ten skilfully accomplished and contagious tracks which make up for what they lack in originality with passion, the release is a potential fuelled introduction to a highly enjoyable proposition in the London based band.

Lost Gravity was formed in 2007 by Brazilian born vocalist/guitarist Breno Val. Taking influences from the likes of AC/DC, Megadeth, Ramones, Chroma Key, Metallica, Alice in Chains and more into their songwriting and sound, the band started out as a quartet but with a flux of line-up changes eventually emerged as a trio in 2012 with drummer Giuliano Kolling joining the band around the same time. Completed live by bassist Chris K, but not involved with the album, Lost Gravity now makes a powerful play for attention with their first full- length. It follows a trio of earlier well-received EPs in Anywhere But Home (2008), Selfish (2009), and Lost Gravity III (2012), all released as the album on Val’s own label Priston Records. The new release is a bold encounter openly wearing its inspirations which arguably defuses its originality, but for heart bred rock ‘n’ roll, the pair of Val and Kolling has unleashed a thoroughly satisfying incitement.

The album opens on the bulging presence and might of What Goes Around Comes Around, a melodic lure leading ears into a wall of vivacious riffs and thumping rhythms. It is an instantly potent persuasion of grunge and hard rock PromoImagewith spicy grooves and strong vocals combining to swiftly wake the imagination and appetite up for the rest of the album. The gnarly tone of the bass adds to the impressive bait of the song, as does the sonic enterprise of Val’s guitar which is as flavoursome in straight rock ‘n’ roll riffery as it is in sonic endeavour. It all adds up for an anthemic and magnetic start to the release soon matched by the bluesy laced Changes. There is not quite the striking touch and unique flame to the second song in comparison to the first, but again the duo provide a skilled and easily accessible slice of heavy melodic rock to convince body and emotions. An excellent relaxation into mellower scenery adds a welcome twist to the song too as Lost Gravity reveals more fluidity and invention to their songwriting.

Both Back Where You Belong and Alone keeps the thick lures and persuasion coming, the first a grooved flame of sonic and melodic intensity which seems bred in the fire of an Audioslave or Stone Temple Pilots. It is a song which evolves across its length, entwining stoner-esque grooves and alternative metal seeded ingenuity within a sultry climate. It is a riveting encounter, one of the peaks of the album which its successor does not quite rival in impact but with its sinew crafted balladry afloat with evocative melodies and vocal expression it is an endearing offering which grows in stature with every listen.

Anywhere But Home comes next and opens on a delicious transfixing hook which is arguably never matched in success by the rest of the song, though it pleasingly bristles and roars with fresh creativity not previously explored by the album. That initial lure is never far from the surface of the song either but somewhere there is a missing spark to push a certainly great song into sensational realms. To be fair though, it is hard to tear away from the track as you almost urge it to greater success and it certainly enslaves a hungry appetite over time.

The infectious swagger and flirtation of Friendly Fire sets up feet and ears for a sizeable pleasure next, its Foo Fighters like tenacity flirting with rock pop vivacity before the more heavyweight and moody presence of Selfish takes over to ignite the senses with sonic spicery and melodic intrigue. The track is structured similarly to Anywhere But Home, and also breeds an enthralling presence with a potential not quite realised. This applies to the whole of the album really, so many great things exploring and playing across its appealing body but not quite finding the missing piece to truly catch alight. Song and release though does breed real anticipation for when the band make that transition at some point ahead.

All the Same looks at an alternative/punk pop infused landscape for the placing of its skilled and bracing temptation whilst the following Venom In Vial parades a raw antagonistic breath and attitude in its muscular confrontation. The pair are further sides to the sound and invention of the band, each a firmly pleasing offering before the might of the closing Walk On. With a blues tinge to the opening groove and a ferociously rumbling torrent of rhythms, the track makes a dramatic and thrilling entrance which it subsequently accentuates with a punk rock agitation to its blues kissed charge of dirty rock ‘n’ roll. It is an impressive end to an attention grabbing encounter, an album which makes a hefty persuasion to the promise and skills of Lost Gravity and a feisty suggestion of even bigger and better things ahead.

Lost Gravity is available now digitally and on CD via Priston Records @ https://itunes.apple.com/gb/album/lost-gravity/id901847667

http://www.lostgravity.co.uk/

RingMaster 13/10/2014

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In Progress – North Atlantic Echoes

cover

Bracing, seductive, and thoroughly captivating, the sound of US progressive/experimental rock band In Progress is an absorbing evocation which works on the imagination just as potently as ears and emotions. It is a proposition impossible to pin down but easy to embrace as proven by the band’s sophomore album North Atlantic Echoes. Consisting of seven tracks which combine cinematic adventures with emotively driven moods and sultry climactic landscapes, the band’s new release leads senses and thoughts into evocative embraces, enveloping them in atmospheric caresses and imposing yet welcoming ambiences. The closest comparison which comes to mind is Scottish band North Atlantic Oscillation, an encounter the title of the album points at whether intentionally or by coincidence, though ultimately In progress crafts a presence which is distinct to them.

The New York/Los Angeles based band consists of John Dillon (vocals, guitar, bass, programming, and additional keyboards) and Jake Rosenberg (keyboards and additional programming), who take inspirations from artists such as Nine Inch Nails, Tool, Devin Townsend, Faith No More, Thrice, Ulver, Chroma Key, and OSI into their inventive explorations. Their debut album Signal Failure of 2011, which featured drummer Mark Zonder (Warlord, Fates Warning, Slavior), drew good responses from fans and media which with its release a couple of weeks ago, North Atlantic Echoes andits own special guests, most notably keyboardist Kevin Moore (ex-Dream Theater, co-founder of OSI, Chroma Key) and even more experimental and expressive designs has already started emulating.

The warm touch of Tones From a Twisting Verse opens up the immersive embrace of the album, its poetic musical tones immediately caressing senses and thoughts. Keys cast a reflective ambience around the ears, their orchestral grace and smouldering shadows an emotive colour enhanced by the vocal harmonies in flight within. Its scenery unveils within a piano narrative soon joined by the slightly monotone yet warm and melodic delivery of Dillon. The song envelops and leads the imagination into a melancholic and enchanting evocation darkly coloured by the emotional prowess of the duo and their mesmeric sound.

The following Thunderstorms is similarly dark in feel and shadows with a bright bewitching core which glows like a beacon of hope with reflective flames; it a look back to inspirational moments seemingly lost in the drifts of time. As maudlin as its predecessor in many ways, it is also a livelier lucent hug for the imagination; the excellent mellower vocals as transfixing as the inciting words it delivers and the shimmering sounds around them. The song merges dark and light with poise and glorious temptation, becoming a richer potent persuasion with each taking of its provocative account.

The intriguing nintendo-esque rhythmic coaxing of next up Chasing Ghosts, which opens up the track and persists with its kinetic smile throughout, pleasingly leaves expectations lost for words. The track is an evolving drama but an inventively reserved premise for vocals and lyrics to colour with stimulating endeavour. As its predecessors and the album as a whole, the song again grows melancholic seeds into a sonically luminous blossom, its shading and smouldering fire stoked by the additional craft of Moore, the song the first of the trio he joins the band on. Cloudburst straight after is the second. The track has a portentous air to its emergence, epically throated electro expulsions clouding the sky with imposing textures as keys flit through its mass with shards of light and mystery. Dillon is joined vocally by the sirenesque voice of Hwei Ling Ng, their vocal extremes a compelling enticement within an equally captivating climate of sound. With an additional mystique to its melodic waltz and emotional fascination, the track absorbs senses and passions with rhapsodic beauty, its presence urging thoughts at times of Nine Inch Nails and Ministry in their very early synth pop days.

Both North Atlantic and Thorn Yard engulf body and mind in glistering textures and melodic kisses, the first initially glancing across the senses with glimpses of the soon to evolve ambient pop enterprise. It is a firm first touch but feeling more of a caress as the heavier yet and equally celestial embrace of the song takes hold. Graced by the angelic harmonies of Lauren Edwards above and around Dillon and a potent sense of loss which soaks sound and lyrics, this theme common across the release in many personal and easy to relate to guises, the song is another enchantment to drift from reality within. Its climactic build to a somber last hug draws in thoughts and memories ready for its successor whose opening piano and vocal union with a rosy dramatic air to their union sparks thoughts of eighties artists Black, and though its fails to rise to the same heights of earlier songs, the unpredictable flames of effects and fiery crescendos simply enthral.

North Atlantic Echoes is an album which certainly makes a strong suasion in its first encounter but grows into something immensely epic and irresistible over time, final song Graveyard Snowfall with guest touches from again Moore and Edwards, bringing evocative hues to an already spellbinding romance of shadows and lost loves, closing up the tremendous adventure potently. As mentioned the album needs as much time as you can give to reveal the extent of its passions infecting potency but rewards with creative experimentation and emotive emprise which is quite beautiful.

You can stream the album or name your own price for the download at the following link: http://inprogressofficial.bandcamp.com/

 

https://www.facebook.com/inprogressofficial

9/10

RingMaster 03/04/2014

Copyright RingMaster: MyFreeCopyright

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OSI – Fire Make Thunder

promo by MelissaSepanic

Returning with their fourth release the impressive project OSI of duo Jim Matheos (Fates Warning, Arch/Matheos) and Kevin Moore (Chroma Key, former Dream Theater keyboardist), have produced an album that eagerly sweeps one up within its inspired arms. Fire Make Thunder is a wonderful series of soundscapes made up of distinctly expressive and varied ingenuity that treats the senses to adventures offering calm caresses right through to high energy escapades. Thoughtful and beautifully crafted the release without making startlingly new declarations of barrier cracking enterprise is a gracefully enveloping and emotionally energising series of compositions from two of the most creative musicians and song writers in progressive rock and metal.

Formed in 2002 OSI is a musical relationship between the two members that produces fine creative music from long distance. Fire Make Thunder itself written and recorded individually by Matheos and Moore in their respective studios with ideas and the songs being sent back and forth. The album also features the returning band session drummer Gavin Harrison of Porcupine Tree who brought his contributions to the release, including co-writing one track, from his personal studio too. The album was created throughout 2011 with final mixing completed alongside engineer Matt Sepanic at Sound Farm Studio and Recording Environment and mastering handled by renowned engineer Roger Siebel. It is hard to imagine the difficulties of recording apart but as with their previous releases, Fire Make Thunder shows no sign of it being a problem, the album a seamless and perfectly flowing musical lake for the ear and senses to immerse deeply within.

Released via Metal Blade Records the album starts with its best two songs in ‘Cold Call’ and ‘Guards’. The opener starts with a sampled news report which comes in throughout the track from an EBS news report in the 70’s where reports of a nuclear attack were announced before finding out it was a false alarm. With the industrial toned consuming sounds surrounding it and the starkness and chilled ambience that builds the beginning plays like an aural version of the movie Right At Your Door. Though this was not the intention of OSI and the sample used just because it sounded good, this ominous feel is a powerful wave. Eventually it explodes into forceful riffs and intense power though throughout the song retains a restraint and glowing beauty within this bulging heavier sound, the smooth distinct vocals of Moore as expressive and gently persuasive as the melodies surrounding him. The pair has an intelligent use and touch with intense sounds and flowing ambience, merging them perfectly with neither threatening to overpower the other.

Guards’ has an electro feel throbbing within its walls, a pulsating vein that resonates between the striking guitars, hypnotic rhythms, and mesmeric vocals. The meaty riffs swagger with a confident attitude whilst the electronic spots and tender touches bedazzle like a sonic kaleidoscope throughout the song’s boastful dance with the ear. Both these songs are OSI at their height and instantly pull one into the album allowing the following songs to be more adventurous and intimate if less accessible from the off. With music that is progressive rock, metal, and simply pure rock ‘n’ roll fused into a stunning maelstrom of atmosphere and sound, Fire Make Thunder is never less than engaging and for the whole totally infectious.

Though as stated the album starts with its best songs the remaining tracks are no less impressive or satisfying. From the ambient warmth of ‘Indian Curse’ and the excellent robust metal instrumental ‘Enemy Prayer’ through to the electronic driven industrial toned strength of ‘Big Chief II’, sounding Nine Inch Nails/Deftones like and the majestic crystal radiance of ‘Invisible Men’, the album is a fully enveloping masterpiece.

Fire Make Thunder is a real and thoroughly fulfilling joy. It is unassuming yet at the same time seeks and fills every corner of the senses with stirring and pleasing sounds.  OSO have set a marker for not only progressive metal but many genres with their new album, time will tell if anyone is up to the challenge.

Ringmaster 26/03/2012

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