Figures – Self Titled EP


Melbourne is one of those cities persistently producing exciting new musical proposals and another to strongly add to the long list is Figures. Firmly established and acclaimed in the Australian rock scene, the quintet now have their sights on much broader attention with their self-titled debut EP leading the way. Offering four tracks of melodic/alternative metal with numerous other strains of rock involved, the release is a striking and seriously accomplished encounter with a sound very easy to find a healthy appetite for.

Formed in 2014, Figures has shared stages with the likes of Caligula’s Horse, Twelve Foot Ninja, Superheist and many others since then, luring heavy praise along the way. Their first single Filter equally courted acclaim and attention the way of the band, it taking them across to the US to perform at MUSEXPO’s Global Rock Summit in Los Angeles. Taken from the EP it made for an attention poking lead and gets the release off to a mighty start.

The song’s first touch is a gentle melodic caress, Filter coaxing ears as the guitars of Paul Callow and Simon Edgell wind up their energy and enterprise for the subsequent fire of riffs and grooves. Quickly the swiftly impressive vocals of Mark Tronson shine in their midst as the similarly enticing groan of Jen Fletcher’s bass and the swinging prowess of drummer Josh Sforzin add darker depth and texture to the already compelling blaze. The band has been compared to the likes of Incubus and Karnivool and in some ways you can suggest Circles, Voyager, and to a lesser extent Shattered Skies too though Figures quickly establish their own character in song and release.

cover_RingMasterReviewEqually fiercely robust and enticingly elegant, the song is a formidable introduction strongly backed by its companions starting with Desolate. Quickly the second song sounds very familiar though we cannot remember hearing it prior to the EP yet it cannot stop the fiery serenade of the track seducing ears and passions. Its melodies and harmonies caress the senses, its snarling riffs and boisterous rhythms raising the spirit and though it takes a touch longer to tempt as its predecessor, it blossoms into its equal.

Again making initial contact with a warm lure, Vice soon looms over ears with a web of wiry grooves and intrusive hooks as raw riffs and rapacious rhythms court the ever impressing mix of vocals and harmonies. There is aggression fuelled attitude at the heart of the song, giving it great underlying irritability as its mellower textures spread their charm, a blend sublimely igniting all four songs in varying ways with the closing Emoticonic no exception.

It gets straight down to offering growling confrontation though it is quickly interrupted and thereon in interspersed by washes of melodically inflamed imagination. The spiral of metallic tendrils really hits the spot though from start to finish, the whole song only feeds an already hungry appetite bred by the EP for what Figures have on offer right now and anticipation for their continuing growth.

Already 2017 is proving to be an exciting and impressive surge of emerging bands tempting bigger spotlights with Figures right there on the frontline.

The Figures EP is out now and available @

Pete RingMaster 01/03/2017

Copyright RingMaster: MyFreeCopyright

Vienna Ditto – Busted Flush


The undeniable soft spot we have for the fertile adventures of British duo Vienna Ditto has only been confirmed or pushed towards more lustful tendencies with each release they give birth to in their enviable imaginations. New EP, Busted Flush, is guilty of sparking the latter with three tracks of aural intrigue and creative drama which almost prey on the senses. Cinematic yet intimately invasive, the EP is one of those real treats which come along so rarely yet frequently from the shadowed minds of Vienna Ditto.

The innovative union of Hatty Taylor (vocal and synth) and Nigel Firth (guitar) has come a long way since the pair first met when Firth began teaching eleven old Taylor the guitar. Meeting again and creatively uniting a decade later, the pair has continued to blossom and excite with a magnetic sound which fires up ears and imagination like a sonic kaleidoscope. It has nurtured numerously well-received and acclaimed singles and EPs with debut album Circles of 2015 and the Ticks EP earlier this year breaching even greater acclaim and plateaus of intoxicating invention. Busted Flush is the next step forward in both rewards for band and listener, a sublime seducing which only romances with greater strength listen by listen.

art_RingMasterReviewThe EP’s title track opens up the fascination, Busted Flush a web of seductive melodies and shadowy rhythms in an atmospheric caress equally as dual natured. As the throated threat of bass colludes with crisp beats, Taylor’s exotic tones finger the imagination, backed by keys which hold suggestiveness in every melodic note. The song plays like the backdrop to a cold war romancing, a canvas for a Doctor Zhivago/ The Spy Who Came in from the Cold like involvement with Taylor the seductress narrating events. Across its blossoming landscape, Firth matches the vocal allurement with his poetic melodies and keys cast theatre further tapping into more sci-fi shared echoes of suggestion. It is a glorious transfixing as exotically dark and broodingly portentous as it is bizarrely magical.

The fantastic start is swiftly matched by the lighter livelier charms of Barracuda, a swinging stroll of electro pop also no lightweight in imaginative manipulation and melodic conspiracy as it lures the listener into its infectious body. An underlying tempestuousness blossoms over time but only adding to the warm if schizophrenic enterprise fuelling a dramatic and perpetually twisting slavery of ears and emotions.

The EP is concluded by Boy Meets Wolf, a sultry seducing with swiftly endearing essences of Young Marble Giants to its character and beauty. Apparently inspired Cormac McCarthy’s book The Crossing, the song is like a mystical mist, seeping over the senses with fleeting but potent cinematic caresses aligned to darker intimacy stirring the imagination and one’s own creative spirit.

The Busted Flush EP is an escape from reality, an echo of the adventures and dangers we all wish we were part of while watching the greatest dark lit movies. Vienna Ditto create this response musically while providing British music with some of its most unique and irresistible proposals, Busted Flush no exception.

The Busted Flush EP is out 11th November 2016 via Ubiquity Project Recordings @

Pete RingMaster 08/11/2016
Copyright RingMaster: MyFreeCopyright

Vienna Ditto – Ticks EP

Pic Wildblanket Photography

Pic Wildblanket Photography

Bringing their most eclectic sound and irresistible hex yet to follow up an eagerly acclaimed debut album, British duo Vienna Ditto are about to unveil new EP, Ticks. It is seven tracks of fiercely diverse and mesmeric aural imagination; a collection of encounters embracing voodoo rhythms, electrified blues temptation, and beguiling vocal dexterity honed into a septet of unique psyche twisting proposals.

From being child student and guitar teacher in 2000, creatively reuniting a decade later, vocalist/synthist Hatty Taylor and guitarist Nigel Firth have become one of the most intriguing and imaginatively unpredictable encounters within the British underground rock scene. The Oxford hailing band through EPs and singles since their first, a self-titled EP in 2011, has explored, nurtured, and uniquely spun a sound which has always fascinated but become increasingly more fascinating and spellbinding release by release. That growth and exploration accumulated in the release of their feverishly praised debut album, Circles, last year. With the release of Ticks and some hindsight though, the impressive album now feels like it was the end of the band’s first chapter, a rounding up of early ideas and successes providing a springboard into even darker and boldly adventurous escapades to experiment with, such as those making up the sensational Ticks.

The EP opens with its title track, a slice of quirky pop with wonky melodies and smouldering rhythmic grooves around the immediately siren-esque tones of Taylor. Beats play as a settling lure until the song opens up with an even darker tang to its grooves and new wave like hues to its hooks and excitable energy. Slipping back into that initial seductive coaxing, things down settle again though a lingering volatility is there waiting to fuel another round of the addictive chorus and the subsequent sinister emotive waltz and mischievous musical tango which begin entangling each other. The track is glorious and, as the EP, simply more infectious and imposingly addictive with every listen.

art_RingMasterReviewTiny Tambourines follows up the thrilling start with a gentler melodic kiss on ears, though tantalising electronic incitement and an off-kilter rhythmic shuffle are also there courting the warmer hues of sound and Taylor’s ever evocative voice. The track is a fuzzy romancing of ears and imagination, again with a great tempestuousness which means unpredictability lurks at every twist and turn before the brilliant warped bossanova of Frank Account takes over. From the first strains of guitar, ears sense a festival is waiting to pounce, a few seconds more brings confirmation as strolling beats and swinging harmonies surround Taylor and the flirtatiously jazzy grooves and devilish hooks of Firth. Like a slightly deranged hybrid of The BeauBowBelles and Molotov Jukebox, the song bewitches and enslaves; taking body and imagination on a lively and provocative adventure.

The mesmeric blues croon of Motherless Child comes next, the song a melancholic serenade lined with sultry yet unsettling shadows within a brewing portrait of loneliness and loss cast by voice and melodic discordance. It is spellbinding stuff, becoming more potent with every listen; a quality admittedly every song holds including the haunting cinematic drama of My Way of Missing You. Maybe best described as Portishead meets Morcheeba whilst lost in a dark world shaped by Lydia Lunch or The Sugarcubes, or not, the song has thoughts drifting off into shadowy exploits as ears fall for its invasive and hypnotic beauty.

The band’s sound switches to a spirit sparking gospel character for next up Go Down Moses, an incitement with loco guitar revelry and twisted gothic blues ingenuity to create a sure fire passion igniting protagonist. Its dark rock ‘n’ roll joins the long list of momentously rousing songs and moments within Ticks quickly joined by closing track Come Back and its busy and sinuous landscape of textures and craft within a cosmopolitan theatre of sound. Alone leaving ears and appetite greedy for more, the song brings Ticks to a sensational end while revealing yet another aspect to the creative sorcery breeding the release.

Vienna Ditto is a band which keeps on impressing and providing adventures which continually surprise and excite as they themselves become bolder and more dramatically imaginative.

The Ticks EP is released 13th May 2016 via Ubiquity Project Recordings @

Pete RingMaster 12/05/2016

Copyright RingMaster: MyFreeCopyright

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Lithium Dawn – Tearing Back The Veil I: Ascension

LithiumDawn1_RingMaster Review

Whether people describe Lithium Dawn as progressive rock or progressive metal, the Californian band’s sound somewhere in between, neither suitably describes the sonic kaleidoscope that turns new album Tearing Back The Veil I: Ascension into one of the year’s major treats. Creating an emprise of aural imagination built upon a vast array of styles and flavours, band and album fascinate and enthral throughout their second full-length. The album’s canvas is certainly seeded in progressive adventure but from there it blossoms into an evolving adventure sure to excite fans of anyone from Karnivool and Tool to TesseracT and Opeth to Circles and Voyager, and that still barely covers all of the lures laid by the outstanding Tearing Back The Veil I: Ascension.

The successor to debut album AION of 2012, Tearing Back The Veil I: Ascension is the result of new growth and bolder invention fuelling the Lithium Dawn sound. Formed by multi-instrumentalist/vocalist Ondrej Tvarozek and drummer/programmer Matt Benoit, a pair who first met way back in 2004 on an online message board, the band released their first album to eager praise, it recorded with the help of new member bassist/guitarist Jens Marcelis. It was a potent start from which the band has impressively blossomed further, all the thick evidence there within their stunning new release.

The album opens with the track Tearing Back the Veil and instantly wraps ears in djent inspired predation aligned to flowing and suggestive keys spun by Aaron Gage. There is immediate drama to the start which never abates even as the track’s atmosphere becomes mellower yet cloudier and its air more sultry and exotic around the impressing tones of Tvarozek. That theatre also comes with a classic rock toning, a scent colluding with Porcupine Tree like elegance and Periphery like technical ferocity as the track evolves within the ears.

LD DIGI COVER FULL_RingMaster Review   It is an enthralling and gripping opening to the album matched by the tantalising majesty of Ascension. Emerging straight out of the alluring breath of its predecessor, the song is quickly weaving into its creative agenda reggae spiced melodic and rhythmic temptation with pulsating echoes of dub ingenuity. Potently backed by the voice of Gage, Tvarozek quickly has ears bending the way of his inviting delivery whilst the senses become enveloped by the intimately haunting yet celestial ambience of keys and guitars. The track is an engrossing endeavour with creative snarls making another seriously enticing aspect to the crystalline character of the track.

The individual craft of the band is as stirring and impressive as the sonic poetry they cast and welcoming to additional enterprise like that of guest guitarist Sithu Aye who brings a gripping solo to Point of No Return. The song twists and turns as it seduces ears and imagination, the great volatility of its jagged scenery and imposing attitude perfectly merged with its harmonic heart and melodic tempting. Confrontational and seductively immersive in equal measure, the track is a tapestry of creative imagination and emotive exploration spun in a web of diverse flavours and tones. At times it is jazzy, in other moments an emotive croon, and at times even an aggressively imposing incitement, but from start to finish it simply beguiles.

An already happy appetite for the release is made greedier still by the following Decimator, a primal but majestic involvement of the senses which flows seamlessly through again contrasts in texture and sonic attitude to entice and thrill. Throughout it can be as bestial as a Meshuggah offering and as warmly seductive as an instrumental flight with Heights, and with another guest in Plini providing a potent solo, it powerfully intrigues and pleases before making way for the darker shadows and emotion of Selfcollapse. Immediately a hue of turbulence lines its opening tempting, gaining thicker persuasion as guitars and bass sculpt a tempestuous canvas for vocal flames and the mesmeric lure of keys to share the track’s evocative narrative upon. Again there is the sense of a predator to the nature and tone of the outstanding track, prowling and urging with invasive bait as a melodic haunting permeates thoughts and emotions.

The pair of Synchronicity, with its otherworldly serenade, and the lively lapping of the senses that is Tidal keep ears and pleasure full with their unique natures and imaginative portraits in sound whilst Spires cradles the listener in melodic arms and inviting melancholic strings within another multi-coloured immersion of sound and ethereal temptation. All three absorb and transfix, successes matched by the mazy entangling of contrasting yet fluidly aligning textures and sonic colours that is Labyrinthian and after that by the mystique charged, sonically fiery B’ak’tun, which is set up firstly by the shamanic coaxing of short piece Incantation. As proven here and time and time again across the album, words only give a glimpse of the richness in sound and invention making up the tracks within Tearing Back The Veil I: Ascension, and as shown by B’ak’tun too, just when you think you have it all, another listen unveils a little more to the alchemy conjuring such intensively immersive incitements.

The album is brought to a close by the gentle romance on ears of Horizon and finally the brief atmospheric grumble of Edge of the Earth, confrontation and beauty merged for a closing instrumental exploration. It sums up the whole album, contrasting tones and layers wrapped in evocative expression to spark mind and body into full involvement.

To simplify it all, Tearing Back the Veil I: Ascension is a gorgeous album; one demanding of your time and concentration but rewarding with one of the year’s biggest triumphs.

Tearing Back the Veil I: Ascension is out now @

Pete RingMaster 09/12/2015

Copyright RingMaster: MyFreeCopyright

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Deadly Circus Fire – The Hydra’s Tailor

DCF_RingMaster Review

Casting a creative and impassioned roar which just gets richer and more compelling with every listen, The Hydra’s Tailor is a majestic beast of an album; a release that invasively seduces and cantankerously snarls. The second album from UK metallers Deadly Circus Fire, it has been the source of much attention and highly enthused praise already, so time we thought to get involved in its acclaimed proposal and fair to say disappointment was not on the agenda.

Fusing persistently unpredictable explorations of progressive metal and rock with just as magnetically carnivorous textures, The Hydra’s Tailor is already no stranger to drawing keen attention, just like the band’s debut album The King and the Bishop which was heartily embraced by fans and media alike. Drawing on inspirations such as Tool, Mastodon, and Deftones, the London based Deadly Circus Fire laid down a fiercely inviting teaser for this their latest emprise of sound and imagination through a couple of eagerly welcomed singles and since their release, they have signed with Musicarchy Media for the release of the crowd-funded, The Hydra’s Tailor as well as share stages with the likes of Crossfaith, Funeral For a Friend, and Bleed From Within across the UK and Europe. Right now they are lighting up European venues supporting Skindred on their Pump Up The Volume tour, just as The Hydra’s Tailor does the same to ears and speakers.

Artwork_RingMaster Review     The album starts with In Darkness We Trust, its keys spawned melancholic air embracing the immediately enticing and impressing voice of Adam Grant. The duet is bewitching, a solemn yet magnetic coaxing into the heart of the album and second track Animal. Riffs instantly begin prowling ears as it opens up predatory scenery, vocals again a potent enticement as the firm swings of drummer Paul Igoe resonate and the guitar of Save Addario spins expressive sonic enterprise around the still ravenous riffery. Grant again strikes with compelling vocals, his presence backed as resourcefully and potently by the tones of Mike Enort, whose basslines are no slouch when it comes to casting dark temptation either. Whereas the opener was a minimalistic treat its successor shows the shape of things to come with its unpredictable and seamlessly diverse landscape, it also a triumph in its own right.

The following Where It Lies expands from an acoustic flirtation into another mesh of wiry guitar tendrils and emotive flames, ebbing and flowing in aggression and intensity but relentlessly seducing in charm and adventure. As vocal craft and imagination shadows every step made by the ideation building the track, a scent of bands like Circles and Palms lay upon the fascinating encounter, Karnivool too in the song’s mellower moments but all spices to something already showing Deadly Circus Fire uniqueness.

Victim is another entering with an antagonistic glint in its creative eye, rhythms and riffs aligning their rapacious natures as Metallica-esque grooves line the emerging tempest. This time there is a whisper of bands like Bloodsimple and Lamb of God to another song which needs little prompting to evolve into new pastures of tenacious ideation and compelling craft, subsequently an air of Porcupine Tree and Tool just as suggestive across the outstanding incitement.

Another pinnacle comes with the stunning blaze of Devil’s Opera, a track as infectiously catchy as it is mouth-wateringly involved. It takes ears, emotions, and the imagination on a heady ride of united enterprise and individual exploration, a flight which twists and turns with an inventive turbulence that only ignites the appetite to greedier intent towards album and band. It is a forceful yet respectful invasion of the senses continued in Rise Again, it too aligning riffs and rhythmic rabidity with a fire of sonic invention and emotion driven melodic expression guided by the superb voice and delivery of Grant.

The brief instrumental tempting of Martyrs provides a relaxation for the senses next and a new spark for the imagination to play with before the exceptional House of Plagues groans and grinds ears with guitar endeavour around an enjoyably volatile blend of vocals. That bestial intent continues as melodies catch flame and rhythms jab with the stealth of a predator, all contrasts uniting in a scintillating emprise of emotive and provocative ingenuity, one that gets more ravenous and thrilling over each passing minute. Amongst so many within The Hydra’s Tailor that linger and relentlessly lure constant attention, as the album itself, the track is pure addictiveness as it takes best track honours.

Through the bold air and wonderfully fluid and varied tapestry of Aeden and the climatic atmosphere and soundscape of the album’s title track, The Hydra’s Tailor continues to enthral and tempt lustful reactions, its namesake another especially mesmeric blaze of dexterous songwriting and skills matched in sound. Both songs add thick layers to the epic nature of the album with the next up Turning the Tide equally as mighty with its agitated rhythms and sonic swirl of discontent. Equally within its stormy nature though, melodies brew, calm emerges, and bewitching harmonies entice to engross and excite before the turmoil returns in similarly exhilarating style.

The album is closed by the celestially lit, intensively aired Universe; a song which soars and bullies its way into ears and the psyche whilst leaving a great resonance and glow from its respective merger of harsh and tempestuous textures with absorbing beauty. The song is just masterful, repeating the major success cast before it across The Hydra’s Tailor with its own impressing adventure.

The good things heard and read about Deadly Circus Fire barely do the band justice, and now having been infected by The Hydra’s Tailor it feels safe to say if there are those yet to feel the power and prowess of the band the chance of finding reactions breeding the same kind of enthusiasm as us here, is high. There is only one way to find out of course and that is one of the heartiest recommendations made at The RR this year, go explore.

The Hydra’s Tailor is out now via Musicarchy Media @

Pete RingMaster 17/11/2015

Copyright RingMaster: MyFreeCopyright

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Teramaze – Her Halo

Pic RadioHaloPhotography

Pic RadioHaloPhotography

The beginning of Australian progressive metallers Teramaze go back to the mid to late nineties but it is in the last handful of years that the band has finally sparked rich attention on a broader scale. The Melbourne quartet is giving it another hefty nudge with their new album Her Halo too, a compelling and at times bewitching affair for ears and imagination. Bulging with eight tracks of progressive beauty and technical prowess, the release is a fiery seduction and impassioned tempest; a fascinating flight through a sound consistently evolving whilst weaving in an expansive array of sonic colour and styles. Imagine Circles, Voyager, and Native Construct merged and you get a sense of Her Halo and the invigorating music of Teramaze.

Formed by lead guitarist/producer Dean Wells, it has been since the release of third album Anhedonia in 2012, that the band really began luring potent spotlights their way. The acclaimed release was the first to show an evolution in the foursome’s earlier, apparently more thrash seeded sound; the moment that Teramaze began emerging as the protagonists exciting ears with their latest offering now. That earlier release’s predecessor, Esoteric Symbolism in 2014, continued the shift in invention and direction, its reward equally concentrated acclaim which is now eclipsed on all counts by Her Halo. The new encounter is also their first for Music Theories Recordings/Mascot Label Group and features new vocalist Nathan Peachey, his tones one of the numerous things swiftly impressing in opener An Ordinary Dream.

teramaze-cover_RingMaster ReviewThe fourteen minute track drifts in on a chilled wind and a breeze of sepia hued emotive sound, its evocative coaxing on the turn of a breath soon a melodic caress of guitar with drama fuelled keys in close attention. In a few seconds more, that erupts into a flame of sonic enterprise from Wells matched by the darker rumbles of bass and beats from Luis Eguren and Dean Kennedy respectively. The entrance of Peachey’s outstanding voice and delivery opens the way for even more choice textures and melodic slithers to join the growing tapestry of adventure and temptation; electronic twists, rapacious rhythms, and rising columns of intensity in the spirals of sonic endeavour only adding to the busy but uncluttered web of sound. Across its length, the track moves through similarly evolving landscapes of emotion and creative suggestiveness too, each woven with a new and fresh array of varied sound and ideation.

It is a glorious and transfixing start to Her Halo, and sublimely backed by the darker embrace of To Love, A Tyrant. From its scene setting first tempting, there is a sinister and thick shadowed nature to the song, one which continues to coat the walls and line the eventful theatre of the track. With Wells a potent backing to Peachey, vocals once more flame with rich expression and harmonics whilst the former’s guitar craft is an inescapable net of tenacious and stirring resourcefulness. Fair to say though, that every member and aspect of song and album is a thick incitement for ears and a quickly hungry appetite for the release.

The album’s title track glows and rumbles next, Peachey again outstanding within the matching strength of the dynamics and the provocative textures smouldering and in turn blazing within the lava of captivation. The song is bewitching, with a steely strength to it as riveting and incendiary as the melodic mesmerism fuelling its heart, though it is quickly eclipsed by Out of Subconscious, a rousing Dream Theater-esque fire of emotional reflection and soaring, celestial graced flames. It provides a maelstrom of avant-garde, jazz, and progressive intrigue for the imagination to grab hold of, in turn keeping ears and attention engrossed with once more the band’s skill of unpredictability a seamless roar of pleasure.

   For The Innocent also has a heavy and dark air to its diversely flavoured canvas, upon which the bass prowls, the guitar conjures, and vocals spread a resonating collusion of enterprise held in a gripping rhythmic web spun by Eguren. Admittedly the track does not hit the same sweet spot as the trio of tracks before it but only engages a willing body and soul in its perpetually blossoming depths before Trapeze has the imagination twisting and conjuring with its pungent instrumental theatre of suggestiveness and creative alchemy.

The mesmeric croon of Broken steps forward next, vocals and acoustic sound a warm but melancholic hug which only becomes more provocative and magnetic with every passing minute, time again seeing the band seamlessly flow through contrasting elements sculpted with raw emotion and that constant element of surprise. They are traits every song is seeded in as shown one final time within the lengthy creative saunter of Delusions of Grandeur. As the expansive body of the first song on Her Halo, the ten minutes making up the closing emprise of idea, skill, and emotion never feels a moment too long thanks to its organically evolving imagination of sound which never stands still whether across the whole of the hefty soundscape of invention or simply one of its potent minutes.

The track is a masterful end to a mighty release, one which impresses first time around but really comes into its own over numerous, increasingly exciting plays. Progressive metal has had quite a few rich treats in 2015, this is another and amongst its biggest.

Her Halo is out now via Music Theories Recordings through most stores.

Pete RingMaster 12/11/2015

Copyright RingMaster: MyFreeCopyright

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Faces Of Eve – The Story So Far

Faces Of Eve Promo Shot_RingMaster Review

It may intensely fascinate more than it explosively thrills but The Story So Far, the debut EP from UK metallers Faces Of Eve, is a thoroughly enjoyable introduction to a potential drenched band. Across six compelling tracks, they create a tapestry of diverse sounds which at any given moment can be as progressive metal as they are alternative rock, as tech metal as they are experimental. It makes for a seriously enticing proposal keeping ears and imagination rigorously keen and though many songs just lack the final essence to ignite the biggest reactions, an ingrained appetite for more is a swiftly done deal.

The Hertfordshire quartet emerged towards the end of 2013, Faces Of Eve emerging from the ashes of Brave The Moment, Shields, Trophies Of Dahmer, and Olympus Must Fall. A potent following to their impressive live presence quickly grew and now fresh off a UK tour with Oaths, the band is turning up the heat on a national recognition with The Story So Far.

It all starts with For My Fallen Heroes and an enticing coaxing from guitars and a harmonic ambience. The strings of Dan Sloane gently dance with ears as the melodic tones of vocalist Benjamin Fordham Black add their caresses to the magnetic persuasion. The air of the song has an increasingly imposing texture, not intimidating but carrying open shadows enhanced by the heavily wiry tones of bass. It does all unite in a richer and thicker tempting, though that is for mere moments as the song suddenly stops. It is a strong opening but the abruptness of the track without being instantly replaced by its successor, or bleeding straight into it, feels slightly odd. It is a minor thing though and soon forgotten as Feed emerges from the distance with a tangy groove around punchy rhythms. Full in the face, the track is soon a thrilling web of spidery grooves and sonic tendrils wrapped in more strong vocals and contagious hooks. An increasing unpredictability almost as quickly erupts too, a weapon the band use to great effect over the release and here emerges in jagged riffs and barbarous snarls from the bass of Alistair Hines which strikingly flirt with the superbly crafted mesh of flavours and technical imagination. It is like a festival of sound, a collusion of textures hinting at bands like Circles, Muse, Alexisonfire, and Shattered Skies, and at its heart just an irresistible rocker.

Faces Of Eve Cover Art_RingMaster Review   The following Crime Of Passion opens with a sombre atmosphere, vocally and musically, as scythes of guitar court the imagination with the vocals in a melancholic yet charming invitation. The steely funk bait of Hine’s bass stirs the song’s air soon after as the blend of falsetto and emotive vocals entangle, the track eventually shrugging off its reserve as the potent beats of Oliver Jones incite a voracious and snarling tango of metal bred sound. As its predecessor, the song is soon evolving and weaving in various styles with every passing grouping of seconds and similarly gripping ears and thoughts through its bold adventure.

Temporal Rotunda also has a morose toned start, voices and sounds cloaked in a cloudy ambience which eventually sparks into a composed but fiery stroll littered with jabbing beats and gnarly riffs bound in spicy grooves and melodic incitement. The track prowls at certain points, imposing its weight and alluring intensity whilst veining its trespass with attention pulling slithers and twists of melodic and off kilter imagination. By its end the dark side of the track is a riveting enticement, leaving a lingering pleasure which One Man Show runs with through its own vivacious and agitated qualities. The technical growl and nagging of song and sound is a persistent beckoning but the band inventively send it spinning with swift flashes of avant-garde and progressive ingenuity, matched by resourceful vocals. It is an outstanding track which epitomises everything good about The Story So Far and how it just misses the mark. It is inventive and fiercely imaginative but never pushes its promise to the limits hoped, never quite finding the spark which tips a great song into a show stopper.

It is nevertheless inescapable evidence of the songwriting and technical qualities of Faces Of Eve and their infectious sound which is confirmed on final time by Dwellers. The closing song is another which is a born rocker at heart, its aggressive alternative rock core encased in a spiral of tenacious grooves, their union twisting into an increasingly dramatic and ferocious blaze. Things continue to move into new textures and scenery as the track increasingly lure ears and enjoyment, always returning to its creative spine but always providing new highly satisfying endeavours off of it.

Faces Of Eve is a name to make a note of and The Story So Far a release to seriously think about checking out. Both are destined to promote thoughts that here is a band with a very successful future before them if they want it.

The Story So Far EP is available from Monday 29th June through all digital platforms and as a name your price download @

RingMaster 29/06/2015

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