All At Sea – Systemized

It is fair to say that All At Sea are pissed off; driven by a rage and fury which makes no compromises for the injustices and crimes of modern society. It is an anger which escalates in their new EP and a sound which uses the fuel to create one seriously rousing and thrilling incitement. Fusing the raw and instinctive essences of hardcore and groove metal, the UK outfit roar and trespass with the combined irritability of a bear and the lithe prowess of a predatory pole dancer, a union ensuring that Systemized is much more than a mere attention grabbing proposition.

From England’s North East, All At Sea first hit out from quickly incited local success with the release of debut EP Divided in 2015. It was a potent nudge of national awareness which did not quite find the strength of success its visceral bellow warranted. It is hard to see Systemized not finding richer success devouring its presence, its voracious nature commanding and antagonistic voice a demanding trespass easy to embrace.

Opener Wake Work Repeat offers a few seconds of controlled coaxing before unleashing its emotional and physical blaze. In no time riffs and rhythms unite to badger the senses as vocalist Jack Tyreman brawls with a variety of snarling growls supported as potently by the just as irritable tones of Ross Adam Blackmore whose guitar alongside that of Scott Marks conjures tides of bracing and abrasing riffs. Like a furious mix of Rage Against The Machine and Converge, nu-metal and punk rock involved in the band’s instinctive fusion of animosity, the track breeds an infectious virulence as invasive as its sonic and vocal ire. Grooves continue to entwine and incite the listener, the rapier swings of drummer Tom Cox bone splintering as Josh Walker’s basslines crawl across the damage.

It is a thrilling creative ferocity more than matched within next up Consume. From its first breath grooves bait and trap the imagination and hips, the bruising of further predatory rhythms and the malice of vocal antipathy soon arising as the scent of a Bloodsimple joins  punk irritability as much CIV as it is High On Fire like. Stalking the senses with more ursine dexterity and rigour, the track is viral vindictiveness but itself slightly eclipsed by its successor in the shape of the new All At Sea single Gimme The Mic. Initially there is a similar holler and shape to its attack to the previous track but an essence soon woven into and consumed by the song’s own groove laden, spite fuelled stomp. There is a bluesy taint to that grooving which simmers rather than flames within the sonic fire and rhythmic battering but adds another great hue to the uncompromisingly intrusive and anthemic battle front of the encounter.

That bluesy toning is even richer within the grooved lattice of Life Value, the guitars spinning a deceptive web of invitation as their sonic dexterity sears and rhythms raid the senses. With the blend of vocals and their delivery as magnetically choleric as ever, the track is primal rock ‘n’ roll to lose inhibitions with; exhaustion and aroused argument ensured before Business Of Faith offers its own kind of raptorial rhythms and sonic bad blood. Vocals challenge and incite as riffs plunder and grooves share venomous yet captivating intoxication. Like a grizzly with the lustfully flirtatious moves of a feline, the track is a sly and artfully seductive vendetta of enmity bringing one gripping exhilarating encounter to a masterful conclusion.

The song is not as feral as others within Systemized but adds a just as fiercely enjoyable and blistering moment in its barbarously inventive and intensively charged tempest. If Systemized does not put All At Sea firmly on the biggest metal maps, attention succumbing to its unbridled storm, something will be seriously amiss.

Systemized is out now @ https://allatseauk.bandcamp.com/album/sytemised

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Pete RingMaster 16/05/2017

Copyright RingMaster: MyFreeCopyright

Audio Poets – Make a Scene

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Such the almost scattergun diversity escaping Make a Scene there are times you wonder how it works with such coherent unity but it does and what is on offer is one gloriously rousing and dynamically imagination incitement for ears and emotions. The new album from US rockers Audio Poets, it is a thumping merger of pop punk, alternative rock, and unbridled rock ‘n’ roll, to try and slim it down, which leaves an increasingly greedy appetite breathless for more.

Formed in Dallas as 2014 made its goodbyes, Audio Poets quickly hit the live scene the following year, playing their first show in Buffalo with Rookie of the Year. Debut EP Colours had its successful release the following month before the quartet spent the spring of 2015 recording Make A Scene. The latter months of the year saw the album uncaged and the band relocate to Los Angeles, as well as hungrily hitting the live scene across the US. The UK and Mainland Europe are now in their live sights for 2016, the band ready to pounce on the already eager reactions to the galvanic sounds and the quickly impressing adventure of Make a Scene.

Recorded with producer Geoff Rockwell (Forever The Sickest Kids, Memphis May Fire, Crown The Empire), the band’s album swiftly hits a rousing plateau with opener The Anthem. A scuzz lined guitar makes the first invitation with its sultry hues, the lead vocals of guitarist Chris Durio quickly adding their punch to the attitude loaded proposal. As the track develops there is no escaping the potent and enjoyable Rage Against The Machine essence to the track, it coming bound in just as appealing stoner-esque grooves from the fiery guitar enterprise of Bru Whitley and Durio who create a magnetic web around the increasingly defiance loaded narrative and vocal tones.

It is a riveting and contagious start to the release but soon overshadowed by the outstanding Wake Up. Straight away that variety in sound and imagination is arousing ears and thoughts, the second song bounding around with pop punk energy and revelry whilst casting an aggressive CIV like snarl and melodic tempting. There is a touch of UK band Hawk Eyes to the romping escapade too, enslaving hooks aligned to rowdy but controlled dynamics colluding excitedly with the darker inviting prowess of bassist Mike Knight and the sinew swung beats of drummer Landon Jett.

Next up Not My Time is a triumph to match the last, this time the band exploring a My Chemical Romance meets Fall Out Boy like theatre of invention and creative mischief. Feet and hips are soon seriously involved with the more restrained, compared to its predecessors, yet feistily swinging canter of the spellbinding song and its unpredictable invention. There is a serious urge to dive right back into the track after its conclusion, though that is soon diverted by the punchy roar of Burn and after that, the album’s Marilyn Mansion scented title track. For the first, Durio mixes his strong clean tones with more rap bred vocal jabbing, though this time The Kennedy Soundtrack is a closer hint to the adventure of sound and voice on offer. As the song evolves between standing toe to toe with grouchy agitation and seducing with poetic melodic infectiousness, a touch of Lost Prophets slips into the captivation, that one more arguably familiar colour which, as within every song, simply helps flavour something openly unique. Next up Make A Scene flirts with and barges across ears with a virulence of craft and sound which again has the body and emotions subservient; electronic and industrial ingredients as powerfully persuasive as the punk infused rock ‘n’ roll at its heart.

Fiery interlude Space is more the doorway into a new turn to the album than a break, its cosmic air a progressively textured tempting for the imagination before Revolution stands tall and defiant in attitude and sound. Featuring Jay Miller of Texan band Drudge, the song is a brooding maelstrom of imposing rock ‘n ‘roll spiced with melodic hardcore imagination and an array of intriguing sonic colours and styles. It easily holds attention and enjoyment tight and leaves satisfaction full though it is maybe not as inventively bold and tenacious as earlier songs, a success found by the equally weighty emotive and tempestuous embrace of Wounded Eyes. Mixing a rich blend of varied metal infused rock flavours, the track is again an encounter fulfilling all wants and hopes if without quite breaching the same plateau the album set in place early on.

Do You Feel It (Now) brings a feistier and in some ways creatively livelier proposal with its tapestry of styles soon after, vocals and sounds from every corner of the band helping draw physical participation before closer Make It Through, escorts ears into a broader electronic landscape that sees the album go out on a potent high.

For personal tastes the album produces its richest and most ingenious mastery across the first five or so tracks, exploring more emotively shadowed and intensive depths to matching success thereafter, and from start to finish Make a Scene is one irresistible and rousing temptation from a band surely heading towards major attention.

Make a Scene is out now through most online stores.

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

Pete RingMaster 07/02/2016

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Ondt Blod – Finnmark

ondt_blod_RingMaster Review

If the opening weeks of January are anything to go by, we are in for a mighty year of emerging potential drenched bands, seriously thrilling releases, and propositions to make your toes curl. One such prospect to add to the already expanding list encapsulating all three of those aspects is Norwegian band Ondt Blod and their debut album Finnmark. The ear grabbing release is a ridiculously gripping collection of fury fuelled, antagonism sculpted tracks infused with unpredictable imagination and virulent contagion. It is a rousing incitement as sure to get you cursing the world as dancing feverishly on tables from a band already easy to suggest big success is coming the way of.

Formed in 2013, Ondt Blod comes from Norway’s most northern county bearing the same name as the band’s album. Since emerging, the quintet has earned a mighty reputation for their “crushing and intense attitude on stage”, a success including playing with bands such as Gallows, Blood Command, and Kvelertak. Drawing on inspirations from the likes of JR Ewing, Blood Command, and Kaospilot, Ondt Blod’s songs, as on the album, come with themes revolving around un-employment and industrial communities in decline as well as self-contempt and small town pride. Produced by Yngve Andersen (Blood Command, Girl Army) and mixed and mastered by Ariel Sivertsen and Brad Boatright respectively, Finnmark pulls no punches yet it also offers one of the most uncompromisingly catchy hardcore proposals in recent times.

ondt_blood_cover_RingMaster ReviewWithin seconds, the band has feet and hips as involved as a swiftly eager appetite for the band’s sound as opener Svarte Daga stomps in with nagging riffs and grooves amidst just as irritable yet anthemic rhythms. The grouchily growling tone of Kristoffer Joel Høe’s bass and in riffs in general easily hits the spot even before the raw rousing tones of vocalist Aslak Heika Hætta Bjørn, melodically backed by the alluring calls of the band, whips up a frenzy courted by a sonic web spun by the guitars.

It is a storming arousal of the senses and emotions backed up craftily by the less intensive but just as agreeably hooked littered Nye Lydspor. Not quite pop punk but certainly with a warmer tone and grin to its aggression, the song has a touch of Zebrahead to its engagingly volatile character again marked by a stirring bass snarl and the nagging prowess of guitarists Alexander Våga Mortensen and John Nilsen. The pair creates a fevered tempting which gnaws the senses as it leads the body into unbridled revelry, this enterprise just as tempting within Kompis Med Satan and its enjoyable blend of vocal deliveries. With each track sung in Norwegian, lyrically tracks are a mystery but the heart and emotions driving all are as open as the hefty and predatory swings of drummer Håvard Rushfeldt.

Tragedien Kommer brawls with the senses next, stamping its rhythmic feet as throats bleed with their roars before twisting things on their head by introducing a chorus of upbeat, almost ‘grown up’ vocal propriety and then going through the enjoyable process again as punk rock hooks and flirtatious ingenuity leap at ears. The track quickly has ears and emotions drooling, as too does the waspish irritancy of Gjengtegn and its belligerently devilish parade of unpredictable twists, sonic expression, and vocal dexterity.

Take any track from Finnmark and it epitomises the Ondt Blod sound and invention though no song sounds the same as proven again by the chest beating roar of Symbola. Like CIV meets fellow Norwegians Shevils, the track buzzes busily around ears as it burrows deep under the skin and into the psyche. Punk and hardcore colludes once more with fresh faced melodic drama and unbridled infection showered lures, the album’s variety unrelenting with the bruising and at times inhospitable 9900 Sodoma proving as it rages with ire upon the senses next. Equally it teases with some glorious anthemic bait led by hooks and the increasingly impressing vocal adventure across the band before Betongtro bears its vitriolic soul with creative tenacity and concussive intensity across calmer reflections and melodic detours.

The album is completed by firstly Brent Jord and its thick cloudy squall of sound and muggy sonic persuasion and finally the album’s title track which explores strains of post punk within its irritated disposition of emotion and sound. As its predecessor, the song moves into darker depths and richer arrays of flavours across its evocative landscape, and though it maybe does not make the same immediate impact as the riots before it, the tempestuous exploration grows to only enhance the enjoyment and invigorating experience of the album.

Norwegian hardcore seems to be going through a noisy, thrilling heyday right now with Ondt Blod right there helping lead the way, not only at home but as Finnmark proves, across the genre as a whole.

Finnmark is out now via Loyal Blood Records

https://www.facebook.com/ondtblodband

Pete RingMaster 20/01/2016

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Rapture –Trials

Rapture_bandphoto

   Rapture is a Christian hardcore band from Los Angeles, a quartet making a rather striking introduction to themselves with debut album Trials. Recently signed to OnTheAttack Records, the band has also made their first proposition a name your price download, which with some stomping punk bred tracks the reward, is an invitation hard to turn down.

The band was formed last year by four friends who wanted to create and explore the music which excited them whilst also sharing their faith and love of Jesus Christ, an inescapable but not over imposing aspect of their enjoyable first release. 2014 as a musical year was a low key affair, the band only playing a couple of shows, but as this year broke the band decided to concentrate on their music and hit Birdcage Studios to record Trials with Allen Falcon. Approached by On The Attack Records who wanted to be involved in the album’s release, Rapture now make their first potent persuasion on ears with a full year of shows planned to back its unveiling.

The release is opened by Intro, though it is a little more than merely that. From the great growling bassline starting it off, it aggressively snuggles up to ears with abrasive riffs and vocal squalling, providing an unsurprising but swiftly anthemic and pleasing proposal all within 51 seconds.

Its fine start is matched by the fiercer but no less gripping Legacy where again the lively beats of drummer Tony Rangel demand keen attention whilst the grizzly basslines of Isaac Guerrera Rapture_Trials_albumcovershow themselves to be quickly compelling. The song is a confrontational prowl of ears, though as lyrics show, is more face to face with its own personal angst than solely challenging the listener, a showdown further driven by the accomplished riffs and enterprise of guitarist Garrett Gutierrez and the furious tones of vocalist Richard Haro.

Kingdom Crew steps in next with a rawer air and rhythmic chest beating. The band has been referenced to bands like Terror, Dynasty, and, xLooking Forwardx but certainly this track suggests a merger of early CIV and Shelter as a starting point in its bracing texture and sound, whilst Enemy Lines next rumbles and snarls with a slight air of The Bronx in its rapacious hardcore incitement. Though again surprises might be said to be low, everything about the track from its tenacious rhythms and grainy riffs to the vocal fight and group calls leaves a healthy pleasure and appetite in place.

The tempestuous Deceiver bellows and entices next with magnetic enterprise and attitude before the outstanding Nothing Else brings it all to an impressive close. The final song features Joel Muniz of Dynasty, and treats the listener to a rampaging march of inventive rhythms from Rangel aligned to the ever tempting bass endeavour of Guerrera. That is just the creative spine though of the most inventive track on the album, guitars alternatively spearing and spreading through the air with spiky imagination whilst Haro and band raise voices to their faith. It is Rangel which steals the show here to be honest but as elsewhere it does not work without the rest of the band’s impassioned enterprise and impact.

Without forging something strikingly original but avoiding anything majorly predictable, Trials is a promising and pleasing entrance by Rapture. This is a sure fire recommendation for all raw punk fans from a band with undoubted big potential.

Trials is available now via OnTheAttack Records as a name your price download @ https://ontheattackrecords.bandcamp.com/album/trials

https://www.facebook.com/pages/Rapture/1403442699960183

RingMaster 12/03/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://reputationradio.yooco.org/

Dora Nadine – Summer EP

Dark Stares PromoImage

Pop punk unafraid to add a raw snarl every now and then, the sound of British rockers Dora Nadine makes for a friendly and rather appetising encounter, a description which also perfectly fits new EP Summer. Containing a handful of songs which as the EP title are full of infectiousness and warm revelry, the release is a thoroughly engaging and magnetic encounter. The fact that it does not over excite and get the emotions as elevated as it might have, feels like a missed opportunity but when it lures a frequent return to its enjoyable presence it is fair to say that it is doing plenty right.

Dora Nadine hails from Anglesey in North Wales, and since forming within the closing weeks of 2012, has consistently made an increasing impression on the rock scene. Debut EP Welcome To Hollywood in the January of the next year, sparked a potent spotlight towards the band from fans and media alike whilst their emerging live presence only lured further eager attention, especially through shows with the likes of Mallory Knox and Tonight Alive last year. As the new EP dances with ears and imagination it is unsurprising to see that influences to Dora Nadine’s sound include New Found Glory and You Me At Six, yet they only add to the appealing and to be fair diverse colour of the band’s sound. Hooks snare the listener at every turn as melodies entwine ears with energetic revelry, and with muscular rhythms aligning to punk bred riffs, Summer is a sizeable, undemanding enticement for feet and pleasure.

The EPs title track sets the party going, a lone riff swiftly igniting a thrust of rampant beats and sonic enterprise, these swiftly punctuated by infectious hooks and just as catchy melodies and vocal escapades from the band. The main lead of Dewi Thomas makes an instant good impression too; his voice holding a tinge of former Hagfish frontman George Stroud Reagan III to it, and indeed across the EP essences of that band, amongst others, also hint away. There is a heavy tenacious energy and core to the track also which works perfectly with the lighter contagion flirting Dora Nadine 'Summer' EP Artworkwith ears. Imagine CIV around their second album fused with New Found Glory and you get a healthy glimpse of the impressive opener, if not of all of its potency.

The inescapable bounce and infection continues into the following 2 Step, a song similarly sculpted to its predecessor but with even thicker addictive hooks and spicy grooves across an anthemic rumble of rhythms from drummer Karl Hargreaves and bassist Osh Williams. The underlying groan to basslines and the more aggressive scrub of riffs cast by guitarists Tomi Hargreaves and Matthew Newbigging make a great companion and temper to the melodic flames lighting the track, those bred by keys especially tasty as everything from the band combines to enslave body and thoughts.

The beginning to Save Your Breath emerges as one of our favourite moments upon Summer next, its opening melody straight out of The Mighty Lemon Drops songbook. It is a lip licking start to the reflective and lively balladry of the song, an entrance swiftly reinforced by Thomas and the catchiness already laying its hands on ears from voice and rhythms alone. Into its stride the song expands into a more, not exactly predictable, but certainly recognisable premise though it cannot prevent the pop croon from leaving ears fully content and ready for Bow For The Crown which flows right out of it. That continuation means the song again has a similar template to the one before but is soon dousing it with its own melodic wine and rhythmic agitation. It is a mix capturing the imagination but as the last song, surprises are few even if satisfaction is high; that missed opportunity as mentioned at the start applying to this pair of tracks whilst they still make a highly pleasing offering.

Far Too Long bounds in with charm and energy next, at times tempering its initial urgency with a gentle melodic caress though for the main it is a buoyant rock pop romp featuring the outstanding tones of guest vocalist Lily Green alongside Thomas. It is a great union which arguably is not used enough in the outstanding song but a minor quibble soon forgotten as the closing Our Last Scene leaves the EP and listener in strong if again familiar territory. Even with this recognisable breath, the track is a heftily pleasing proposition, raw vocal squalls in the background of swirling melodic adventure and rhythmic confrontation bringing new drama.

There is a hidden track on the release, a version of The Fall which again only has good feelings roaming ears and emotions with its thrilling attributes and appetite for hooks and imposing riffs, not forgetting lofty harmonies. Dora Nadine on the evidence of Summer feels like a band just a few steps away from sparking major spotlights and in creating a release which will seduce all. This EP is a great appetiser in the meantime.

The Summer EP is available digitally now via http://doranadine.bandcamp.com/releases

http://www.doranadine.com/

RingMaster 09/03/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://reputationradio.yooco.org/

 

Six Time Champion – Expecting Honesty

Six Time Champion Promo

Packed to the gills with creative adrenaline and healthy attitude driven by a fiery heart, the new release from and sound of UK pop punks Six Time Champion swiftly seizes attention before taking the listener on a dramatic and seriously compelling ride. The band’s five-track encounter is a tempest of energy and emotion showing that melodic hook driven contagion does not mean there has to be an absence of imposing muscle and confrontational intensity.

Bursting out of Brighton last year, Six Time Champion drew on inspirations from band such as A Day To Remember, Set Your Goals, and Such Gold in their sound and was soon raising keen attention for themselves around the south coast. Debut EP Old Friends, Loose Ends a year ago did the band’s emerging reputation no harm but it is with Expecting Honesty that it is easy to expect real movement in gaining nationwide attention.

Recorded as its predecessor with Lewis Johns, Expecting Honesty stands bold and tall before ears from its first breath. Opener Running Dry rises on a sonic wind and swiftly has the excellent vocals of James Dagg magnetically enticing ears with his delivery whilst the guitars of Simon Glover and Will Smithers sculpt a web of sonic enterprise speared by bulging riffs and similarly intense strikes of bass bait from Steve Isted. It is soon a voracious blaze punctuated by the punches of drummer Richard Titheradge, the track striding with sinews and confidence to the fore but courting a virulent infectiousness which ignites the imagination. The first two of the earlier mentioned influences seem to be raised up as comparisons to the band predominantly but as track and especially EP continues, there is a definite air to early CIV to the sound.6TC EP Artwork

The following Happiness in Emptiness takes the striking start and pushes it on with a musky atmosphere of sonic and rhythmic incitement bound in melodic causticity. As its predecessor the track swings with a catchiness which is inescapable and a formidable intensity which makes every note, syllable, and swing hard hitting and lingering. It is probably fair to say that Six Time Champion does not have that truly unique sound yet but it has a freshness and character which leaves much of the pack watching their wake. The tenacious slice of robust rock ‘n’ roll is matched by the EPs title track, Expecting Honesty striding purposefully with its lyrical and vocal drama encased in an intrusive frame of fierce jabs from Titheradge. The song roars and challenges, almost brawls with ears and thoughts at times, but again lures with an infectiousness which tempers the underlying hostility of the provocation.

Dragging My Feet saunters in next, its initial muggy flame soon relaxing into a feisty canter of probing rhythms and riffs to which Dagg croons with expression and passion ably backed by the rest of the band in voice and endeavour. Like the last song, neither quite finds the spark of those before them but both raise another twang of hunger in the appetite ready for the outstanding closer Separation. The final track sums up the band perfectly, its volatile energy and rhythmic ferocity the challenge and guitar invention the seduction, the extremes conspiring to create inescapable contagion of sound all sparked again by the increasingly pleasing vocals and tantalising invention in the songwriting.

Six Time Champion may not be a fully unique proposition yet but thanks to Expecting Honesty, in quality and potential, it is hard to doubt that this will be their successful destination. Anticipation for highly flavoursome times ahead is also unavoidable via the impressive EP.

Expecting Honesty is available as a name your price download now @ http://www.sixtimechampion.bandcamp.com/

https://www.facebook.com/SixTimeChampion

RingMaster 01/12/2014

Copyright RingMaster: MyFreeCopyright

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LIV. – Be The Change

LIV._BandPhoto

A release which bruises just as heavily with its passion as its sounds, Be The Change is a direct and formidable swipe of hardcore provocation. The debut album of Los Angeles band LIV., the release thrusts nine unfussy and aggressive punk songs at ears but they are encounters which potently offer twists of invention and angst drenched hooks to further capture the imagination and make the band stand out. Bursting from the South Bay section of their home city, the quartet of Matthew Salamante (vocals), Jason Diaz (bass), Ace Esguerra (guitar), and Tony Esquivel (drums) hit hard and true with their emotive anthems; as the accompanying promo says, ‘LIV. are Hardcore that embodies the love, the passion, the sorrow, the anger, the pain, the struggle, and the promise of life.’

Their songs also come with a rich vein of hope and defiance which fires up the dramatic and infectious narratives lyrically and musically. The 2012 formed band produce encounters which are well seeded in the tradition of the genre, holding familiar traits which keep major surprises at bay, but there is plenty of those earlier mentioned hooks and stimulating twists to seize strong attention and make a keen appetite hungrier. There is a sense of Gorilla Biscuits to the LIV. sound but just as healthily within the album essences of CIV and in less open ways Shelter also push the depths and colour of the band’s confrontation. Opening track Livin’ In Victory is immediate bold and thick evidence of the flavoursome incitement to come, a deliciously earthy dark bass snarl wrapping around ears first before the guitars join rhythms in a fiery evocation of eager energy and rapidly brewing intensity which explodes with the raw abrasive tones of Salamante. The track turns into a swagger at his entrance whilst the guitars cast metal bloomed sonic bait as the song works feistily and successfully on thoughts.

It is a tremendous start backed up forcibly by Make Moves, a more instant pressuring of senses and emotions with vocals and riffs LIV.-Be-The-Change-Covergrazing air whilst bass and drums provoke with rapacious intrusiveness. More straightforward than its predecessor, the song still plays with vocal delivery and sonic expression to provide something easy to get the teeth fully into before ‘Till Next Time fires up its turbo for a caustic blaze of scarring aggression and uncompromising intensity, its mid-way stop and emerging prowl an additional highlight.

Roots strolls in on a rhythmic coaxing next, the raw vocals soon stirring things up before riffs spill their contagious enticement over the scene. The restrained entrance and guitar urgency share time before the song digs out an anthemic vocal call from the band to enliven further the senses. Across its magnetic body, the track continues to flow through a shifting landscape keeping expectations empty and intrigue as well as its emotive flame high.

Both A Standard Issue and Rise provide incendiary climates and appealing tempests to get heavily involved in, the first a more formula yet thrilling blaze whilst the second almost stalks the senses as its vocal and sonic storm grows in pressure and incitement before exploding into a virulent ravaging, rhythms an addictive stomp and riffs a coarse yet inviting turmoil to embrace before joining the group shouts. The following Miles is a similar trap to lean into with greed and energy, its catchy hooks and antagonistic rhythms courted by sonic endeavour and vocal causticity.

The title track arguably provides the widest proof of the invention and still to be explored potential of the band, its masterful slavery of rhythms just the appetiser to a union of carnivorous bass lines, prowling riffs, and vocal abrading. It has a more resourceful enterprise and deliberately menacing breath to its intent than the other tracks, a presence which is predator like sharing an impacting voice in its emotive narrative.

The release closes with The New Liberation, a final compelling brawl to wrap yourself tightly up in, imagination and passions feeding on its old school punk breeding and modern hardcore voracity. It is a thrilling end to an impressive debut from LIV. with Be The Change looking like being the start of a very promising and potent ascent for the band.

Be The Change is available now via OnTheAttack Records.

https://ontheattackrecords.bandcamp.com/album/be-the-change

https://www.facebook.com/livsbhc

8/10

RingMaster 25/04/2014

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

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