The Survival Code – Hopelessness Of People

Checking out recent single Crawl combined with the potency of previous releases, we declared The Survival Code a band it is so hard for us not to be excited about. That track was the second teaser for the London based outfit’s new album; an intimation alongside its predecessor of something to truly anticipate. Having feverishly devoured the full-length we can announce that Hopelessness Of People not only lives up to the promise offered by its singles but has emerged as one of the year’s major gems.

Formed by Dubliner Gary McGuinness, The Survival Code has bred and earned a rich reputation since emerging late 2011, each release seeing their imaginative rock bred sound openly growing and evolving backed by a live presence which has constantly proven itself a rousing experience. Though numerous musicians have been alongside lead vocalist guitarist McGuinness, it has been his long term link up with drummer/backing vocalist Tom Cook which has been the heart and power of the band. A trio for their acclaimed Matt Hyde (Trivium, Slipknot, Ash) produced 2015 debut album, MMXV, and the subsequently just as striking Broken Strings EP two years later, The Survival Code has slimmed down to just the core duo upon Hopelessness Of People and the band has never sounded more powerful, dynamically bold, and rousing.

With Hyde again producing, Hopelessness Of People takes mere seconds to entice and thrill ears with opener Same Skin. Its initial guitar shared lure is a calm intrigue ridden coaxing which soon flares up with rapacious energy as Cook’s beats court their own infectious trespass of a swing. McGuinness’ vocals are just as captivating, like the sounds a blend of melodic composure with underlying aggression and volatility. Embracing rock in its various shades alongside a twinge of punk irritability and metal bred ferocity, the track and band’s sound soon establishes its inescapable identity though with its tenacious almost stalking hooks and hungry grooves there is a certain Sick Puppies hue to the excellent encounter, a spicing which enjoyable lingers across the whole release in varying degrees.

Crawl is next to snare thick attention, immediately imposing with its senses harrying riffs and formidable rhythmic swing. From its already infectious threat, appetite wrapping grooves and imagination stoking twists combine for a web of contagious enterprise matched by the equally compelling vocals of McGuinness in turn backed by Cook’s potent tones. There is a touch of Coheed & Cambria to the track, a pinch of Adelitas Way too as well as the aforementioned Australians but the song rises to be all The Survival Code. As a single it got us lustful to hear Hopelessness Of People and still does each and every time roaring from within its midst.

A calmer entrance by the following Take It As It Is only brings a mutually eventful slice of melody rich and highly catchy hook loaded alternative nurtured rock where rhythms swing with muscular intent and emotion fuels vocal expression while Anything Goes These Days strolls with emotive tempestuousness in its heart and raw power in its snarly breath. In their individual ways, both songs had the body and imagination bouncing, the first especially with its keenly crafted unpredictability.

One of the album’s early tasters is next, Along The Way a single earlier this year which effortlessly hits the spot whilst leaving a lingering breath which again just draws intrigue and attention the way of the album. Though the track does not have the incendiary dynamics of Crawl, it is a virulent persuasion which again has the body dancing to its whims before Self Medicate wraps thoughts in its emotive balladry and the imagination in a tapestry of creative and vocal intimation. A slow burner compared to its companions within the album, the song just grew by the listen enticing purposeful contributions from hips and vocal chords.

In so many ways the track epitomises the almost deceitful virulence of Hopelessness Of People, quietly nagging away yet openly seducing with its resourceful breeding; a template just as successful behind the decisive enterprise of Not Working. It is another which seems to be a touch subdued compared to other tracks but the truth is clear when from nowhere we found ourselves repeating melodies and a chorus which had burned itself into the memory.

Damn these Survival Code boys are devious and at it again within the smouldering and increasingly fiery and just a bit funky This Time Around. McGuinness and Cook unite to weave a contagion of hooks and melodic grooving as tenacious as the expectations devouring exploits of the song, repeating the feat with new imagination for the quite outstanding and devilishly tempting Too Late and in turn Next Step. Another major favourite here, the second of the two borders on the feral, its metal seeded antics spring grooves which demand subservience and riffs which harass to the point of addiction. Around them, melodic flames and vocal angst roar to add to the undiluted captivation.

The final pair of Integrity and Goodbye proves there is truly no moment within the album which is lightweight in presence and enjoyment. The first has a vocal calm which rests perfectly within the more unevenly tempered air of the song though McGuinness’ delivery has a hint of prickliness to it too while the closing offering is a slice of magnetic rock ‘n’ roll which too mixes hushed aggression with volatile energy whilst casting an infectious wind of melody woven turbulence and emotive exclamation.

Quite simply releases like Hopelessness Of People are the reason our hunger to devour new music is more lustful than ever. It is an appetite which has been rewarded so many times this year alone but few as relentlessly and powerfully as by The Survival Code.

Hopelessness Of People is released Friday 31st August, through Good Deeds Music Ltd.

 https://www.thesurvivalcode.co.uk/    https://www.facebook.com/thesurvivalcode    https://twitter.com/thesurvivalcode

Pete RingMaster 30/08/2018Copyright RingMaster: MyFreeCopyright

Manumit – Digital & Hostile

Manumit Online Promo Shot

Creating a sound which is fresh and striking whilst employing a wealth of familiar essences from a healthy array of genres, Welsh solo artist Manumit follows up the success of and acclaim for his previous singles and EPs with debut album Digital & Hostile. It is an enthralling proposition which entangles rich elements of heavy rock and electronic invention with equally potent strains of amongst many dubstep, drum n bass, and post hardcore. Released via Lost Generation Records, Digital & Hostile is a thoroughly compelling proposition which ebbs and flows a touch in its still success but never submits to predictability whilst exciting ears.

Brought to life in 2012, the Bridgend, South Wales hailing project took little time in grabbing attention and keen recognition. Manumit’s first EP F**k Genres, Love Music soon woke a hunger in fans and potent interest from the underground media upwards for his sound whilst the music video for the track Walk Away soon become a centre of attention on the likes of Scuzz TV. Subsequent singles and videos emulated that early success and bred a stronger anticipation for the band’s first full-length. Bringing those earlier singles together with a host of new songs, Digital & Hostile is a ten track adventure which from start to finish intrigues and flirts with the imagination.

The release makes a gentle opening with the intro of Sacrifice, a guitar making a lone evocative coaxing within a colder atmospheric drift of sonic whispers. It is a thoroughly engaging start to the track soon making an even stronger seduction with the excellent vocals of Manumit. The song simmers in the warmth of melodic rock at this point with a folk lilt to the vocals and melodies yet all the time in the background you sense something is brewing and moving towards the foreground of the song. It arrives in a fiery blaze of electro rock, Pendulum immediately coming to mind as the track bristles and rages within the pulsating embrace of its electronic invention. It stops itself from being a replica of existing propositions though with the continuing of the excellent melodic rock enterprise unveiled earlier in the song and the great vocals which also employ post hardcore antagonism in their delivery.

The track is a strong and appetite sparking start which the following Walk Away easily continues. It also opens with a gentle emotive stroking, a piano this time casting its melodic beauty over ears and imagination swiftly joined by the Manumit Cover Artworkagain deeply impressive vocals. There is a touch of Coheed and Cambria to the start and it too is brought into an electro maelstrom of temptation though with a stronger lilt to the heavier rock side of the track this time. Vocal squalls add to the wide texture of the song whilst the aligning electronic endeavour brings a mesh of Nine Inch Nails meets Skrillex to its striding triumph. As with its predecessor, it does feel like the track is one spark too short in its fire, never exploding into the rigorous tempest you expect and hope but it does not stop either from making a thoroughly enjoyable and impressive start to the album.

Do The Right Thing also glides in gracefully, its exotic tempting on an electronic breeze almost Peter Gabriel like. In no time it erupts with raw emotionally charged vocals within a thick and inventive weave of electronic incitement, all veined with heavier rock riffs and rhythmic provocation. Vocally the song is as superb as those before and after, the strength and expression of Manumit a striking given success across the album, whilst the expectations evading twists of the song and the classical elegance of keys within the bustling sonic storm is at times bewitching. It is another very potent proposition for the main matched by both Everything Changes and When I’m Gone. The first of the two is a flowing persuasion of electro rock with plenty of tenacious essences from both sides of that mix in its evocative stroll whilst the second is a gentler but no less busy croon of emotive keys and electro radiance splintered by an array of punchy beats and incendiary guitar designs. Maybe the least impressive track so far it nevertheless is an infectiously captivating song showing the strength of the album.

Another diverse twist comes with the album through the magnetic balladry of Your Body Giving Up. Fronted by the glorious and seductive tones of Tanyth Roberts, the song is a sultry flame of atmospheric tension, melodic drama, and electronic intrigue which makes more of a lingering impression and success than an upfront persuasion but emerges as one of the most riveting songs on the album. Its enslaving provocative charm is followed by the energetic stomp of Can You Hear Us? From a nintendo-esque opening, the song bursts into a rampant charge of electronic and heavy rock tenacity, merging the electro punk roar of a Jensen with the more mischievous virulence of a Hadouken or Axis Mundi. It is an irresistible contagion which is as antagonistic as it is anthemic, and the best track on the release.

The raging urgency continues in Abuse Of Power, its raw challenge lyrically and musically tempered by the melodic vocals and electronic designs which seduce the imagination as much as the quarrelsome textures and hardcore tones within the proposition. Elegant keys also add to the drama and though the track does not grip as many others, it is still a masterful persuasion before making way for The Passing Of Nothing. It is a track which starts much like the opening pair on the album, from its delicious harmonic and melodic initial touch evolving into an electronic and vocal blaze around a stirring sinew sculpted slice of rock. You are never too far from thoughts of Pendulum with many songs but with the numerous other flavours flowing through them, here a Spineshank like industrial metal spicing at play, Manumit takes every song into a distinctive corner.

Closed by the transfixing Afterflow which from a underwhelming start emerges as another engrossing incitement, thanks predominantly to Manumit’s fine vocals and a steely anger to the song’s body, Digital & Hostile is a formidable and richly pleasing release. Whether it is as intrusive and raucous enough to match its undoubted potential is one for the individual but Manumit has shown himself with the album, to be one of Britain’s more creatively dynamic and exciting prospects.

Digital & Hostile is available via Lost Generation Records on 1st September @ https://itunes.apple.com/gb/album/digital-hostile/id883699098 and other online stores.

https://www.facebook.com/manumitofficial

Live Band line-up: ( Manumit – Vocals/guitar/keys/samples;Skullfunk – Vocals/MC;Larusso – Guitars, Bandit – Drums.

8.5/10

RingMaster 01/09/2014

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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EMPEROR CHUNG announce ‘I Vow This Day’‏ with new video single.

Emperor Chung Online Promo Shot

UK ROCKSTERS EMPEROR CHUNG SET LOOSE NEW VIDEO SINGLE THIS SUMMER!

 

Rising skewed rock crew ‘Emperor Chung’ continue their climb with the national release of their new video single ‘I Vow This Day’, out now and taken from their hugely acclaimed self-titled debut album.

 

Possessing a sound that pitches infectious grooves, pounding riffage and alluring vocals, Emperor Chung are continually growing in stature. Pulling influence from Alter Bridge, Coheed & Cambria and Queen, the Midlanders are set to raise the bar yet again this Summer with an explosive new single.

 

Born at the end of 2011 and coming at you from Ilkeston, Derbyshire, the members of Emperor Chung individually served their time in the local scene by playing in an assortment of bands, but to limited success. When the quintet collectively hit the rehearsal room, however, everything clicked into place and Emperor Chung was spawned. After a string of successful shows and festival appearances that included Download Festival, as well as playing alongside the Darkness and Tesseract, the band amassed a killer set along with enough material for their debut album. The record hit stores at the end of last year and racked up many accolades and high acclaim with Classic Rock, Rocksound, Scuzz TV, Total Rock and Team Rock Radio, all firmly supporting the release with glowing coverage.

 

The rock crew now release their stunning new single ‘I Vow This Day’, which includes a mesmerising animated video that is sure to light up the senses. The track is a stout piece of engaging modern heavy rock that first rattles and then buries itself deep inside your cranium. Look out for festival appearances and shows throughout the Summer.

 

 

— ‘EMPEROR CHUNG HAVE RELEASED ‘I VOW THIS DAY’, VIEW THE VIDEO HERE https://www.youtube.com/watch?v=lsoC9o5n3ZY

https://twitter.com/emperor_chung      https://www.facebook.com/TheEmperorChung

 

OH CAPTIVE DROP THEIR NEW VIDEO!‏

Oh Captive Online Promo Shot

OH CAPTIVE RELEASE BRAND NEW STAND ALONE SINGLE !

 

Rising Bristol post-punk quartet ‘Oh Captive’ have nationally unleashed their debut EP ‘Advance Creature’ and they now charge forward with their brand new stand alone video single ‘Tricking Us’  which you can view now @

https://www.youtube.com/watch?v=8-MwVnpTwbY

 Hailing from the South West, Oh Captive produce innovative music that rails against the din of predictability and still rings true with compelling clarity. Sparking glowing comparisons to the likes of Coheed & Cambria and Twin Atlantic, Oh Captive have crafted a sound of their own.

Originally formed less than two years ago, Oh Captive cut their teeth with countless hours in grimy rehearsal rooms before BBC Devon Introducing beckoned in early 2013. By the year’s end, Oh Captive had shared stages across the UK with Sonic Boom Six, Straight Lines, Max Raptor, Sharks, Blitz Kidz, I Divide and Scholars. The foursome fully honed their songs in the live arena in anticipation for completing a debut EP that would prove to startle and sparkle in equal measure.

 

The post-punk outfit have just released their debut EP ‘Advanced Creature’, which has already picked up widespread national praise. Big Cheese Magazine have featured the band in their April 2014 issue with an exclusive interview and Rocksound have recently reviewed the record and have placed a track on their covermount CD. The EP has already notched up key online and radio support, notably from XFM.

Now with their brand new stand alone single in the shape of ‘Tricking Us’ (https://www.youtube.com/watch?v=8-MwVnpTwbY ), which is out now , the foursome are set to hit new heights, and with UK shows in the pipeline throughout the year, just watch them soar.

www.facebook.com/ohcaptive

 

Oh Captive – Advance Creature EP

Oh Captive Online Promo Shot

Disregarding the deceptive label of post punk seemingly placed upon them, certainly on the accompanying promo sheet, what UK’s Oh Captive actually cast is a magnetic brew of pop punk and alternative rock around a rigorous spine of muscular melodic rock. Presented on their debut EP Advance Creature, the band’s sound it’s an exciting blend of passion and sonic textures drenched in striking craft and undeniable potential. It is a release which sparks fires in the emotions though not always retaining the same intensity, but from start to finish provides a fuse to the imagination and ignites a keen appetite for Oh Captive now and in the future.

The Bristol quartet emerged in 2012 and took little time is awakening an eager following locally before last year striking out around the country with bands such as Sonic Boom Six, UK Subs, Straight Lines, Max Raptor, Sharks, Blitz Kids, I Divide, Fighting With Wire, and Scholars. Comparisons to the likes of Coheed & Cambria and Twin Atlantic have fallen upon the band over time, comparisons relatively easy to understand listening to their four track debut.

The release opens with Beds Of Many Ghosts and immediately has ears entangled with enticing melodies, crisp rhythms, and a coaxing Oh Captive Cover Artworkhook which lays down the first seductive bait. Settling into its confident stride, the track relaxes around the vocals of guitarist Tim Kelly but all the time is creating a virulence of hooks courted by an emerging groove. It is a striking narrative coloured further by thirsty shadows provided by bassist Tom Hitchins and the guitars of Kelly and Curtis King which weave a provocative and contagious web of enterprise. The song is an irresistible encounter, one which has a familiar air to it in many ways but steps beyond that security with bold imagination and a thoughtful swinging design from the impressive rhythms of drummer Chris Hill.

The excellent start is swiftly supported and matched by Terrible Lives. The track again shows no restraint in unleashing contagious hooks and evocative melodies around a persistent rhythmic beckoning which frames the fine tones of Kelly ably supported by those of King. The song teases with guitar and rhythms alone at times; the bass held in reserve but once involved in the suasion opens up the depths and darker textures of songs and songwriting. Like the first track, it creates a tapestry of smart twists and turns employing a skilful persistently changing gait evolving the face of the song whilst brewing an almost toxic groove to wrap the track and subsequently steal the show in a quite scintillating climax. Both songs are strongly memorable but the second really gets under the skin with that deviously addictive groove most of all.

The remaining two songs do not reach the stature of their predecessors though both only cement an impressive introduction to the band. The title track steps up next, its tender melodic start courted by a sonic mist before it expands into a rich and evocative blaze of passionate sounds and lyrical reflections. Perfectly balanced and vibrantly poised, the track courts the senses with a masterfully woven venture of dark rhythms and radiant melodies aligned to similarly captivating vocals, and though it does not entrench itself in the memory as those before, its presence only enhances the promise of the band.

The closing Retreat Being reasserts punchy rhythms and almost rapacious sinews to the skeleton of another track which is just at ease crooning at and seducing ears as it is forging a sturdier imposing persuasion. The bass of Hitchins is especially vocal and melancholic in the track to lead thoughts deep into an emotional intensity but as excellent as the song is again it lacks the spark to impact beyond its departure.

Overall Advance Creature is an EP which potently grips thoughts and emotions throughout. It is a striking entrance by Oh Captives, one soaked in a promise which suggests the band is going to have a rosy future whilst providing plenty of exciting investigations ahead.

The self-released Advanced Creature EP is available digitally from April 28th

www.facebook.com/ohcaptive

8/10

RingMaster 27/04/12014

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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OH CAPTIVE to release ‘Advanced Creature’, out 28th April‏

Oh Captive Online Promo Shot

 
Oh Captive’s STUNNING DEBUT EP RELEASED!

 

 

 

Rising Bristol post-punk quartet ‘Oh Captive’ nationally unleash their debut EP ‘Advanced Creature’ through all digital outlets on Monday 28th April.

 

 

Hailing from the South West, Oh Captive produce innovative music that rails against the din of predictability and still rings true with compelling clarity. Sparking glowing comparisons to the likes of Coheed & Cambria and Twin Atlantic, Oh Captive have crafted a sound of their own, and the evidence can be heard on their brand new hotly-tipped EP entitled ‘Advance Creature’.

 

 

Originally formed less than two years ago, Oh Captive cut their teeth with countless hours in grimy rehearsal rooms before BBC Devon Introducing beckoned in early 2013. By the year’s end, Oh Captive had shared stages across the UK with Sonic Boom Six, Straight Lines, Max Raptor, Sharks, Blitz Kidz, I Divide and Scholars. The foursome fully honed their songs in the live arena in anticipation for completing a debut EP that would prove to startle and sparkle in equal measure.

 

 

Advance Creature peddles a firecracker brand of intensely melodic post-punk, where concise hooks pierce the air with disarming force. There’s honesty and maturity to Oh Captive; their sound is raw but emotionally redolent, ferocious but refined. The oft-kilter phrasing of the songs has enough to engage even the most discerning ears. Although the band never once crosses the border into over-indulgence, they still manage to create an effective ruse for a pop sensibility that’s ripe for FM playlists. And in Tim Kelly, Oh Captive have a frontman whose infectious, yet understated vocal delivery throws the spotlight on compelling vocal melodies. Behind that await rousing choruses, the dovetailing guitar melodies of Curtis King and an airtight rhythm section compromised of Tom Hitchins and Chris Hill. The post-punk outfit have a record that is sure to raise them to new heights, and with UK shows in the pipeline throughout the year, just watch them soar.

 

 

Oh Captive Cover Artwork

 

 

 

Emperor Chung – Self Titled

Emperor Chung Online Promo Shot

If their self-titled debut album is a sign of things to come, UK rock band Emperor Chung is going to be one impressive and incendiary proposition for British rock music. The eleven track release is a riveting introduction to a band which has been causing quite a stir with their fresh and diverse sound. It is an album which does miss the opportunity to be an instant classic but as a reservoir of promise and the seed of expectations of big things to come, it is a striking and potent triumph.

Coming from Ilkeston in Derbyshire and formed in late 2011, Emperor Chung has taken little time in making their mark locally and further afield with a sound which has drawn comparisons to those such as Queen, Thin Lizzy, Coheed & Cambria, and Alter Bridge in various ways. Consisting of vocalist Martin Jackson, guitarists Danny Beardsley (formerly of Isolysis) and Richard Shaw (also of NG26), bassist Dan Hayes, and drummer Eddie Hodgkinson (formerly Eight Idle Hands), all bringing strong experience from their previous exploits, Emperor Chung has been on a rapid and impressive rise which their album is sure to accelerate. Their performance at Download earlier this year set the country’s rock scene on full alert, which the album creatively reinforces and with appearances at the YNOT festival with The Darkness, Macmillanfest with Tesseract, and numerous other shows taking the year into the next you can only feel their ascent is picking up speed.

The wintery scene to the start of I Vow This Day brings in instant drama and menace which has thoughts licking their lips, especially whenEmperor Chung Cover Artwork a tight inviting groove from the guitar beckons. The impressive vocals of Jackson soon make their appealing mark also and when the chorus with Beardsley adding his strong tones moves over for an even greater lure to that original groove, the track has full eager attention. From there it does not exactly hold its grip but with good sonic displays and feisty rhythms perpetually nagging the ear, it is a pleasing if not striking start to the album.

The following To Bring Justice and Downpour soon raise levels as the band and release begins to stretch their creativity and adventure. The first is a smouldering heat of strong vocals and melodic imagination which from its stirring opening flexing of sinews and emotive intensity evolves into a tantalising weave of progressive rock and evocative colour crafted by the guitars and veined by the throaty call of the bass and the snarling riffs. It is the first pinnacle of the album and does makes its predecessor look a little pale. The classic rock sculpted build of its successor provides a muscular and equally warm sonic blaze. The track creates a contagious web around the ears but as a few times on the album just does not take that final step or bite to secure a lingering slavery of the passion; nevertheless the song as the album is a richly appetising encounter which leaves satisfaction full.

The album is themed by a story of an Emperor Penguin, Chico Chung who is hunting down the members of the Chinese zodiac who murdered his father. It sounds a little Kung Fu Panda like taken out of context but the wrap of the bands enterprise, which starts with the outstanding artwork around the album to the lyrical fun and craft not forgetting gripping sounds, brings the premise successfully within the potent persuasion of tracks, like the next up My Next Foe and Pyramid. Both tracks in their individual landscapes paint an evocative progressive/melodic narrative which explores the imagination, and though neither grips the plateaus of some of the other songs they leave a brewing hunger in their wake for more, which the likes of No Mercy and the band’s first single The Bloodline supply with accomplished craft and inventive temptation. The first of these two has a familiarity to it and often reminds of Coheed & Cambria whilst the second offers a slowly building melodic caress from guitars and vocals which takes little time to seduce attention and thoughts. It is an obvious lead into the album for newcomers if not the best track on the release.

That honour belongs to Our Weaknesses, a scintillating track which from its intriguing guitar mystique at the start soon expels a technically teasing and invigorating fire of intensity and invention which reminds of Tesseract though across the enthralling song and not for the first time on the album, there is also a strong breeze of Manic Street Preachers coating its irresistible flames. It is the best thing on the album by far, which considering the strength of all songs gives an idea of its majesty, guitars carving out an addictive entrapment which the great rhythmic predation and snarling vocals stalk and ignite further.

The impressive Victory’s Calling and the mouth-watering Apex bring the album towards an intensely enjoyable close leaving Free At Least and its melodic yet rapacious suasion to conclude a thoroughly thrilling and impressive release. As impressive as it is you do feel there is an element of a lost opportunity with not enough songs fulfilling their open potential but with all drenched in unmistakable and infectious promise it is only a matter of time before Emperor Chung do create a ‘classic’ you feel. For now their debut is a wholly enterprising and hunger sufficing treat from a band destined to major things.

http://emperorchung.com/

https://www.facebook.com/TheEmperorChung

8.5/10

RingMaster 14/10/2013

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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