Contemplating Leaving Eden

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It is quite simple. Leaving Eden is a band which demands attention with a sound and creative flair that persistently captures the imagination drawing an ever growing following simultaneously. Their ear catching and thought provoking music has help lead the band to sharing stages with hundreds of the biggest national bands in the world and tours across numerous countries. We managed to grab some time with Eric from the band to learn more about Leaving Eden and what makes them tick…

Hello and thanks for taking time out to talk with us.

Can you first introduce the band?

Hi, great chatting with you also.

Eve: Lead Vocals

Ryan: Manning Drums

Johhny V: Bass

I’m Eric Gynan: Guitarist, vocals, Keys.

Have you been involved in other bands before? If so has that had any impact on what you are doing now?

Yes we’ve all been in various bands along the way and learning from the past always gives you a jump on the future.

What inspired the band name?

Leaving Eden came to be simply that this planet is like the Garden of Eden right, with all of its corruption; wouldn’t it be nice to take off and go somewhere else to visit? Lol.

Was there any specific idea behind the forming of the band and also in what you wanted it to offer and does that intent still drive the band or has it evolved over time?

Definitely we have evolved. I think you have to in order to change with the times so long as it’s better. It’s important though to maintain your individuality. For us we set out to be different. Quick story here, we went to this huge studio once where bands like Seven Dust, The Rolling Stones and Boston recorded. The person there brought out a white board in the conference room and drew a box. They said you are here, pointing outside the box and you need to be here, pointing inside the box. I immediately said wait, are you telling us we need to be in that box?  They said well yes I guess I am. I said thank you very much and got up and walked out. I get it, if you wanna ride a wave and be like everyone else on that moment of time, they can easily slip you into a genre. For us though it’s hard to just slip us in to any particular genre. We won the best Hardcore act in New England and I thought that was funny because they couldn’t find the appropriate Genre for us. We stay true no matter what the times may change to our roots, Rock Music.

Since your early days, how would you say your sound has evolved and has that been an organic movement or you guys deliberately heading in certain directions?

I think being a recording artist, endlessly recording and working with some incredible recording engineers like Johnny K (Disturbed, Pop Evil) you learn what it really takes. When they say they will go through your music with a fine tooth comb, they mean that literally that down to the 64th beat your music will be scrutinized for perfection. Ya know good bad or indifferent, when you listen to the radio, you may not like the band you’re listening to but aside from that, you will NEVER hear something that’s not polished. It’s gotta be perfect or you’ll never make it to the radio. With this on mind, you take this knowledge of being tight to the live performance and it makes all the difference in the world. This is why some bands may record a great album but when you see them live, it’s just not the same. We try and stay true to our recordings.  We also evolve in that area after the recording we may change it up live where we may think we’ve built upon that foundation.

art_RingMasterReviewPresumably across the band there is a wide range of inspirations; are there any in particular which have impacted not only on the band’s music but your personal approach and ideas to creating and playing music?

I think all of us are inspired by what we like as far as taste in other bands music. For us what greatly inspires us is that organic sound that manifests itself in a way that is kind of like connecting the dots. We feel that Leaving Eden learns from the past, encompasses the present and forges the future. Any band that has been in the gutters not in the limelight, they’re the ones whom always forged the future. This is why we named our last album Pinnacle…Because it’s at that pinnacle where trends will be forged.

Is there a particular process to the band’s songwriting?

Sure. For me I connect with the Universe in a way that opens my mind to listening. I use my fingers as kind of line antennas to pick up the frequencies, as strange as that sounds, if you listen, you can hear the music that lyrics, melodies and harmonies completely produced. Just gotta transfer that info to the recording. Then the rest of the band puts their stamp on it and presto, there’s a new song. I’ve even felt the influence of dead poets coming through. Sometimes I feel like I really can’t even take credit for the songs as they’ve come from somewhere else. It’s a deep meditative state of mind that brings these ideas into fruition.

Where do you, more often than not, draw the inspirations to the lyrical side of your songs?

Great question… Our songs speak from experience, life’s experiences…Sometimes good but mostly bad lol. Bad in the way of getting screwed, for instance our song Tied and Bound comes from the frustration of the music industry; “We’ve been screwed overcharged underpaid and abused, exploited avoided and falsely accused, we’ve been cut down let down fucked around tied and bound, but nothing can take the music away”

Are you a band which goes into the studio with songs pretty much in their final state or prefer to develop them as you record?

Pinnacle released by Rock Avenue Records USA, was completely written before we got to the studio. We like to do pre-production first, be prepared so to speak, so that we aren’t wasting valuable time and money. Pinnacle is really an eclectic array of song themes and music. We tried to keep it again organic so you won’t hear all these extra vocal harmonies for instance that we could never do live. Yes there is harmony, but it can be done live.

Tell us about the live side to the band, presumably the favourite aspect of the band?

That is where one should shine right?  I feel it is our live sound which is one of our trade marks. It’s so hard in the studio to capture that live performance primarily because it’s a one sided energy exchange. When you have a crowd, that’s where the sharing of the energy happens, therefore it really helps to put you on top of your game. You can’t see the band for instance when listening to an album, so that performance is so necessary.  Can the band reproduce that sound live? With Eve in front, she is clearly universal and really takes control of the room or festival, really just connecting with the crowd.

It is not easy for any new band to make an impact regionally let alone nationally and further afield. How have you found it your neck of the woods?14195978_1274693589207580_3294288122701219788_o

Correct. We’ve been fortunate, lucky, graced, whatever you’d like to call it. Our motto has always been that we will play anywhere, anytime, any way we can so long as we can. This philosophy has led us to share the stage with some of the biggest bands in the world with;  Lacuna Coil, In This Moment, Black Sabbath (Heaven & Hell), Ronnie James Dio,  Rob Zombie, 5 Finger DeathPunch, Disturbed, Marylyn Manson, Alice Cooper, Lynyrd Skynyrd, ZZTop, Puddle of Mudd, Korn, Killswitch Engage, BuckCherry (Jefferson Starship, Big Brother and The Holding Company, Country Joe, 10 Years After, 40th Anniversary Woodstock) Shinedown, Dropkick Murphy’s,  Alice in Chains, Papa Roach, Bret Micheals, Halestorm, Theory of a Deadman, Avenged Sevenfold, Seether, Hell Yeah, Trapt, Dope, Soil, Fuel,  Queensryche, Saving Abel, Hinder, Damage Plan, 7Dust, Sebastian Bach, SoulFly, Days of the New, NonPoint, DrowningPool, The Misfits, The Butcher Babies, Collective Soul, MushroomHead, Mudvayne, Chevelle, Godsmack, Powerman 5000, 10Years, Taproot, Gin Blossoms, Michael Schenker (UFO, MSG & The Scorpions) Herman Rarebell (The Scorpions), Nicko McBrain (Iron Maiden), Kittie, One eyed doll, Uncle Kracker, Tremonti (Creed/Alterbridge) Lamb of god, Slayer, Stone Sour, Motorhead, Blackstone Cherry, HOOKERS & BLOW Featuring GUNS N’ ROSES, QUIET RIOT, W.A.S.P. Members, Steven Tyler, Ted Nugent, Lita Ford, LA Guns, Trixter, Warrant, Apocalyptic Review (featuring members of Godsmack) and many more..  This has led us to Winning The New England Music Awards & The Pulse Magazine Worcester MA Music Awards and Touring The USA, UK & Canada. If we didn’t get out there we would have never found these opportunities. There’s usually someone there that can help move you forward.

Are there the opportunities to make a mark if the drive is there for new bands?

Absolutely…In fact I believe bands who haven’t “made it” have more of an opportunity. Let’s take a band that has made it whether it was one song or many. As time passes, for whatever reason, they stopped making hits. It’s very rare for them to have another hit song or even get on the radio. It’s very strange but true. As a new artist you have more of a chance because again you’re at the pinnacle forging ahead.

How has the internet and social media impacted on the band to date?

I find this very interesting. In a moment you can be heard all over the world. It’s absolutely amazing. Back in the day I feel bad for the artists before the internet that never had that chance. Shit, back then you couldn’t even stay connected with different states via phone. It was too expensive to make a phone call so you were quite limited as far as how far you could reach. Now, our music is flying through the airways, our unreleased song Out of the ashes says; digging deeper underground faster than the speed of sound

I can see the light of day, darkness fades away”. This just says as a band that’s not superstars, they are basically underground in the gutters spreading like swill in the harbor of slime lol. God some of the venues we’ve played have been the scum of the earth. Shit when we went to UK, there was a dirt floor. But in order to really appreciate where you may end up you’ve got to crawl through the slime in the gutters. If I for instance just started a band, had lots of money, related to someone big in the industry, getting signed immediately and becoming famous overnight, how then could I appreciate where I came from? When you come from the bottom of the barrel and make your way to the top, you never forget where you came from.

Once again a big thanks for sharing time with us; anything you would like to add or reveal for the readers

This was fun. Please excuse my unorthodox replies here and appreciate your time. Leaving Eden will be touring the USA, Canada and Europe. Hopefully South America as well, where our management/touring Co. Alpha Omega/Darkside Entertainment has offices in Europe, USA and South America we feel honored to be part of the family there. We hope to see all of you soon!! For all Leaving Eden Info go to http://www.leavingeden.com

And see us on Facebook Leaving Eden and Peace and Harmony to all!!  I say harmony because this planet, the universe, everything in it works in perfect harmony accept one species, Humans. WTF is that about right? Let’s make it happen.

https://www.facebook.com/bandleavingeden

Pete RingMaster

The Ringmaster Review 01/12/2016

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Adelitas Way – Getaway

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Adelitas Way has persistently shown themselves capable of writing and creating anthemic roars that instinctively ignite the spirit and adrenaline. From their self-titled debut album and tracks like Invincible, the US band has early on uncaged impassioned and dynamically persuasive proposals. With new album Getaway though, they have hit a new peak. From start to finish, it is a conveyor belt of rousing proposals, as sturdy and aggressive as they are melodically contagious. It is probably fair to say that the Adelitas Way sound has never been one close to re-inventing the wheel, but they and certainly these ears have no issue when body and spirit is relentlessly given a shot of the band’s fresh and anthemic virulence.

Getaway is the fourth album from the 2006 band, and as suggested another in a line of highly persuasive and captivating releases. Whether they have hit the personal sweet spot or not, all have gone to establish the Las Vegas quartet as one eagerly devoured proposition on record and indeed live where they have shared stages with the likes of Guns N’ Roses, Shinedown, Creed, Alter Bridge, Three Days Grace, Chevelle, Theory of a Deadman, Breaking Benjamin, The Pretty Reckless, Godsmack, Staind, Flyleaf and many more.

The successor to Stuck of 2013, the Johnny K (Disturbed, Staind) produced Getaway sees the foursome of Rick DeJesus, Tre Stafford, Robert Zakaryan, and Andrew Cushing in no mood to hold back on their emotive intensity and sonic dexterity. The evidence is immediate as the band’s new single Bad Reputation, and first taken from the album, launches at ears with infectious bait. Choppy riffs and similarly tempting rhythms immediately press suggestively upon the senses as the always welcome tones of vocalist DeJesus step forward. Inspired by his own feelings about a reputation he has earned over the past few years, his reflections come entangled in a web of spicy melodies and snapping hooks within a climate of sound which builds small but effective crescendos of energy and intensity.

COVER_RingMasterReviewIt is a great start which barely waivers over the next stretch of songs starting with the album’s title track. The band’s hard rock bred sound is in feisty mood from its first breath, almost irritable in its sonic jangle backed by attitude lined rhythms. Increasingly fiery yet equally catchy, especially around its sizzling chorus, the track has feet and emotions quickly involved and in time exhausted, though they get a chance to relax with the sultry smoulder of Good Die Young. The fiercely energetic tracks always emerge as personal favourites across an Adelitas Way encounter but as proven here, the band is very accomplished at creating emotively and sonically incisive balladry. Expectantly it does come with a raw edge and dramatic intensity which only helps it make a potent impact as enjoyment flies high.

Low brings a great grouchiness to its riffs and nature next, guitars almost carnivorous in tone as a Sick Puppies like flame of melodic and harmonic energy emerges from within the song’s growl. As many tracks, ears feel like they are meeting up with an old friend, being enveloped in a recognisable infectiousness which adds colour to the band’s blaze of heavily pleasing and fresh enterprise. By the end of the first minute, vocal participation is inevitable, a temptation most tracks are equipped with as shown by the volatile roar of Put You in Place with its web of spidery steely grooves and the mercilessly contagious I Get Around. A resonating bassline invitingly groans from the heart of the second of the pair, its dark hues a gripping tempering and spark to the tempestuous and boisterous roar around it. Not alone in showering the senses in serious infectiousness, the song epitomises the power, attitude, and rousing ferocity of the band’s sound, and equally its rock pop prowess.

Across the tenaciously excitable Filthy Heart with its blues spiced sonic winery and the mellower coaxing of Harbor the Fugitive, band and album, maybe without matching earlier heights, has ears and firmly attentive whilst Sometimes You’re Meant to Get Used really stirs things up again with its tantalising blend of rapaciously snarling textures and melodic revelry bound in emphatically infectious imagination.

The album concludes with firstly the blues rock flavoured Shame, an enticing flame of enterprise which again might not create the same lustful reactions as others but with a whiff of Bowie-esque toning to parts of the vocals, only holds attention firm before Deserve This twists and turns with robust rhythms and crunchy riffery leading its fractious yet anthemically layered tapestry of striking sound and endeavour.

It is a fine end to a thoroughly enjoyable release where major surprises are low but invigorating rock ‘n’ roll is nonstop incitement. Getaway is the most rounded and fertile release from Adelitas Way, and for us, the most fiercely enjoyable so far.

Getaway is out now via most online stores and @ http://adelitaswayshop.bigcartel.com/category/cd

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Pete RingMaster 07/03/2016

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Inacoma – Isn’t That True

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Following the release of their self-titled debut EP, Swedish rockers Inacoma back its success up with the uncaging of new single Isn’t That True, a heavy stomp of a track which gets ears, attention, and an appetite for more easily excited. Taken from their first release, the song croons and rumbles, flirts and roars with anthemic persuasion to confirm Inacoma as a band with a very healthy future ahead of them.

Inacoma began in 2013 in Stockholm, formed by multi-instrumentalist Adam “O” Olsson who had previously played guitar in pop/rock band called No Definite Time. He subsequently linked up with vocalist Cristo Hage, a former lead guitarist in metal band The Last Providers, with the band line-up completed by drummer Jonathan Olsson. The trio soon had honed a mix of hard and alternative rock which, as evidenced by their EP and now the new single, brings feisty hooks and fiery grooves in line with whipping rhythms and ravenous riffs. It is a stirring proposal carrying something familiar yet in a presence as fresh as it is energetically creative and tenacious.

Isn’t That True is the perfect gateway onto the band’s sound, its vivacious and muscular presence virulently infectious but with a bruising intensity which is just as easy to devour. From a distance with a groove already working away, the song looms in to fill ears with flavoursome melodic and sonic tempting veined by more intimidating but no less magnetic rhythms. Like a mix of Foo Fighters and Soundgarden merged with a healthy slice of Johnny Wore Black and Creed, the track is a snarling consumption of body and appetite. It offers a design of guitar enterprise entangling riffs and hooks which are only there to seduce but with inventive unpredictability across the song and great vocal variety, it all unites in something fresh and spicy.

Isn’t That True is three minutes of prime rock ‘n’ roll from a band which you know will only get bolder, hungrier, and more compelling. Inacoma is the name, so go check out now.

Isn’t That True is released on July 6th

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RingMaster 01/07/2015

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Evenline – Dear Morpheus

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Hailing out of Paris, melodic metallers Evenline recently released their debut album and in the process made a rather potent impression. Richly enjoyable and impressively accomplished, Dear Morpheus is a sizeable persuasion of alternative rock and metal bound in the inspirations of bands such as Alter Bridge, Creed, Metallica, and Nickelback. It is a captivating proposition which lights a richly contented glow in ears and emotions whilst showing a potential of even greater things ahead as the band find their own distinctive sound and presence, which is not quite there on the album. It certainly makes for a pleasing companion, its familiarity to others a warm and easily accessible embrace to be fair, helping lead to a thoroughly satisfying engagement.

Formed in 2009, Evenline first made a mark in with their first release, The Coming Life EP the following year. The band continued to build an increasingly attentive support and attention with their shows, including supporting Alter Bridge in Luxembourg in 2011, before the quartet settled down to record their debut full-length with producer Jim Dewailly. Its arrival in the flavoursome shape of Dear Morpheus, suggests the band is on the brink of a much wider recognition, something the release which without setting new standards firmly deserves with its eleven melodically crafted and emotionally eventful songs.

The album makes a swift persuasion on ears and imagination, the evocative opening to Misunderstood, a melodic caress matched by the potent tones of vocalist Aarno Gueziec. There is an almost hazy glaze to his voice which adds to the expressive start of the first song, a coaxing which eventually roars with passion and intensity as riffs break out with raw energy. Imposing rhythms match this emerging sturdy incitement whilst vocally there is also a powerful evocative flame to the delivery which captivates ears. With a Seether meets Breaking Benjamin like feel to its creative potency and easily pleasing sound, the track makes a gripping beginning to the release, especially with the sonic flame of enterprise from guitarist Fabrice Tedaldi which erupts across the encounter.

Without You keeps the album flying high with its almost rabid gait and energy, choppy riffs and magnetic grooves winding masterfully around ears as the beats of Olivier Stefanelli provide an equally compelling frame. With a virulently Album Covercontagious chorus and similarly rampant urgency to its whole body, the song romps with a Sick Puppies bred swagger and suasion, one loaded with passion and occasional outpourings of caustic growls and sonic fury. It is an outstanding slice of melodic metal increasing the appetite ready for the following Letter to a Grave and Insomnia. The first of the pair is an emotionally charged stroll with an enjoyably enticing throaty call from the bass of Thomas Jaegle through a cascade of vocal harmonies and fiery riffs. Gueziec provides an emotive croon to the skilled web of invention in the song which from a slow start increasingly impresses. Its successor flexes its sinews for an agitated and tenacious exploit which like its predecessor does not quite match the opening two tracks but provides another satisfying turn to the album. It is hard to avoid comparisons to Alter Bridge, Three Days Grace and the like, but such the craft and prowess of songs and band from vocals to sound, it does not defuse the enjoyment offered by the different songs.

Both the resourcefully catchy Over & Over and the heavily emotive Already Gone leave ears and thoughts richly contented if not surprised before the excellent title track weaves its intriguing enterprise. From a haunting atmospheric opening, a sultry melody flirts with the imagination. It is aided by the equally suggestive mystique of the bass, both laying a warm canvas for the excellent vocal skill and strength of Gueziec to further colour. It is a transfixing offering, the most inventive and unpredictable song on the album with its inventive rhythms and sonic exploration, and the pinnacle of Dear Morpheus.

The aggressive Hard to Breathe ignites the senses next, pounding beats the forerunner to carnivorous riffs and cantankerous grooves which are tempered by infectious vocals and the anthemic ingenuity of the raucous exploit. It is a quick match to the heights of the previous song and those setting things off, but also another weighty twist in the character of the songwriting and presence of the release.

The next up Judgement Day is no slouch in inflaming ears and emotions either, though it lacks the spark and lingering potency of those before it, even with its imagination entwining grooves and suggestive melodies. The same applies to the enthralling power balladry of You Should Have Left Me, a perfectly crafted and melodically coloured proposition but one which despite all its impressive elements is an exciting proposal in its company but soon forgotten away from its charms. Nevertheless both only add to the potential of the band before the closing slow croon of Eternal Regrets provides a gentle and mesmeric conclusion to the album with its emotive strings and acoustic hues.

Dear Morpheus might not be ground-breaking in originality but with its inventively sculpted songs and the open skill and imagination of the band, it is a very enjoyable reason to check out Evenline and their journey to finding that distinctive presence.

Dear Morpheus is available now via Dooweet Records @ http://store.dooweet.org/en/home/133_evenline-dear-morpheus.html

http://www.evenline-music.com/

RingMaster 18/09/2014

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Cole Childers – Aurora EP

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Providing an intriguing and seriously captivating blend of hard and alternative rock with also a slight tendency for metal, the Aurora EP is one of those potential soaked treats which catches you by surprise and opens up a certain appetite for more. The debut solo release from Cole Childers, the impressive six track encounter is a bed of drama and evocative enterprise which roars and seduces with equal potency. It is not a proposition to explore new avenues for fiery melodic rock but certainly one making a tasty addition to its ranks whilst marking Childers out as a striking presence to contemplate and keep a keen eye on ahead.

The Bainbridge Island, Washington hailing, now Seattle based musician brings his experiences from being a member of the United States Navy since 2000, as well as other personal moments and insights into his songwriting, lyrically and in sound songs gaining a dark and often challenging texture to their incitement. Returning from a six month deployment in 2006, Childers formed rock band Chasing Corona which released the critically acclaimed album Black Eye and Candlelight as well as going on to share stages with artists such as Motley Crue, George Clinton, Creed, and Joan Jett. In 2010 he left the band and also since leaving the military, found in his words that “I was able to move back to where it all began, with new purpose and clear direction.”

As soon as the opening track from Aurora embraces ears there is recognition of that passion you sense in the man running through the release in sound and vocal delivery. Save Me straight away casts a wall of demanding riffs and ImageProxy.mvcrhythmic swipes which awaken attention and imagination instantly. It is a feisty entrance by the song which is soon entwining senses in taught grooves before relaxing into a melodic and emotive caress clasped by evocative shadows. It is a fiery relaxation though which is soon aflame as the rigorous chorus erupts with similar vocal causticity from Childers. It all combines for a gloriously magnetic lure aided by the great throaty prowl of the bass and those firm swinging rhythms which punctuate every twist and emotional expulsion of the song. As lyrically gripping as it is in sound, the song is like a mix of Johnny Wore Black and Sick Puppies, and a scintillating start to the release which alone fires up a hungry appetite for more in the passions.

Childers latest single comes next to continue the immense presence of the EP, Fall With Me also entangling the senses in raw and strongly imposing scythes of guitars at first before Childers begins unveiling the emotively striking and stirring premise of the song. It along with an accompanying video, potently tries to portray the turmoil and sacrifice in war which goes unrecognised or certainly felt by those on the outside. It has a metal edge which makes for a predatory essence whilst a 3 Days Grace like angst and expression adds further rich hues to the incendiary and thrilling encounter. There is equally a skill and poise to the musicianship of Childers which hones the emotion and aggressive flavours that drive the heart of the song into a thought sparking proposition.

The evocative balladry of Addict is next, keys and voice making a captivating embrace which flourishes further as Childers explores a flowing harmonious presence whilst embraced by shadow kissed strings. An electronic agitation adds its resonance across the brewing climate of the song, a whisper of Linkin Park spicing up a Pearl Jam/Breaking Benjamin like croon. It is a mesmeric blaze of dramatic enticement which makes way for the tempestuous air and energy of Run Away. Again Sick Puppies comes to mind as hooks sparkle and riffs rub their captivating bait on ears whilst a raw energy colours the song’s emotional bellow. As with all the tracks, there is an inescapable contagion and ferocious beauty which wraps and ignites the imagination whilst forming a lingering lure in the passions.

The EP is completed by firstly the heavy rock fuelled Impossible, a track which lacks the spark of its predecessors yet still has plenty to ensnare and draw back eager attention, especially the potent and increasingly impressing vocals and expression of Childers. It is followed by the title track to being things to a potent close. The acoustically cast track looking at a broken relationship and its twist, is a smouldering caress of a song where vocally Childers again shines and melodically is an evocatively flaming sunset of sonic richness and emotive endeavour. It is an excellent finale to an outstanding release which just gets better with every listen. As mentioned at the start, Aurora is not setting new plateaus to emulate but definitely provides one captivating promise drenched adventure which suggests to expect big things from Cole Childers ahead.

The Aurora EP is available now via Vanity Digital Music on iTunes, Amazon, Google Music and other digital download sites.

colechilders.com

8.5/10

RingMaster 13/08/2014

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Emphatic – Another Life

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Nestling potently and comfortably amongst the likes of Three Days Grace, Alterbridge, Chevelle, and Creed, US rock band Emphatic step forward once again to light up ears and thoughts with their new album Another Life. It is not a release which exactly sets down new markers or offers dramatically unique ventures within its eleven emotively powerful offerings but certainly it is one which leaves a strong canvas of infectious and richly rewarding musical narratives for senses and imagination to eagerly indulge in. The successor to the acclaimed Damage of 2011, the new album provides an appealing dose of heart sculpted highly accomplished rock intensity and passion.

Formed in 2004 by guitarist Justin McCain, Emphatic has had a steady and constantly ascending emergence, first leaving strong marks through their self-titled debut album of 2005 and three years later the Goodbye Girl EP. It was the release of Damage though which triggered a new depth of attention and awareness, not forgetting acclaim around the band. Live too with the sharing of stages with the likes of Stone Temple Pilots, Buckcherry, Avenged Sevenfold, Papa Roach, Breaking Benjamin, Flyleaf, Five Finger Death Punch, Theory of a Deadman, Alter Bridge, Black Stone Cherry, and Adelitas Way, the band’s reputation has grown and brought an enthused audience to their excellently crafted and energetically honed sounds.

The release of the last album was followed by the departure of vocalist Patrick Wilson who suffered a career halting injury when he fractured his larynx, and with also rhythm guitarist Lance Dowdle and bassist Alan Larson leaving, Emphatic was facing uncertain times. Eventually though McCain and drummer Patrick Mussack enlisted Jesse Saint (Scum of the Earth/The Autumn Offering) on bass and Bill Hudson (Cellador) on guitar whilst the frontman spot was taken by Toryn Green, the former vocalist of Fuel and touring lead vocalist for Apocalyptica. The new blood and energy gave a new lease of life to the band it is fair to say and certainly has combined to create in Another Life, their finest moment yet and a thoroughly enjoyable and persistently satisfying encounter.

The Omaha, Nebraska based band immediately works on the senses with the opening persuasion of Life After Anger. The song is a keen Album Coverand emotional caress with the vocals of Green taking little time to impress amongst sturdy beats and sinew driven riffs. The melodic heat and expressive voice of the track equally lays a reflective enticing lure and with an element of Seether to it, the song makes an excellent lead into the heart of the release which is straight away backed up by Time is Running Out. Again there is a familiarity to the track, something which applies to the album as a whole, but equally there is a flourish and intensity which marks it as Emphatic bred. The addictive sonic groove and continuing to impress vocals and supportive harmonies capture the imagination alongside a solid resource of invention and enterprise which parades across the song to bring forth a strong appetite for album and band.

The following Lights makes a gentle coaxing with its first breath before adding a little more urgency to its still restrained and emotional beckoning. The song than settles into a provocative and intensive narrative which without matching the heights just set still draws thoughts and emotions into its embrace whilst stretching the variety within the album, a melodic diversity given another flame by next up Some Things Never Die. The song similarly misses previous plateaus set but with a melodramatic touch of keys and tenderly preying call of riffs and bass, emerges to give its share of strong satisfaction and another string to the album’s aural bow.

Both The Choice and the title track bring the album up to its earlier heights, the first with an expectation feeding slice of rock but one which ensures they have a skilled and potent meal whilst the second entwines a delicious groove around an imaginative and fiery melodic painting of contagious adventure and evocative craft. The best song on Another Life, it leads passions by the hand into a sweltering dance of reflection bred, melody soaked colour within captivating passionate scenery.

As tracks like the stylish I Don’t Need You and the ballad Louder Than Love unveil their varying temptations and the fevered Forbidden You provokes the imagination, Emphatic continue to provide a thoroughly engaging presence. The three songs again are slightly adrift of the biggest highlights of the release whilst being soaked in a sound which arguably many bands have explored previously, but each nevertheless creates a persuasion and invitation that is hard to refuse or not want to accompany again.

Closing with the greatly pleasing Take Your Place, a track like many with an anthemic lure to its chorus and skilled bait to its melodic craft, and the lead single from Another Life in the shape of the adrenaline fuelled Remember Me, the album at the end of the day is an absorbing and openly enjoyable encounter. Superbly crafted and impressively delivered, Emphatic has brought a proposition which leaves you fully satisfied and with an increased appetite for their offering, a meal you know and feel safe with but also one filled with little spices of invention that keeps it fresh and daring.

http://Emphaticrock.com

7.5/10

RingMaster 23/10/2013

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Lost in Wonderland: Against the Sun

   Against the Sun Artwork

    Guildford band Lost in Wonderland first came to our notice here in 2011 with their impressive performance at local venue The Boileroom. Out of the three or four bands playing they were the ones who grabbed a lingering attention on the night and stayed as a thought in the mind since. The recent release of their debut album Against the Sun offered up the chance to find out how they had evolved from that more than decent performance and appealing sound of eighteen months or so ago.

The first thing notable as Against the Sun unveiled its passionate and superbly crafted songs, was the band still had the breath and flavoursome presence from our first introduction.  Lost in Wonderland and their music has certainly grown in maturity and strength but still retains the expressive heart and emotive fire which marked them all those months ago. Formed and led by songwriter, vocalist, guitarist Alexis Demetriou, a graduate of the Academy of Contemporary Music (ACM) in Guildford, the band is one which has gigged extensively with acclaim and a strong continually growing fan base in its wake. In many ways it is a surprise they have not earned a wider awareness and recognition before now but as the album treats the ear the sense that things might change soon fill the air.

Completed by fellow ACM graduates Max McPherson (lead guitar and backing vocals), Kim Griffin (bass) and Stephan Seiler (drums), Lost in Wonderland takes seeds and influences from bands such as Creed, Pearl Jam, Tool, Nickelback, Shinedown, Staind, and Alter Bridge, their inspirations open and clear as they fuse them with Middle Eastern vibes which hold a lure all of their own and melodic grooves that leave lips licked and emotions entangled. The band also is also no stranger to punctuating their rich sound with metallic muscle and forceful heavy rock intent; the finely shaped combination music which captures the imagination with ease. Whether it is a sound and album which has discovered its distinct voice and presence yet can be argued but both stand with heads held high in the company of bands mentioned.

Emerging squalling guitars register the first impact on the ear, a response soon elevated by the firm rhythms and probing basslines which follow as well as purely mesmeric fiery guitar play as the opener Rise Again steps forward. The vocals of Demetriou are as expressive as the music and share the passion driving the song. The melodic enterprise at times wrings spicery of Alter Bridge and Nickelback into its impacting flames and though it holds a familiar taste it is come with a unique flavouring.

The following title track rises like the breaking day sun, its warmth and melodic caresses wrapping around the ear as sturdy rhythmic sinews and crisp emotive intensity veins the encounter. Like the first, the track blends shadows and light musically and lyrically with impressive craft and grace, the songwriting and its realisation earning nothing less than acclaim and enthused focus. As the thread and representation of social and personal life emerges through the loosely attached theme inspired by Lewis Carroll’s timeless creation of Alice and her descent through a dark and seedy underworld, the album and tracks like the heartfelt No One Else to Blame and the exotic Enough bring stronger inventive pleasure. The second of this pair of songs is a riveting merger of muscle and melodic eloquence bringing thoughts of Audioslave and Stone Sour to the fore. It is an excellent track with those Middle Eastern teases loud contagious whispers and the perfect gate way to this equally impressive album.

The album continues to impress as each song unveils its heart and craft. Further highlights in one overall thrilling level come in the vibrant shapes of previous single Lost In Wonderland with its Poets Of The Fall like beauty, the Finnish band often coming to mind across the album, the potent and emotionally scenic Where Will You Be, and the pulsating Unwanted. The last is the closing track and leaves one with no alternative but to enter the world of the release right away, the song an infectious and sensational sunset on the album whilst at the same time turning the key to a new dawn with the release.

Against the Sun is an excellent album which melodic rock fans, especially those with a grunge and hard rock heart, will devour with eagerness. Lost In Wonderland has left those thoughts and impressions earned many months ago confirmed yet a big underestimation. This is a band all should become acquainted with.

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RingMaster 25/01/2013

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