Scream Blue Murder – Rock Bottom

Certainly with their debut album three years back, metallers Scream Blue Murder more than teased our attention; a release which coaxed strong praise around the metalcore scene. Now the band has just uncaged its predecessor and the teasing upon our personal attention is over, replaced by a forceful grip from an encounter which confirms the Coventry quartet one as one of the UK’s most striking proposition.

Formed in 2014, Scream Blue Murder quickly gained eager support through their first EP, a release leading to the band signing with Stay Sick Recordings. It was that debut full-length two years later which really stirred things up, Hollow Stories a collection of imagination soaked and boldly delivered songs. Since its success, the band has toured the USA three times and cross EU/UK countless times sharing stages with the likes of Bury Tomorrow, Crossfaith, Of Mice And Men, We Are The Ocean, Cancer Bats, The Defiled, I, The Breather, With One Last Breath, The Red Chord and so many more. Rock Bottom though is a whole new ball game, the new strength and maturity in songwriting matched by the new depth of adventure and imagination fuelled its tracks.

The album opens with Death Sentence, Aaron Bloomer‘s easily engaging vocals kissed by a warm melody in the song’s shadows. It is a potent invitation which soon catches light as the song looms nearer and erupts in a fiery melodic metal roar. Intensity and aggression soon joins the growing tempest, but one which ebbs and flows in its assault as the band’s melodic and harmonic prowess entangles the core volatility of the encounter.  As it expands its landscape atmospheric intimation brings another compelling exploration within the already infectious proposition, the guitar of Jack Roddy constantly shaping and entangling the inescapable tempting with rich enterprise.

Inside follows and immediately confronts and trespasses the senses, the hefty swings of drummer Jamie Bloomer driving its incursion. Even so, the invasive proposal is infectiously wired, again raw and clean vocals to the core of a virulence embracing the untamed nature of some of the surrounding sounds. Jacob Houghton’s bass adds a thick moodiness as well as its own rousing endeavour, the song all the while, as its predecessor, aligning mellow and melodic intimation with metal irritability and creative hostility.

The album’s title track and new single lays out its own particular magnetism next, Rock Bottom eventually seeing its opening melancholic sea bubbling up with harsher emotion and intensity. Every wave crashes in with instinctive catchiness amidst intimate self-reflection, drama soaking every note and syllable before recent single Bury Me eclipses its haunting success with unbridled virulence. Bass and guitar collude in a swiftly tempting web of riffs and grooves but a mere twist in the emerging landscape of imagination and enterprise creating one of the album’s major highlights. Every angle of the song is devious in its captivation and incitement, anxiety and angst soaking the fluid union of prickly attitude, spirited aggression, and calm repose.

Light It Up is just as dramatic and potent straight after, it too equipped with inescapable hooks and delicious grooves within a tapestry of texture varied adventure. Easily the most infectious moment within the release despite the contagious might of so many others, the song just manipulated and enslaved participation from body and throat whilst relishing the band’s open imagination does miss the target yet with its tetchy air and keys bred melodic climate offering plenty to become engaged in, striding rhythms and vocal contemplation adding to its persuasive fuel, it leaves thick satisfaction in its wake before The Anchor offers up its own inventive web, rancor and splenetic emotion lining its harsher threads alongside causticity less catchiness. It too took a touch longer to fully tempt but with a rousing chorus and individual flair constantly uniting for a rich recipe of sound it left little else to be desired.

A new harshness and irascibility soaks the latter part of the album, Friends Like Judas ear grabbing proof yet that fractious increasing does nothing to diminish the instinctive catchiness of songs and choruses which just light up the senses. Another big highpoint within Rock Bottom, it leaves a hunger for more in its wake as it makes way for the equally imposing and spitefully enticing Over the Line where every dynamic breath and inventive turn left another layer of praised for release and band.

Victims of Violence completes the line-up of pleasures, its haunting intimation and threat soon a fertile tempest of craft and emotive volatility whilst providing a striking and thrilling end to a just as potent release.

There is something familiar about the Scream Blue Murder sound at times across Rock Bottom yet it is hard to define and is more than tempered by the bold uniqueness which surrounds it. From their more metalcore beginnings, the band has evolved a rich multi-flavoured sound which inspires as it thrills. The fact that it feels like Scream Blue Murder are still to fully tap into their potential means it is hard not to be rather excited for times ahead whilst enjoying this triumph of a release.

Rock Bottom is out now via Stay Sick Recordings; available @ https://screambluemurderofficial.bigcartel.com/

Upcoming live dates…

May 17th – Coventry – Kasbah (Hometown show)

May 18th – Kingston – Fighting Cocks

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Pete RingMaster 01/05/2019

Copyright RingMaster: MyFreeCopyright

Deadly Circus Fire – The Hydra’s Tailor

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

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

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

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

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

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

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

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

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

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

The Hydra’s Tailor is out now via Musicarchy Media @ https://www.musicarchymedia.com/project/the-hydras-tailor/

http://www.deadlycircusfire.com   https://www.facebook.com/deadlycircusfire

Pete RingMaster 17/11/2015

Copyright RingMaster: MyFreeCopyright

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Saint[the]Sinner – Masquerades EP

Starting with the band name, Saint[the]Sinner weaves a thick web of temptation and drama that simply devours ears and imagination from within new EP Masquerades. The UK sextet are beginning to be renowned for casting tapestries woven with theatrical post-hardcore, melodic metal, and contagious pop rock, to simplify their sound. Their reputation in turn has grown by the year since forming in 2011 but after Masquerades it is easy to say that Saint[the]Sinner have stepped onto a new plateau and are ready to embrace the richest spotlights.

The past two to three years has seen the band share stages with the likes of Crossfaith, Bullet for My Valentine, and A Day To Remember amongst great many as well as play the Warped Tour in 2013 and Takedown a year later. 2015 has been no less busy for the band, culminating in the release of Masquerades, which Saint[the]Sinner recorded with and was produced by Romesh Dodangoda (Bullet for My Valentine, All Time Low, Bring Me The Horizon). The six track adventure of sound is pure magnetism and though arguably its contents bask more openly in inspirations than the band’s previous songs, it has only resulted in the most unique and exciting offering from the band yet.

Rich in the scent of bands such as My Chemical Romance, Panic at the Disco, Avenged Sevenfold, and Fall Out Boy, Masquerades is a perpetual torrent of creative adventure and imagination soaked in instinctive drama, as shown by the opener Theatre Of Broken Dreams. From its initial music box like melody the song holds court, swiftly throwing open the door to muscular rhythms and ravenous riffs as a two prong vocal attack spreads the emerging narrative. The raw squalls of Lukey Juan are uncompromising but superbly tempered and accentuated by the excellent clean tones of James Laughton, his impressive presence similarly illuminated by the enjoyably rabid delivery of Juan. With that first starting touch of symphonically laced keys still flirting within the intensive blanket of invention and sound, the track relentlessly twists and turns, its volatility seeded in a maze of styles and compelling imagination. Those early references are a vocal colour to the song, but as suggested, clear hues in something original and creatively vaudevillian to Saint[the]Sinner.

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The outstanding start is followed by First Blood, another ferocious mesh of rich flavours and varied styles honed into something distinct to the band. Keys appeal early and again get smothered in the thick tide of sound and atmosphere but still continue to lurk as the guitars of Pash Stratton and Billy Muircroft evolve through seduction and predation, matching the vocals simultaneously. Whiffs of Muse and Bullet for My Valentine also drift across the tempestuous wave of multi-coloured sound, as the track creates an enthralling invitation impossible to refuse.

The next up Left For Dead revels in more pop rock scenery for its vibrant if still intimidating start, virulence instantly flowing through the magnetic proposal, especially in its Fall Out Boy like infestation of a chorus. The bass of Tom Bigg is a growl of shadows whilst drummer James Booth scythes through the air with instinctive intensity to match the contrasting grouchiness of Juan’s vocals. Along its thrilling length, the keys spread symphonic evocation whilst the guitars write their own dramatic persuasion within another striking proposition within Masquerades.

She’s a Vampire is the same, every element seeming to have its own story going on within the total play of the track, but all uniting with fluid and resourceful craft for one riveting croon come storm of emotion and sonic adventure. Across the EP, Laughton increasingly impresses with his expressive and potent tones, they the more dominant presence here, but that is something easy to say for all members as each song stirs up ears and appetite with zeal and a prowess of dramatic invention.

The EP comes to an end through the irritably imposing Set It Off and finally the alluring labyrinth of Asylum. Both tracks show another shade of the sound and songwriting of Saint[the]Sinner, the first of the pair entangling metalcore seeded savagery into its blossoming landscape of post hardcore and melodic metal theatre. Its successor also opens, as the first song on the EP, with a haunting melody, quickly casting a cinematic theatre of hooks and enterprise which is soon caught in the claws of rapacious metal and vocal ire, that in turn revolving within a melody honed calm and symphonic mysteriousness; all elements in league with each other from thereon in to masterful and gripping success.

It is a mouth-watering end to an equally mighty release. If the likes of the aforementioned My Chemical Romance, Panic at the Disco, and Avenged Sevenfold do not do it for you than maybe Saint[the]Sinner might be a proposal that lacks something but as said, the band takes all flavours and turn them into their own continuing to grow and impress body of invention so for all they are worthy of a listen. The bottom-line is that this is a band with the potential to go really places, and soon so do you want to miss out?

The Masquerades EP is out now @ http://saintthesinner.co.uk/shop/

http://www.saintthesinner.co.uk  http://www.twitter.com/saintthesin   https://www.facebook.com/SaintTheSinnerOfficial

Pete RingMaster 10/11/2015

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

Set To Break – Redemption

  Metalcore is one of those genres where it is not stale but it does seem to be under a general umbrella of similarity across certainly emerging bands. One unit which looks like having the sound and potential to buck that trend is Welsh metallers Set To Break. The band with the unleashing of their debut EP Redemption, do not yet stand distinctly apart from the rest but as shown by the six ferocious expulsions masquerading as songs, there is something uniquely compelling brewing within their passion soaked craft and sonic violence. The Imperial Music released fury is an expressive battering ram upon the senses and an encounter which sparks a healthy appetite for the band and their future.

     Hailing from Bridgend, Set To Break was formed last year by five friends who wanted ‘to create music that ripped apart the standard formulae of metalcore, yet remained true to the band’s influences and beliefs.’ It was not long before the quintet of vocalist George Ross, guitarists Shaun Owens and Craig Owens, bassist Dan Charles, and drummer Rhys Morgan were building a potent reputation across Wales and the south of England, sharing stages with bands such as Crossfaith, Heart Of A Coward, Malevolence, and The Charm The Fury along the way. Infusing inspirations from bands like Parkway Drive, August Burns Red, and Continents into their own inventive premises, Set To Break signed to Imperial Music who got one of their tracks placed on a Metal Hammer Magazine cover mounted CD. The band next entered the studio with Jonny Renshaw (Devil Sold His Soul) to record Redemption, a release which easily marks out the band as a target for attention and enthusiastic anticipation towards their horizons.

    The brief opener Lost draws the imagination into the depths of the release, its melodically cast emotive dawning courted by resonating rhythms and intrigue drenched evolving drama. As the piece stretches its height and intensity, an intimidating atmosphere soaks ears and senses, its arms wrapping intimidatingly around thoughts as sonic endeavour veins the dark climes spawning the portentous adventure. The coarse angst drenched squalls of Ross add further corrosive emotion to it all before the track makes way for the excellent Made To Suffer. The new track submerges ears in an expanse of crisply delivered antagonistic rhythms and predatory riffing driven by guttural washes of vocal vehemence. There is also a persistent if understated groove which teases and hints throughout the tempestuous incitement. It all merges for a contagious enveloping of the senses but one enriched with magnetic enterprise and exhausting energy. The song is an excellent draw into the imaginative aggressive world of Set To Break, and immediate suggestion of something different and exciting to this new metallic force.

      The following Paid Pride is a less imposing treat than its predecessor, though it does not skimp on sinew and intense provocation. The track twists and meanders with deliberate restraint and heightened emotive investigation as the sonic guitar sculpting adds rich hues to the gripping canvas of the song. It is not as dramatically gripping as the previous track but still lays down a masterful and enthralling narrative to immerse within. Its position between the excellent second song and the brilliant Ulterior Motives does it no favours either though it fights its corner well and satisfyingly before the next track explodes in the passions. Ulterior Motives has a carnal breath to its bestial intrusiveness, an opening melodic acidity and beauty merging with guttural vocal bruisings and overbearing rhythms. The new provocation then launches into a groove led chorus which has a definite familiarity to it, vocally and musically with Slipknot the most obvious comparison. This only adds to the strength of the track, its consistently shifting and changing attack an unpredictable and riveting onslaught furthering still the uniqueness of the band amongst other metalcore provocateurs.

     The EP is completed by Khan and Bermuda, two pleasing and expertly crafted furies but neither stepping into the distinctively inventive fields of the earlier songs. To be fair the two songs easily captivate and impress but that spark which sets the band apart is not as prominent and gripping within them, though the keys and furious intensity of the first of the two and the group confrontation of the second certainly keeps the hunger for the band alive and greedy.

    Redemption is an excellent debut from a band which we can be certain of hearing plenty more of ahead. Set To Break reek of the promise of greater and more special incitements to be discovered within their already creative quality and voraciousness; watch this space and enjoy is our recommendation.

http://www.facebook.com/settobreak

8/10

Ringmaster 17/03/2014

Copyright RingMaster: MyFreeCopyright

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SET TO BREAK poised to show ‘Redemption’, on Monday 17th March‏

 

 

DEBUT EP NATIONALLY RELEASED THIS SPRING!

 

High Flying South Wales metalcore crew Set To Break drop their explosive debut EP Redemption on Monday 17th March, through Imperial Music.

Bridgend bruisers Set To Break were spawned at the foot of 2013 by long-time friends George Ross (Vocals), Rhys Morgan (Percussion), Dan Charles (bass), Shaun Owens (guitar) and Craig Owens (guitar), who wanted to create music that ripped apart the standard formulae of metalcore, yet remained true to the band’s influences and beliefs. The band soon found their feet, and began to widely play throughout the heart of their native Wales and southern England, landing support slots with the likes of Crossfaith, Heart Of A Coward, Malevolence and The Charm The Fury. With their eclectic leanings straddling many areas, the band pull inspiration from the likes of Parkway Drive, August Burns Red and Continents, while they find their own characteristic voice in the alchemy of creating music.

Set To Break were soon snapped up by Imperial Music, who placed a track of theirs on the cover CD of Metal Hammer Magazine, and subsequently booked the band into Bandit Studios with Jonny Renshaw (Devil Sold His Soul) behind the desk. After relentless sessions, the quartet produced their debut EP entitled ‘Redemption’, and it’s purely intoxicating. From the first notes of the progressively textured ‘Lost’, to the breathtaking ‘Made To Suffer’, which pitches gut-wrenching vocals against veracious guitar lines, and on to the low slung pounding groove of ‘Paid Pride’, it’s evident that Set To Break have forged something special. ‘Ulterior Motives’ continues to compound the band’s potency with its sheer power and layered guitar work, while their recent single ‘Khan’ shifts gears, incorporating subtle piano with stunning dynamics. Last up, ‘Bermuda’ closes the EP in style with its blistering riffs and fiery drive. The UK noise tyrants will now head for the road as they prime to break to a national level.

= SET TO BREAK RELEASE ‘REDEMPTION’ ON MONDAY 17TH MARCH THROUGH ALL STORES =

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