Fathom Farewell – Consume the Earth

Oct16

Fathom Farewell is a band with a growing wind of praise behind them, one sure to be more vociferous with the release of new EP, Consume the Earth. The Boston quartet have emerged from within the melodic metalcore scene but as the six tracks within their latest offering shows, their sound is a far more adventurous and varied blend of metal and melodic rock enterprise.

Since emerging in 2014, Fathom Farewell has forged a potent reputation and fan base with their Decomposition EP in 2017 especially luring strong praise and attention. Live the band has equally impressed as they have shared stages with the likes of Issues, The Devil Wears Prada, Volumes, I Prevail, Currents and many more, supported Sevendust on their 20th anniversary tour, playing upon the Vans Warped Tour four times as well as making numerous appearances at other prestigious festivals. In the midst of their Raid Area 51 US Tour, the band is hungrily nudging far broader attention with Consume the Earth, a hinting which is hard to see not finding some real recognition such its impressive character of sound and craft.

EP opener, Six Feet Beneath, immediately drew keen ears with its initial rally of rhythms and stabbing riffs, melodic enticement swiftly joining that initial potent lure as the song quickly slips into its magnetic stride. Individual dexterity is just as openly and rapidly in evidence, the guitar of Gage Killion and bass of Steve Almona unveiling respectively sharply incisive and contagiously brooding imagination around the equally compelling rhythms of drummer Casey Albiero. Just as striking come the vocals of Alex Cohen, his variety and agility another major captivation to song and sound as the EP gets off to a stirring start.

Its title track follows and is soon showing the same strength of invention and contagious enterprise, its breath and flavouring arguably even more rapacious than within its predecessor as the song surges boisterously through ears. Again metal and rock textures align to be woven into a song thick in melodic prowess and unpredictable ideation whilst embracing more familiar hues to equally enjoyable success. A momentary calm only brings further and richer drama to the track, the same kind of emotively aflame quiet lining Cohen’s vocals ably backed by the harmonic tones of Almona.

As eagerly devoured as they were, Wide Awake took a far bigger swipe at our favourite track choice, its opening voracious tempting as feral as it is melodically seductive and urgently catchy. It is an infectious adroitness which continues to infest the magnetic landscape of the fiery encounter before Mutiny adds its claim to that personal choice honour and ultimately seizes it. A twirling thread of guitar introduces the immediately tempestuous climate and body of the song, its ferocious metalcore nurtured assault inspiring a similarly fierce and untamed eruption in the vocals. There is an instant infectiousness to the rabidity of the song, rhythms again as barbarous as they are a virulent incitement while Killion’s guitar spins another enticing web before melody and harmony momentarily flood the creative and emotive antipathy; subsequently breaking the turbulence again with similar magnetism in a storm of nothing but.

A far calmer but no less heated Cold Beginnings is next, its evocative and melodically lit body exposed to sonic flames and intense drama throughout before the release is concluded by Soul Within The Shadow. The final track is another with drama soaking every note and syllable, its tapestry of sound and imagination ablaze with melodic intensity and technical insurgency. Equally it has an underlying volatility which erupts with ferocious, masterful, and accomplished adventure.

It is a rousing end to a release which only impressed from start to finish with certain and numerous moments that just lit our fires. Welcome world to Fathom Farewell.

Consume the Earth is out now; available through http://www.fathomfarewell.com/store

http://www.fathomfarewell.com/ https://www.facebook.com/fathomfarewell https://twitter.com/fathomfarewell

Pete RingMaster 27/09/2019

Deference / Vanity – Condemned To Repeat EP

May1

The Condemned To Repeat EP brings together two of the UK’s most promising, indeed already exciting metal prospects and across rousing ear gripping tracks shows why both are creating a real buzz.

The release sees South London metallers Deference and Southampton outfit Vanity provide two tracks each of their increasingly individual sounds. It is an encounter springing from the idea of a prospective collaboration between both bands which Deference members, vocalist Rob Lea and vocalist/guitarist Matt Dennison, offered forward late 2017. Vanity guitarist Luke Jervis explains, “We decided against creating a hybrid band between the two but wanted to focus more on the initial project of creating music as a collective.” The four tracks do see the vocalists of each band sharing vocal duties in each other’s offerings though to add to the open adventure of the release.

Deference provides the first pair of songs, starting things off with Sins. The band has seen their melodic metal constantly lure a host of new fans particularly from sharing stages with the likes of Bless The Fall, Miss May I, Fit For A King, Currents, Rolo Tomassi and Napoleon in recent times. Their first track initially coaxes ears with a suggestive melody, a calm but potent lure soon joined by the carnivorous textures of Dennison and Jonathan Prince’s guitars. Rhythms are less eager but resonate with every growl of Shaun Kirtland’s bass and the swinging attack of drummer Mike Hill, until it all boils over in a rousing roar. Even then there is a certain control to the eruption, a creative prowess which perfectly aligns to the growing vocal spread of enterprise. Drama soaks every note unveiled as too rich imagination, the track giving hints as to why the band has been compared to the likes of Architects and Northlane.

Their second track is just as compelling, Burial a voracious slab of discontent and creative fury strapped with hungry grooves and rapier thrusting rhythms. It is a sonic wrath tempered by an atmospheric sigh and turbulence interrupting melodic flames, a song never settling or allowing the listener to before its tempestuous roar and like its companion hits the spot right on but the second unleashes an especially inventive spleen impossible to resist.

It is the same with the two incitements from Vanity, a band which has already excited our appetites as many others through the Perspective//Dread and Perspective//Empathy EPs a couple of years or so back. They too have made their mark on the European live scene, playing with bands such as We Came As Romans, Chelsea Grin, Thy Art Is Murder, Black Tongue and I Killed The Prom Queen. Humane is first up from the quintet, emerging from an atmospheric mist with a rich wiring of grooves and a hellacious web of vocal ire. Swiftly the song expands its sonic lures and suggestive atmosphere, unpredictability joining volatility in the breath and heart of the increasingly enthralling trespass as all the while it preys on ears with growing dexterity, stalking the senses to share fear and pleasure.

Disillusioned is equally predatory as it completes the line-up, the track crawling over the listener with carnal intent whilst equally providing a magnetic blend of vocal adventure and melodic intimation. Again, the invasion never follows expectations, every second and breath bringing fresh challenge borne of real imagination to arouse and captivate.

Condemned To Repeat is an outstanding incursion from two bands which so far are only growing more striking and thrilling by the release and declaring UK metal is in exciting hands.

The Condemned To Repeat EP is available now.

https://www.facebook.com/WeAreDeference https://www.facebook.com/VANITYUK/

Pete RingMaster 30/04/2019

Rozu Interview

Jan25

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

Can you first introduce the band and give us some background to its start?

Thanks for having us guys! We are a little band called Rozu from Denver Colorado, comprised of myself, Tim Graham (vocals), DJ Sundine (guitar), Henry Navarre (bass), and Brian Robertson (drums). We all came together back in January of this year with one goal in mind to write some heavy influenced post hardcore music. We have all been in our local scene for years always being the guys that were pushing our previous projects to get to that next level and thought it would be a good fit to all come together and have not just one member but all members with that same drive, passion, and work ethic.

Have you been or are involved in other bands? If so has that had any impact on what you are doing now, in maybe inspiring a change of style or direction?

Yeah, we have all been in bands for 5 plus years. DJ and myself were both in a band together that was pretty much in our same realm where Henry has been in so many different styles of bands and still writes a bunch of different styles of music from ours. Brian plays in another band that is a pretty awesome blend of A Day To Remember and Avenged Sevenfold and does musicals. I think our diversity while having these deep post hardcore love and roots give us a lot of cool ideas and diversity within our writing sessions that mesh very well.

What inspired the band name?

We really just wanted something different and short, one word with a max of 3 syllables. We had a pretty long list of names and Rozu (Japanese for rose) was one of those ones that we all kind of fell in love with. We polled around some names with friends and connections and at the end of the day Rozu was the one that really caught everyone’s attention.

Was there any specific idea behind the forming of the band and also in what you wanted it and your sound to offer?

We really just wanted to write music together and the vibes were there. We want to tour and be in a band that is run the proper way and conduct more as a business. When it comes to our sound we wanted to stay true to our roots, but we don’t have any intention of writing the same formula with every song and instead want to write how we are feeling on that given day. This has led us to writing some really heavy songs and also a lot of very soft and even acoustic songs. With the digital age we live in we don’t want to confine ourselves to one style, but every song has that Rozu feel to it.

And that core aim still drives band even though it is still relatively fresh-faced or has grown?

It is still the same drive every day. It has been so awesome to have this incredible vibe and drive within our camp that I have personally never felt within any other band, which is truly a blessing.

Since those first steps how would you say your sound has evolved?

It is evolving every day. As we get more and more comfortable with each other more ideas are being thrown on the table and it is leading to some incredible songs.

Has it been more of an organic growth within the band so far or more you deliberately wanting to try new things?

We always want to push each song to the next level from the last, but it is very organic just always wanting to try new things.

Presumably 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?

For this project we are really inspired by Underoath, Taking Back Sunday, Plot In You, Saosin, Currents, and Every Time I Die.

Is there a particular process which generally guides the writing of songs?

We so far have really just been a studio writing kind of band. It’s pretty much dissecting and building off of single ideas within the computer and really making the songs come to life. We have brought in a good friend of ours Tyler Ruehl for a couple songs of co-writes which has really expanded our sound and is just a great dude that has helped all of us including himself push to be better and better every day.

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

For me I really draw inspirations from my past and present experiences. I have struggled a lot with anxiety and depression in my life along with some alcohol abuse to mask my pain and needing that feeling of being numb. I bottle my shit up and music has always been my canvas and therapy to let all that shit out while trying to find the light at the end of the tunnel. We want to have that positive message within our lyrics even when talking about some of the darkest times in my life.

Give us some background to your latest release.

We released our second single Faceless back in September which goes through some of the darkest times of my life. It tells the story of that inner battle with your conscious about the way you are living your life and masking all your pain with substance abuse (in this case alcohol). The best thing that I ever did in my life was allow people into this pain I was feeling and instead of drinking my issues away I was finding comfort from friends and family which is the best thing you can do for yourself in those low moments. We have lost so many fucking incredible talents in the past two years to substance abuse going through similar things that many humans go through, so we wanted that message to be there with the repeating line “I just need to let them in” being those outside voices trying to help you.

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?

We for sure develop all songs within the studio. We generally have a riff or a melody that we build off of and work it out on the grid as opposed to sitting in a room jamming things out that we could possibly forget before we even get into the studio.

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

I think our energy is what makes us exciting to see. We all love what we are writing and doing as a unit and that energy we put out in a live setting is absolutely contagious.

It is not easy for any new band to make an impact regionally let alone nationally and further afield. How have you found it so far?

I absolutely believe there is always opportunities and we are all pushing for that next milestone for ourselves. In such a digital age we can see where our markets are and plan tours and shows to be more economic without fully wearing ourselves out touring an unnecessary amount.

How has the internet and social media impacted on the band to date? Do you see it as something a negative but essential or wholly positive?

Social media is absolutely toxic but is a blessing to be able to connect more with people who truly enjoy your music around the world. I think this digital streaming age is a blessing though, when you learn how to use the amazing tools provided for you. Music has always been so overly saturated, but it makes it so much easier to target the demographic you are looking for and cutting through all the noise to reach your next milestone or goal.

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

Thank you guys for having us. To the fans new and old we love all of you with everything we have, thank you all so much for the support at such a young point in this project, we feel truly blessed. We are currently gearing up to release a couple new songs and shooting videos for them in the upcoming weeks and are currently planning some run of shows so look for us in your city!

https://rozuband.com/ https://www.facebook.com/rozuofficial/

Pete RingMaster 07/12/2018

Tides of change: Talking Currents with In Vain

Apr7

Photo by Jørn Veberg

There have already been some truly striking releases in 2018 and maybe no more so than the new album from Norwegian metallers In Vain. Currents is a progressive metal adventure which surprises at every twist and enthrals at every turn. With big thanks to him, we recently had the pleasure to explore the album closely with guitarist/songwriter Johnar Håland and the band, getting to its heart, its journey to release and much more….

Hi Guys, many thanks for sparring your time to talk with us.

It is fair to say that it is a busy time for the band with the recent release of your new album, Currents. Have you had time to sit back and reflect on its initial success and plaudits yet?

Hi! Thanks for your review and for taking the time to do this interview. Things are quieting down a bit now and as you say, the feedback has been really good. However, I am not really a person who looks back. My thoughts are more focused on the next album.

It seems that you have spent a long time in its creation, that time certainly reflected and heard in all its honed intricacies and bold adventures. What is the time scale for its creation?

Our previous album, Ænigma, was released in 2013 and there seems to be people who think we spent five years writing this album. That is not the case. There are several reasons for why this album was delayed. Personal issues forced me to put composing on halt for almost a year, and with me being the only songwriter in the band that forced the whole process to a standstill. In addition, I was working on the debut album of my other band, From Strength to Strength, which is a hardcore band that will release its debut album some time during 2018. On top of that I spent the majority of my spare time reading for the CFA (Chartered Financial Analyst), which is a self-study in finance I have been doing the last three years besides my full-time job. The album was actually finished in June 2017, but we could not set a release date until we had a proper tour booked to support the release. So there are many reasons for this long delay. Hopefully it will not take five years until the next album!

I am sure you will not disagree with us when we say it is your biggest, boldest, and most imaginative release. Did you have any specific aims when writing and creating Currents or it just organically evolved into what we hear?

I am not really sure to be honest. Our debut album The Latter Rain (2007) was also quite bold. Back then we were a totally new and unknown band who released an album of one hour with grandiose and complex music supported by 20 guest musicians. So that was definitely a brave musical undertaking.

In all aspects, we feel Currents eclipses its acclaimed and also richly enjoyable predecessor, Ænigma. Where do you see the biggest evolution?

To be honest, I am not a fan of comparing music. In my opinion, Currents is another strong album in our catalogue. It is a very diverse album full of contrasts and has high-quality music with longevity. I take it as a sign of quality that there are different opinions with regards to which of our albums people enjoy the most. I do not believe Currents is that much different from our previous work, but there are some changes. The production is more organic, there are some shorter songs and it is less black metal compared with our previous releases.

Currents embraces the widest array of flavours and styles in your sound yet, a truly expansive landscape weaved around bold yet often delicate contrasts but it still has that signature In Vain breath. Did you have to concentrate on keeping that character or it again just naturally evolved as indeed that broad tapestry of sound?

I think it is just a natural evolution to be honest. I do not really think that the music is that much different from our previous releases, however there are some new elements. For instance we have one song, Soul Adventurer, with mainly clean vocals. We also have a song with acapella choirs, Blood We Shed, and that is something we have not done before.

You linked up, as for the previous album, with producer Jens Bogren. It is fair to say he gets your sound and imagination but what does he especially bring to the mix which you feel adds to the realisation of your ideas?

We were very pleased with Jens’ work on Ænigma. We did not really have any other alternatives at hand and decided to go back to him. We wanted a much more organic sound this time around though, and I think we achieved that. Jens usually knows what we want and I think we have the same views on what sounds good and not.

Give us some insight into the recording of the album.

All the guitars and bass were recorded in my home studio, except for some lead guitar solos that Kjetil recorded at his home. Vocals and other instruments were recorded in Strand Studio in Oslo. Everything was re-amped by Jens Bogren and he also did the whole mixing and mastering of the album. However, we were never present in his studio and only communicated with him via email and phone.

We have had the real pleasure of having an insight into the lyrical side of the album ahead of its emergence. Can you share some of the themes and inspirations to the songs?

Currents is not a concept album in the traditional sense, however there is a topic and a red line in the music, lyrics and artwork. Currents, reflects on the colossal shifts and changes of our time. The present world is characterized by continental flows of people, traditions and cultures. Migration of people across continents and borders…Cultures merging. Dramatic shifts in lifestyle from one generation to the next. This topic exists in both the lyrics and the music however we only touch upon it in an abstract way with a top-down view. It is important for me to clarify that we do not have any direct political views on this matter reflected in our lyrics. Besides that, the lyrical themes are varied, ranging from personal experiences and struggles, to contemplations on nature, philosophy and the historical and political development of this twisted world we´re living in.

Was there a particular process to the writing of songs for Currents?

The process was the same as previously. I write the songs alone and present complete compositions to the rest of the band. Later on I involve Sindre in the preproduction, as he also lives in Oslo. All members are free to add their personal touch to the songs and to give suggestions, but as the songwriter I have the final word.

It also sees a few guests such as drummer Baard Kolstad (Leprous, Borknagar), vocalist and former band member Kristian Wikstøl (From Strength to Strength), and vocalist Matthew Kiichi Heafy (Trivium). Were these happy happenings or thought of early on in the album’s creation?

This was something we decided on during the preproduction process. All the guests added their personal touch to the album and we are very pleased with their performance.

I know as for so many bands finances make a major part in decisions and possibilities in keeping going let alone forging ahead with releases, tours etc. for In Vain. How did this put restraints on Currents and do you see crowd funding as a feasible way forward?

We are fortunate to be able to record albums of the quality we prefer. The total budget for this album is around 50 000 EUR I guess, so hopefully people understand that they need to support us financially if they want to hear more In Vain albums in the future. We have not paid anything out of our own pockets. The label pays and we are also fortunate to get some financial support from various grants in Norway. However, the label obviously needs to get in break-even before we will get any part of the potential profit. Touring is more challenging and a tour costs a lot of money. Financing definitely puts a limit on how many tours we are able to do.

As with your previous albums, Currents is available through Indie Recordings. How have they helped, apart from the obvious, in bringing the album to our ears?

We have been with Indie Recordings since 2005 and we are actually the first band they ever signed. We have a good relationship with them. Obviously there are things that could be better, but that is always the case.

For those new to In Vain can you tell them about the beginnings of the band…the early days?

In Vain is a Norwegian band that plays progressive extreme metal and was formed in 2003. Andreas (vocals), Sindre (vocals) and myself (guitar) are the founding members, while Kjetil (guitar) joined the band in 2009 during the recording of our second album Mantra. Our bassist Alex has been around since 2013 and our drummer Tobias joined us recently. So far we have released four albums and two EPs, and we signed with Indie Recordings after releasing our second EP Wounds in 2005. Our latest album Currents was released on 26 January 2018 and we just came back from a European tour with Orphaned Land, Subterranean Masquerade and Aevum.

What is next for In Vain, shows etc. and once the dust of its triumph settles ahead?

We just came back from a European tour with Orphaned Land, Subterranean Masquerade and Aevum. We covered London, France, Spain, Arnhem and Essen. Our hope is to do another tour later in the year where we cover the countries we did not have the chance to go to on this tour. Besides that we will play some shows in Norway and some festivals.

Once again big thanks for giving us your time. Any last words you would like to share?

Thank you very much for your support, we appreciate it! To the readers; keep supporting great music, have a go at our new album Currents, and stop by our FB page at https://www.facebook.com/InVainOfficial/ for news, music, tour dates and other stuff.

Check out the review of Currents @ https://ringmasterreviewintroduces.wordpress.com/2018/02/04/in-vain-currents/

http://www.invain.org/ https://twitter.com/invainofficial

Pete RingMaster

The RingMaster Review 07/04/2018

In Vain – Currents

Feb4

Just a handful of weeks short of five years back, Norwegian metallers In Vain released the ear gripping Ænigma. It was a release which brought and honed all the potential and impressive attributes of its two predecessors to one seriously striking head. That triumphant encounter has now been swept away in the creative eddy of the band’s fourth album Currents, a proposal which lustily roars In Vain as being one of metal’s finest and most exciting propositions.

Since emerging in 2003, In Vain has grown within and persistently ascended the European metal scene with their adventurously imaginative progressive extreme metal. Their 2007 debut album, The Latter Rain, swiftly stirred keen attention and critical praise, and a reputation for craft and sound which the more variable Mantra nevertheless only reinforced. The Jens Bogren (Opeth, Dimmu Borgir, Katatonia, Devin Townsend, Kreator) produced Ænigma simply sparked the imagination as it built upon and pushed the traits of those before. It all pales though before the majesty of Currents, a release which surprises at every twist and enthrals at every turn. Intricately woven yet as organic as the passion which drives it, Ænigma not only takes the In Vain sound to a whole new level, it brings progressive metal a fresh landscape shaping breath.

Seeing Bogren united with the band once again, Currents contemplates “the colossal shifts and changes of our time” looking at the currents behind major events and changes across the modern world from “Migration of people across continents and borders, cultures merging and the dramatic shifts in lifestyle from one generation to the next.” It also features guest appearances from the likes of drummer Baard Kolstad (Leprous, Borknagar), vocalist and former band member Kristian Wikstøl (From Strength to Strength), and vocalist Matthew Kiichi Heafy (Trivium) among various more.

Currents opens with Seekers of the Truth and immediately entwines ears in steely vines of guitar as beats bite. Andreas Frigstad’s raw throated vocals soon prowl the engaging lure, rhythms and melodies colluding in a web of threat and intrigue around him with the song’s climate imposingly bracing but equally infectious as the guitars of Johnar Håland and Kjetil Domaas Petersen almost dance on the ear. The progressive nature of the band’s sound subsequently infuses the track’s aggressive intent, varied strains of extreme metal merging with melodic enterprise for a captivating trespass.

Even so it’s potent and ear grabbing entrance into the album is soon eclipsed by next up Soul Adventurer. Within its first breath as keys rise, grooves are writhing around the imagination, their earnest exploits matched by the superb clean vocals of keyboardist Sindre Nedland. It is instantly compelling, increasingly so as the song gets right under the skin with resourceful harmonies and rolling rhythms only adding to the richness as the guitars spin a web of creative temptation. It is the superb vocal blend across the band though which brings it all together for easily one of the best tracks ever spawned by the imagination of In Vain.

That is a height though regularly equalled from hereon in staring with Blood We Shed, the track a wall of predacious intent and tone led by Frigstad’s vocal threat. Riffs and grooves soon collude in their own menacing enterprise, the bass of Alexander Bøe a thick grumbling incitement but from within their dark nature a ripple of melodic suggestion becomes a heated, harmonic serenade. There is plenty more going on too as keys and voices take the stage before falling under the incoming rumble of those earlier imposing textures, an array of imaginative moments which seem to reveal more with every listen.

Currents comes in two editions, the Special Edition offering two additional tracks with And Quiet Flows the Scheldt the first. Like a developing landscape, the song grows by the second as vocals and guitars shape an atmospheric flight through suggestive sonic scenery. The track does not have the snap of its predecessor but infuses a drama which draws the imagination right into its heart, vocals again as stirring as the music with the flames of sax a captivating heat in its evocative climate.

The funkier tapestry of Origin and the inviting mystery of En Forgangen Tid (Times of Yore Pt. II) bring their own enthralling reflections to ears and thoughts next, the first a robust yet considerate confrontation masterfully blending contrasts in power, aggression, and tone not forgetting flavours. This is an ability In Vain have never been lacking but as so many other things it has breached a new pinnacle within Currents as the second of the two confirms. Sung in the band’s native tongue, the song is glorious. In no time melodies vein a portentous air, dark and light wrapping round each other as a kaleidoscope of vocal and atmospheric intimation entices from within the magnetically tempestuous vortex.

Ghost Path is the second song found only on the larger edition of the album, the track sharing its own mysterious shadow haunted realm. The imagination is taking on a stroll through an underworld of fear, despair, and increasing creative ill-intent which comes to a head in a rhythmically driven, rapaciously fuelled predation of sound and intensity. The song is pure creative theatre, and reason alone to go grab the bigger version of the album as you really do not want to miss out.

The album concludes with firstly the similarly enthralling infestation of As the Black Horde Storms. Its blackened assault has a folkish tinge to its melodic undercurrent, death bred traits soon as prevalent as the track consumes the senses and begins spinning another web of striking imagination and sound where, as throughout the release, every moment brings surprise and invention to absorb and impress. Its successor, Standing on the Ground of Mammoths, smothers ears with its dark air and slightly corrosive texture whilst again gripping attention with is aural enticement and vocal dexterity. More a song with its creative tenacity and enterprise understated compared with other tracks within Currents; every dive into it brings them closer to the surface though its slip in a thoughtful melodic seduction mid-way is a beguiling caress from the first moment.

It provides an end to an album which simply excites from start to finish. Setting a new marker for not only the band but extreme progressive metal, In Vain has become one of the most fascinating and enjoyable propositions within world metal.

Currents is available now through Indie Recordings digitally and as a normal and special edition on CD and Vinyl.

http://www.invain.org/ https://www.facebook.com/InVainOfficial/ https://twitter.com/invainofficial

Pete RingMaster 04/02/2018

Atlas Losing Grip – Currents

Jan16

atlaslosinggrippromo 2

Ten years in and unleashing their third album this very week, Swedish melodic punks Atlas Losing Grip just get better and musically broader. Currents is a treat of a confrontation and muscular seduction, a release bulging with explosive songs bred in imaginative songwriting and bound in just as magnetically resourceful sounds. As striking and highly persuasive as it is from the first listen, it grows into an even more rigorously compelling adventure over time, revealing new nuances and depths from play to play. Atlas Losing Grip has had no lacking of acclaim coming their way with their reputation growing show by show, release by release, but Currents is a new plateau of enterprise and maturity from the band, a certain game changer in attention and stature.

Hailing from Lund, Atlas Losing Grip upon forming swiftly stirred up appetites in the city’s renowned punk scene which had also spawned the likes of Satanic Surfers and Astream. Debut album Shut The World Out was unveiled to strong responses in 2008, its success followed by the recruitment of Satanic Surfers vocalist Rodrigo Alfaro into the line-up. The next year was marked by the release of Watching The Horizon on mini-cd and 10” vinyl record, an immediate indication of a potent growth in the band’s craft and metal infused punk sound and now with a striking voice to match. With shows with bands such as Bad Religion and the undertaking of many tours under their belts, Atlas Losing Grip uncaged their second album State Of Unrest in 2011. It revealed yet another open evolution and growth, a striking leap forward which has been repeated again between Currents and its predecessor. Driven by an even deeper and creative blend of heavy metal and the band’s distinct style of melodic punk, the fourteen track new proposition is a tapestry of spellbinding and explosive sonic colours around just as gripping and dramatic structures.

Lapping waves bring opener Sinking Ship into view and an instantly inviting weave of melodic endeavour from guitarists Gustav Burn and Max Huddén. Their evocative enticement is a thoughtful and melancholic coaxing behind which a brewing tempest builds before opening its thick arms to welcome pungent beats from drummer Julian Guedj and thick bass sounds from Stefan Bratt. Sonically too the song has grown more tempestuous by this point, but still with some restraint as the walls of the song loom higher and more provocatively over the senses. It is soon a feistily striding march of metal bred tenacity and punk energy though, subsequently coloured by the outstanding tones of Alfaro. A cauldron of passion and craft with an intensity and melodic enterprise to match, the song stirs up ears and appetite with consummate ease whilst proving just an appetiser for bigger things to come.

The following charm and fire of The Curse keeps the vivacious start of the album constant, the at times Greg Graffin like tones of Alfaro roaring over a canvas of sound just as hungrily alg_currents_CD_digipak.indd simmering and at times boiling. Though the song arguably lacks the final spark to match the first, it ignites the imagination with anthemic ease before Cynosure flexes sinews and sculpts an aggressive melodic theatre. The song is somewhere between a romance and a brawl on the senses and virulently captivating. It also shows the ability to seamless slip between unbridled charges driven expertly by Guedj and an increasingly impressive bass sound and enterprise from Bratt, and mellow reflective calm superbly caressed by Alfaro.

Through the similarly melodically and vocally voracious Shallow and the creatively snarling Nemesis, Atlas Losing Grip kicks up another stunning gear, the first of the pair an uncompromising and thoughtful blast of contagious heavy weight pop punk. Its successor equally twists and erupts with an infectiousness to bait body and passions but with a raw and more imposing texture to its inventiveness and blistering sounds. Both though fall into the shadow of the brilliant Closure, an acoustically sculpted ballad showing, as if we needed any more proof, the strength and quality of Alfaro’s voice. Backed as impressively by the band his delivery is embraced in just as evocative melodic scenery woven by the guitars. Adding emotive strokes of strings to seduce ears further, the track fascinates with its mesmeric impassioned presence.

Both the rock pop catchiness of Kings and Fools, which has a slight feel of Living End to it, and the punk storm of Cast Anchor rouse ears and emotions in their individual and similarly tenacious ways whilst Unknown Waters follows with a contemplation of vocal and melodic design which provokes feet and thoughts equally to greedily embrace its fiery elegance and rhythmic incitement. Anthemic vocals and another irresistible predacious bassline stands out before the song stands aside for the drama of The End where bass and drums again steal early attention before sharing attention it with, as expected, the voice of Alfaro and the dynamic energy of the guitars.

One pinnacle of Currents makes way for another in Downwind, as potent a punk and heavy metal anthem as you are likely to hear this year, which applies to the album as a whole too to be fair. The song stomps with heavy booted beats and wiry grooves whilst vigorously rippling with addictive emotion and infectiousness. It is an epidemic of a persuasion and alongside Closure firmly taking top honours. Its might shadows the next up Through the Distance a touch though it cannot diminish the thrilling maze of thrilling imagination and electro whispers nor the turbulent lure of industrious and feverish rock ‘n’ roll shaping the track.

Variety is not absent for long at any point on Currents, the sheer atmospheric and melodic drama of Cold Dirt sending ears and release down new avenues with its harmonic poetry and epic orchestral bred heart. Another big highlight it leaves Ithaka to bring the album to a close with its tribal seeded percussion and sultry melodic climate. Eleven minutes in length, the song never outstays the attention span, only revealing further depths and originality to band and release.

Currents is a gem, one shining brighter with every listen. There is a surprise that not as many songs return in thoughts to nag attention whilst away from the album but this has no impact, not even a whisper, on the weight and glory of the album. As suggested at the start Atlas Losing Grip just get better and better, and even the news that Alfaro has left the band just before the album’s release cannot deflate the band’s certain ascent into the strongest spotlights, especially with a song featuring his placement Niklas Olsson sounding like the vocal department is in safe and accomplished hands.

Currents is available worldwide from 16^th January

http://www.atlaslosinggrip.com/

RingMaster 16/01/2015