Phoenix Calling – Forget Your Ghosts

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You may have been recently caught up in the growing buzz around UK rockers Phoenix Calling through the release of the singles Everybody Knows and just recently Wasted. It has been attention brewing up for the Cambridgeshire quintet for a while now thanks to their live performances and the Waves EP of early 2014, and sure to gain new acceleration with the release of the band’s debut album Forget Your Ghosts. A collection of seriously accomplished and captivating melodic rock encounters, the album provides evidence of a band with the talent and potential to make a major mark on the UK rock scene, and itself give it a healthy impressive nudge to start widespread awareness off.

Formed in 2012, the Peterborough band draw on inspirations from the likes of Deaf Havana, Mallory Knox, and Fightstar to colour their instinctively infectious sound. With a musicianship as flavoursome as their music, Phoenix Calling able too potently play over fifteen different instruments as a collective unit, the band as mentioned released a pair of eagerly received singles earlier this year, tasters for the album which have alone sparked a fresh and broader appetite for the band’s presence. The first of the two songs alone received airplay on nearly 80 stations across the globe. This has been complimented before and since by a live presence which is just as eagerly praised and supported, the likes of The First, We Are Fiction, Tu Amore, White Clouds and Gunfire, and Under the Influence amongst many sharing stages with Phoenix Calling whilst the band itself has also headlined the main stage at Peterborough’s Willow Festival and played the BBC Introducing Stage at Cambridge Rock Fest. Now it is the turn of Forget Your Ghosts to stir up a fuss, something it will surely do with its thick and open qualities.

The album opens with Ab Initio, and proof that if you are going to make the opening track an instrumental intro it works so much better if it makes some kind of call to arms that lures ears and imagination into eager readiness for the upcoming adventure. That is exactly what Phoenix Calling achieve, guitars alone a tangy seducing which has appetite and intrigue hungry for the appearance of the following Hold Onto Glory which emerges from the sonic wind of the opener. The same flavoured hooks and grooves instantly again come into play as do warm melodies which welcome the vocal prowess of Steve Chapman backed by the also strong tones of guitarist Dom Greenwood. The latter and Martyn Hilliam are just as swift in unveiling fiery tendrils of sonic enterprise and raw riffery within the rhythmically striking encounter too, it all uniting in one strongly enticing and richly satisfying start to the album.

PC-FYG-artwork   Traces steps up next and the thumping beats of drummer Benedict Greenwood straight away mark the song, sinew swung swings and precise timing strong bait within a quickly growing emotive atmosphere. Vocals and guitars spin a colourful incitement to the awakening exploit whilst an emerging dark bassline from Jason Howard lays magnetic shadows in the sonic and melodic blaze skilfully conjured by the band. As its predecessor, there arguably are few real surprises within the song but its freshness and creative vitality brings a gripping persuasion which again floods Awakening, another short potent piece which really is the introduction to the excellent Bring The Roof Down. With an epic feel to its climate and an intimacy to its quieter reflections, the song is a tangle of keenly striding beats, flowing melodies, and spicy hooks, all switching and uniting across the anthemic and dramatic cry of the track.

Hitting a new plateau for the album, it is emulated by the two recent singles which come next, starting with Wasted Life. As the last song there is a skilled and attention grabbing mix of contrasting textures combining for an infectious slice of pop rock, rhythms the aggressive bait within a cloak of harmonic and sonic adventure. Group roars and emotively honed expression only add to the lure of the song, a mix similarly seeded but differently explored in the outstanding Everybody Knows. As contagious as it is melodically raucous, the song ignites ears and emotions with consummate ease with rich flames of impassioned and enthralling enterprise built on technical tenacity.

Both the rhythmically pungent Other Side and the virulently infectious We Were Young keep ears excited and a highly pleasing inventiveness coming; the second of the two especially dramatic in sound and imagination whilst their successor Angel provides a more subdued but emotionally fiery presence. With intensely firm beats and a melancholic bass tone, there is still that emotional energy which almost rumbles within the fiery croon of the song. Mellower it might be but in impact the track is as potent as any on Forget Your Ghosts.

     Still We Wait installs itself as a favourite next with its muscular and rugged landscape of rhythms, and an energy which stokes feet and emotions into action within moments. The most imposing and robust track on the album it does not sell the listener short on rich melodies and spicy imagination either, arguably emerging as the most rounded and potent song on the release.

The closing These Days provides a final creative bluster to devour happily but it is after the blast of stark and haunting sonic wind when the song comes alive, the track returning with new colour and seductive intensity to leave ears and emotions basking.

Though a few times there is some sameness between elements of different songs and the occasional familiarity to outside offerings which keeps the band nearer to the crowd then it could be, Forget Your Ghosts does everything right in providing a fascinating and increasingly pleasing proposition. It feels like this is the start of the true rise of Phoenix Calling, and the perfect place for all to climb on board.

Forget Your Ghosts is available now via The Fort Records on CD and digitally through most online stores.

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

RingMaster 28/04/2015

Copyright RingMaster: MyFreeCopyright

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All To Ruin – Among Us

All To Ruin Promo Picture

Back in 2013, Welsh melodic metallers All To Ruin made their introduction with the Parables EP, a striking collection of songs whose only real issue was a sound which lay comfortably within that of the crowd. The suggestion and potential though was that the band would evolve into something much more distinct in time. Now the Port Talbot band return with its successor Among Us with the first question in anticipation of its release being had All To Ruin found that unique identity. Certainly in adventure, craft, and maturity, the band’s sound has openly leapt on, but in originality it is a bit of yes and no. A familiarity to bands such as Funeral For A Friend, Protest The Hero, and at times August Burns persists but it is now coloured with a freshness and creative tenacity which makes the band’s sound linger and take on a more individual character. All To Ruin is still searching for that real originality it is fair to say but as you get caught up in their powerful anthemic choruses and the fiery passion of vocals and sound, that moment in time belongs solely to them.

Formed in 2011 and with a demo under their belts by the end of that first year, All To Ruin swiftly lured attention from fans and media alike. It was Parables which lit an even stronger awareness and following, backed as potently by live performances which has taken the band to play over the past four years with the likes of The Gallows, Young Guns, Deaf Havana, This Is Hell, Lower Than Atlantis, The Blackout, Funeral For A Friend, Heart Of A Coward, Heights, Exit Ten, Textures, Continents, Sylosis, The Chariot, Revoker, The Casino Brawl…well the list goes on and on. Entering the studio, as with their last EP, with Martyn ‘Ginge’ Ford and Matt Bond (Slipknot, Trivium and Bullet For My Valentine), All To Ruin reveal a bigger, bolder, and more flavoursome sound in Among Us with, as earned by the earlier release, similar if not greater responses expected in return.

All To Ruin Cover Art     The EP opens with Take The Reins and instantly encases ears in spicy grooves, hungry riffs, and punchy rhythms. Vocalist Aaron Roberts just as quickly brings his impressive voice to the affair whilst the guitar of Rhodri Williams provides a spiral of sonic enterprise and temptation. That new strength in songwriting and sound needs little prompting to show itself, as too a bolder imagination as the song slips into a gentle melodic embrace of voice and guitar. The thick swipes and rolls of drummer Tom Richardson keep an aggression bubbling though, eventually becoming the spark for a return of the opening impassioned roar of the encounter.

It is heavily enticing start to Among Us taken up another level by its title track straight after. Jabbing beats and a dark throaty bassline from Dan George provide the initial bait, their intimidation swiftly wrapped in the sonic tendrils of guitar. It all evens out as a warmer but no less imposing weave of increasingly gripping melodic adventure unites with the tempestuous and intensive rhythmic side of the proposition. There is also a drama to the song, emotionally and physically, which reveals more of the inventive and mature edge to the band’s creativity. An orchestral seducing in the background of the song helps that theatre arise as it flirts throughout, and once given its clarity, simply captivates in the finale of the excellent song.

Certainly there are plenty of recognisable elements on the two songs so far, but in reality that kind of applies to most releases these days, and as mentioned when songs like Among Us and the following Disconnect bellow with passion and imagination, it is predominantly a flavouring which only adds to the enjoyment. The third song brings a similar canvas to the previous track, an emotive orchestral colouring immersing the imagination as rhythms plunder the senses and vocals unleash the heart of the proposal. Aggressive and reflective simultaneously, the track spins another intriguing web of sparkling endeavour soaked in familiarity though it reveals itself to be even stronger in enterprise and emotion.

Aggression fuels History next, the best song on the EP driven by a creative snarl and provocative energy spawned by carnivorous riffs and uncompromising rhythms. Rather than being tempered this is complimented by the blistering sonic exploits cast by the guitars and the inventive twists further stirring up an already explosive song. On the last EP there was one song which stood out and pushed the envelope on the release and on Among Us it is History.

The EP comes to an end through Beneath The Steel Sky, a blaze of melodic rock which like a friend wraps enjoyably around ears and feeds the appetite. As shown here, technically the band has grown impressively as they have in songwriting and sound, but it is the imagination which lines every song which most stands out even if uniqueness is taking longer to come through. As with Parables though, Among Us suggests it is looming and closer still, but again the reality is that as songs consume ears and imagination only thorough enjoyment is the outcome.

The Among Us EP is available from April 27th via http://www.alltoruin.bigcartel.com/ and through all stores.

https://www.facebook.com/alltoruinmetal   https://twitter.com/alltoruinuk

RingMaster 27/04/2015

Copyright RingMaster: MyFreeCopyright

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

ASCENDING MELODIC METAL CREW ALL TO RUIN RETURN WITH NEW EP!

All To Ruin Online Promo Picture

With a melting pot of influences stemming from August Burns Red and Protest The Hero, All To Ruin continue their climb with their own brand of melodic metal that blends blistering riffage against catchy hooks. The rising crew nationally release their spanking new EP ‘Among Us’ on Monday 27th April.

Hailing from the blue collar steel works town of Port Talbot, South Wales, All To Ruin were born in 2011 and quickly became a force to be reckoned with. By the end of the year, the band began work on their first demo, which happily secured national attention from Kerrang! Magazine. A series of successful shows followed before the band headed into the studio with Martyn ‘Ginge’ Ford and Matt Bond, whose previous credits include Slipknot, Trivium and Bullet For My Valentine. The tuneful metallers came out of the studio with a cracking debut EP in hand. The five-some dropped the record in 2013 and it firmly stamped All To Ruin on the map. The EP picked up glowing reviews and support from Rock Sound Magazine, Metal Hammer, Big Cheese, Powerplay, XFM Rock show and Team Rock Radio.

In addition to picking up critical acclaim for their recorded work, the band also have an impressive live CV to date, having played shows with The Gallows, Young Guns, Deaf Havana, This Is Hell, Lower Than Atlantis, The Blackout, Fei Comodo, Funeral For A Friend, Heart Of A Coward, Heights, Exit Ten, Textures, Viatrophy, Continents, Sylosis, The Chariot, Revoker, The Casino Brawl, Twin Zero, Bury Tomorrow and Yashin.

2015 looks ripe for the band to transcend the underground, and they are loaded with their explosive new EP ‘Among Us’. Opener ‘Take The Reins’ gets the ball rolling in supreme style with its crunching techy riff assault pitched by Aaron Roberts’ hugely infectious vocal lines that will bed down deep into your pores. The EP’s namesake ‘Among Us’ is another impressive nugget of melodic metal with its thunderous riffery and layered texturing. ‘Disconnect’ and ‘History’ offer up additional evidence that the South Wales metallers really have an arsenal of banging tunes at their disposal. Lastly, ‘Beneath The Steel Sky’ completes the record with its stunning muscular delivery and killer refrain. Stay tuned to the band’s Facebook page for tour announcements and show updates; big things are going to happen ……
All To ruin PromoImage
www.facebook.com/alltoruinmetal https://twitter.com/alltoruinuk

-ALL TO RUIN RELEASE ‘AMONG US’ ON MONDAY 27th APRIL THROUGH ALL STORES-

Kill The Ideal – Heritage

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Ferociously melodic and raucously captivating, it is fair to say that our introduction to UK alternative rockers Kill The Ideal has been a fiercely enjoyable infestation of ears and appetite. It came through the band’s debut EP Heritage, an invigorating four song ride of anthemic proportions cast with intimate passion and explosive energy. It is an encounter which roars and croons with equal tenacity, very often simultaneously, and leaves a real hunger for more of its fresh invention and warm familiarity.

Formed in 2010, the Boston quartet release Heritage off a highly successful 2014 which saw the band light up stages alongside the likes of Lost Alone, Lonely The Brave, and Hawthorne Heights, shows adding to their CV of playing with bands such as Nine Black Alps, The First, Climates, and Emp!re. The foursome also left a mark on BBC Introducing in East Midlands before heading into the studio to create their first EP. Recorded with producer Lee Batiuk (Deaf Havana), Heritage is the potential spark to broader national awareness, and such its impressive body there is no doubting fires will be lit in a great many.

The EP’s title track stokes attention first, a raw stroke of guitar licking at ears initially before it all boils up into a pleasingly fiery stroll littered by the jabbing beats of drummer Jordan Bell and veined with a great dark bassline from Luke Farmer. Though the edge to the riffs is still slightly caustic there is a sharper and spicier tone to the subsequent melodies and hooks of guitarists Ross Gallagher and Ash Wilson hereon in, whilst the latter’s vocals bring an expressive and potent heart to the increasingly compelling encounter. The track is seemingly always on the precipice of a riot yet manages to bind its unbridled passion for a controlled yet incendiary anthem of a proposition. The song is a gem of a start to the release, an offering unleashing the addictive lure of a Lower Than Atlantis with the melodic fire of a Thirty Seconds to Mars and the impassioned angst of a Billy Talent.

Kill The Ideal - Heritage (EP Artwork)   There is no lessening of pleasure with its successor either. Higher again enters on a single caress of guitar though this time Wilson is there with the first breath to begin unveiling the song’s narrative. Once more it is an engaging start which swiftly becomes a contagion as Bell’s swings thump away with addictive bait whilst hooks and harmonies flame within the striking frame of his incitement. Fluid moments of melodic seducing only accentuate the potency and aggression of the band’s explosive tenacity, the anthemic virulence reminding of Always The Quiet Ones as the ability of Kill The Ideal to entwine tempestuous musical bellowing with gentle melody rich reflections simply impresses.

It would be fair to say that after two tracks the band had thoughts and emotions won over, leaving the remaining temptations of The Fire and My Friend an easier persuasion to make. Both though take nothing for granted and uncage their own individual inventive storms of sound and imagination. The first of the two probably feels the most recognisable of all the songs, offering more expected elements but still forcibly convinces with great jagged riffs and an excellent vocal union across the band whilst its successor is a slice of seriously catchy and similarly impassioned melody soaked rock ‘n’ roll with a roar to its heart and ruggedness to its energy.

Both tracks complete in fine and riveting style one outstanding release; in fact it is hard to imagine that Kill The Ideal could have made a better entrance into the wider spotlight of the British music scene than Heritage but easy to suggest even bigger and bolder things are destined to come from the exciting band.

The Heritage EP is available now @ https://itunes.apple.com/gb/album/heritage-ep-ep/id967280243

https://www.facebook.com/KillTheIdeal

Ringmaster 31/03/2015

Copyright RingMaster: MyFreeCopyright

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

The NX – Night Heaver

Photo Credit_ Robbie Shakeshaft Radcliffe Studios

Hitting the listener like a venomously swung sledgehammer in its first breath and proceeding to increase in hostility and brilliance from thereon in, Night Heaver simply blows thoughts and emotions away. The debut EP from British hard rock/metallers The NX, the four track onslaught is a dramatic and breath-taking introduction to a band sure to make a major impact on the UK music scene if their first trespass of the senses is any evidence.

Possibly the strength and quality of Night Heaver could be expected as The NX features former members of The Casino Brawl in its line-up; nothing is ever guaranteed though and the band swiftly show they are a unique and potential drenched proposition in their own right with the EP. Formed a few years ago in the north east of England, The NX soon bred a potent reputation and following as they proceeded to ignite venues with their live presence, which over the years has seen them play with the likes of The Chariot, This Is Hell, Enter Shikari, Bring Me The Horizon, Penknife Lovelife, Heights, Yashin, Job for A Cowboy, The Casino Brawl, Deaf Havana, Devil Sold His Soul amongst many more. Returning from a prolonged hiatus, the band unleashed their creative fury again from the end of 2013, a new line up and appetite to create more contagiously aggressive shows and sounds driving the band’s return, which has included so far successful tours with Funeral For A Friend, Hacktivist, and The Blackout. It has all added to a growing anticipation for the band’s debut EP, and there is no doubt that Night Heaver feeds all hopes and wants with ease whilst providing much more.

Lonnie Johnson’s Greatest Hit is an immediate raging bellow in the ears but equally a compelling web of heavy rock grooves and spicy hooks with a tempestuous rhythmic incitement. Quite swiftly like a blend of Every Time I Die, Turbonegro, and Cancer Bats with its own distinctive roar, the track takes no prisoners. The venomous vocal squalls of Warby Warburton intrude and entice with rasping causticity whilst the spicy hooks and scorching grooves of Mark Thirtle seduce and scar with equal tenacity. There is also great unpredictability to the track which shines out, PromoImagethe sudden twists and dips into intriguing and at times sinister invention, mouth-watering and ear catching.

It is a potent start but personally just an appetiser for bigger and better things to come, starting with The Great Unwashed. The second track immediately has a dirty air to its breath and opening riffs, an antagonistic nature which is urged in by the great bassline cast by Glen Holmes and spread with intensity through the swiftly following blaze of guitar punctured by the viciously swung beats of drummer Luke Walker. Every syllable spat from Warburton comes with a soaking of malice, a rancor matched by the rest of the track though it too is unafraid to offer catchy hooks and anthemic vocal calls against the clanging steely tone of the guitars and an overall merciless ferocity.

Yet another plateau is breached with the following The Day It Rained Forever, the opening grouchy coaxing of another irresistible bassline aligning to thumping beats for the first potent bait from the song. Soon though it is prowling and seducing as great cantankerous vocals, which initially hold a sobering air, add their interest in proceedings before they are venting with rich malevolence amidst a web of tangy grooves and psychotic rhythmic enterprise. As hardcore punk as it is metallically infused, the song is a glorious maelstrom which twists and turns as if it has the creative mania of St. Vitus Dance. Equipped with a closing noise fostered chorus which is impossible to leave alone, the track is one big reason for suspecting The NX will take their history to new major climes.

It is a suspicion done no harm by the other songs and especially the raging Let Sleeping Dogs Lie which brings the EP to an immense close. In a way opening in similar fashion to how its predecessor parted, the track brawls and violates the senses with another hardcore bred ferocity and corrosive inventiveness. Every riff scowl and hostile vocal expression exhausts and smothers the senses which in turn are invigorated by an incitement of hard rock melodies and spiky hooks which erupt and surge from time to time across the ever evolving provocation.

The song is an outstanding end to a tremendous release, the kind of debut fans were hoping and delivering a startling and thrilling adventure which declares The NX as a new inescapable force in British rock ‘n’ roll.

The Night Heaver EP is available from February 23rd on EP and digitally via Footloose Records and all stores.

https://www.facebook.com/thenxofficial

RingMaster 23/02/2015

Copyright RingMaster: MyFreeCopyright

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Medusa – Headcase’s Handbook

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It is fair to say that Medusa’s last album Can’t Fucking Win kicked up a potential drenched storm which grabbed the attention of a great many. It was a potent and thrilling stomp with a fiery character and a middle finger raising attitude which pushed the London trio into a broader spotlight. Its successor Headcase’s Handbook is spawned from the same belligerent seeds but comes with a new richness of adventure, songwriting, and quite simply creative maturity. It is fuelled by punk fired rock ‘n’ roll and makes another pungent step in the ascent of the inventive tempest that is Medusa.

Formed in 2006 by vocalist/guitarist Julian Molinero, Medusa swiftly made an impression with their self-titled album which came out in a matter of weeks after the start of the band. It was an eighties inspired entrance which made a strong base from which the band’s sound and eventually second album Can’t Fucking Win was bred. Recorded with producer Romesh Dodangoda, Medusa’s 2011 sophomore album showed an evolution in all aspects of the band yet still held onto the striking raw and honest core which lit up its predecessor. That same breath of sound frequents Headcase’s Handbook but as before comes with another leap in depth and growth which is as open and forceful as it is mouth-wateringly enterprising. Recorded with producer Lee Batiuk (Deaf Havana) at Regal House Studio, Wisbech, Cambridgeshire, the album roars and flirts with salacious intent and imagination, the band unleashing a hungry and bracing dose of honest rock ‘n’ roll.

The RingMaster Review was honoured to be the band’s first port of call with the album within days of its completion, and we were instantly hooked and gripped by a broad smile as the release began its feisty persuasion with opener Sid and Nancy. A whine of guitar leads into choppy riffs and the expressive tones of Molinero, the combination an immediate lure which only flares with stronger persuasion when the track brings out its punk antagonism in voice and riffs. Instantly contagious and increasingly more so as the bass of Milo De Nack flirts with ears and the imposing beats of drummer Stefan Hale, the track is a raw and insatiable riot starting things off explosively, one with a poise and resourcefulness which right away highlights the band’s evolution between releases.

Things take another step up with Lip Service, a track bringing again that punk rock tenacity into a hard rock web of spicy guitar craft from Molinero, a weave completed with equally tangy riffs and hooks. This is courted by a just as coverinfectious rhythmic and vocal adventure, neither bursting their boundaries but both aspects bringing the heart of the track rich and catchy expression. It is an outstanding song continuing the impressive start to the album, a loft plateau which is not quite matched by either the following Absinthe Minded or Luxury Crisis. Both tracks though reveal further intriguing and inescapably appealing facets and twists to the character of album and sound for a lingering satisfaction. The first merges melodic country kissed rock with a blues flaming for a tantalising caress of provocative and imaginative endeavour complete with evocative washes of guitar and mandolin like vivacity. Though it lacks the spark of the first songs, it grips ears and appetite with ease much as its successor, a song with an inventive canvas of rolling and roaming rhythms picked at by a repetitive sonic plucking. This is coloured by the impassioned vocal delivery of Molinero and melodic enterprise extending from that riveting initial guitar temptation.

Lydia stomps in next, riffs and beats almost furious in their strength and voracity before relaxing into a more controlled but no less fiery stroll. Not for the first or last time there is a feel of Hagfish to the punkier edge and contagion of the song whilst the melodic enticing of the encounter has a classic lilt which comes with a whisper of Turbonegro in its texture. The track almost brawls with the senses leaving them greedy for more, a want fed by the different but just as flavoursome Call of the Abyss. Again predominantly punk and hard rock meet in a rigorous collision of catchy and unfussy rock ‘n’ roll, though there is plenty more spicing the song’s unpredictable and passionate presence as it tightly grips thoughts and emotions.

As masterful and compelling as the two tracks are they are overshadowed a little by The Sweetest Elixir and its thrilling temptation. Electronic toning wraps ears first before heavily striding beats and velvety basslines join the successful coaxing. Lording over this is the excellent vocal lure of Molinero, his smoother delivery drawing the listener swiftly in to the track’s narrative. As it weaves and swerves with bass and guitar imagination, the song swells in potency and invention, becoming the pinnacle of the album with its melodic emprise. It is a delicious song, as mentioned a major peak in the release, setting a touch challenge for the following track to try and rival, a test which Black Snow more than takes in its bordering on deranged stride. A maelstrom of disorientated rhythms and sonic bluster sets the persuasion in motion before it breaks free to establish a predatory and intimidating shadowed clad prowl. With vocals back on more crazed intent and the bass finding its throatiest intimidation yet, the track rages and roars with irresistible animosity and persuasion. It is a fury though which ingeniously explores more reserved and experimental tendencies too and an emotional veracity and ire, the result one more seriously impressing proposition.

The album closes with firstly the more restrained rock ‘n’ roll of Think It Over, a track not bursting with surprises but loaded with anthemic potency and finally the acoustic ballad Cherry Red. The song is a strong end to close out the album on a high, even if not one getting the blood boiling. There is little to dismiss it for though, and it ensures Headcase’s Handbook departs on a lingering touch.

Medusa gets better and bigger with every release, Headcase’s Handbook proof and easily their finest moment to date. It should be a break-through release for the band and if it just misses out on that success, whilst surely drawing a wealth of attention and acclaim its way, you can be sure the band will make that strike sooner rather than later.

Headcase’s Handbook is available now via Cyberpunk Records and @ http://medusaworld.bandcamp.com/album/headcases-handbook

http://www.medusaworld.co.uk

RingMaster 02/11/2014

Copyright RingMaster: MyFreeCopyright

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

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Alone With Wolves – The End of Nothing EP

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Fusing an impressive and striking fusion of heavy rock with a voracious metal intensity, UK band Alone With Wolves has a sound which sits easily within the varied shades of metalcore and post-hardcore as well as quite simply rock and metal. The proof is in the band’s new The End of Nothing EP, a five track collision of flavours which combine for a passion drenched and thoroughly captivating tempest of sound and emotion. The band on the evidence of their impressive second release, fuse the strongest essences of those previously mentioned styles into something which has a familiarity to its angst and presentation but an individual freshness which sets the Hertfordshire sextet apart from most of the crowd.

Formed in 2011, Alone With Wolves were swiftly into a charge of shows across the South of the UK, including sharing stages with the likes of Hildamay and Mallory Knox. The band was soon recruiting a passionate fan base and following, which their self-titled EP of 2012 only reinforced and pushed on. Their sound is simultaneously melodic and ferocious, as mentioned combining a varied weave of flavours inspiring comparisons to bands such as Alterbridge, Architects, 30 Seconds to Mars, and Deaf Havana. Alone With Wolves has certainly been brewing up potent attention to date which the new EP has the potential and power to take to a nationwide spotlight.

It launches itself with a sonic enticement as Cutting Ties sizes up ears before expanding into an imposing but inviting mix of raw riffs and melodic enterprise driven by sinew swinging rhythms and a great throaty bass sound. It is not a 13606_925710967443706_5848660365238708299_ndramatic but certainly appetite awakening start which the combined persuasion of vocal roars from guitarist Lewis Watson and the clean magnetic melodic tones of Danilo Fiocco are soon colouring with emotion. The track is as antagonistic as it is enticing, two sides merging for a fiercely potent and adventurous blaze of sound which ebbs and flows in its rage and intensity. It never settles into a less than voracious stance though, the rhythms of drummer James Noble and bassist Mark Stanford fuelling a creative hostility whilst guitarists Watson and Kieron Baker craft an enthralling narrative of riffs and melodic endeavour.

The strong start is followed by the raw opening brawl of the title track which is soon sharing the suasion of a great contagious and melodic weave aligned to Fiocco’s impressive delivery backed by Stanford and rivalled by the squalling tones of Watson. The song is an appetising encounter which feeds expectations at first but a sudden shift into rugged metal territory and subsequently a seductive flight of expressive melodies soon has intrigue and unpredictability as vocal as the passion and enterprise drenching the track.

My Life In Your Hands has a more metalcore cored explosiveness to its presence but again the at times almost duelling vocals and emotive ideation of guitars takes the song to a powerfully satisfying adventure. The least dramatic of all the tracks, it still potently feeds an open hunger inspired by its predecessors, the invention of Baker impressing especially, before the outstanding enticement of The Change takes over. A more tempered and melodic hug from the start but with a sturdy intent to the muscular rhythms framing the impassioned drive of the expressive hues and vocals, the song croons with an intimacy which is arguably less open in other tracks. It is no lightweight though, jagged riffs and thumping beats a demanding proposition caging the raw beauty within. With only the fade out of a quite climactic finale annoying, it is the biggest highlight of the encounter.

The closing With You In Mind is an intensively imposing onslaught of rhythmic provocation and senses bruising aggressiveness which still embraces a mouth-watering flame of sonic and melodic invention. It is as mesmeric as it is challenging and an enthralling tempest of invention and passion to bring The End of Nothing to a climactic conclusion.

It is fair to say that The End of Nothing EP did not ignite a raging fire in the belly for it but it is one of the most invigorating metalcore/post hardcore releases this year and the spark to a real hunger to hear more from a band with a very healthy future ahead.

The End of Nothing EP is available from September 1st and available through all good digital outlets.

https://www.facebook.com/alonewithwolves

http://awwofficial.bandcamp.com/

8.5/10

RingMaster 31/08/2014

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

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