Islasorna – E.D.E.N

Islasorna Online Promo_Reputation Radio/RingMaster Review

Band and sound might be tagged as progressive metal, but the best description for both elements and the creative and technical fury of Scottish band Islasorna, is psychotic. The Edinburgh quintet’s debut EP E.D.E.N is a tempest of bedlamic ideation, a deranged onslaught of inventive noise which could be declared a sonic psychosis and should be acclaimed as one intoxicating slab of thrilling turmoil.

Formed at the beginning of 2014, Islasorna create the most unpredictable maelstrom of sound. It is indeed bred in from a progressive seeding, but from second to second comes infused with a diverse array of flavours and psyche twisting imagination. Inspirations for the band are drawn from the likes of The Devil Wears Prada, Northlane, Whitechapel, Sikth, The Dillinger Escape Plan, Animals as Leaders, and Metallica, varied spices adding to a striking proposition in sound matched by a live presence which has increasingly earned acclaim and attention as the band shared stages with bands such as Bleed From Within, Carcer City, Demoraliser, Martyr Defiled, and Continents over the past year or so. E.D.E.N is a fierce nudge on broader awareness and recognition, and though for some it might be a creative turbulence too far such the intensive nature of the EP, Islasorna will surely be a name on a much wider roar from hereon in.

The EP opens with Obliteration and a melodic twang of guitar which alone soaks the air in a sultry yet slightly portentous suggestiveness. It is a hint quickly realised by the forceful beats of Michael Devlin and the vocal roar of Justin Dilworth. At first their presence only brings a small element of imposing urgency with it, a slither of increased intensity but also a stronger and darker apocalyptic hue which toys with and ignites the imagination. At the song’s climax a voice skirts the senses and provokes thoughts, menacingly flirting from the shadows before the following Achluophobia emerges to bring its words to thicker destructive reality.

Islasorna cover_Reputation Radio/RingMaster ReviewThe second track instantly expels a djent spawned predation around a blaze of vocal scowling and sonic intimidation from the guitars of Dean Watson and Jamie McArthur. As the first track, it is more a prowling ravenous predator than a vicious onslaught yet the pathological agitation its title suggests is fuel to the attention gripping enterprise and imagination cast by the band. Simultaneously the track is savage and seductive, extremes entwining and in revolt against each other as the listener is dragged through a landscape of metalcore and grindcore to name two of the open essences sculpted in a progressive and experimental voracity.

Judas in comparison is a calmer incitement on ears and senses, and opens with a thoroughly engaging melodic caress of guitar courted by the darker lures of Mark Brunton’s bass. It is a fascinating start, the equally mellow tones of Dilworth adding to the tantalising proposal. The feeling that something is brewing is never far from the surface though and by midway the brief but potent offering has uncaged a caustic climate of sound and emotion though it is still with restraint as the band reveals more of their diversity in songwriting, sound, and individual prowess. Its magnetic bellow makes way for the harsher but no less inventive Choices. The song continues the melodic and dazzling progressive elements of its predecessor but cages them in a jagged confrontation of riffs and barbarous rhythms, both Devlin and Brunton as carnivorous in their attack as the guitars are melodically riveting. Arguably the encounter fits into the more expected template of progressive metal and the inspirations to the band mentioned earlier, yet it is a perpetual provider of unique twists and senses spearing sonic flirtation again setting the band apart from the crowd.

Creative mania returns in full lung bursting vocal and noise driven devilry next with 4-2-8, the track full warfare on the senses as Dilworth reveals his broadest vocal derangement yet and musically the band twists like a sonic and rhythmic dervish. The track is outstanding, not necessarily better than any other upon E.D.E.N but staking a favourite claim with increasing success over every listen. Its rigorous and rugged turbulence is instantly contrasted by the EP’s closing title track where once more Islasorna pull back the shades on another side of their imagination. An initial breeze of melodic beauty kisses ears and thoughts first, keys colouring a shadowed ambience with elegant charm before evolving into an electro rock seducing around militant rhythms and a union of harsh and harmonic vocals. Post hardcore, scream, post rock, they are all amongst the spices within the encounter, whispering hues within the enthralling finale going towards further proof of the band’s originality.

As outstanding as it is, E.D.E.N still feels like it is only the first big step of the band, one loaded with such promise that it suggests it is merely going to be the springboard for bigger, bolder exploits ahead. This only adds to the excitement of the emergence of potentially a new force in European metal.

The E.D.E.N EP is available from June 1st through all stores.

http://Facebook.com/islasornauk

RingMaster 01/06/2015

Copyright RingMaster: MyFreeCopyright

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Virtue In Vain – For All You Know Is The Mask I Wore

Virtue In Vain Promos

Virtue In Vain Promos

Though it makes a strong impact first time around, it is with further intensive attention that For All You Know Is The Mask I Wore from Welsh progressive metalcore band Virtue In Vain wins out and defuses any initial doubts or uncertainties. To be fair there is little about the band’s debut EP which raises any major disagreements between ears and proposition from the start, but being as brutal as it is creatively uncompromising, there is plenty to try and take in which needs time to explore and appreciate. The potential of the band within the release is especially exciting, and fills any moments which do not quite work as well as other elements, with assumptions of greater things to come.

Hailing from Cardiff, Virtue In Vain began in 2012 sparking and spicing their sound with inspirations from the likes of The Devil Wears Prada, Napoleon, Whitechapel, and August Burns Red. Their impact and sound has led the quartet to be regarded as one of the strongest upcoming bands in the UK metal scene, backed impressively by shows alongside bands such as Napoleon, Demoraliser, Dead Harts, Astroid Boys, Ready Set Fall, Lock & Key, Fathoms and many more. Now they are poised to explode upon the nation attention with For All You Know Is The Mask I Wore, a release with more than enough to leave a hungry appetite in its ferocious wake.

virtue in vain     The EP opens with Prologue, a decent enough short instrumental soaked in drama and portentous ambience. Its dark tones do have the imagination supposing something predatory and intensive coming to examine ears, and so it proves to be once Martyrs emerges. A heavy snarling riff is first point of provocation, backed swiftly by uncompromising rhythms and a winy sonic lure of guitar. It is a gripping entrance, enticing bait which subsequently gathers its opening elements together to forge a more direct and slimmer raw incitement growled over by vocalist Hywel Thomas. Venom and antagonism spill from his gutturally bred syllables whilst the guitar of Emyr Thomas dances over the hellacious attack with sonic endeavour. Additional squalls of vocals add good variety whilst the guitars scythe through their attack and the corrosive potency of rhythms with addictive and acidic enterprise. The vicious swings of drummer Luke Sullivan bruise and tenderise the senses whilst the bass of Ryan Jones is a perpetual stalking of song and listener. Continuing to twist and show plenty of imagination in its varying gait, sonic trespass, and creative hostility, the track is an impressive full start to the release.

In Faith, In Ruin leaps in next and immediately has a great almost swinish texture to the vocals to shuffle things up there, whilst riffs and grooves again snarl with almost toxic intent. The more formula tones of Hywel Thomas provide the rawest challenge but variation again ensures that their alluring violation matches the persistently shifting landscape of the song. The intensive and busy nature of the track, as across the EP, means the technical and deeper layers within the encounter are often smothered but given time reveal the strong depths to songs, as shown again with the erosive persuasion of Left Behind. Its more restrained opening subsequently kicks up a gear though still reining in the violence and unleashing an addiction forging groove which lures the listener swiftly into the sonically cancerous and turbulent heart of the song. Aspects like that simply bewitch as does an unexpected and calm passage of melodic beauty which leads to a tempestuous climate, though the more expected sonic raging in the song does feed expectations and enjoyment equally. The potential even in the less striking elements though is inescapable and only adds to the anticipation for what comes next.

My Heart Is Bruised But Never Broken is another which takes longer to reveal all of its persuasion. Its technical and imaginative layers within the less attention sparking storm raging around them, are again the song’s major potency but once more needing time for ears to explore and revel in. It is nevertheless an intrigue and satisfaction igniting offering revealing more of the inventive songwriting within the band and their ability to skilfully create ruinous and inhospitable landscapes or scenery of pure melodic beauty as evidenced by the brief instrumental Relapse which follows. Like the oasis within the savaging of Left Behind, the piece is enthralling, spreading its elegance and charm into the EP’s title track which evolves out of its embrace.

The closing track is soon slipping into the darkest, ravenous depths of despair and sonic confrontation with a rhythmic battering to match, but still blending in the transfixing invention of its predecessor. The song slips from fury and violence to gentle seducing impressively and seamlessly, another aspect to the band’s creativity which it is easy to expect greater exploits from.

For All You Know Is The Mask I Wore is a strong and impressive introduction to Virtue In Vain, not one which declares the band as the future of British extreme metal but certainly with the potential to suggest they could make that kind of impact as they grow and evolve.

The For All You Know Is The Mask I Wore EP is available from May 11th through all digital platforms and at http://virtueinvain.bigcartel.com/

https://www.facebook.com/VirtueInVain https://twitter.com/VirtueInVain

RingMaster 11/05/2015

Copyright RingMaster: MyFreeCopyright

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ISLASORNA REVEAL THEIR E.D.E.N’ ON 1st JUNE

Islasorna Online Promo shot

SCOTTISH PROGRESSIVE METAL OUTFIT ‘ISLASORNA’ NATIONALLY RELEASE THEIR DEBUT EP ‘E.D.E.N’ ON 1st JUNE, THROUGH ALL STORES.

Spawned from the depths of Edinburgh, and conceived at the start of 2014, Scottish experimental metal crew ‘Islasorna’ have picked up a legion of fans throughout the far North. And through dedicated and rampant gigging, word is beginning to spread about the band’s high octane live shows further afield in the UK. Adding more fuel to their fiery cause, the progressive metallers have supported the likes of Bleed From Within, Carcer City, Demoraliser, Martyr Defiled and Continents.

Consisting of vocalist Justin Dilworth, Guitarists Jamie Mcarthur & Dean Watson, bassist Mark Brunton and drummer Michael Devlin, Islasorna fuse together colossal riffs, tech playability and even hints of jazz to the melting pot. With inspiration coming from everyone from The Devil Wears Prada, Northlane, Whitechapel, Sikth, The Dillinger Escape Plan and Animals as Leaders to Metallica, the band offer a sound that is inherently steeped in metal, but undoubtedly pushes the envelope.

Islasorna are set to break out to the UK with the official release of their earth shattering debut EP, ‘E.D.E.N.’. The opening track ‘Obliteration’ pulls you in with its haunting atmospherics and pummelling drop beats. The five-some then crank it up with the sludgy riff assault of ‘Achluophobia’, which immediately grabs you by the nether regions. The band showcase their astute use of dynamics for the hypnotic track ‘Judas’, while the guttural attack of ‘Choices’ slams your eardrums, and the craft of ‘4-2-8’, framed by blistering guitars and jagged rhythms, is just pure intensity. The metallers draw the record to a close with the EP’s namesake ‘E.D.E.N.’, and it’s an eerie slab of moody heavy electronica which displays the band’s growing maturity. With shows in the can for this Summer, Islasorna are bursting to rise.

-ISLASORNA RELEASE ‘E.D.E.N.’ ON 1st JUNE THROUGH ALL DIGITAL OUTLETS-

Islasorna cover

http://Facebook.com/islasornauk

The Spanking New EP From A Room Swept White Hits The UK This January!

 A Room Swept White Online Promo Shot

Southern Melodic Hardcorers ‘A Room Swept White’ unleash their jaw dropping new EP ‘No Love Lost’ on Monday 12th January 2015. Taking from the edginess and potency of While She Sleeps and The Ghost Inside, and by adding their own absorbing dynamics and alluring melodies, the quintet have produced a forceful fusion of Post-Hardcore.

A Room Swept White were originally born at the tail-end of 2011 in the South East of England. The fiery five-piece wanted to create a sound that inspires and attacks the senses, and they have certainly more than fulfilled their objective. With a keen ear for hearty riffs and pummelling hooks, A Room Swept White have etched out a sound that is hard-hitting, yet still inventive; and that’s no easy task given the present over-saturation within the metalcore genre. ARSW have sparked glowing comparisons to The Ghost Inside, The Amity Affliction and Of Mice & Men; and although they’ve pulled from their influences, they’ve still managed to create a sound uniquely their own.

The five-some hit the ground running on the live circuit, and after a series of sweat-drenched UK shows throughout the south, sharing stages with Heart In Hand, Hacktivist, Bury Tomorrow, Feed The Rhino, Bleed From Within, Soulfly, Demoraliser, Palm Reader, POLAR, Continents and Bleed From Within, and with recent performances at the Redfest and Guilfest festivals, the band’s stock is on the rise.

The band are now set to kick on even further with their latest offering and new record, ‘No Love Lost’. The EP takes shape with the brooding and poignantly phrased ‘Recollection’. However, ‘This Life’ soon turns up the velocity with its breakneck riffage and full vocal assault. The record’s namesake and new single ‘No Love Lost’ twists and contorts itself around your ears to pleasing effect, while ‘Time Heals’ is additional evidence that these Southern metalcorers really have something different to offer. Lastly, ‘Better Days’ showcases the band’s growing stature and utilises dynamics to stunning effect. With five potent cuts, the EP is sure to thrust the band to the vanguard of the UK scene.

A Room ...PromoImage

 

– A ROOM SWEPT WHITE RELEASE ‘NO LOVE LOST’ ON MONDAY 12th JANUARY THROUGH ALL DIGITAL PLATFORMS –

 https://www.facebook.com/ARoomSweptWhite

Wraiths – Hollow EP

Wraiths Online Promo Shot

There has been plenty of good words and enthusiasm placed around UK metallers Wraiths over recent times and with their new EP Hollow now ravaging the ears it is easy to see why. Fuelled by a maelstrom of heavy and extreme metal with raging potential veining its every twist and turn, the release is a formidable and gripping protagonist. It is an encounter which makes a slightly underwhelming start but emerges as a titanic fury with potent invention and enthralling enterprise. It is fair to say that the Middlesbrough quartet is nowhere near the finished article yet but has all the promise and armoury to be one compelling and potent force.

Wraiths were conceived in 2012 by four friends with the intent to sculpt and bring something new to deathcore. Swiftly making a strong impression live, supporting the likes of Demoraliser, Brutality Will Prevail, Madball, End Reign, Iced Out, Pay No Respect, Odessa and Destroyer BC since forming, the band also staked a fair claim on attention with their debut self-titled EP in 2012 and a stronger call with the single Hollow Lungs last year. It is easy to suspect that Hollow will open up a greater spotlight and hunger for the band, its bestial body from a decent and concentrated start turning into an adventurous predator with jaws of vitriolic hostility which simply enslaves the imagination.

As mentioned Hollow makes a powerful start but does not start a fire in the belly right away. The first two tracks simmer and definitely light attention but leave an ‘ok that was good but how about impressing me’ feeling, something Wraiths Cover Artworkit undoubtedly does from there on in. Opening track Godslayer rises from a sonic mist to pound ears with vicious swipes of rhythms and carnivorously fired riffs. It is a dramatically imposing start, a stalking crawling pestilential entrance with the vocals of Rae Robinson crawling venomously over every note and percussive incitement. It is certainly a destructively imposing encounter which stands tall and barbaric against the senses, the roaming rhythms of Rick Baker especially enticing against the rugged wall of riffs and spiky grooves conjured by guitarist Daniel Charlton alongside bassist Dale Husband. The track holds focus firm but lacks the spark to ignite emotions or put the band clearly to the side of many other metal/death core propositions.

There is an underlying lure though which ensures thoughts are held rigorously, a successful bait matched in the following Malignation. Its start is similar in many ways to its predecessor but soon casts its own web of predacious provocation and agitated animosity. The two faced guttural squalls of Robinson make a better impression than most frontmen in the scene whilst the lurching rhythms and stalking guitar play of Charlton equally spin an enslaving incitement, yet the track whilst more intriguing than the first again feeds expectations arguably more than defies them. That is something Gravelord soon puts right. The band’s new video single does not move too far from the already familiar start to songs but is soon twisting that canvas into a sinister and almost carnal web of sonic and rhythms animosity coated in a virulent contagion which grips imagination and appetite alike. The vocals find greater ferocity through at times a group delivery whilst the bestial depths and malevolence of the track is like sonic tar, sticking to and inflaming senses and emotions with its burning spite. The track is a brawl to be consumed by and devour greedily, that once missing indefinable element a searing flame of endeavour and inventive rancor.

The impressive track is instantly matched by Devoured, its assault a scything and scornful saw of caustic riffs aligned to vehement rhythms from Baker which in turn are just as acrimoniously assisted by the bile rich tones of Husband’s bass. The track tears chunks from ears before settling into a no less cruel stride but one soaked in an infectiousness which almost makes it seem kinder in manner. The song develops a swagger too which makes the strongest persuasion, deceptively hiding the harsh malignancy of invention and sound at the song’s heart. It is a glorious scourge of torrential savagery, unrelenting in its pillaging and taking of the senses but an embittered tempter too with a deliciously irresistible melodic groove veining its latter flank before a brutal finale.

The release closes with Belial, a track which meanders with composed tenacity through an almost progressive maze of sound and emotive danger within a tsunami of oppressive and addictive violent intensity. The most inventive and diverse track on the Hollow, the track flirts with and gnaws on the psyche from start to finish, its ever increasing malice and bitter enterprise soaking its magnetic again pestilential presence. It is an excellent end to an enthralling and highly pleasing release. Certainly the early enjoyable enticements made a decent impression but from the third track the EP shows itself and the band to be a proposition to get excited about as it rips apart body and soul. There is more to be found within Wraiths to push them into the biggest spotlight but on the evidence of Hollow, they are heading in the right thrilling direction.

The Hollow EP is available now through all digital stores and the Gravelord single as your own chosen price @ http://wraithshc.bandcamp.com/track/gravelord

www.facebook.com/wraithshc

8/10

RingMaster 14/07/2014

Copyright RingMaster: MyFreeCopyright

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WRAITHS are ‘Hollow’, in 14th July‏

Wraiths Online Promo Shot

THE STUNNING NEW WRAITHS EP RELEASED IN JULY

 

Highly rated Northern Hell Metal crew ‘Wraiths’ release their blistering new EP ‘Hollow’ through all national stores on Monday 14th July.

Forged and fertilized in the putrid cesspool that is Middlesbrough, Wraiths have emerged from a swampy pit of sadness and despair, wielding their self described ‘Hell Metal’ to portray the darkest imaginings of the human conscience. With influences oozing from The Acacia Strain to Black Sabbath, and for fans of heavy, relentless and torturous riffs, they have spawned a unique and hellish sound echoing the dying shriek of a banshee.

 

Wraiths were conceived in 2012 by friends Daniel Charlton (Guitar), Rick Baker (Drums), Rae Robinson (Vocals) and Dale Husband (Bass) who wanted to chisel out a sound that ripped apart the standard formulae of deathcore, yet remained true to the band’s influences and beliefs. The North East riff-slingers have certainly fulfilled their manifesto. When the four piece hit the road, it wasn’t long before they had a cluster of successful shows under their belts, as well as sharing stages with Demoraliser, Brutality Will Prevail, Madball, End Reign, Iced Out, Pay No Respect, Odessa and Destroyer BC. Wraiths are now set to span their reach even further with European touring penned for the remainder of the year.

 

Word is now starting to spread like wildfire about the northern riff beasts; Metal Hammer Magazine lifted a track from their previous EP for their February 2014 issue and the band will soon be lighting up TV screens with their explosive new video single ‘Gravelord’. This summer also sees the nationwide release of the quartet’s new EP entitled ‘Hollow’. With five ferocious slabs of inventive deathcore, from the viciously snarling riffery of the opener ‘Godslayer’ that hammers deep into your cranium, to the throbbing and earth shattering assault of ‘Malignation’ and the earnest brutality and pounding groove of their new single ’Gravelord’, the EP is a hell of a ride. ‘Devoured’ continues to take the record to deeper depths with its cutting riff attack and full frontal vocal battering of closer ‘Belial’, confirming the band’s place as a true new force to be reckoned with on the deathcore scene.

 Wraiths Cover Artwork

-WRAITHS RELEASE ‘HOLLOW’ ON MONDAY 14th JULY THROUGH ALL STORES-

www.facebook.com/wraithshc

The Fall of Eden – Memoirs

The Fall of Eden - Memoirs - 579744_571389426213269_1562750525_n

Scottish metalcore band The Fall of Eden, certainly on the evidence of their debut EP Memoirs, is an emerging force which could and should be a regular spot on the radar. Still relatively young as a proposition, the Glasgow quintet have made their introduction with a release seeping promise at every corner whilst providing an enterprising and enjoyable fury. It is fair to say that this is a force still in evolution and that the EP lacks a truly standalone distinction to other strong and hungry genre bands out there, but there is definitely something compelling and inviting about their invention and imagination which ignites eager anticipation for their future.

Consisting of vocalist Kevin Blaney, guitarists Matt McLeod and Kieran Ward, bassist Sean Breslin, and Hamish McGowan on drums, The Fall of Eden formed in early 2012 and took little time in crafting and honing their first blaze of songs. Taking inspirations from the likes of Parkway Drive, August Burns Red, Bring Me The Horizon, Oceano, and Lamb Of God into their antagonistic sound and invention, the band began igniting stages locally and beyond with their powerful live performances and across the past year or so have played with the likes of Night Verses, Flood of Red, Surrender the Coast, Truth and It’s Burden, Martyr Defiled, Demoraliser, Heart In Hand, Here Comes The Kraken and Thy Art Is Murder. Their reputation has risen alongside their live energy and attack which debut release Memoirs can only accelerate and take to a wider awareness.

The release shows that the band’s sound stretches beyond simply metalcore, though it is the core to creative the furnaces posing as coversongs. With a melodic flame licking at the heart of the tracks and an adventurous imagination equally coaxing out bravery in the songwriting, Memoirs opens with The Fall and instantly pushes the imagination and thoughts into action. An atmospheric brew raises its breath first, an ambience already being worried by the impending vocals of Blaney. As he and the intensity reaches forward to confront the ear, the track explodes into an invitingly textured provocation, the first rage quick and blunt before stepping into a more predatory stalking of ears and senses. The guitars wind sonic endeavour around the muscular core and rhythmic testing to push the breath of unpredictability and keep the listener’s expectations challenged throughout, and though debatably some of the changes and shifts are not as fluid as possibly they could be it matters little within a track which is unafraid to try things and take the listener on an adventurous ride.

The following Broken Lullaby takes a more deliberate stalking of the senses, riffs and rhythms caging off any escape with sinew clad rapaciousness whilst a melodic cast of craft and intrigue marks the way for the vocal scowls of Blaney to enjoyably bruise the air.  One of the more straight forward and expected tracks on the EP, it still forges a hold and satisfaction which cannot be dismissed or taken lightly. It maybe lacks the imagination of its predecessor and thus the potency and success but nevertheless easily continues the strong and pleasing introduction.

Both Pressure and A Poet, A Bard and a Baron keeps things boiling, the first scowling heavily with a hardcore aspect to the attack, a flavour which has already had moments of success in the opening pair, whilst its successor through a ‘gentler’ melodic embrace shows the expanse and depth of the songwriting and sound already seeded within the band. The pair of songs forms the pinnacle of Memoirs, their aggressive and uncompromising but enterprising tirade and inventive drama respectively,  major reasons why The Fall of Eden raises a hunger and assumption that the band has a bright future and plenty to offer UK intensive metal.

The closing Pavor Nocturnus is a decent enough conclusion but does feed the expectations which seemingly come with any new metalcore band. With a fire bred passion and undoubted thoughtful craft though, the track avoids feeling like an anti-climax after the quality of the previous two tracks and keeps that keen appetite fully engaged with release and band.

Expect to hear more of The Fall of Eden as they appear to have all the tools to emerge as something fresh and incendiary within metalcore, those whispers vibrant and potently brewing within the Memoirs EP. It is a release well worth checking out especially as it comes as a Name Your Price download at http://thefallofeden.bandcamp.com/

https://www.facebook.com/TheFallOfEden

7.5/10

RingMaster 23/10/2013

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