Cardinal Bay – Answers EP

Making a potent introduction with their debut EP last year, UK post hardcore band Cardinal Bay have upped their game with its successor Answers. It is a five track proposal which growls as it dances on the ear, all of its tracks being as seriously catchy as they are emotively and aggressively forceful.

The strength of the band’s 2015 debut EP Way Back Home, released in their second year together, suggested that the Bridgwater quintet had the potential to make some big musical statements ahead and Answers certainly lives up to that promise in many ways. It comes after a year, since that first release, where the band undertook many UK tours, playing around the country alongside Amaryllis, Lost Atlanta, Chasing Cadence, and Breathe in the Silence and supported Funeral for a Friend before playing main stage at the UK’s biggest youth music festival, Butserfest. The early months of 2016 have been no different in business and success, the five-piece having made a recently acclaimed appearance on the main stage at Teddy Rocks. Now it is time for the Jonny Renshaw (Devil Sold His Soul) recorded Answers to lay down a marker for what many are calling the most exciting band to recently emerge in the post hardcore scene.

From its first moments, the Answers EP certainly does little to dismiss that type of claim, its title track slipping into ears with a melodic jangle as feisty sounds flirt with its background. Pretty soon rhythms and riffs are jostling for attention too as the strong harmonic cries of Josh Rogers colour the song’s air. It is not an over striking start but the song easily has attention held, especially once Roger’s strong vocals stroll with a throaty bassline from Jonny Dibble for company as beats jab and skirt their tempting. As the guitars of George Hill and Dave Small cast a web of melodic suggestiveness, the song simmers nicely with the occasion eruption of raw vocal growls matched by an increase in energy led by the lively beats of Matt Ward.

A strong start to the EP, the song is a sign of things to come with bigger and bolder things waiting to really spark the imagination starting with Out Of Sight. The second track has a far more imposing air to it straight away, swinging beats hitting with a heavier hand as again raw vocal squalls court the impressing melodic tones of Rogers. The band does have a flare with creating infectious pop seeded enterprise too and that also blossoms within the tenacious encounter, almost so well that its make the rawest hues of the track seem unnecessary.

Its feisty presence is matched and eclipsed by the outstanding roar of the following #Shotgun. Instantly it has a virulence and fiery edge which seduces and ignites the imagination and appetite to their strongest reactions yet. There is something familiar to the song, an indefinable essence which only adds to its drama and magnetism built on shadowy rhythms, melodic adventure, and a rampant catchiness more than conducted by Roger’s powerful delivery.

Masquerade makes a more tempered impact next though from its initial grouchy attack amidst a spiral of sonic enterprise, the track easily engages and increasingly pleases ears. It lacks the spark of its predecessors musically, the ear grabbing bite which chains attention but certainly makes up for it with the now expected great vocal quality of the band.

The EP comes to a close with There Are No Flames In Hell, a track which slowly burned itself into the passions. By its end though, and helped by round after round of its infection loaded chorus, it emerged as another strong and lingering favourite. The track contains every impressive element of the band and its sound, giving plenty more reasons why so many are waxing lyrical about Cardinal Bay. With the Answers EP to the fore, 2016 is looking like being a big year for the Somerset band.

The Answers EP is out now @ https://cardinalbay.bandcamp.com/

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Pete RingMaster 17/05/2016

Copyright RingMaster: MyFreeCopyright

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Vera Grace – Novella

British post metallers Vera Grace first drew our attention with their Rotations EP in 2012, a debut quickly standing out from the crowd with strong and imaginative sounds bursting with even richer potential. This potency continued with its equally well received successor, The Lucifer Effect EP a year later. Now a chunk of that promise has been powerfully realised in the band’s new offering Novella, a six track encounter which bares its soul and irresistible craft from start to finish. For personal tastes it is not the perfect proposition yet any ‘issue’ is cosmetic rather than any inbred weakness as Vera Grace confirm themselves as still one of the more fascinating and adventurous band’s on the UK metal/hardcore scene.

The Oxfordshire quintet emerged in 2011 with early singles like Dark Hearts swiftly awakening ears to their provocative sounds. Though it is probably fair to say that Vera Grace has not yet truly exploded to national attention, they have more than drawn a strong loyal following and media spotlights over subsequent years with their releases and a live presence which has seen the band earn constant plaudits and share stages with bands such as 68’, 36 Crazyfists, Feed The Rhino, Devil Sold His Soul, Dead Harts, The Catharsis, Create To Inspire, and We Are Carnivores. Now it is the dark and haunting drama of Novella stepping forward to grip ears and emotions. Like a play, the EP is set in scenes and acts as two separate stories entwine in a tale that involves the loss of faith, heinous crimes, and murder with its subsequent repercussions.

   It starts with Exposition and an arousal of sound which swiftly blossoms into a cloud of tangy grooves and mournful melodies around portentous rhythms and the angst fuelled squalls of vocalist Stephen Nulty. He spills anger, torment, and emotional toxicity with every strained syllable backed by the equally intensive lines and swipes of bassist Aaron Godfray and drummer Josh Williams respectively. Aiding and tempering this with raw riffs and tantalising melodic enterprise are guitarists Jonjo Williams and Rich Lester, their creativity bred from songwriting as predatory and imposing as the realisation of its rich ideas.

The potent start is followed by the brief instrumental Act I, a piece reeking desolation and loneliness before 12_04 steps up with almost a grudge to its character and sonic tempest. Again it is more a predator than a rabid beast of a song but with rhythmic sinews demanding and riffs snarling with animosity, the track bristles with contagious viciousness and emotional volatility. Guitars again enthral as the darker hues of rhythms simultaneously transfix with addictive and challenging enterprise, whilst Nulty crawls over it all with vocal ferocity and throat shredding causticity. Truthfully, hopes were that he might have involved a little more diversity in his delivery over time but there is no escaping his potent, and to be fair welcome, attributes in the fierce web of sound colluding with great ideas across all songs.

Act II is an even more harrowing short piece next and like its earlier counterpart engages well but for thoughts might have been a better ingredient in the EP being the breeding ground for the following tracks to grow out of whereas singular they feel like isolated elements. In many ways though that adds to and replicates the emotion of the character in the EP’s concept so no real complaints really, especially as Scene I – Griever slips in on a melodic caress of reflection and evocative calm. There are brewing shadows to it from the first breath too; glimpses at first which evolve into magnetic, almost shamanic rhythms and a corrosive caustic roar infused with emotional intimacy by Nulty. The track is an engrossing affair, the guitars a theatre of expression and sonic adventure whilst the brewing antagonism and ire of the track’s premise is superbly sculpted and inflamed by the masterful dark nature of bass and drums.

Novella’s best track makes way for the closing Scene II – Catharsis, a blaze of metalcore/post hardcore seeded ferociousness and emotion bedlam. To simplify things we tagged the Vera Grace sound as post metal at the start but as in very track and especially raging on the closing treat, the band blends a host of varied and capricious sounds and flavours in their inescapable incitements.

The growth in the band’s sound since that first EP is as dramatic as the thoroughly enjoyable Novella, though it still feels like Vera Grace has yet to tap into their deepest corners of invention and sound. When they do it is going to surely be epic.

The Novella EP is available now!

18/08/2015

Copyright RingMaster: MyFreeCopyright

Lay Siege – hopeisnowhere

It was back in 2012 that British metallers Lay Siege introduced themselves to a broader national awareness through mini album Obolus. It was an impressive and potential soaked entrance from which its keenly anticipated successor has been a long time coming. It certainly feels a hefty wait but the Northampton based quartet have now returned with debut album hopeisnowhere, a mighty ear grabbing encounter which realises plenty of that early promise whilst setting down its own new surge of greater potential. It is a formidable and imposing proposition, a captivating one too with its dramatic fusion of metalcore, post metal, and various other strands of extreme and melodic enterprise, and though it at times misses the final spark or unique bait to lure the strongest lustful reactions, it leaves ears and thoughts seriously contented.

Formed in 2010, the band were soon tucking successful and increasingly acclaimed shows with the likes of Devil Sold His Soul, Feed the Rhino, ACODA, Heart of a Coward, Carcer City, and While She Sleeps under their live belts. Obolus in turn raked up eager attention and support from fans and media alike as the band spread their presence across a national landscape, backing its release and continuing thereafter with a live presence which has, like the band itself, constantly grown in stature. The time between recordings has also seen the line-up of guitarist Jamie Steadman, bassist David Bartlett, and drummer Lewis Niven joined by new vocalist Carl Brown, his linking up coming around the time of their first offerings release. It is a unit going from strength to creative strength as evidenced swiftly by hopeisnowhere.

The thick atmospheric embrace of Irebot starts things off; it’s opening smog of sonic intrigue instantly offering a portentous air which the accompanying fiery shimmer of guitar only accentuates. It is a mere whisper though against the swiftly joining tempest of heavy throaty bass, intensively probing beats, and the expanding raw caress of guitar. The vocal squalls of Brown rage in the background initially, adding to the intimidating texture of the sounds before stepping forward and unveiling his full lyrical and emotional ire. It is not a dramatic opening to the album but a richly intriguing one already showing fresh creative flair and skills in the band. The song continues to build a challenging tempest of sound and emotion, but even at over three minutes seems over before it has truly begun, though that is soon a passed thought as Glass Veil imposes itself on the senses. The imagination of leading the listener into the deeper background and far distance of a song is repeated again here and works a treat, implying real depth to not only the composing but the emotion of the lyrical and impassioned narrative. For the main though it is a thunderous assault built on the rhythmic ferocity and tenacity of Bartlett and Niven and coloured and shaped by the highly impressive imagination of Steadman’s guitar enterprise.

   That is the template for all encounters within the album, an explosive and riveting base from which the even more ravenous tones and dark antagonism of Hollow Hands breeds its creative fury next. At ease whether surging with nostrils flared or stalking ears, the track roars over and brawls with the senses under the malicious scowling assault of Brown who does not venture into great diversity in his delivery but avoids being a wearing, predictable factor in the album’s proposal.

The Illusion of Choice instantly enthrals ears with its opening melodic elegance and atmospheric calm, a warmer expression and adventure which endures the lustier barracking of rhythms and riffs to emerge again with just as transfixing potency. Eventually it has to succumb to the heavier intent and aggression but is always there simmering potently beneath the surface giving sparkling glimpses from time to time in the surrounding turbulence. It is a fascinating merger of light and dark, beauty and aural pestilence installing an early pinnacle in the album; one backed almost as potently by the predatory trespass of Souldrinker. It also draws in mouth-watering melodic grooving and hooks into a maelstrom of rancor and hostility but cannot quite match its predecessor because that melodic enticement is too similar to that blossoming in the previous song. This is something which affects the whole album, many elements repeated in varying shades and used well but at times defusing the chance of some tracks being truly unique proposals within the release. In saying that, thick swamps of sludgy sounds, vitriolic rhythmic shards, and inhospitable sonic imagination only temper and help avoid any repetition being a real issue within songs so it is not a massive issue.

The melodic calm of the album’s title track is indeed one individual beauty, its smouldering elegance the eye of the storm which takes up again with the outstanding and savage onslaught of The Afflicted. Courting an oppressive doom bred gait and intensity around its sonic swing and rhythmic plundering of the senses, the song provides another major highlight whilst spewing vocal antipathy and creative invention with increasing contagion before the venting bellow of Black Cloud and the merciless Blue Pill add their impacting winds in the emotionally erosive storm of the album. Both inflame ears and imagination if without reaching the heights of the song, but each only add to the weight and potency of the release, with the second of the two especially gripping attention with its keen and more varied vocal assault amidst bestial menace.

The dramatic March the Flock is an anthemic trap of rancorous riffs and hooks aligned to bone splintering beats and spiteful vocal calls. It is another putting its creative and vicious head above others upon the album, whilst the closing A Fictional Sound explores many of the same impressing elements this time twisting them into an acrimonious but thoroughly tempting incitement, a description which sums up the whole of hopeisnowhere perfectly.

As it started, the album ends on an explosive and thrilling plateau. It dips a little in the middle and as mentioned certain songs miss a certain element or spark to ignite personal passions consistently, but when tracks do they show that Lay Siege is one of the UK’s brightest and potentially powerful propositions.

hopeisnowhere is available now via Lifeforce Records @ http://www.lifeforcerecords.com/store/

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RingMaster 24/03/2015

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Death Kindly Waits For Me – Wire Iron Blood

Let us cut to the chase right away and suggest that Wire Iron Blood might just be the best and certainly one of the most exciting post hardcore debut in recent times. An introduction to UK quartet Death Kindly Waits For Me, the three track release is a striking and dramatically captivating protagonist for ears and imagination, and the fact that it suggests there is plenty more in the creative tank of the band yet to be explored and developed only increases its impact. Expressively provocative with a sound coming from the At The Drive In/Fall Of Troy end of an ever broadening genre, Death Kindly Waits For Me is a dramatic fresh breath in the British post hardcore scene.

Northamptonshire bred, Death Kindly Waits For Me began towards the beginning of 2014, taking inspirations from the likes of Thursday, Being As An Ocean, Finch, and Taking Back Sunday into their emerging invention. Their melody rich and aggressive sound was soon drawing potent attention locally and even further afield as their increasing live presence saw the foursome sharing stages with bands such as Decade, Light You Up, Devil Sold His Soul, Terraform, Emp!re, Our Hollow Our Home, Hey Vanity, Attention Thieves and Flood Of Red. Now a national attention is on the radar as Wire Iron Blood is uncaged, and it is fair to say that expectations are already confident in the band’s success in luring a wider spotlight.

The EP opens with the outstanding Cutting Room Floor, a sonic lure swiftly thrusting ears into the impassioned vocals of Adam Fitch, his clean and earnest tones instantly magnetic. Alongside him the guitar of Max Freeston slowly spreads a coarsely melodic lure whilst the heavy bass tones of Adam Cator, just as quickly adds dark haunting shadows. Pierced by the controlled and reserved but rapier like strikes of drummer Josh Miller, it is not a dramatic start yet thoroughly intriguing and awakening an appetite to hear more. Soon into a steady stride and still employing the creative weave which set things off, the song increasingly impresses as it expands its presence musically and vocally, Fitch superb with his distinctive angst fuelled tones whilst the more punkish offering of Freeston is a potent backing and the raw roars of Cator nicely caustic. An additional anthemic strength emerges in the song and though musically maybe it does not blaze with startling originality there is nothing but freshness and adventure to the opener.

The same strengths flows though the following Best Friends. It character is shadowed and emotionally dark yet it flames with a contagious energy and a rigorously exciting imagination. Vocally once more the track shines whilst riffs and melodies create an infectious proposal which, as the EP, becomes more addictively enjoyable over time. That Fall Of Troy feel is a bright whisper across the song, whilst other elements hint at the more experimental adventure of The Mai Shi at times, but as the song evolves from a raging stomp into a melancholic croon in its finale, the track is thrillingly individual to Death Kindly Waits For Me.

The closing Decade Of War continues the excellent temptation, its emotionally sober but energetically impassioned heart a canvas for great rhythmic enterprise and colourful guitar endeavour to wrap with craft and tenacity. Vocally of course the song continues a weighty persuasion amidst impressive sonic imagination and by its end it is hard not to sigh in disappointment that there is no more and to swiftly go back to the beginning again and ensure there is.

As mentioned at the beginning, Wire Iron Blood is a starting point for the band which shows that they have plenty to discover and push within themselves. There is little nothing to shade the potency of the release though, with no reflection on Cator, personal tastes would like to see a diminishing or loss of the aggressive vocal squalls as they often feel at odds with the rest of the vocal delivery and at times songs. It is a very minor thing of course in a potential drenched start by Death Kindly Waits For Me, a band hard not to get rather excited over.

Wire Iron Blood will be available from 2^nd March through all digital stores.

https://www.facebook.com/deathkindlywaitsformeuk

RingMaster 02/03/2015

Copyright RingMaster: MyFreeCopyright

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The NX – Night Heaver

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, the 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 23^rd on EP and digitally via Footloose Records and all stores.

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RingMaster 23/02/2015

Copyright RingMaster: MyFreeCopyright

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When We Were Wolves – Heartless

At the end of our review of the deeply pleasing The More Things Change, The More We Stay The Same EP from Welsh post hardcore band When We Were Wolves, we added that this was “still a band in the making”. Now the Bridgend quintet unleash its successor in the stunning shape of Heartless to show that they are a creative tempest which has arrived at its first pinnacle whilst still offering the potential of even greater things to come. The five track fury of invention and intensity is a startling encounter exploring a broader and more mature landscape than its predecessor yet still passionately driven by the band’s now distinctive and imaginative post hardcore intent.

Formed in 2011, When We Were Wolves has built a rich reputation for their live presence, which has seen them play alongside the likes of Bury Tomorrow, The Blackout, Devil Sold His Soul, Malefice, Born Of Osiris, Exit Ten, Betraying The Martyrs, Martyr Defiled, and Carcer City. Add that to the success of The More Things Change, The More We Stay The Same and it is fair to say that anticipation for its successor was ripe and full, a hunger swiftly sufficed as Heartless rampages through the ears.

Opening track Dying On The Inside straight away lays a feisty glaze of riffs over ears, their lure fusing a punk and metal attraction before the rampaging beats of drummer Josh Baker uncage their full weight upon the sonic turbulence. The bass of Matt Shaw prowls the gripping brawl of sound with relish whilst vocalist Mitch Bock roars with emotion and animosity. Riffs and grooves spill equal animosity through the craft and invention of guitarists Steve French and Rhod Evans too, their intensive proposal alone creating a riveting baiting of thoughts and emotions within the song. It is a stunning start to the EP, the track twisting and embracing the senses with enthralling imagination whilst further inescapable temptation is expelled through the outstanding and impressive vocal delivery of Bock. Like a collision between While She Sleeps and Slipknot with a twist of Cancer Bats, the song is an irresistible contagion.

Coating ears in an initial melodic yet fiery embrace, the next up The Devil You Know soon twists into a ferocious beast of vocal hostility and sonic antagonism. It is a demanding and compelling start but taken to another level as Bock unveils more of his superb clean and melody rich vocals which had already enhanced its predecessor. Equipped and skilled to merge both extremes, he proves himself on Heartless to be one of the more exciting frontmen around. An essence of Dead Til Friday prompts thoughts towards the song but again a mere whisper to a sound undeniably belonging to When We Were Wolves. Predatory and seductive, it is a riveting adventure matched immediately by the voracious Blind. A sonic haze starts it off before grooves come out of the woodwork with insidious intent as pounding rhythms bring their equally enslaving thunderous textures. Vocals also explode with wide variety and unbridled passion across the destructive maelstrom smothering the senses. It is an exceptional savagery with a lingering spite ensuring it is one of the pinnacles of the release.

The following Confession takes its spark from the previous track, staggered riffs and venomous grooves an intensive and welcome intrusion as rhythms cast their heavyweight provocation. There is no respite from the vocals either initially, the fighting tones of Bock showing no mercy until his seamless slip into the equally impacting clean and velvet delivery he possesses. The encounter is a masterfully invigorating tempest which like most of the songs, perfectly sculpts its relatively brief length for the most dramatic impact before making way for the closing title track. Lighter in its presence in comparison to the last couple of tracks, Heartless is a radiantly emotive song, a melodically fired croon of sonic enterprise and vocal intensity which steals attention and ardour with Bock again exceptional though well-matched by the skilled sonic and rugged rhythmic charm of the rest of the band.

The Heartless EP is a major triumph for When We Were Wolves and the British post hardcore scene. The Welsh band has not only found its own voice but set out a new vat of promise and invention to inspire even greater anticipation for their next offerings.

The Heartless EP is available digitally through all stores on Monday 22nd September.

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RingMaster 21/09/2014

Copyright RingMaster: MyFreeCopyright

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WHEN WE WERE WOLVES reveal their ‘Heartless’, on 22nd September‏

EXCITING SOPHMORE EP FROM WHEN WERE WOLVES RELEASED AND UK TOUR ANNOUNCED!

 ‘The Welsh quintet hold nothing back here, ensuring that their heavy parts are scathingly so and imbuing their melodies with heart-rending ethereal grace’ KKKK Kerrang!

Impressive South Wales Post-Hardcore quintet ‘When We Were Wolves’ unleash their explosive new EP ‘Heartless’, through all stores on Monday 22nd September. The rising bruisers will also tour throughout the UK this September.

Reared on a healthy diet of A Day To Remember, Slipknot and Parkway Drive, and adding to that genuine craft and an imaginative approach to penning highly engaging slabs of post-hardcore, ‘When We Were Wolves’ have sculpted a sound that is whole-hearted, progressive, and above all, utterly gripping.

Born during the middle part of 2011 and hailing from Bridgend, South Wales, the band soon set themselves on a course for playing as many shows as possible, which saw the five-some quickly amass a strong and loyal following. Their unbridled determination to deliver a ferocious, dynamic live performance at every show has earned them a glowing reputation, and in turn, has led the band to share stages with the likes of Bury Tomorrow,Born Of Osiris, After The Burial, Betraying The Martyrs, Bleed from Within, Heights, The Blackout, Devil Sold His Soul, Malefice and The Amity Affliction, to name a few! As well as being a growing force on the live scene, the band have worked diligently on recording, witnessed by last year’s ‘The More Things Change, The More We Stay The Same’ EP, which secured widespread national praise from Metal Hammer, Terrorizer, Big Cheese and Rocksound, through to radio airplay with XFM, Totalrock and Kerrang! Radio. The record also racked up a stunning KKKK in Kerrang!, as well as a new band featurette in the magazine. Further UK and widespread European touring followed in support of the record before the troupe decided to hit Bandit Studios (home to Devil Sold His Soul) to commence work on their new record, soon to be titled ‘Heartless’.

The band’s follow up EP certainly delivers on all fronts, exploding with innovate ideas and cut-throat riffs. The first track and lead single, ‘Dying On the Inside’, soon slams you in the gut with its infectious groove that stomps and sways before a killer refrain blows you over. The menacingly brilliant and adrenaline-fuelled ‘The Devil You Know’ pounds it ways into your head before ‘Blind’ continues to batter you into submission. ‘Confession’ is further evidence that When We Were Wolves knows how to execute an engaging slab of exhilarating post hardcore, packed with sheer intensity and gripping dynamics. Lastly, the EP’s namesake, ‘Heartless’, rounds off the record with a captivating and passionate vocal performance by Mitch Bock, who really pulls it out of the bag. ‘Heartless’ is an EP that is destined to be heard, and with a UK tour confirmed for September, there’s nothing stopping the band’s swift rise.

WHEN WE WERE WOLVES LIVE W/ Valiant – SEPTEMBER 18 – BRISTOL, The Gryphon; SEPTEMBER 19 – PLYMOUTH, Tiki Bar; SEPTEMBER 20 – WORKINGTON, Lounge Bar; SEPTEMBER 21 – NEWCASTLE, Think Tank; SEPTEMBER 22 – HULL, O’Rileys; SEPTEMBER 23 – STAFFORD, Grapes; SEPTEMBER 24 – SOUTHAMPTON, Unit; SEPTEMBER 25 – ADDLESTONE, The Cave; SEPTEMBER 26 – BRIDGEWATER, White Hart Hotel; SEPTEMBER 27 – CHELTENHAM, Two Pigs.

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