Cry Excess – Ambition Is The Shit

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In your ears, in your face, and for a great many destined to be in the passions, the debut album from Italian metallers Cry Excess is an introduction demanding to be taken notice of. Ambition Is The Shit unleashes ten tracks which furiously roar with adventure and imagination, and all coming with a tapestry of flavours drawn from everything from metalcore to groove metal and industrial to mathcore. Ground-breaking it is arguably not but seriously captivating and contagiously invigorating Ambition Is The Shit is a bellowing success.

Hailing from Turin, the quintet has been turning up the heat at home and building a formidable reputation and following for themselves. Now Cry Excess is ready to infest the world with their ferocious sounds through Ambition Is The Shit and it is hard to see them not continuing their striking ascent, especially as tracks like album opener Ripshit (Hands Up For The Italians) and more so the following The Public Enemy invade ears and attention. The first song rides in on a gentle electronic breeze, little rumbles of tempestuous electro teases littering its haunting slightly portentous air. As soon as a heavy footed swipe of drums and short stubby riffs descends, everything intensifies and crowds around the initial rap metal seeded vocal delivery. The track continues to present an agitated character and presence, seemingly and intriguingly trying to find its feet and full height before its successor takes over. It is an imaginative and fascinating start straight away surpassed as the second song strides in on sonic predation and rhythmic antagonism; both lorded over by caustic vocal squalls. Like The Browning meets Bury Tomorrow clad in the exploration of Destrage, a band which comes to mind most across the whole album, the song blazes with contagion and enthralling enterprise.

Hustler comes next and as the first two opens with calmer waters, its electro shimmer aligned to constricted vocals and a magnetic coaxing. Whispers of nu-metal add to the flavouring as a sample sets the impending scene of hostile passion and savage confrontation. Its brief but potent two minutes makes a thick appetiser for the title track which follows with nostrils flared and riff loaded guns blazing. Keys bring a warm embrace to the turbulence whilst vocals show a great diversity and imagination, they continually one of the big draws of the album. Predominantly though, the song is a voracious beast of sound and intent, harassing and bruising the senses with skilled inventiveness and blustery passion.CRY EXCESS FRONT COVER

Both the melody rich tempest of What Keeps Us Alive and the dance revelry of You Hate Because You Can’t Compete keep things stomping and impressing nicely. The first may have a canvas of sonic and melodic charm but still confronts like a raging predator and protagonist of ears and appetite, revelling in its raw and at times unpolished but persistently virulent creative fervour. Vocals again provide clean and seducing anthemic bait from within the chaotic and delicious bedlam around them whilst the song’s successor saunters in on an electro swagger and proceeds to flirt and rigorously dance with an electronicore tenacity and devilry. There is great diversity to the album even though the maelstrom of sounds often offers a similar surface storm, and this song epitomises the depth as potently and openly as any.

Through the corrosive rabidity of Rebel, Forever and the anthemic march of Unto Death, band and album leave ears and appetite greedy whilst Neither Forgive Nor Forget kicks the thrills up another gear with its heavily shadowed and intimidating senses crowding cloud of sonic and vocal voracity. The rich blend and extremes of guttural roars and melodic coaxing from the band continues to spark within ears, providing a beacon in the tsunami of noise and hostility, as also does the great nintendocore twist just before an even greater and exhaustingly welcome abusing of the senses.

The album closes on the fierce drama and tumultuous intensity of I Never Liked Clowns, a bestial incitement of stabbing riffs and crippling rhythms swinging from stretched vocal exploration and volcanic sonic eruptions. The track sums up the whole of Ambition Is The Shit in many ways, a conquest of ears and passions which is not spinning a web of new invention but creating an irresistible and hellacious devilment to submit to. Expect big things from Cry Excess ahead and even greater furies of highly pleasurable incitements like this.

Ambition Is The Shit is available via Luxor Records from January 27th @ http://www.luxor-records.com/#!store/cfvg

https://www.facebook.com/cryexcess

RingMaster 27/01/2015

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Clear The Auditorium – The Final Broadcast EP

Clear The Auditorium - Online Promo Shot

Released in May this year to strongly positive responses, The Final Broadcast EP from Welsh electronicore band Clear The Auditorium gets a national reboot November 17th and such its gripping presence a new wave of acclaim and recognition is a certainty. It is not a release which startles with originality yet presents a striking and rigorous confrontation which is as compelling as it is invigorating. The band’s second EP, The Final Broadcast is an attention grabbing statement of intent from a band with the potential to light major fires ahead.

Hailing from Pontypridd and formed in 2011, Clear The Auditorium entwines electronic and rock essences in a voracious merger spawned from the inspiration of bands such as Enter Shikari and Linkin Park. Last year saw the release of their debut EP 2021, a concept release following a young soldier in the midst of the third World War. Its thematic enterprise brought references to bands such as My Chemical Romance which continue to apply in The Final Broadcast, its drama centred on a post-war wasteland and rebellion against a tyrannical superpower formed in the wake of first EPs scenario. It is a lyrically enthralling encounter, though it is the music where the creative theatre is most successful. The Todd Campbell produced EP leaves appetite and its hunger greedy and satisfaction full to bursting whilst anticipation for their next endeavour is already brewing up some impatience.

The release opens with Prologue, an introduction surrounding a news alert with heavy shadows and tempting electronics before the band pushes forward with the start of the apocalyptic narrative. The electro provocation unleashed by Dafydd Richards instantly raise intrigue and sinister incitement which is simultaneously tempered and accelerated by his outstanding vocals, the vocalist strong and bullish in his raw squalls but even more impressive with his clean tones. Musically the song too seduces and threatens on its way to its successor If We Burn, a song similarly bred from the same climate of the first track. The song is a blaze of a provocation, one aflame with electronic devilry aligned to muscular rhythmic intimidation cast by drummer Caleb Priday-Jeremiah and bassist Conor Evans and courted by the predacious intent and enterprise of guitarist Matthew Bennett-Jones. The song shows where those earlier mentioned comparisons are seeded but even more it holds a strong similarity to bands like Jensen and Dead By April whilst their at times raw aggression suggests The Browning. The track is a beast of an incitement which flares up and sizzles like a battlefield.PromoImage.jpg

The following Vacant Streets is a less forceful encounter, certainly at its start but is soon imposing with rabid beats and fiercely simmering electronic vivacity. Across its equally rugged and welcoming terrain, vocals roar and spit malevolent intent whilst within the embrace of the sizzling flight of melodies, Richards croons with warm and thrilling clean tones. As all tracks, as well as being part of the overall story, there is individual drama to the song inspiring intimate reflections and connections alongside the stark landscape of the central theme. As its predecessor, an exhausting and thrilling offering it leads into Intermission, a fascinating short piece which is hard to read, but with the turning of a radio dial connecting the two tracks it feels like it represents a moment of light and lost enjoyment found by souls locked in the cold reality and broken world they hide within.

It is followed by the extraordinary We Are The Danger, easily our favourite track on the release and the band at its most adventurous and imposing best. Ignited by a dance of Morse code which is the spark to a rebellious uprising in sound and defiance, the track rages with scythes of beats and riffs, all matched by the acidic rants of electro pulses. It instantly gets body and emotions fired up ready for the heroic emprise of grooves and rampant riffing which follows. Everything about the song is anthemic from the hoarse and warm vocals, through the aggressively agitated rhythms, to the hellacious devilry driving guitars bass and mass vocal shouts. An uprising and creative brawl, the track is one of the most rousing and exhilarating songs this year reminding of now demised UK band Always The Quiet Ones.

Ozymandius comes next with gentle and elegant sonic mystique within a psychedelically kissed atmosphere. Swiftly catching the imagination with a seeming tour of lost wonders and hopes, it explosively evolves and broadens its inventive weight and passion as it strives for a new horizon of sonic light. The track is a powerful slab of evocative textures and expression potently holding its own against the masterful triumph of the previous track.

The EP is brought to a close by the slow burning and persuading Epilogue, an ultimately engrossing song which from bare voice and keys erupts into a pungently brewing tempest of emotion and climactic rhythms aligned to burning melodies. It is a fine end to an excellent adventure of sound and story. Already there are seeds of uniqueness to the character of Clear The Auditorium’s sound but there is still a fair way to go to be truly individual but with offerings like this, a release which just impresses more with every listen, we can happily wait.

The Final Broadcast EP is available now @ http://cleartheauditorium.bandcamp.com/

https://www.facebook.com/ClearTheAuditorium

RingMaster 17/11/2014

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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Ourfamous Dead – I Am Human

Earlier in the year Leeds electronicore punk band Ourfamous Dead released their single Untitled Part 2 and it was clear from then on they were a band to closely watch and there was a definite keen anticipation for the next offering from the band. The I Am Human EP is the follow up to be released November  14th and brings more of their striking and eager mix of infectious hook fuelled electronic punk sounds, swimming in attitude and irrepressible melodies to excite and engage.

Since their formation in 2009 Ourfamous Dead have worked steadily and intently in defining their sound and laying down foundations with gigs around the UK. Earlier this year they started work on the songs that make up the rippling and exciting I Am Human EP, working to the point where their ever growing following and the rest of the country and beyond can fully immerse in the band’s contagious sound.

The four track EP though not flawless is an impressive and vibrant release showing a band confident in their sound and ability. There is also a good varied mix to the songs in style but also in attack which in some bands might suggest a confusion of direction but with this quintet it comes off as more evidence of their writing skills and assuredness in their music and ideas. 

Rate My Hate’ opens up the release bursting in with a hardcore attack over pulsating synths that wrap themselves around the ear. Defiant musically and from the shouts of AJ Reeves, the track bristles with attitude and aggression before midway switching to a mellower and softer attack, the vocals of Reeves and drummer Robin “Bobbyo” Speight uniting in a harmonious flow that changes the songs emphasis firmly though the drums and guitars still continue to strike hard. Though it does not detract from the song it feels like it is in two parts that though they work seamlessly are more effective in the angrier thrust of the start.

The opening slow notes of a piano bring ‘Untitled’ into view next but it only takes a few seconds before the track erupts into a great pop punk track showing a different and impressive side to the band. Though not as to the fore as on the opener the synths of Rich Jennings wonderfully play as a support to the driving bass pulse of Simon Green and the striking guitars of Callum “crabcore” Knight. Reminding of the likes of Drive A the song flooded with excited energy straight form their live shows, hits hard and fast. This is the EP’s strongest and most satisfying track.

The third track again changes the approach with a strong blend of expressive and coaxing synths alongside a direct and powerful attack from the rest of the band behind clean melodic vocals and gang chants. The song never takes off fully despite the eagerness of the band but nicely stays with a subdued and full sound.  ‘The Great And Inevitable (Change)‘ is in many ways the strongest song writing wise with its good amalgam of styles all laid in an enticing tapestry of melodic play.

Untitled Pt.2‘ completes the package, its swirling synths once more seeking every sense it can to play with. The song mixes in a heavier moment showing the band’s capability to work with aggression as well as sweetly flowing harmonies.

The flaws? Well to be fair flaws is the wrong word it is more down to personal taste. The band lay somewhere between Enter Shikari and My Passion in many ways but it is when they increase the intensity and aggression that they take a distinct step forward. They are far from the likes of The Browning in that way but a harder edge to their music does make the band even more impressive.

I Am Human is a great and thoroughly enjoyable release that is more than agreeable to the ear and shows the immense potential of  Ourfamous Dead for the future.

RingMaster 04/10/2011

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