Forever Still – Save Me EP

Forever Still_Reputation Radio/RingMaster Review

Every time we feature Danish rockers Forever Still on our online radio shows, The Bone Orchard and The Ringmaster Review, barely one play goes by without suggesting the band’s time for global recognition is nigh, thoughts seemingly replicated in the minds and responses of the listeners. The Copenhagen trio has yet to receive that deserved break, though every release certainly pushes them closer. Their new EP Save Me, is the most potential and ability equipped proposition from the band to date and if this does not rupture the broadest spotlights with accompanying successes than something is seriously wrong out there. Its three tracks explore the full range of the band’s songwriting and sound, seducing and savaging the senses with an imagination and passion which just leaves you hungry for much more.

The band since forming in 2010 has perpetually infused the music scene at home and increasingly further afield with a fresh breath of creative attitude and sound. In 2013, the band unveiled debut EP Breaking Free, a release seriously acclaimed by fans and media alike and emulated in success by the equally impressive and stature pushing Scars EP of last year. Both encounters lit a fire in the European independent rock scene if not yet quite to the level found in the passions of an increasing fan base. Now it is the turn of the exceptional Save Me EP to have a go at breaching broad horizons, a success impossible to bet against. The encounter flourishes once again from the melodic roar and harmonic seducing of Maja Schønning, and the maturely inventive songwriting of her and Mikkel Haastrup (bass / guitar / keyboards / drums). Backed by the skilled abilities of Dennis Post (guitar), the EP simply ignites ears and thoughts alike from its first breath.

cd-cover Reputation Radio/RingMaster Review    Awake the Fire opens up the release and instantly grips the imagination with its initial tangy grooving. It is irresistible bait continuing intermittently across the song, holding its own against bulging rhythms and hungry riffs unleashed by the band. Once the ever compelling voice of Schønning takes ears in her potent hands, drums seem to elevate in boldness and intensity whilst the guitars cast a sonic tapestry as spicily aggressive as it is virulently imaginative. There feels like there is a new confidence within the song, indeed EP, compared to the band’s previous and seriously impressive offerings, every element of the song from writing to sound bearing a creative swagger and almost volatile passion. The track is a masterful roar of melodic and heavy rock, alone ensuring any old references to bands like Evanescence and Lacuna Coil are now redundant. Forever Still has evolved into something wholly unique, a fact quickly reinforced by the second song on the EP.

Breathe In opens with an electronic teasing before a vocal snarl from Schønning triggers a lively magnetic saunter of eager riffs and bewitching melodic grooves. That electronic coaxing still continues within the blossoming croon of a song, whilst a wiry bassline captivates as a more tempestuous yet still restrained atmosphere fuels the increasingly impressing encounter. The sudden eruption of carnivorous intent in voice and sound seals the deal on another outstanding proposal, an Otep like ferocity expelling its fury before the song relaxes once more ready for one final forceful eruption.

The EP closes with its title track where the band reveals they are just as able and striking at creating mellow but inflamed seductions soaked in emotional turmoil as they are with thunderous tempests. The song is bewitching, Schønning a poetic aural lure in a similar embrace of melodies from guitar and keys. Within its mesmeric textures though, an electronic agitation lurks and a more sombre bassline prowls, their pairing creating riveting shadows within the evocative fire of the melodic serenade. An underlying snarl also brings more depth and potency to the closing persuasion, reminding all again of the range and imagination within the invention of Forever Still.

Save Me is the most powerful and gripping release from Forever Still yet, building on past triumphs and exploring far loftier heights. Hopefully it will mark the moment the world catches on to band and their dramatically thrilling sound. If not now it has to happen some when soon.

The Save Me EP is out now as a name your price download at https://foreverstill.bandcamp.com/album/save-me-ep-name-your-price

https://www.facebook.com/Foreverstill   http://foreverstill.dk/

RingMaster 21/05/2015

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

 

St. Aria – August 21 EP

St.Aria

Last year, like for a great many, attention was pricked by We claim this aria, the debut EP from Swedish band St. Aria. It was a potent and potential laden offering which at times strikingly sparkled and in other moments simply provided an enjoyable proposition without lighting fires. It did though ignite an appetite for the band’s inventive ideas and the next stage in its evolution. That next chapter has arrived with the release of the August 21 EP, an evocative and vivacious encounter building on the qualities of its predecessors and realising the previously untapped but hinted at qualities of the band’s sound. Consisting of five adventurous and lively propositions, the EP is the sunrise of a sound and band coming of age, but still with more to come and discover.

St. Aria is the creation of lyricist/composer/keyboardist Alexander Platon, a project formed in the late 2000s which after a hiatus when Platon joined The Borderline Saints, returned in 2012. Taking inspirations from the likes of Evanescence, Within Temptation and Nightwish and guided by the intent to create emotionally resounding rock ballads, the Platon linked up with vocalist Jimmy Ferhm, also of The Borderline Saints and producer Emanuel Svensson to resurrect St. Aria. Initially it was just to remake a couple of the band’s early songs but such the interest in its members and fans things evolved. We claim this aria was the debut release and saw the three enlist numerous session musicians for its creation and subsequent live appearances. The EP certainly awoke good interest but as suggested earlier everything has grown and leapt forward with August 21. Firstly St. Aria is a complete and stable quintet, Platon and Ferhm joined by Oliver Sandberg (drums), Erik Jönsson (bass, vocals), and Jacqueline Hansson (vocals), whilst musically the raw edges and arguably success tempering aspects of the previous release have been resolved and woven into songs simply revelling in melodic beauty.

St.Aria - August 21 (Cover art)   The EP opens with the spellbinding Black Rose, a song which instantly has ears and imagination involved through the evocative keys of Platon, and increasingly seduced by the siren-esque tones of Hansson emulated in potency by those of Ferhm. Rhythmically the song is reserved yet striking enough to support the expressive narrative of vocals and piano as they colour the song with feisty elegance. It is a catchy and welcoming start to the release matched by the contrasting shadow wrapped presence of Deception which follows. Led by the mellow yet angst lined tones of Ferhm, the song cradles ears and thoughts in a provocative embrace of emotional balladry. The drums of Sandberg create a brooding drama behind the core refection of voice and piano, an almost epic shadow aided by the equally haunted lure of Jönsson’s bass, whilst all combined leaves attention and pleasure easily entranced.

A great bass growl opens up Here With Me, its darker presence soon smothered by the radiant light of keys and the paired vocals of Hansson and Ferhm. The song has a much lighter smile to its tone and character than its predecessor, a hope fuelled romance flowing through the nimble fingers and invention of Platon and the increasingly enjoyable vocal union, though all attributes reach new heights in the outstanding Hopeless Case. Strings and voice align to a tantalising tinkle of keys to seduce the senses from the song’s first breath and immediately has the appetite licking lips. As it opens up its energetic embrace, a country spicing and folkish revelry joins the inescapable infectious persuasion on offer whilst the duet of voices spills melodic contagion. Thoughts are conjured up of The Only Ones single Fools which saw the band and vocalist Peter Perrett link up with Penetration’s Pauline Murray in a mouth-watering duet, and though musically different, the textures, charm, and catchy quality is similar and just as impressive on the EP’s best track.

August 21 closes New Dawn, itself on a par with the previous song through the ever reflective and impressive vocals where this time Hansson leads the temptation with her seductive delivery. Shadows are never too far from the surface in most St. Aria songs, and here bass and keys bring a complimenting emotive shade to the golden tones of melodies and harmonies, a blend emulated in the lyrical prowess of the track. It is an enthralling end to an excellent encounter in which St. Aria has breached a new plateau in songwriting and sound. The band has pushed itself and sound to fulfil early potential and more, but now with a suggestion that there is even more within them to come it is fair to say there are exciting times ahead for them and us.

The August 21 EP is available now digitally @ https://itunes.apple.com/se/album/august-21-ep/id971640265?l=en

http://www.ariamusic.se/     https://www.facebook.com/ariaswe

RingMaster 09/04/2015

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://reputationradio.yooco.org/

Arsenic Unbirthday – Ravens And Writing Desks

Arsenic Unbirthday_Picture

From a name which is instinctively memorable and carrying a sound made up of potent temptations, certainly on the evidence of new EP Ravens And Writing Desks, Italian rock band Arsenic Unbirthday is one of those propositions which just courts personal attention from the first touch. Like a mix of Forever Still and Skunk Anansie, the Cagliari quartet is described in their bio as “a poisonous alternative rock band.” Truth is their seduction is far sweeter and warmer yet indeed with a creative toxicity and snarl which ensures every track on their new proposition leaves the imagination and appetite captivated.

Formed by guitarist Nick Farlight and vocalist Mary Red Mallow, Arsenic Unbirthday has gone through the several line-up changes which cross many bands, emerging stronger and more inventive whilst adding shows with numerous established artists to their CV along the way. Following an early demo, the band recently linked up with Epictronic for the world wide release of their first official EP, and an ear opening, attention nudging offering it is surely going to prove.

PAGES 1-8The chilled winds of My Enemy embrace ears first, accompanied by a vocal narrative of gothic fairy tale breeding. The song gradually brews up a melodic tempting around them, the provocative guitar and keys shaped imagination of Farlight draping the brooding rhythmic frame sculpted by drummer Alex Stowe and bassist Emmanuel. It is a tantalising proposal swiftly accentuated by the siren-esque expression and tones of Mary Red Mallow, her voice an inviting romance in the darker atmosphere of the music. There is more to the encounter than a gothic and dark rock proposal though, an electronic enterprise blossoming across the enjoyable start to the EP and providing the track with a flourish in its climax.

The strong opening continues with Unnecessary Pain. Immediately its sinister electronic caress has a Nine Inch Nails breath to its drama, one soon breeding a bubbly tempting before expanding into a fascinating soundscape of vivacious and unpredictable enterprise within an exotic electro climate. The warp resonance of melodies through the keys is gorgeous and perfectly tempered by the sobering dark bassline cast by Emmanuel. If the first song was an imposing awakening of ears its successor is a full on infestation of the senses, spreading intoxicating melodies and contagious imagination as it gets under the skin.

It is fair to say Ravens And Writing Desks already just gets bolder and more impressive with every track, proven by the fiery almost predatory presence of Imperfect and in turn by the sheer beauty of Another Sin To Hide. The first of the pair roams and stalks the senses with rapacious riffs and crisply connecting rhythms, all under the spell of the ever bewitching vocals. There is a certain carnivorous texture to the riffs which cannot be shaken by the flowing charms of keys and vocals, though they equally share the listener with the smoother haunted theatre of melodies and their evocative flirtation. Its successor is a kiss on the senses and imagination, a seducing power ballad with melancholic strings and climactic emotional outpourings which simply bow to the superb voice and delivery of Mary Red Mallow. The song is spellbinding, as all songs not startlingly unique yet providing a presence and attention stealing adventure quite a few bands can only imagine.

The electronic heart of Leaves Beneath continues not only the imagination of the release but the variety too. All songs come with the same kind of core template but each unveils its own distinctive character and presence with this a compelling persuasion. Its electro elements are like shards of light breaking upon a shadowed land, though the scenery itself basks in a warm melody and vocal enriched elegance. A whisper of Evanescence is a creeping suggestiveness across the gripping enchantment and drama of the song, and another spice to ponder and enjoy.

The EP closes on, with for personal tastes its pinnacle, the mouth-watering Sparklet. The track is a merger of numerous styles and flavours, emerging from a golden pool of electronic and atmospheric beauty into an intimate and jazzy stroll with a whiff of Stolen Babies to its almost devilish temptation. Equally there is a slow but open swagger to the rhythmic luring of the track, everything leading to dramatic crescendos before settling back down into that addictive teasing of the psyche. The song is outstanding, the peak of the release and further evidence of the enjoyable and impressive diversity to sound, songwriting, and imagination within Arsenic Unbirthday.

An encounter which also grows and improves with every listen, Ravens And Writing Desks is the introduction of a band with the potential to breach the broadest, intensive spotlights.

The Ravens And Writing Desks EP is available now via Epitronic @ https://itunes.apple.com/gb/album/ravens-and-writing-desks-ep/id958179588

http://www.arsenicunbirthday.com/     https://www.facebook.com/ArsenicUnbirthday.1

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/

 

Fire At Dawn – Self Titled

Fire At Dawn Online Promo Shot

UK hard rock band Fire At Dawn has already been earning a potent reputation for their live performances since forming in 2013, but now have national attention in their sights with a self-titled debut EP. The five track release is a rather captivating introduction to the band, not one to declare the band as the future next big thing in British rock, but definitely a potential fuelled and feistily charming base for the band to spring from ahead.

Hailing from Southend, the quintet was swiftly drawing comparisons to bands such as Alter Bridge, Evanescence, and Muse with their sound. The EP shows there is more to their creativity than that though, an individual flavouring which may not yet be loudly showing but showing there is plenty more to come from Fire At Dawn as they evolve and one suspects subsequently sets themselves apart from the crowd. It is all there on parade from the first track of the release as a familiarity works with a just as magnetic invention to spark senses and appetite to want more.

   Bad Trip is first, and as soon as the sultry wash of keys wraps ears, attention and intrigue are awoken. There is a fizz to the melodic opening, a strong coaxing which only benefits from the pungent rhythms and blaze of guitar which are soon adding their temptation. The strong lure slips a little as the song relaxes for the beginning of its lyrical narrative but nicely compensates with the seductive tones of Victoria Walker presenting them. The guitars of Brad Winter and Ross Turbz court her delivery with a spicy weave of melodies and riffs, the pair swiftly impressing with their enterprise and craft and increasingly so over the whole release. The song never explodes as its small crescendos suggest but firmly engages imagination and emotions from start to finish for a strong opening to the encounter.

The following Choose Me has a gentler start but like a sparkling wine has lively flavour to its acidic lure too. There is a definite eighties feel to the song as it unleashes infectious energy and fiery Fire At Dawngrooves, an essence which colours the whole song which also slips into something more reserved for the start of Walker’s vocals. Its catchiness is never far from the surface though especially with the bouncy beats of drummer Roman Drummond and dark basslines of Lloyd Entwistle making sure feet and thoughts are easily engaged across the song’s vibrant presence.

From the liveliness of two songs, Light explores a more restrained and shadow wrapped adventure. Emotive harmonies slip from Walker’s throat with impressive ease and potency whilst guitars and keys cast a radiance which caresses the senses with smouldering temptation. There is a melancholic but tenacious heart to the song which again threatens to erupt into more intimidating pastures, but it also finds itself on a constant rein even with the flame of sonic invention which drives a gripping solo. The track enthrals as it unveils its canvas and creative expression, subsequently making way for the closing pair of On Me and Run. Neither quite matches the previous songs as a whole, but each has moments of delicious endeavour and imagination. The first travels progressive scenery sculpted by again superb guitar work whilst its successor opens with a tangy twang to its chords and tempting which ignites a certain melodic mystique across the whole song musically and vocally. It is a fine end to the release, every part sizzling in ears without finding that key spark to ignite the roaring blaze you feel is there in the song and EP’s depths.

Fire At Dawn certainly inspires a hunger to know and hear more with their debut. It is lacking as mentioned a certain element and a snarl vocally and rhythmically to bring it fully to life, but such the quality and enjoyment the band do provide, that can be a question to address in future encounters whilst happily enjoying their introduction.

Fire At Dawn is available through all digital outlets on Monday 1st December.

https://www.facebook.com/fireatdawn

RingMaster 01/12/2014

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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UK HARD ROCKSTERS FIRE AT DAWN RELEASE DEBUT EP THIS WINTER!

Fire At Dawn Online Promo Shot

Brit rock crew ‘Fire At Dawn’ serve up their engaging self-titled debut record, through all digital outlets on Monday 1st December. Look out for show announcements very soon……

Spawned in Southend, Essex and formed only last year, Fire At Dawn draw together a sound that calls to mind AlterBridge, Evanescence, Muse and the Foo Fighters. The female fronted hard rock combo, comprised of Brad Winter (Guitar), Lloyd Entwistle (Bass & vocals), Roman Drummond (Drums), Ross Turbz (Guitar) and Victoria Walker (Lead vocals), have played shows whenever and wherever possible ever since their formation and have already built a sizeable following throughout the South.

With a strong work ethic and a commitment to regularly recording, Fire At Dawn started work on their self titled debut EP in the Spring of 2014, and now the record is set for national release this winter. The EP comes at you with its fiery riffage and impassioned vocal lines, and boasts some killer future singles as well, namely the bouncy ‘Choose Me’ and the majestic ‘On Me’. Also, be sure not to miss the snaring groove of their opener ‘Bad Trip’ and closer ‘Run’. With tour dates in the works to coincide with the EP’s national release, keep your eyes and ears peeled for the rising hard rockers this winter.

Fire At Dawn

-FIRE AT DAWN RELEASE THEIR SELF-TITLED EP ON MONDAY 1st DECEMBER THROUGH ALL STORES-

https://www.facebook.com/fireatdawn     https://twitter.com/Fire_At_Dawn

A Mouth Full Of Matches – Smoke Signals

AMFOM Promo

Swiftly showing a fresh maturity and adventure to their sound, the new Smoke Signals EP from UK alternative rockers A Mouth Full Of Matches, leaves no doubt that this is a band truly finding its creative feet. The four track release bulges with thick melodies and intriguing hooks, providing ears and imagination with a warm and persistently impressing landscape of evocative textures and adventures. It is a riveting encounter from start to finish and though it is possibly a few sparks short of the blaze it could have been, the EP is a stirring and rigorously captivating proposition from a band on the rise.

Formed in 2012, A Mouth Full Of Matches, the name taken from a piece by spoken word poet Anis Mojgani called Milos, took little time in drawing attention with their sound, live presence, and debut EP, Tasting Fire. The Manchester quintet’s first release was well-received and potently opened up the potential and invention of the band’s songwriting and sound, a promise skilfully realised by Smoke Signals whilst providing suggestions there is still plenty more within the band to be explored. Recorded with producer Matt Hyde (Bullet for my Valentine, Slipknot, Machine Head, Funeral For A Friend), and following the band’s success in making it to the final Red Bull selection of 15 bands vying to play Download Festival, Smoke Signals is a potent statement in luring a greater spotlight upon the band.

The release opens with a sultry and gentle caress as first track Danger High glides into view. It is an atmospheric start embracing the imagination but just the gateway into punchy beats from drummer Steven Hall and a weave of raw AMFOM Artworkriffs and sonic enterprise cast by guitarists Mark Holden and Jane Hebenton, the latter’s twin Helen providing dark portentous shadows with her brooding basslines to the mix. It is a masterfully magnetic entrance to song and release, which as it grows and brews in intensity, continues the charm offensive through the excellent mellow tones of Tom Buxton. Finally settling into a firm and contagious stride, as guitars and vocals spread evocative and harmony soaked expression respectively, the song almost growls in creative contentment and melodic temptation. It is an enthralling encounter which just gains in strength and depth over time.

The following One By One matches rugged riffery and imposing rhythms with more seductive melodies and vocal elegance. It works from a similar template to its predecessor but in its individual way builds a wall of lingering persuasion, which again over time shows inventive twists and avenues within its tantalising scenery. The rhythmic bones of the track are big and its melodic skin tight, creating an anthemic potency which is inescapable. The song, as maybe the EP, is missing a snarl or two to wrong-foot or intimidate ears and thoughts, but with the impressive design and skills of the guitars aligned to soaring vocals deeply flavoursome, the track easily makes the strongest engagement.

Wait For Me attempts to find a grizzled call initially, though it is tempered by keys which continually help enflame each song in varied ways, before slipping into an emotionally flamed flight of pungent melodies and vocal warmth veined by sinew driven rhythmic tenacity. It is a transfixing track which sits somewhere between Deftones and 30 Seconds To Mars, with the bordering on orchestral strength of keys finding seeds in the likes of an Evanescence or Flyleaf. Though not the most accessible song of the release, it is its most gripping in imagination and exploration, the band on a new plateau for invention.

Smoke Signals is closed by Young Blood, another track which suggests it is an explosion in the making but remains within an appealing restraint, swapping ferocity for spicily tanged short grooves and crystaline keys amidst guitar sculpted melodies. Once more individual flair combines for a lively smouldering of emotive colour and sonic expression, resulting in an engrossing melodic adventure.

The track sums up the strength of the EP, and also its only miniscule want, that of the previously mentioned aggression or snarl to draw a more distinct line between the overall sounds of songs. Nevertheless Smoke Signals is a tasty and bewitching encounter marking another big step in the emergence of A Mouth Full Of Matches, a band heading in the right direction with the prospect of major horizons in their own hands.

The Smoke Signals EP is available now @ http://amouthfullofmatches.bandcamp.com/

https://www.facebook.com/amouthfullofmatches

RingMaster 21/10/2104

Copyright RingMaster: MyFreeCopyright

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Empty Yard Experiment – Kallisti

EYE-INTHEMIX-PORTRAIT-1

   Kallisti is an album to which you have to commit time and attention but rewards with an enthralling journey for thoughts and emotions to deeply immerse within. The new release from Empty Yard Experiment, the fourteen track encounter is a transfixing and compelling proposition which never lets you comfortably settle into its exhausting textures and climactic structures but equally never relinquishes its grip and temptation on the imagination. A riveting web of progressive and melodic rock with just as rich veins of post rock and alternative metal, the album is an expansive landscape of consuming atmospheres and provocative emotion wrapped in a craft and enterprise which pushes Empty Yard Experiment to the forefront of progressive exploration.

Formed in 2006, the Dubai based band consists of musicians from the United Arab Emirates, Serbia, Iran, and India. Taking influences from the likes of Tool, Porcupine Tree, Nine Inch Nails, and Mogwai into their own invention, Empty Yard Experiment (E.Y.E.) has certainly on the evidence of this second album, forged a unique yet almost recognisably engaging presence and sound. It comes in an ingenious tapestry though which sets it well apart from the band’s influences and others engaged in a similar weaving of multi flavoured styles into sonic experimentation. With the band already earning acclaim through shows with the likes of Evanescence, Metallica, and Anathema, their Joshua F Williams (Bruce Springsteen, Stevie Wonder) produced Kallisti has the quality and potential to thrust the band into the keenest spotlight. Named after the inscription on the ancient Greek Apple of Discord, Kallisti is a concept album themed by the threads of chaos and discord which permeate our lives and existence, its lyrical provocation as rich and intensely provocative as its sound.

The journey starts with Sunyata, an instrumental introduction which places melancholic keys from Gorgin Asadi and strings in a crystalline and slightly portentous ambience. It is an easily engaging opening cloaked in emotive shadows and swiftly has thoughts wrapped up in its restrained yet potent drama. The track builds up a sonic link between itself and the following robust and intimidating Greenflash. That threat is slightly defused with the great ragged rub of riffs which soon emerge and mellow vocals which instantly brings a whisper of Deftones or Palms to the otherwise predatory entrance of the track. As it opens up its rhythmic pressure and sonic ruggedness everything takes on a fresh, bordering on antagonistic, approach to the melodic temptation. The result is a song which flirts and melodically roars like a mix of Alice In Chains and Karnivool. As with most tracks there is so much going on that we can only give brief glimpses, each proposition within Kallisti an on-going exploration of an evolving soundscape.EYE_CoverArt_Kallisti

The outstanding track makes way for the dystopian ambience of Red, a brief instrumental clad in an emotively sinister ambience before it in turn slips into the reflective caress of The Blue Eyes of a Dog. The track is like a stark imposing breeze, its emotional intrusion at times a wispy elegance and in others a forceful wind all sculpted by respectful rolling rhythms, melodic experimentation, and emotional turbulence. The instrumental is a beacon for ears and especially imagination to find their own scenic visions within the track and album, matched to more sinister effect by the more disturbed There Will Never Be where keys and vocals unite for a severely troubled caress.

Entropy provides the loftiest peak on the album, the track an enslaving bait of sinew stretched riffs from Bojan Preradovic and the probing beats of Josh Saldanha within an atmospheric sonic glaze courted by a gripping throaty bass temptation unveiled by Kaveh Kashani. Vocals swiftly add their smooth and evocative tension as keys swarm tenderly over the senses with a smouldering breath of seduction. The song prowls as it seduces, expelling raw abrasing flames of sonic and emotive passion throughout for a climactic and absorbing flight.

Blue is another short cinematic slither of industrial bred scene setting before the transfixing beauty of Anomie immerses ears and senses, the skilled designs of guitarist Mehdi Gr a gripping narrative alongside the increasingly mesmeric vocal qualities of Preradovic. There is a sinister almost bedlamic eruption of discord kissed sonic ingenuity within certain twists of the song which simply adds to its engrossing intrigue and unpredictability. The following Lost In a Void That I Know Far Too Well has less of the second of those two aspects but certainly a wealth of the first within its soaring melody strewn instrumental landscape. The piece again has thoughts flying their own agenda before Untitled spreads its unique but easily accessible melodic rock revelry and provocative expression. Detours into cinematic glimpses of life and festivities wrong foots at first but opens up further exploration within the constantly surprising track which over time only enhances its suasion.

The dark cavernous depths of Sama make another short but impacting twist in the narrative of Kallisti before it seamlessly evolves into the melodic enchanting of God Has His Reasons, a self-reflection driven slice of melodic and harmonic beauty. Keys and vocals steal the ears but only because the striking canvas built by restrained rhythms and an inescapable web spun by the enterprise of the guitars and bass gives them a potent background.

A final short piece called Green leads into the closing triumph of The Call, a track from its initial rhythmic trap binding ears and passions in a nine minute travelogue of gentle and tempestuous emotional climates and rugged aural terrains. It is a final emprise for thoughts and feelings, a thrilling sonic gest to lose reality within.

Though many tracks work alone superbly, Kallisti works best as a whole even though that means greater attention and effort is needed. The rewards though are enormous as Empty Yard Experiment proves themselves to be one of the truly exciting emerging forces in melodic and progressive endeavour.

The self-released Kallisti is available now @ http://emptyyardexperiment.bandcamp.com/album/kallisti

http://www.emptyyardexperiment.com/

RingMaster 29/09/2014

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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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