Digits – Footprints And Embers EP

 

digitsgroupshot

Having caught ears and attention with promise soaked debut EP Acquiesce To Violence in 2013, UK alternative rockers Digits return with its successor Footprints And Embers. All the thoughts bred by its predecessor remain with the new EP, the potential of the band growing into a really striking proposition ahead as persuasive as before. The new four song encounter also shows a solid growth and freshness to the last release but equally carries a rawness at times which occasionally numbs the creative ideation and potency being shown. Despite that, Digits remains a band to keep under close view with the imagination of big things in their future.

The time between releases has been a trying time for the band it is fair to say. Acquiesce to Violence found itself earning plenty of praise and support as well as having tracks gracing cover CDs of Rocksound and Big Cheese Magazines whilst the band shared stages with the likes of Margera, Feed The Rhino, Marmozets, and played the Make A Scene Festival with the likes of Funeral For A Friend, The Blackout and Hacktivist. Since then though injuries have accosted the band; vocalist/guitarist Chris Bradley damaging ligaments in his ankles, guitarist Craig Strawbridge managing to cut off half his thumb, bassist Stu Latham damaging his back, and drummer Dan Cooper having to leave the band due to persistent problems with his wrists. The Newcastle quartet has endured and overcome though, and with Matt Hickman now swinging the sticks and equipped with a host of new songs, Digits are forging on as they unleash Footprints And Embers to pick up from where they were before being temporarily derailed last year.

Embers starts things off, emerging from a distant wash of sound and prowling forward with pungent rhythms, caustic riffs, and a spiralling lure of strong melodic enterprise. It is a strong start Digits coverbut turned into a less successful moment by the blazing roar of raw vocals from Bradley, his tones bullish and clad in a post hardcore texturing which in turn permeates the song and mutes its initial potency. It is something ears soon acclimatise to though, especially when the song grows again by relaxing into a mellow passage with similarly delivered vocals. Courted by a great bass tempting, alluring guitar endeavour seems to light the touch paper to another explosion of intensity and passion. The song ebbs and flows like this throughout its presence, not always winning its persuasion entirely but with wicked grooves and an irresistible anthemic rhythmic baiting from Hickman, the song wins its argument, and becoming stronger and more potent with every listen.

As mentioned the opener has a post hardcore like nature compared to the alternative rock aggression of the following Dysphoria, a song which as some on the last EP, finds a Reuben like essence to its contagious lure of riffs and hooks. There is another drift into an emotive calm in the song which works but maybe not quite as powerfully as it might against the otherwise tenacious and confrontational qualities of the track. Nevertheless, it is a pleasing and compelling lure which overcomes a slight wavering of vocal quality with ease.

The next up Parachutes is of similar breeding, its sinews flexing with every forceful beat and abrasing riff as vocals unite to push the just as fiery narrative of the song through ears. There is a rage to the song which is cleverly tempered yet enhanced by the marauding rhythms and sonic enterprise, they in turn seeming to encourage a spicier vocal ferocity and control. It and its predecessor take the honours on the EP, reminding and pushing forward the reason why the last EP suggested Digits was a brewing storm to watch.

The calmer skies of Eros concludes the album; the song a melodic hug within brooding bass shadows. Bradley proves his vocal strength on the song, bringing Paul Heaton like tone to his delivery, and at times the melodic breath of the song does have a Housemartins like croon before it erupts into a final blaze of roaring intensity speared by a quite inescapable hook. Again it gives thoughts a nudge to the depths and potential of the band whilst providing ears with another highly satisfying offering.

Digits still feel like they are still looking for their own specific sound and have yet to fully tap into the certain potential within them, but with releases like Footprints And Embers it is no hardship to carry on waiting and enjoying the band’s growth.

The Footprints And Embers EP is available digitally from February 2nd via iTunes.

https://www.facebook.com/Digitsuk

RingMaster 02/02/0215

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Digits are back with their new EP ‘Footprints & Embers’, on 2nd Feb

Digits Online Promo Shot

Newcastle skewed alt-rock crew Digits nationally unveil their sophomore EP ‘Footprints And Embers’ on Monday 2nd February 2015. Coming at you with a sound that muses the edgy dexterity of Glassjaw with the hook-laden know-how of Reuben, ‘Digits’ are a band that you need to hear.

Having completely brushed off the ashes of their former incarnation, Cut Glass Accent, Digits continue to deliver bold, proggy alt-rock that’s as intricate as it is heavy. In 2013, Digits dropped their explosive debut EP ‘Acquiesce to Violence’ and it racked up widespread critical acclaim from all quarters. Tracks from the record graced the cover CDs of Rocksound and Big Cheese Magazines and the quartet secured a host of support slots sharing stages with Bam Margera, Feed The Rhino and Marmozets. The band also made a successful appearance at the Make A Scene Festival, featuring the likes of Funeral For A Friend, The Blackout and Hacktivist.

However, the past year has been a difficult one for the Northern riff slingers. The band have been nursing a string of injuries due to heavy gigging; Chris Bradley (Vocals & Guitar) pulled ligaments in his ankles, Craig Strawbridge (Guitar) cut off half of his thumb, Stu Latham (Bass) badly pulled his back and original drummer, Dan Cooper, has had to leave the band due to persistent problems with his wrists. Nevertheless, the irrepressible four piece are now back with a new drummer, Matt Hickman, and a fresh set that includes material from the spanking new EP ‘Footprints And Embers’, and there are a string of shows penned for the early part of 2015 to support the record.

‘Footprints And Embers’ is released this February and the record starts in blistering fashion with the dynamic and twisty ‘Embers’, before the vigour and infectious groove of ‘Dysphoria’ grabs you by the scruff of the neck. The driving venom and up-tempo beatings of ‘Parachutes’ moves the record up a gear and the majestically emotive ‘Eros’ closes the record in supreme style. This record is sure to see the band go places; just watch them rise.

Digits cover

-DIGITS RELEASE FOOTPRINTS & EMBERS ON MONDAY 2nd FEBRUARY 2015-

https://twitter.com/digits_band https://www.facebook.com/Digitsuk

A Room Swept White – No Love Lost

A Room Swept White Online Promo Shot

As much as we all hope the next new thing we listen to will be an inflamed love affair for ears and the passions, sometimes a just as enjoyable contemplation is a proposition which manages to leave thoughts and emotions balanced between high praise and dissatisfaction. The new No Love Lost EP from UK post hardcore band A Room Swept White is such an encounter. Consisting of five tracks which at times with their raw persuasion ignite a lusty appetite for the band’s imagination and attempt to stand out from the crowd, the release is a potential soaked and ultimately promising first look for us to a band beginning to brew up a buzz. Tempering its success though, those same songs also provide a senses smarting abrasiveness in certain moments which rub personal tastes the wrong way. It all results in a sizeable confrontation which as it twists and tries to find its feet, provides a presence that ensures A Room Swept White will not be simply a passing interest.

Hailing from Crawley and Horsham, A Room Swept White formed in 2011 with the intent “to create a sound that inspires and attacks the senses.” From the first few seconds of the new EP it is fair to say that the quintet has that angle covered quite potently. They create a persuasion which live has impressed forcibly, as shown by gigs alongside the likes of Heart In Hand, Hacktivist, Bury Tomorrow, Feed The Rhino, Bleed From Within, Soulfly, POLAR, and many more persistently drawing strong praise. They have a stage power and intensity which you can suggest has not quite been discovered on No Love Lost, but as implied earlier, their promise is all there to be heard on the band’s new release.

It opens with the evocative melody fuelled Recollection, a brief caress of emotive guitar and cleanly delivered vocal angst over rugged rhythmic scenery. It is an inviting lure taking the listener A Room ...PromoImagestraight into the hoarsely throated This Life. The second track immediately assaults with heftily swung beats from drummer James Farrant against just as antagonistic riffs. Twists in the already inventive designs of guitarists Alex Kirrage and Michael Flood catch the imagination before the coarse vocal rage of Ryan Elliott adds to the antagonistic intent. It is a strong start which finds greater energy as the frontman expels his angry breath, an increase in intensity matched by the guitars great enterprise and the darker moodier basslines of James Nicoll. A further enticing colour comes with the clean vocals of Kirrage, firstly as a backing aligned to the calls of the band. It is a great mix and the track is soon winning over thoughts and appetite, especially as it slips into something melodically and atmospherically more comfortable at one point.

The song flows into the EP’s title track and it too is soon badgering and energetically squalling over the senses. Bulging with uncompromising rhythms and vocal predation courted by coarse riffery, the song is a maelstrom of fresh ideas and at times genre familiarity. It works well but is missing something compared to its predecessor, though the clean vocals and imaginative endeavour of the guitars is a tasty extra.

Vocally is where the EP seems to be raising most debatable points with people, though most seem to praise the hostility of Elliott over the warmer tempting of Kirrage. Personally it is the other way round where the band on this encounter flourishes; the latter providing great and impressive contrast to the less adventurous assault of his band mate. It is all down to taste of course but it would be good to see Elliott mixing up his venomous stance in the future to break the almost overwhelming causticity which at times defuses the success of the creativity elsewhere. Songs like the next up Time Heals especially blossoms from the angst soaked ire dripping from Elliott’s fine attack though, and just as pleasingly from the sonic adventure and melodic flames which wrap around the impressive bait set down by Nicoll and Farrant.

From the best track on the release, No Love Lost ends with the more than decent if slightly underwhelming Better Days. Like the third song on the EP, despite highly agreeable ideas and skilled enterprise, the song is missing the fire of certainly the previous incitement of ears. As No Love Lost as a whole, there is still plenty to get strong satisfaction from and things to be unsure about with the final outcome being that A Room Swept White is a prospect needing more keen attention. Both band and release provide pleasing and enjoyable company but are accompanied by a feeling it is still early days and there will be stronger and more exciting things to judge ahead.

The No Love Lost EP is available from January 12th through all digital platforms.

https://www.facebook.com/ARoomSweptWhite

RingMaster 12/01/2015

Copyright RingMaster: MyFreeCopyright

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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.

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

 https://www.facebook.com/ARoomSweptWhite

Hellbent & Hammered – Death Rattle

Hellbent & Hammered Online Promo Shot

With far more deep rooted grooves than a wet weather race tyre and the torque to seriously send body and senses spinning, Death Rattle from UK metallers Hellbent & Hammered is a wake-up call for ears and attention to the band’s evolution and presence. Formed in 2004, the London quartet has certainly been through the usual obstacle bands come up against as almost perpetual loses and gains in the line-up create a turbulence to defeat most bands. Stability in that area has been found over the last three years or so and as the band’s outstanding and ferocious new EP reveals, Hellbent & Hammered has only relished in and flourished from that calm.

The band wears their inspirations on the sleeves of very note and viciously swinging groove it is fair to say but twists it into a rich flavour that appetites can only become greedy for. The accompanying press release cites Down, Lamb of God, and Clutch as a trio of references merging to fire up the band’s sound, and it really does sum up the potency and force of Death Rattle if not all the fury and raw enterprise fuelling each track on the encounter.

Since forming Hellbent & Hammered has been an acclaimed force on the live scene, blistering stages alongside the likes of Feed The Rhino, Godsmack, ANVIL, Godsized, Thunderhorse, Head-On, and Sons of Merrick along the way. Their groove metal has been an increasingly potent lure across the south of the UK from the start, but with the current line-up completed in 2011 when guitarist Junior Gouch linked up with vocalist Ryan Le Roux, bassist Dr. Jon Casey, and drummer Simon Bullock, the band has in a way shed a skin to their sound in creating an uncompromising and bordering on toxic strain of groove metal as evidenced powerfully by Death Rattle.

The EP’s title track opens up the seductive hostility, riffs and rhythms creating an imposing wall from its first breath before the first flirtatious groove entwines ears and appetite. There is Hellbent&H coverswagger not only to the increasingly tempting grooving but every mighty swing of Bullock, bassline of Casey, and the grizzled delivery of Le Roux. It is Pantera-esque in so many ways but with a blues toxin and the superb bait of Gouch’s inventive lures and craft, the song provides an invigorating freshness. The first predatory anthem of Death Rattle, the track stalks and overwhelms the passions with ease.

The gripping start is swiftly matched by Hung, Drawn & Quartered; the track showing a more merciful welcome for ears, if only by a hairs-breath, before turning out a relentless rapacious stride of abrasing riffs, crippling beats, and psyche searing grooves. As its predecessor, the song is inescapable in its anthemic tempting and the sonic binding of the imagination, whilst the searing solo of Gouch adds further toxic manna alongside a deliciously throaty stalking bassline which just lights the passions.

The gnarly yet beckoning tones of Le Roux hit the sweet spot too, and in third song All Consuming, which from another irresistible bass bred bait, launches a virulent and corrosive smog of torrential riffery and rhythmic slaughter, he unleashes a delivery of impressive grazing power and fury. The track itself is the most inventive on the release moving from a strong and appealing start into a fascinating cauldron of aggressive adventure and sonic spite.

The EP closes with Built That Way, a powerhouse of rhythmic muscle and sinew sculpted riffs roared over by Le Roux and the blazing enterprise of Gouch. It is an impassioned furnace of grooved causticity amidst a hurricane like energy, with plenty of inventive designs and melodic venom to ignite the imagination all over again.

The track is a tremendous end to a thoroughly thrilling release. There is a familiarity and originality to Death Rattle which aligns for the perfect recipe of grooved mayhem in undoubtedly one of our favourite propositions of the year. Hellbent & Hammered has found the spice to greater things going by their new incitement and the potential to sculpt plenty of major things ahead. A thunderous way to round off a great year of releases sent to us by Garry of SaN Pr, and we thank him for all his help and support, Death Rattle is a must for all groove and seriously anthemic metal fans

The Death Rattle EP is released on Monday 15th December through all digital stores.

http://www.hellbentandhammered.com/

RingMaster 11/12/2014

Copyright RingMaster: MyFreeCopyright

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HELLBENT & HAMMERED SERVE UP STUNNING NEW EP !

Hellbent & Hammered Online Promo Shot

After a prolonged battle with personnel changes, UK groove metallers Hellbent & Hammered’ nationally release their ‘Death Rattle’ EP on Monday 15th December through all stores.

With whiplash riffs, a Lamb Of God and Down honed groove and riot starting vocals from frontman Ryan Le Roux, you’ll want to be in Hellbent & Hammered’s gang. Established in 2004, Hellbent & Hammered have garnered a reputation as one of the South’s premier groove metal bands. However, the fiery foursome also possess a strong bluesy vigour that tips its hat to Clutch. Whatever category Hellbent & Hammered fall under, the scuzzy Londoners will without doubt grab your attention.

Throughout the band’s ten year history, Hellbent & Hammered have persevered through walk-outs, line-up changes and several unreleased EPs before finally re-inventing themselves with their forthcoming new EP “Death Rattle”. This record is their second with guitarist, Junior, who joined in 2011 after founding member Julien sought fairer climates somewhere in the South Pacific. Besides Le Roux and Junior, Dr. Jon Casey and Simon Bullock handle the band’s burly rhythm section, with Bullock hitting the tubs and Dr Jon supplying the bass.

Already known for their face-fracturing live performances, the band have ripped apart a series of UK venues, playing alongside everyone from Feed The Rhino, Godsmack, Canadian metallers ANVIL, through to Godsized, Thunderhorse (Raging Speedhorn & Viking Skull), Head-On, Sons of Merrick and StoneGhost (Snakebite).

The riff beasts’ forthcoming four track EP “Death Rattle” is released this December, and it’s a pedal to the metal, full throttle collection of power metal anthems. The EP’s name sake ‘Death Rattle’ melts your ear drums straight from the get-go with its blistering riffage handed to you by newcomer Junior Gouch, who’s aided and abated by Simon Bullock’s driving beats. The irrepressible ‘Hung, Drawn & Quartered’ just does not let up; imagine Pantera having a knife fight with Mastodon—its sheer brutality. While ‘All Consuming’ flaunts the bottom end groove of Bassist Dr Jon Casey to stunning effect and ‘Built That Way’ brings down the curtain on the record, there’ll be no doubt that your senses have been well and truly battered into oblivion. Hellbent & Hammered do what they say and say what they do. So come on in and join the party….

Hellbent & Hammered release ‘Death Rattle’ on Monday 15th December through all major online distribution platforms

Hellbent&H cover

http://hellbentandhammered.com/
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https://www.facebook.com/HellbentandHammered

Black Art – Full Lungs | Empty Words EP

With a roar of an antagonistic sound sitting somewhere between the demised Californian band Red Tape and Brits The Ghost of a Thousand, UK punk ‘n’ rollers Black Art are an emerging proposition with the potential, going by their new EP, to ignite the punk scene. Driven with a melodic hardcore fuelled fury in sound and lyrical confrontation, the band has been stirring up rigorous attention and appetites in recent times and it is easy to hear why with their Full Lungs | Empty Words EP. It is angry and hostile but loaded with an anthemic contagion which makes every track a lingering and thrilling proposition. It is a knack shared by the two bands we mentioned at the start but in the hands of Black Arts seemingly is even more inescapable for imagination and emotions.

The new EP follows a well-received 7” split with Surrender The Coast which was released a couple of months ago. It swiftly reinforces the reputation garnered over the years by the band for their sound and live presence where they have shared stages with bands such as Feed The Rhino, Baby Godzilla, Palm Reader, The Catharsis and many more along the way. It is a release which sees the Forest Of Dean quintet go for the jugular straight away but equally seduce with the first of numerous spicy hooks and infectious melodic enterprise.

That instant bait is provided by opener Life Stalker, coaxing riffs laying the first lure to be immediately joined by heavy swipes of thumping beats from drummer Nathan Davies and a carnivorously gripping bassline cast by Jake Morgan. It is an intimidating and riveting predation which becomes more caustic and challenging with the fierce vocal squalls of Joe Kibble which also initially strike in great singular assaults. The track is soon a maelstrom of voracious incitement and energy, the guitars of Nick Lewis and Oli Bendall blazing away with fiery riffs and tasty grooves to brawl with craft and flavoursome endeavour.

The potent beginning to the EP sets the template for things to come in quality and success, and a little in sound but as the following Duress shows there is a busy heart to all songs which gives them distinct characters. The second song lays 1910160_712588515486444_587585896235052623_ndown a ridiculously addictive and intimidating torrent of riffs bound in sultrily alluring grooves from the start, its brief but powerful presence a corrosive stomp which grips and scars with contagious efficiency. Its excellent tempest is matched by the more inventively sculpted Hold Fast. It is still an uncompromising fury but the guitars twist with a wider heavy rock recipe whilst rhythms carry the punk spirit in every debilitating swipe and throaty bass groan. Though it does not quite match the tracks before it, it is richly satisfying, aggression driven rock ‘n’ roll with little want to get fussy and clutter its raw muscle bound bones with over blown flourishes.

The Endurance has the passions lustful again, the opening flame of sonic grazing enticing the blistering and colourfully hued turbulence to follow. Hooks flare up throughout the rhythmic and sonic animosity, sharing the limelight with heavy rock grooves and an inflamed passion especially expelled through the lungs of Kibble. It is a brute of a rocker but soon in the shadow of the primal rock ‘n’ roll fired Pseudo Sound. Morgan uncages another irresistible grump of a bass temptation whilst the guitars come with venomous designs and toxic expression, all aligning with the merciless swings of Davies for a riotous and compelling storm.

   Full Lungs | Empty Words is completed by the quarrelsome charm of Fool’s Gold, a final bracing bluster of skilled creative assertiveness and impassioned belligerence. Soaked in a fierce scowl amidst a skilful savaging, the song is a fine intrusive close to an EP ripe with promise and accomplished invention. The release provides a very impressive and memorable base from which Black Art with their already plentiful armoury, can spring to truly fire up punk rock far and wide. ‘

The Full Lungs | Empty Words is available now digitally and on CD via White Russian Records @ http://whiterussianrecords.nl/store/index.php/cd/black-art-full-lungs-empty-words.html, CD and Cassette via Let Them Die Records @ http://letthemdierecords.bigcartel.com/product/black-art-full-lungs-empty-words-cassette-cd , and I For Us Records @ http://music.iforusrecords.be/album/full-lungs-empty-words

https://www.facebook.com/Blackartuk

RingMaster 07/11/2014

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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