Shot Of Hornets – Make Out A Picture

Shot Of Hornets Promo Shot_RingMasterReview

A release to make a lingering impression, Make Out A Picture is the debut EP from British alternative rock band Shot Of Hornets. Consisting of four tracks which snarl and rousingly seduce with equal measure, the encounter is a beast of an introduction to the Welsh trio. There is a predacious edge to every element making up its gripping drama and forceful enterprise just as a virulent contagion fuels the anthemic unpredictability shaping its ear pleasing character. Together it provides a creative and impassioned theatre of sound and imagination as compelling as it is so often breath-taking.

Hailing from Mold in North Wales, Shot Of Hornets consists of brothers Daniel (guitar/vocals) and Conor Cahalane (drums/lead vocals) alongside Charlie Farnham (bass/vocals). Emerging last year with inspirations from the likes of early Biffy Clyro, At The Drive-In, Hundred Reasons, and Fightstar in their creative arsenal, the threesome soon began making potent impressions with their fierce live presence and shows. Now it is Make Out A Picture set to rattle national awareness of Shot Of Hornets, with success surely an inevitable return for the EP’s galvanic might.

Shot Of Hornets Cover Artwork_RingMasterReviewThe band lays a tight grip on ears and appetite straight way with opener Corrosive, needing little time to tempt both as swinging beats and an instantly grumbling bassline starts things off. Angular strikes of guitar and group snarls behind the inviting tones of Conor swiftly join the affair and increase the infectiousness already sparking the senses. Smooth slips into mellower moments and discord kissed twists leads to a seriously rousing chorus, all the time an intensity and volatility seemingly lying in wait, eager to erupt but instead simply adding great depth to the song and enterprise persuading ears; when it does escape a great Reuben-esque feel flows through the track, ending in a scintillating finale which in tone continues into the song’s successor.

Don’t Go Chasing Shadows, Arthur is exceptional, from its initial lively stalking of the senses and barbarous tempest through to its quirky and deranged character one of the best tracks heard here this year. Vocally and musically the band prowls and leaps upon the imagination with their unique ideation and adventure, keeping things as enthrallingly off-kilter and seriously infectious. At times the song reminds of the now demised UK band Engerica, in other moments courting something lying between System Of A Down and Hundred Reasons, and relentlessly leaving ears and pleasure greedy for more.

The brief instrumental interlude of Firm Handshake provides a tantalising atmospheric hug though truthfully instincts after the first listen is to dive straight into closing track Everything With Nothing. The closer is another track which emerges as one kind of creature and slowly evolves into something different as one inventive minute follows another. The song’s initial abrasive growl is soon replaced by a melodic and emotive reflection though certainly vocally that raw edge still lurks. Subsequently, inescapably catchy lures and fiery flames add to the track’s theatre, spiky rhythms and riffs joining scything grooves and grisly punk infused predation as the song twists and turns and in turn bewitches with every unpredictable moment.

If Make Out A Picture is a sign of things to come, expect to hear plenty more of Shot Of Hornets in sound and acclaim. The EP is a debut which demands attention, rewarding with songs which bring the imagination and spirit through a band with very healthy horizons ahead of them.

The Make Out A Picture EP is released July 1st through all stores.

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Pete RingMaster 30/06/2016

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Making Monsters – Bad Blood

2015 promo_RingMasterReview

We heard the buzz and now we know it is pretty much on the mark, UK band Making Monsters is one striking and seriously exciting proposition. Our evidence comes with the band’s new EP, Bad Blood. It is six tracks of highly irritable and even more contagious rock ‘n’ roll equipped with the snarl of punk and bold diversity of alternative rock; a proposal which stirs the instincts and spirit from start to finish; oh the fact that the band’s sound has a touch of Animal Alpha to it does it no harm either.

Emerging in 2011, the Derry based Making Monsters soon poked at keen attention with their self-titled debut EP the following year, that potently back by successor, Attention, two years later. Alongside that success, the quartet has developed and honed their sound and live presence, impressing and luring new flocks of fans while sharing stages with the likes of Young Guns, Silverstein, We Came As Romans, Max Raptor, and Skindred amongst many. A clutch of singles have increasingly stirred the blood and ears these past couple of years while a full UK tour with Fightstar and Arcane Roots last October cemented the band’s growing reputation. With Bad Blood though, it is easy to expect the band stepping into new spotlights and strength of acclaim, the EP holding all the creative cards to be a game changer in the ascent of the band as it is in their sound.

Straight away the EP suggests there is a new maturity and even bolder adventure to the Making Monsters sound, a thought confirmed song by song across Bad Blood. It opens up with its mighty title track, a slab of punk ‘n’ roll straight away teasing with spicy hooks as the instantly impressing roar of Emma Gallagher takes on all challengers in attitude and quality. Guitars and boisterous rhythms continue to entice and intimidate across the excellent encounter, Gallagher’s emotive fire backed by male scowls as Brian Doherty’s drum sticks beat out an addictive pattern.

MM - Better _RingMasterReviewIt is a glorious start with, as suggested at the start, a great Animal Alpha hue to its tempest; an imagination and appetite inciting beginning to the release quickly and potently backed up by Call Me Out. A kinder affair on the senses for the main but with an imposing volatility, the dark stroll of Gary Todd’s throaty bass at first holds court with the provocative tones of Gallagher, who is already showing much more of her versatility; the pair soon colluding with the fiery enterprise of guitarist Paul Monk and heftily swung beats to stir up an already keen appetite.

Latest single Better comes in next; its entrance also less intrusive but taking a quickly unshakeable firm grip on ears as shimmering melodies and senses piercing hooks lay their bait into the rhythmically virulent swing of the song. There are moments throughout it where thoughts wonder if Distillers were fused with Stolen Babies, would they sound like and as riveting as this. They are essences which continue to flavour a song which has the energies breathless and hunger greedier by its end, so luckily We Aren’t Living is next to eagerly share its melodic pop ‘n’ roll with a growl and a tenacious will. Like those around it, the track offers plenty of unpredictable twists and moments of fascinating imagination, neither ever disrupting the flow and impact.

Rose seduces next, Gallagher caressing ears with her warm yet snarly tones as sultry tendrils of guitar sway. It is a mesmeric coaxing soon over run by a torrent of spiky riffs and busy rhythms providing a just as enticing invitation. As now expected things are soon turning down new avenues and offering a variety of twists woven into a blaze of a song as raucous as it is emotively inflamed and intimate.

Bad Blood ends on our favourite track, a rampaging beast of attitude and invention going by the name of Noodle Sync. Noise and garage rock meets punk metal infused rock ‘n’ roll, the track is a blistering assault and trespass on ears and the senses. It is a cauldron of raw riffs and invasive hooks driven by the diverse drama and emotion of Gallagher’s explosive voice and presence, her ability and invention more than matched in sound and imagination by the rest of the band.

It is a stunning end to a quite exhilarating release; an EP which just might be the making of Making Monsters and certainly another step towards major things for the band one suspects.

The Bad Blood EP is out now digitally @ http://makingmonsters.bandcamp.com/ with physical copies available @ http://makingmonsters.bigcartel.com/product/bad-blood-ep

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Pete RingMaster 16/05/2016

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Anti-Clone – The Root Of Man

Anti-Clone_RingMasterReview

If asked at the start of the year which was the one release we were most anticipating in 2016 there would have been no pause of thought involved in saying the debut album from UK metallers Anti-Clone. They had us addictively hooked into their own distinct nu-metal bred, psyche twisting sound from the outstanding Hands Sewn Together EP, which had its highly successful national release back in 2014. Its tracks were a regular part of our podcasts too, finding the same eagerness across a horde of other shows and stations with the mainstream media soon waking up to the band’s emergence in turn. Now two years on and quickly following reputation cementing and pushing performances supporting Mushroomhead and Sanguine on certain dates of their recent UK tour, the Boston hailing quintet are poised to unleash The Root Of Man.

The question was never going to be would the album live up to expectations seeded in the last EP and the hefty fuss around the band, that just seemed to be a given in thoughts, but would their music have grown and evolved enough to make them a real contender to stir up the metal scene beyond the UK as earlier songs suggested. Well, the answer is found within the first few tracks of the eleven song incitement alone. Together they give a rousing confirmation with their creative roar, only being forcibly backed by the rest of an album which in some ways continues where the Hands Sewn Together EP left off but immediately shows a craftier and imaginatively more exhilarating, not forgetting broader, weave of styles and flavours in its boldly sculpted songs. The Root Of Man is Anti-Clone on a new mature imagination drenched plateau from songwriting to sound to presentation. There is inventive confidence and fierce adventure at every turn as the scent of inspirations from the forefathers of the nu-metal scene are again embraced, twisted, and honed into openly fresh textures within the band’s own fascinating experimentation.

art_RingMasterReviewFormed in 2011 but really finding its creative mojo once the current line-up was in place a couple or so years later, the Lincolnshire band soon sparked a hungry and swiftly growing fan base for their dramatically addictive sound which reached its first pinnacle in the Hands Sewn Together EP. Live too, the band has grown to be one of Britain’s prime incitements, sharing stages with the likes of American Head Charge, Kindred, ESO, Breed 77, Sworn Amongst, Maplerun, Evil Scarecrow, and Bloodshot Dawn amongst many along the way. Linking up with EP producer Matt Hyde (Machine Head, Trivium, Fightstar, As I Lay Dying and Slipknot) again for The Root Of Man, the quintet of brothers Drew (drums/ programming) and Peter ‘Mr Clone’ Moore (vocals), Conor (guitar) and Liam Richardson (guitar), and Mike Bradbury (bass) are seemingly poised to set their place at the head table of the UK and indeed European metal scene.

Dually looking at “the beginning of the human race, starting with Eve committing original sin which resulted in us being cast out of Eden” and symbolising the band’s beginning as a band; “These are the roots that we are planting to fully establish ourselves as our own entity, to establish ourselves as Anti-Clone“, the pledge music funded The Root of Man immediately grips ears and imagination with its title track. It is a brief but inescapable lure into the album, an as expected apocalyptically ambience clouded scene setter which is soon crawling portentously over the senses as steely bass and toxic grooves wrap the enjoyably familiar tones of Mr Clone. Its dark tempest rolls straight in to Deracinated which seamlessly draws ears into its own animus of intent and creative rapacity. Straight away an industrial toning merges with the schizophrenic nu-metal prowess which flows from the band, Society 1 meets Mudvayne like essences adding to the imposing character and trespass of the fearsome magnetism on offer. Ebbing and flowing in raw confrontation, the track bewitches ears and stirs up the appetite, setting them in an unfamiliar and disorientating yet welcoming blend of old school aired modern imagination for a seriously rousing slab of predacious incitement.

SwitchBlade growls at and brawls with the senses next, vocals from Mr Clone and the Richardson brothers almost pestilential in their psyche invading animosity as the sounds around them rise and fall with constant inhospitable adventure. Melodic calms and percussive invention are just as potent lures in the agitated imagination and landscape of the song; all colluding to savage and spellbind before A Sight For Sewn Eyes prowls ears with Fear Factory/Spineshank tinged ingenuity. As replicated across the whole of the album, every moment of the song brings greed breeding drama to the listener, Mr Clone showing his clean melodic tones are as fiercely agreeable as the rawer psychosis fuelled side of his vocal character. The song persistently twists and turns from the start before reaching a bedlamic crescendo that never truly departs once erupting as the song leaves on a groove bound web of suggestiveness.

With a constant range of peaks across its landscape as momentous and memorable as the Alps, B9 adds another with its Manson-esque textured slice of predatory heavy metal whilst Twisted Neck entangles ears in the intoxicating vines of toxic grooves which wrap a calmer melody hued serenade beneath a thickly tempestuous and predatory climate of sound and personality. Both tracks present a tapestry of styles and textures, the first also flirting with steampunk like elements where, not for the last time, Anti-Clone have a touch of the now sadly demised Shanklin Freak Show to them. Its successor flirts with a colouring which is more 6:33 meets Dog Fashion Disco though as always, it is hard to pin down a flavour such the Anti-clone ingenuity as they align spices to their own enthralling ideation.

A great punk metal hue seeps into the riveting and mercurial soundscape of Mechanical Heart, the track as welcoming as it is fearsome with sinister keys and avant-garde devilry lining another almost rabid mix of nu and industrial metal carrying at times more than a whisper of death metal to it. Compelling to the extreme, the track simply wants an apocalypse based Hellraiser movie to grace to see its majesty totally fulfilled, though fair to say there is no time to linger in thought with any song during the album as here Feed The Machine steals attention instantly with its vocally anthemic and physically bracing proposal. Repetition in word and sound within the track is a glorious igniting of instincts; that simplicity employed in another rich weave of roving grooves and a cantankerous rhythms skilfully sewn into an irresistibly unpredictable but dramatically galvanic onslaught. Like early Korn in some ways and Slipknot in others, the track still stands distinctively tall as another unique Anti-Clone ravaging of the senses and passions.

ComaSpace brings a moment of relative calm and the chance to catch breath next though unsurprisingly it too has irritability to its tone and dark imposing edge to its atmosphere. Vocally Mr Clone entices ears with a clean delivery as melodies merge acoustic and more aggravated hues into the Deftones spiced offering. Again the band has ears and appetite enthralled, though even being another impressive moment within The Root Of Man, it gets overshadowed a little by Astaroth. The band’s new upcoming single, the song is sonic slavery; the reason mosh pits and lustful reactions were bred into life. As barbarous as anything on the release and the most virulently contagious assault too, the track has everything you need to know about Anti-Clone and whether they are the tonic to your personal musical passions.

Completed by the grisly presence and voice of Sentinel, a sonic inferno of psyche burrowing riffs and grooves amidst an insatiable and concussive tempest of sound and attitude, The Root Of Man is the declaration of a new major force in UK and undoubtedly European metal. Anti-Clone is set to be one of those guiding their journeys over the following years whilst with this superb release, the band has placed themselves right there in stature alongside a great many of those who have inspired their adventure to date.

The Root Of Man is released 29th April  via PHD (Plastic Head Distribution) with more information @ http://www.anticlonehq.com

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Pete RingMaster 04/04/2016

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Rhyn – Absence EP

Rhyn Promo Shot_RingMaster Review

With an emotive potency to match a rich tapestry of sound, the Absence EP from British alternative rock quartet Rhyn, is an encounter which simply makes ears stand up and pay attention. That is merely on the first play, subsequent listens revealing new depths and imagination which ensures it becomes an increasingly impressive proposal. It starts with a bang, mellows out into a less forceful but certainly engaging seduction before offering a song which simply ingrains itself in thoughts and emotions. Absence is a release which warrants persistent attention offering accumulating rewards in return.

Formed in 2010, Rhyn hails from Buckinghamshire and initially emerged as the trio of lead vocalist/pianist Chris Black, guitarist/vocalist Guy Johnston, and bassist Dan Marr. After the release of their first demo, the band expanded to four, going through many drummers until finding in 2012 the right one to stabilise the line-up in Rhys Coombs. Video/single Finite Bodies sparked an increase of attention with its release in 2014, the band feverishly backing it live across London before last year heading into the studio with producer Jason Wilson (You Me At Six, Fightstar, We Are The Ocean) to record the Absence EP. Luring comparisons in different ways to bands such as Biffy Clyro, Muse, and Nirvana, the foursome show with their latest encounter that their sound has its own individual character too, one unafraid to roar or sombrely explore emotive reflections.

Rhyn Cover Artwork_RingMaster ReviewThe EP opens with the rousing incitement of Elegy. Instantly a wall of eager riffs and punchy rhythms descend on ears, stirring up an appetite which is only increased by the great vocal drama and expression of Black as well as the unpredictable nature of the music around him. It is easy to understand the Muse references as an imposing rhythmic shuffle colludes with a web of guitar courted by captivating bass predation. Managing to be aggressive and experimental in a single moment, a raw seducing aligned to boisterous rock ‘n’ roll in another, and that is just a couple of aspects of the gripping and inventive landscape of the song, it has the imagination enthralled and ears fascinated from start to finish; it the kind of majestic anthem which bands are marked by.

The following Fall Away is equally energetic but with a mellower climate to its emerging croon. The keys of Black lay an emotive hand on ears as rhythms again find a skittish quality to their bait, whilst vocals once more impressively bring the heart of the song out, Johnston as potent as Black. Such the potency of its predecessor, the song was bound to slip a touch for personal tastes yet its melodic elegance and sonic craft leaves only a rich enjoyment which is echoed by Finite Bodies straight after. Keys lay a classically coloured coaxing before ears from its first breath, guitar and vocals adding their emotional hues into the embrace swiftly after. There is a fire to the song even then though which simmers and bursts into bolder life as it broadens its almost volatile nature and boldness.

Victory reinforces the satisfaction gained so far into its almost prowling incitement of ears, providing another surge of sonic theatre and emotive angst in thick flames of sound. It too is seamless in its merging of calmer explorations and feisty eruptions, spawning a catchiness which proves to be a constant in the band’s songs and has the listener as fully involved as the creativity breeding each encounter within Absence.

A slow burner that only becomes more persistent with every listen; it is unavoidably over shadowed by the outstanding might of The Only Place. The best track on the release, its opens with a croon of celestial keys and harmonic anguish which again draws swift thoughts of Muse. A rhythmically sparked energy slowly brews from that first breath too, erupting from a sombre sigh into a contagion of hooks and a melodic roar driven by the rich tones of Black. Imagining Faith No More doing a Bond theme is a hint to the scintillating chorus and thick weave of textures at play on ears and imagination. The likes of Porcupine Tree and The Palms equally can be suggested as a clue to the superb arousal of the senses, but again what emerges is something simply and masterfully Rhyn.

Concluded by the pleasing acoustic serenade of Believe In Ghosts with Black simply magnetic, the Absence EP is the declaration of a band ready to climb up into richer spotlights of attention. From its first moment to last, the release compels attention giving full enjoyment in return, with two particular moments which as good as leave ears awe struck.

The Absence EP is available from February 19th @ http://music.rhyn.eu/album/absence

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Pete RingMaster 18/02/2016

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Kovax – Godot

Godot Front Cover_RingMaster Review

The bio of British alternative/noise rock band Kovax states that the band “started in late 2015 as an itch that couldn’t be scratched, as music in the back of the mind that couldn’t be ignored.” It is an essence of nagging which also infests the listener we can knowledgeably announce now having been enjoyably compromised by the Leeds hailing quartet’s debut single, Godot. The two track release is a persistence of sound and character which leaves a lingering imprint on thoughts and psyche after providing a rousing, slightly psychotic adventure for ears.

Formed last year, but officially launched early 2016 through a four day tour following a few secret shows, Kovax quickly makes an attention grabbing impact with their debut single. Suggestions are that their ferociously dynamic sound is for fans of Deftones, Bring Me The Horizon, and Fightstar but imagine the raw energy of Reuben, the confrontational roar of early Therapy?, and the off-kilter punk maelstrom of a cross between Damn Vandals and Them Wolves, and you get nearer to the mark of the band’s gripping offering and the broadness of their sound.

Both mastered by Bob Cooper and recorded at Rec and Play Studios and with Harry Scott (Treason Kings) respectively, the two songs making up the band’s introduction need little time to make a strong impression. Godot opens with an instantly contagious hook which lays its swift bait, takes a moment’s breath, and then returns bigger and bolder with equally hungry rhythms and punk spawned riffs for company. Once in full stride, the track stalks the senses with the sonic feistiness of guitarists Pete Freeth and Dan Hey orchestrating the predation whilst the lead vocals, which we guess as being from Freeth, make a volatile conductor for this maelstrom of energy and aggression enjoyably igniting ears. It is soon realised though, that unpredictability is an equally potent key to the band’s sound, that shown by clean harmonies embracing a smouldering passage further coloured by the predatory tones of Joe Phillips’ bass strings and the niggly incitement of Isaac Turner’s sticks. It all adds up to making the track as enthralling as it is intrusively exhilarating. The web of ideas and sounds involved appear bedlamic at times but are bred with striking imagination and an instinctive volatility which only has the intent of turning on the body and emotions.

The accompanying Marigolds is maybe even more deranged in its nature and concussive tapestry of sound but just as superbly sculpted with ravenous energy and inventive twists for another virulent trespass of ears and an increasingly eager appetite. Once more there is a collusion of varied and at times contrasting textures with raw voracious sounds, as well as unexpected slips into melodic detours and explosive challenges to fascinate and thrill from start to finish.

Both songs invade and remain tapping into the psyche after their physical departure; an intimidation which only leaves a hunger for more. Godot is a mighty first listen to Kovax and a hint that we might just be getting in on the ground floor of something special with it.

Godot is out now and available as a free download @ http://www.musicglue.com/kovaxtheband/products/godot—free-download/

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Pete RingMaster 16/02/2016

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Mordecai – Fight Fire With Fire

Mordecai_RingMaster Review

British metallers Mordecai continue to grow and impress as proven by their recently released EP Valour. Now with thick confirmation of the fact and to entice a new horde of eager hungry ears the band release the single Fight Fire With Fire. The opening track to the EP, it is a storming tempest of dark metal and virulent aggression loaded with a passion, and quite simply impossible to ignore.

Hailing from Croydon, the London based quartet of vocalist/guitarist Dan M Hicks, lead guitarist Andy Short, bassist Mickey C, and drummer Alex Gooders has become one of the UK’s brightest hopes over the past couple of years. Formed in 2006, the band was already stirring up some attention but it was with a new settled line-up around 2010 that their Black Stone Cherry, Alter Bridge, and Black Label Society inspired sound seem to come truly alive with enthused reactions in return. Live the band has been a potent force, making successful appearances at the likes of Bloodstock, Bull Dog Bash and Hammerfest, as well as Download where they became one of the very few unsigned bands to be invited to play on consecutive years. Alongside that the band has shared stages with bands such as Black Light Burns, Bam Margera’s FFU, and Fightstar whilst 2013 saw the release of their eagerly anticipated debut album Undaunted, a well-received incitement followed and eclipsed this year by the aforementioned Valour EP. Recorded with John Mitchell (You Me At Six, Architects and Alter Bridge)at Outhouse Studios, it too was an acclaimed and hungrily welcomed proposition unleashing some of the band’s most adventurous and explosive songs to date, one of which being Fight Fire With Fire.

The single song opens on a lusty roar from Hicks, his ravenous tones backed by spicy riffs and hefty rhythms. Soon hitting a meaty stride, the track becomes as predatory as it is sonically invigorating; ears and appetite aflame from its contagious aggression and brawling weave of colourful grooves aligned to vocal calls and rhythmic animosity. With the guitars also spinning a web of sultry melodies and suggestive hues around the swiftly gripping confrontation, the air is ripe with adventure and drama, a rebel rousing incitement coursing through the creative bodies of the band and in turn the listener.

If they are still an unknown, Fight Fire With Fire is the perfect way to introduce yourself to Mordecai. It has all the elements and flavours which makes the band for so many one continually exciting proposal of addictively tempestuous of rock ‘n’ roll.

Fight Fire With Fire is available now

Pete Ringmaster 09/09/2015

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Brightlight City – Adventures EP

BrightlightCity2015

The Adventures EP is a proposition which might not be going to set the rock world ablaze but with three tracks of virulent alternative/melodic rock, the new release from Brit tunesmiths Brightlight City is still likely to be a greedily devoured feel good encounter. It is one of those incitements easy to turn to for an energetic and feistily contagious time. It is not changing the landscape of rock ‘n’ roll but definitely the release gives it a healthy dose of feisty enterprise.

The Surrey quintet began in 2014, swiftly releasing a trio of songs and embarking on mini tours across the UK. Inspirations come from the likes of Hundred Reasons, Million Dead, Foals, Yourcodenameis:milo, At the Drive-In, Refused, Biffy Clyro, and Jimmy Eat World, spices evident in the band’s debut EP Breaking Straight Lines which was recorded with producer Jason Wilson (You Me At Six, Fightstar, We Are The Ocean, Reuben) and released last October. Now the band unveils its successor, Adventures, which was also recorded with Wilson. As its title hints at, the new EP explores new aspects to the band’s sound; the band recently commenting on the release with “Adventures is an EP, as the title suggests, that takes the listener on an adventure; stories of late nights, life, death, love and society all set against the instrumental back drop of a massive alternative rock sound.”

Adventures Artwork iTunes    The release opens with new single The Finish Line, and instantly sparkling guitar bait is sunning itself in the imagination as rhythms provide a sturdy and darker company. The vocals of Jamie Giarraputo similarly are a warm and vibrant invitation, nestling perfectly in the weave of enterprise cast by guitarists Justin Giarraputo and Jono Staunton. The track strolls along with an endearing quality and a catchiness which really sparks in the addictive chorus whilst the resonating bass of Dan Stubberfield adds further potent magnetism alongside the punchy beats of Ben Bell which punctuate all the hooks and melodies with relish.

The following I’m Only Good At Adventures backs up the impressive start to the EP with its own infectious swing and dance on ears. Once more hooks and melodies seduce, though with less impacting bait than found in its predecessor. Nevertheless the song is an easy to consume and get involved with proposal of rock ‘n’ roll warming up ears and appetite for the outstanding closing track.

Reaction is superb, from its opening earthy groove and dirty riffs attention seizing bait which never loosens its grip even when slipping into a slow caress of voice and melodies. It is just the teaser though for the contagion to follow, bass and beats prowling with a glint in their eyes as guitars spin a web of imaginative melody clad temptation. Vocally Jamie Giarraputo is just as magnetic, his delivery carrying a gentle swagger to match the bass groove and sonic devilry seducing ears and imagination. Jimmy Eat World is mentioned as an inspiration and there is no escaping the similar potency of hooks and enterprise within the song to the US band’s greatest moments.

The track is irresistible and brings an excellent release to a masterful close. Listening to the Adventures EP, it does feel like Brightlight City is still searching for their truly unique sound. When it happens though and if songs carry the same qualities discovered on this new encounter, it is hard to imagine anything stopping a global success.

The Adventures EP is out digitally from May 11th and physically on the 15th May.

http://www.brightlightcityofficial.co.uk/   https://www.facebook.com/brightlightcityofficial

RingMaster 11/05/2015

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