Cute Cute Death – Vessels

Cute Cute Death Promo Shot_RingMasterReview

With a name which certainly sparks intrigue, Cute Cute Death back it up with a sound just as attention grabbing and now an album which climbs over the senses, trespasses their boundaries, and leaves fierce satisfaction in its wake. Vessels though is a slightly curious affair for personal tastes, an album which for its first third certainly pleases yet without sparking much more whilst its remainder is a different type of protagonist sparking real excitement about itself and the band’s future.

The seeds of Cute Cute Death began in 2008 when drummer Wayne Kopman and guitarist Johnny Correia relocated from their home city of Johannesburg, South Africa to the UK. Settling in London, the pair met and subsequently linked up with vocalist Niko Forster. After a few line-up changes, guitarist Ricky Gurung and bassist Robert Pipe were enlisted, at which point the band properly emerged, initially under the name Set The Air On Fire. They were soon lighting up stages with their American Metal/hardcore influenced post hardcore endeavours, taking to their growing sound inspirations from the likes of Lower Definition, Alexisonfire, Gallows, Finch, Refused, Deftones, and Glass Jaw, who especially come to mind at times listening to Vessels. The subsequent time since starting has seen the band play across the UK with bands such as Broadway, Atlantis, Flood of Red, They Say Fall, Confessions of a Traitor, and Rival State, all the time adding to their potent reputation which is now pushed again by their debut album.

Produced by Joseph Grouse with Justin Hill (Sikth) mixing, mastering, and co-producing, Vessels opens up with its title track; a song needing little time to get a firm hand on ears and attention. The guitar prowess of Correia and Gurung quickly casts a web of enterprise that lures the imagination, their sonic touch soon wrapping the impressive clean tones of Forster. Straightaway he impresses, increasingly so as his delivery springs rawer, dirtier, and grouchier roars to equally fine success. As the rhythms rumble and prowl the resourceful landscape of the song, there is no escaping the lure and vibrancy of the encounter yet, and we emphasize for personal ears and tastes, it never quite taps into something which really stirs up the passions.

Cute Cute Death Cover Artwork_RingMasterReviewAll the same it is a powerful and dramatic start to Vessels continued by the Sikth meets Incubus personality of Alarm. Once again, the guitars dance with invention and craft as rhythms crowd the senses with their hungry shadows, all colluding to burn fiercely around the equally inflamed and rousing tones of Forster. The track enjoyably blisters on the ear before seamlessly evolving into the rawer antipathy of Pockets. Sonic tendrils and band shouts bring fresh drama to the album whilst the bass of Pipe borders on predatory as it robustly swings through the web of unpredictable and intoxication grooves and scything hooks. There is something extra about the track, if indefinable, which its predecessors lacked, an essence which and hints at the adventure waiting to escape the album further on.

Red Lights makes a calmer entrance next, though walls of bruising rhythms led by the tenacious swings of Kopman amidst intimidating riffs are soon descending on the senses before the song grows into another skilled and magnetic blend of contrasting textures and intensity, as ever echoed in the vocal enterprise of Forster. From its success the brief instrumental of Interlude looms upon ears with electronic suggestiveness on board, it drawing the listener into the awaiting revelry of DMT. It is from here that Vessels suddenly triggers a lustier reaction, though again it is hard to say exactly why, the major differences between the qualities and invention of songs before and after the melodic break not an open reason. With persistently twisting grooves and unpredictable rhythms aligned to writhing tendrils of sonic imagination adding to its temptation, there is no denying that the song simply enthrals and sparks a new breed of pleasure.

There is certainly greater diversity across the songs from hereon in on the album, starting with the warm caress of Statues. The song is an emotive melodic hug and vocal croon with the guitars spellbinding and Forster bordering on majestic with his again wonderfully varied tones. Taking best song honours, the track almost alone tells you all you need to know about the potential and already established invention of Cute Cute Death and that is without sharing any invasive trespass, which they have already proven to be equally adept at.

Leave This City follows and quickly holds courts as its web of spidery grooves and melodic acidity lies magnetically upon the rapier like thrusts of Kopman and another darkly juicy bassline from Pipe. There is a theatre to the hooks and the lively invention which grips the imagination as forcibly as the song’s underlying rhythmic rumble and fiery catchiness takes the body. It is an almost imposingly persuasive proposal matched by that of the enjoyably volatile and often irritable Glass Eyes and eclipsed by the closing might of Dinosaur. The final track is a tempest of anthemic hardcore, rebellious punk rock, and psyche infesting noise rock persistently involved with progressive and melodic ingenuity. The song is rebel rousing, a spirit igniting finale to the album offering a creative call to arms for the impressive invention and presence of Cut Cute Death.

Vessels is an excellent first full-length from the band; one which, even with that odd impact initially, left us thrilled and eager to recommend all fans check out what is a fresh breath in the post and hardcore scene.

Vessels is out now through all outlets on Friday 13th May.

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Pete RingMaster 13/05/2016

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MORE THAN MOST UNVEIL THEIR ‘NIGHTMARES’

More Than Most Online Promo Shot_RingMaster Review

Brit alternative rock outfit More Than Most have released their new video single ‘Nightmares’, a track taken from the band’s new EP ‘Impossible Is Temporary’ which was releases on February 5th.
You can check out ‘Nightmares’ right now at https://www.youtube.com/watch?v=3UVxaRsc7xA&feature=youtu.be

Hailing out of London, the 2014 formed ‘More Than Most’ are a diverse and potent five piece originating from across the globe. The alt-rock combo consist of Leandro Leonardi (guitar) who moved from Brazil to England to pursue music, Mok Saib (bass) who journeyed from Algeria, and Cole Solem (drums) who arrived from the USA. Izzy Stylez (vocals) and Daniel Allan (guitar) are the only original UK based members. With a varied range of influences and life experiences, ‘More Than Most’ tug from their diversity and draw it down to their music. The result is both wholly captivating and all consuming.

It is fair to say that the energetic quintet hit the ground running, playing their first ever show at the start of this year in a sold out O2 Academy Islington 2 Show, supporting ‘Dirt’. From this point, the quintet has not looked back, breeding a dedicated fan-base whilst picking up slots at Takedown Festival and Camden Rocks Festival, and playing with the likes of Mallory Knox, Charlie Simpson, The Blackout, Bullet For My Valentine, Skindred, Funeral For A Friend, Finch and While She Sleeps. More Than Most have gone on to sell-out another O2 Academy show, as well as impressing through a succession of pummelling shows throughout the Southern plains. As well as vigorously working on their live set, the alt rocksters have put out two videos ‘Feed The Fire’ and ‘You’re Not Alone’; both receiving extensive TV airplay with Scuzz.

Now with the release of their new video single ‘Nightmares’ (https://www.youtube.com/watch?v=3UVxaRsc7xA&feature=youtu.be) following one impressive new EP in the Justin Hill (Young Guns, Heart Of A Coward) reorded ‘Impossible Is Temporary’, it is fair to say that More Than Most have arrived.
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More Than Most – Impossible Is Temporary

More Than Most Promo Shot_RingMaster Review

Since forming in 2014, More Than Most has become an eagerly followed and appreciated live proposition which has lit up stages alongside bands such as Mallory Knox, Charlie Simpson, The Blackout, Bullet For My Valentine, Skindred, Funeral For A Friend, Finch, and While She Sleeps as well as graced the likes of the Takedown and Camden Rocks Festivals. Now the UK quintet offers their alternative rock with electro tendencies to a broader recognition and attention with the release of debut EP Impossible Is Temporary.

The four-track encounter is a magnetic affair fuelled with passion and open emotion in an resourcefully sculpted body of melody rich sound. It is not an encounter necessarily announcing the London based band as the next big thing yet but it certainly leaves a more than contented appetite for their imaginative and lively offerings. It has a variety to its spices which alone captures ears, a diversity not too surprising given the cultural background and influences of its creators. Guitarist Leandro Leonardi comes from Brazil, moving to England to pursue music, whilst bassist Mok Saib and drummer Cole Solem are respectively Algeria and US bred. With vocalist Izzy Stylez and guitarist Daniel Allan, both UK born, completing the line-up, More Than Most create a colourful creative clamour and emotive tapestry which allows Impossible Is Temporary to shine in potency whilst giving strong enjoyment.

More Than Most Cover Artwork_RingMaster ReviewRecorded with producer Justin Hill (Young Guns, Heart Of A Coward), Impossible is Temporary quickly lures attention with opener You’re Not Alone. Straight away a melancholic keys cast melody tempts as a shadowy ambience brews around it, electronic beats soon adding to the arising drama escalated further by the alluring tones of Stylez. There is something familiar to the song but an essence which you could say is Linkin Park like which only enhances its allure as rhythms and harmonies unite with the fiery and slightly solemn flames of guitar. It is a magnetic start to the EP, a deceptively anthemic cry pungently backed up by Remember Who You Are.

The second track also enters on an electronic coaxing, this time a lively simmer of keys which soon invites bolder rhythms and tenacious sonic enterprise to invigorate an already highly agreeable incitement. There is greater energy and creative drama to the song which only whips up keen attention and a similarly eager appetite for the imagination spawned More Than Most roar. Once more familiarity does rear its tempting head as the track fuels feisty energies in itself and listener, but it only adds to the fun before Save Me From Myself emulates the mix with its own creative and melodically rowdy proposition. There is a darker hue to the shadows which line the walls of the vocally tantalising and rhythmically dynamic proposal though, their emotive tempering to the sonic flames and flowing harmonies as suggestive as the heart felt words and notes uniting in another potent persuasion.

Closing with the imposing contagion of Nightmares, a stirring song built on an irritable bassline and scything beats upon which it boils up a sonic tempest of sizzling melodies guided by the ever impressing vocals led by Stylez, Impossible Is Temporary leaves with its finest moment and impact. All songs entangle the listener in craft and appealing adventure but its finale is a roar above and alone a reason to keep a close eye on More Than Most.

Lacking a major uniqueness in identity of sound, Impossible Is Temporary is maybe not the game changer for the band though it will surely push them into new and keen spotlights. It does though make a strong and thoroughly enjoyable base to leap ahead from, and we for one are looking forward to that next step.

The Impossible Is Temporary EP is available from February 5th.

https://www.facebook.com/morethanmostofficial   https://twitter.com/mtmukofficial   http://www.morethanmostuk.com

Pete RingMaster 04/02/2016

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THEY SAY FALL put ‘Deadlights’ out 17th August

They Say Fall Online Promo Shot

Genre-bending alternative rocksters ‘They Say Fall’ return with a UK Tour and new single ‘Deadlights’, which lands on Monday 17th August.

Hailing from North Lincolnshire, ‘They Say Fall’ are poised to be one of the bands to break this year. Fresh off the back of a glut of successful support slots with Madina Lake, While She Sleeps, InMe, Fearless Vampire Killers and Elliot Minor, as well as a highly sought-after place on the Red Bull Studio stage at last year’s Download Festival, there’s nothing stopping They Say Fall’s inevitable rise.

The early beginnings of the band spring from a unification of good friends Kyle Leeman, Joseph Sleight and Tom Manning, who, under the moniker of Brayford!, a Pop Punk cover band, waded together in the murky waters of their local scene. By 2012, the threesome drafted in Kehn Gembalczyk on lead vocals and additional guitarist Brad Bishell to bulk up the band’s growing sound. After a plethora of rehearsals and a flurry of intimate shows, They Say Fall were ready to strike out to the world.

Now with three EPs under their belts, and a slew of critical acclaim spanning from Kerrang! Magazine, Metal Hammer, Punktastic, Rock Sound and Front, through to Kerrang! Radio and BBC Introducing, as well as a recent co-headline UK tour with fellow ‘Red Bull Studios Live At Download’ winners ‘Breathe In The Silence’, They Say Fall return with their stunning new video single ‘Deadlights’. The new track is a real firecracker and brings to mind the riffery of The Dillinger Escape and the diversity of Faith No More fused with the contagious appeal of Finch. ‘Deadlights’ drops this August and further touring is imminent throughout the Summer.

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Death Kindly Waits For Me – Wire Iron Blood

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

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

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

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

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

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

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

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RingMaster 02/03/2015

Copyright RingMaster: MyFreeCopyright

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‘DEATH KINDLY WAITS FOR ME’ to unveil their ‘Wire Iron Blood’ from 2nd March

Death Kindly Waits For Me Online Promo Shot

“Nothing short of amazing, perfectly executed noise wrapped in an emotive blanket…top stuff!”

BBC Introducing.

 

Post Hardcore crew ‘Death Kindly Waits For Me’ express a sound that packs concise riffery and energetic beats with pop sensibilities. The rising quartet unleash their spanking new EP ‘Wire//Iron//Blood’ on Monday 2nd March, from all digital stores.

 

With a slew of inspiration stemming from Thursday, Being As An Ocean, Finch and Taking Back Sunday, Death Kindly Waits For Me have absorbed their predecessors’ influences and added their own imposing stamp. In doing so, they now despatch an engrossing sound that is accessible and earnest.

Coming at you from Northamptonshire and featuring Adam Fitch (Vocals), Max Freeston (Guitar/Vocals), Adam Cator (Bass/Screams) and Josh Miller (Drums), Death Kindly Waits For Me pull from the fundamentals of emo and hardcore and harvest a sound that is both fast and slow, and altogether heavy yet melodic. The foursome give their all to an audience and have even played shows with broken bones and bloodied hands. DKWFM push the barriers and deliver passionate, emotive, and energetic live shows that truly captivate. Since their formation at the start of 2014, the melodic hardcorers have racked up shows with a host of bands such as Decade, Light You Up, Devil Sold His Soul, Terraform, Emp!re, Our Hollow Our Home, Hey Vanity, Attention Thieves and Flood Of Red.

The four piece are now set to drop their debut EP ‘Wires//Iron//Blood’ on Monday 2nd March. The EP is an engaging piece of post-hardcore. Right from the opening lines of ‘Cutting Room Floor’, which firmly displays the band’s deft ability to pull in the listener with a hook that will need to be prised from your inside, to the stinging bite of ‘Best Friends’, which goes for the jugular but still manages to unleash a killer refrain, and to the closing track ‘Decade Of War’, as it flaunts their nimble use of dynamics, this record is sure to reinforce the band’s credentials as one to watch for the coming year and beyond.

 

-DEATH KINDLY WAITS FOR ME ‘WIRES//IRON//BLOOD’ MONDAY 2nd MARCH 2015 THROUGH ALL STORES-

 

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Larusso – Life in Static

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Immersed in a mixture of creative alternative rock and contagious pop punk, Life in Static the new album from US band Larusso is one healthily appetising proposition. Not a release to set crowds screaming from rooftops maybe but one to bring energetic life to any solitude drenched night or raging festivity, the album is a thoroughly engaging proposition with some quite tasty encounters within its vibrant walls.

Hailing from Salt Lake City, the quartet of vocalist/guitarist Aaron Condrat, drummer/backing vocalist Justin Trombetti, guitarist Nick Sasich, and bassist Tyler Grundstrom have earned and built up a potent fan base and attention through a series of self-released EPs and albums, as well as their live performances which has seen the band play with bands such as The Almost, Go Radio, Transit, The Ataris, Finch, Dance Gavin Dance, and Cartel. Also regulars at local festivals and having played the Ernie Ball stage at Warped Tour, Larusso finds itself with a lively buzz around them to which their new album will certainly do no harm.

Chase the Sun starts the album off in vivacious style, hooks and melodies an instant coating to keen riffs and jabbing rhythms. Vocally too the song shines immediately, the tones of Condrat backed by Trombetti, smooth and harmonious. It is not a startling encounter but one showing the musical strength and songwriting craft of the band as more than accomplished and seriously catchy. The track strides with ripe enterprise before making way for The Voice. As its predecessor, it too carries no real urgency in its gait and attack but makes for a catchy and captivating slice of rock pop with excellent vocal prowess and tidy hooks within a melodic breath.

Things suddenly spark more thrillingly with Drifter, a track offering irresistible hooks from its first touch and unpredictable endeavour throughout. Like a mix of Jimmy Eat World and Brand New, the song flows and strides with a Life in Static Cover Artdelicious creative appetite to the vocals and swinging grooves to the sound. The bass of Grundstrom brings a snarl too which adds to the appetite awakening potency of one of the album’s most impressive propositions. Its triumph is not quite matched by the next up Daniel with an L, but with its emotive melodies and almost melancholic air the track still captures the imagination with ease. As evidenced by it alone, there is nothing flamboyantly excessive about the band and its songs but they push do push an eager invention across increasingly persuasive and riveting exploits.

The evocative caress of Living Proof comes next with guitars casting a weave of expressive chords and melodic colour as Condrat adds an emotionally intimate lyrical narrative. The track is more a lead/intro to the current single The Recovery than a standalone prospect, its successor a crooning incitement which makes for a warm and skilful if not a passion stirring companion. Again it shows the impressive craft of the band in composing, playing, and imagination though but lacks a spark to make it more than a pleasing encounter, certainly when up against the more impacting tracks on Life In Static. Nevertheless ears are satisfied before turning to Places and Set Phasers to Fun for more adventure. The first of the two has an underlying swagger to its pop lit composure and intent, but tempers it with an evocative smoulder of emotion and sonic intrigue whilst the second shows another fun side to its sound and band with its acoustically led playful romp. In the hands of other bands, the song might feel like a filler but Larusso give it a smile and grace which makes a very worthy and enjoyable inclusion to the release.

Collision Course is another big highlight with its feisty riffs, mightily swinging rhythms, and agitated yet contagiously coaxing grooves. As across the album it is fair to say there are few real surprises, the song no exception but the band does dig out and explore essences of sound and familiar ideation which is fresh and invigorating. The superb offering is followed by the emotive balladry of Take Me Away where keys, orchestral strings, and vocals impress even if overall the track simmers rather than flames, something Dear Pandora manages to achieve with addictive tenacity. Thoughts of Amberlin edge forward as the song stomps with acidic grooves and biting hooks whilst melodies and harmonies make another inescapable lure. It is an enthralling success setting up the finale of Chemical. Also acoustically sculpted, the closer is a mesmeric piece of design and expression, and a much more potent and gripping encounter than Take Me Away which lingers and shows another corner and depth to the band which would be good to see explored more in the future.

Life In Static is a richly enjoyable and magnetic release which shows why the buzz around Larusso in their homeland; a spotlight easy to imagine broadening dramatically with the album. It is not setting new templates but for melodic rock with a pop ingenuity, band and album is well worth a long look.

The self-released Life in Static is available now @ http://larussorock.com/product-category/all/albums/

larussorock.com

8/10

RingMaster 15/08/2014

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