Kilkovec – Plunge

Following up their eagerly praised EP, Sick Of This, British trio Kilkovec make an even louder knock on real attention with its successor Plunge. Again built on the band’s feisty mix of alternative and punk rock, the new EP takes the band’s sound, imagination, and presence to a new level, one demanding that people take notice.

Consisting of vocalist/guitarist Daniel Wilson, bassist/vocalist Matt Stroud, and drummer Tom Longwater, Hampshire hailing Kilkovec emerged in 2012. Hitting the local live scene with relish, they released debut EP Name Your Place to good reactions in the underground scene though it was Sick Of This last year which sparked critical and broader fan acclaim the way of the threesome. As Plunge roars and twists around in ears it is easy to suggest and suspect even greater plaudits hitting the band’s creative shores, praise to match the rich reputation earned by their live prowess which over the years has seen the sharing of stages with the likes of Yearbook, Seething Akira, Flood of Red, Bad Sign, Press to Meco, Black Foxxes, and The Red Jumpsuit Apparatus.

The EP’s brief title track kicks things off, its atmospheric instrumental setting a schizophrenic scene from which the following Change whips out an initial provocative guitar groove swiftly joined by portentous beats and in turn predatory bassline. As much as it carries dark danger, the coaxing has spicy warmth drawing the imagination further into its depths and the potent waiting tones of Wilson. As it develops, raw infectiousness brews and blossoms within the track’s tempestuous punk ‘n’ roll making its irritable charms even more compelling and its unpredictable enterprise pure magnetism.

It is a great start to the release setting the agenda for the adventure and invention shaping Plunge and next up Just Get Better. Rolling in on great rhythmic agitation with just as alluring tides of riffery, the track quickly grips ears and appetite, throwing itself rhythmically around with muscle and attitude as vocals roar and grooves entangle the senses. Its fiery rock ‘n’ roll takes no prisoners though again its virulent catchiness perfectly tempers the raw aggression.

Somerset Cottage brings a mellower proposal straight after though it’s underlying steel and angst is soon flowing through the song’s creative veins as both sides of its character interact with imagination around the impassioned vocals of Wilson. Again there is nothing predictable about the song and its twists; even if the chorus has a familiar feel ensuring participation with it is easy. Littered with groaning grooves, the track is an increasingly captivating spectacle matched by the more straightforward punk infused rock of 40,000 Leagues and Counting. It may not have the boldness of its predecessors but the track only satisfies with its growling nature, anthemic heart, and melodic acidity.

Constructive Criticism is another short instrumental, creative doodling before the outstanding Go On (and on and on) brings its Fatima Mansions meets letlive. like creative drama to bear on ears and thoughts. At times it is a suggestive croon, in others a caustic brawl and increasingly an inescapable lure for the imagination leaving Here’s to You to close things off with its tenacious mix of engaging melodies, rousing vocals, and barbarous rhythms.

It is a thoroughly enjoyable end to a similarly agreeable release suggesting that Kilkovec are not too far away from getting their hooks into nationwide recognition, if not even bigger spotlights.

Plunge is released 27th January.

https://www.facebook.com/Kilkovec/    https://twitter.com/kilkovec

Pete RingMaster 25/02/2017

Copyright RingMaster: MyFreeCopyright

Cute Cute Death – Vessels

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.

All 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.

http://www.cutecutedeath.com   https://www.facebook.com/cutecutedeath/     https://twitter.com/cutecutedeath

Pete RingMaster 13/05/2016

Copyright RingMaster: MyFreeCopyright

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Death Kindly Waits For Me – Wire Iron Blood

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 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 2^nd March through all digital stores.

https://www.facebook.com/deathkindlywaitsformeuk

RingMaster 02/03/2015

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/

 

 

The Fall of Eden – Memoirs

Scottish metalcore band The Fall of Eden, certainly on the evidence of their debut EP Memoirs, is an emerging force which could and should be a regular spot on the radar. Still relatively young as a proposition, the Glasgow quintet have made their introduction with a release seeping promise at every corner whilst providing an enterprising and enjoyable fury. It is fair to say that this is a force still in evolution and that the EP lacks a truly standalone distinction to other strong and hungry genre bands out there, but there is definitely something compelling and inviting about their invention and imagination which ignites eager anticipation for their future.

Consisting of vocalist Kevin Blaney, guitarists Matt McLeod and Kieran Ward, bassist Sean Breslin, and Hamish McGowan on drums, The Fall of Eden formed in early 2012 and took little time in crafting and honing their first blaze of songs. Taking inspirations from the likes of Parkway Drive, August Burns Red, Bring Me The Horizon, Oceano, and Lamb Of God into their antagonistic sound and invention, the band began igniting stages locally and beyond with their powerful live performances and across the past year or so have played with the likes of Night Verses, Flood of Red, Surrender the Coast, Truth and It’s Burden, Martyr Defiled, Demoraliser, Heart In Hand, Here Comes The Kraken and Thy Art Is Murder. Their reputation has risen alongside their live energy and attack which debut release Memoirs can only accelerate and take to a wider awareness.

The release shows that the band’s sound stretches beyond simply metalcore, though it is the core to creative the furnaces posing as songs. With a melodic flame licking at the heart of the tracks and an adventurous imagination equally coaxing out bravery in the songwriting, Memoirs opens with The Fall and instantly pushes the imagination and thoughts into action. An atmospheric brew raises its breath first, an ambience already being worried by the impending vocals of Blaney. As he and the intensity reaches forward to confront the ear, the track explodes into an invitingly textured provocation, the first rage quick and blunt before stepping into a more predatory stalking of ears and senses. The guitars wind sonic endeavour around the muscular core and rhythmic testing to push the breath of unpredictability and keep the listener’s expectations challenged throughout, and though debatably some of the changes and shifts are not as fluid as possibly they could be it matters little within a track which is unafraid to try things and take the listener on an adventurous ride.

The following Broken Lullaby takes a more deliberate stalking of the senses, riffs and rhythms caging off any escape with sinew clad rapaciousness whilst a melodic cast of craft and intrigue marks the way for the vocal scowls of Blaney to enjoyably bruise the air.  One of the more straight forward and expected tracks on the EP, it still forges a hold and satisfaction which cannot be dismissed or taken lightly. It maybe lacks the imagination of its predecessor and thus the potency and success but nevertheless easily continues the strong and pleasing introduction.

Both Pressure and A Poet, A Bard and a Baron keeps things boiling, the first scowling heavily with a hardcore aspect to the attack, a flavour which has already had moments of success in the opening pair, whilst its successor through a ‘gentler’ melodic embrace shows the expanse and depth of the songwriting and sound already seeded within the band. The pair of songs forms the pinnacle of Memoirs, their aggressive and uncompromising but enterprising tirade and inventive drama respectively,  major reasons why The Fall of Eden raises a hunger and assumption that the band has a bright future and plenty to offer UK intensive metal.

The closing Pavor Nocturnus is a decent enough conclusion but does feed the expectations which seemingly come with any new metalcore band. With a fire bred passion and undoubted thoughtful craft though, the track avoids feeling like an anti-climax after the quality of the previous two tracks and keeps that keen appetite fully engaged with release and band.

Expect to hear more of The Fall of Eden as they appear to have all the tools to emerge as something fresh and incendiary within metalcore, those whispers vibrant and potently brewing within the Memoirs EP. It is a release well worth checking out especially as it comes as a Name Your Price download at http://thefallofeden.bandcamp.com/

https://www.facebook.com/TheFallOfEden

7.5/10

RingMaster 23/10/2013

Copyright RingMaster: MyFreeCopyright

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Hello Lazarus – Moving Forward Over The Next Financial Quarter

pic KMT Media

You know you are onto something special when a release makes an impressive first statement in its initial persuasion upon the ear and then just gets better and more potent with each subsequent encounter. Such is the case with Moving Forward Over The Next Financial Quarter, the new EP from UK alternative rock band Hello Lazarus. The first of three EPs scheduled for the year, the four track triumph is a scintillating and gloriously expressive ignition for the passions and the declaration of a band destined to stretch the lines for and reshape British melodic rock on this evidence.

From Bristol, the trio of Adam Hooper, Luke Taylor, and Sean Shirwan-Begie, creates songs which breed punk pop infectiousness from within a deep reservoir of finely sculpted melodic rock. The resulting sound is one which can wrap tender emotive arms or more hungry urgently driven confrontation around the ear and from the proof of the EP alone, has the imagination and power to bring a consistently enthralling and provocative experience with a diversity of unique rewards from across every second of their expansive ideas. Equally grabbing attention with their live show which has seen the band alongside the likes of The Xcerts, Tellison, Flood of Red, Tubelord, and Vessels, Hello Lazarus brings a fresh presence and creativity to the ear. Their Scylla Records released as mentioned first of three scheduled EPs, is the initial step of a massively suggestive promise of greater things for the band ahead. One which provokes the notion of a nationwide awareness waking up to the band from if not to this Jake Robbins (Natives, Sharks) produced release, somewhere along the line of the subsequent unveilings if they are anything like Moving Forward Over The Next Financial Quarter.

The EP opens up with new video single When In Rome, a song which boldly barges through the ear with a muscular bass snarl and crisp rhythms from within a gently abrasing rash of sharp guitar lashes. Once the excellent vocals step up with their expressive narrative things settle into a slightly restrained air with voice, harmonies, and the ever provocative bass sharing attention whilst the guitars and drums frame their potency. The wholly infectious chorus is excellent its contagion not borne from obvious and easy hooks but pure passion and invention, and instantly recruits the listener into its emotive charge and catchy stroll. Arguably there is nothing which alone makes a lingering capture of passion and memory, no richly barbed hook or element which stands out, but the song is just a whole of immensely seductive and deeply penetrating elements with a mutual depth of quality and excellence combining for that impacting and long lasting temptation. It is a striking and emotively inciting song which by itself gives all the reasons why the band is causing a stir.

The following Get An Axe brings sterner sinews into play from the intimidating drums and again deliciously grumpy basslines, for another insatiable melodic escapade of near virulent contagion and energy soaking enterprise. With a stronger punk lilt than its predecessor, the track is an incendiary recruitment drive for heart borne melodic expression and eager air igniting energy, all moulded and bred through thoughtfully crafted and imaginatively enhanced ingenuity. The song leaves breathlessness behind, it’s again hard to ignore or refuse lure to join its cause exploiting and feeding on the now full greed devouring the release and its enslaving rewards.

Stallions is a gentler temptress, the instantly consuming breeze of harmonies and cascading sonic elegance offering a warm hand whilst the bass adds its own shadows to temper the blaze of light elsewhere. It is a crystalline glow within the release, its shimmering sonic kisses outshining the prowling bass and senses tripping drums strikes yet never dousing the fire of the darker elements and the threatening to escape brew of feisty intensity. The track shows the range and invention of band and songwriting, as does in its individual way the closing I Am No Explorer. It is another emotively sculpted piece of beauty with corners of darkness adding their haunting temptation. It is a stunning song, and though maybe not the top personal favourite upon the EP it is undoubtedly the most involved and involving treat.

Moving Forward Over The Next Financial Quarter is an excellent instigator of the passions as well as thoughts and emotions, a release which suggests Hello Lazarus can be as essential as the likes of 30 Seconds To Mars, and Lower Than Atlantis, and even Biffy Clyro.

http://hellolazarus.com/

9/10

RingMaster 28/04/2013

Copyright RingMaster: MyFreeCopyright

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ElevenEleven: Life EP

The Life EP is a delicious emotive storm of post hardcore from a band which has already garnered strong acclaim and support since forming in 2009. From the North East of Scotland, ElevenEleven has taken a major step forward from already impressive earlier releases with their new EP to give the genre in the UK a new tempest of creativity. It is an expansive mass of passion which without inventing new tools uses existing genre weaponry to fresh and adventurous heights.

Since their first days the quintet has shared stages with the likes of Lower Than Atlantis, Flood of Red, Heights, The Elijah and Don Broco, made their own successful national tours, and released to acclaimed reactions the Memoirs (Part One) EP in 2010 and a two track release The Light/Dark Sessions in 2011. Last year though was one which brought a few obstacles the way of the Aberdeen band in the shape of serious illness, a line-up change and the subsequent collapse of their intended second EP. The band has on the evidence of Life though emerged a greater and even more imaginative force and by marking their return with the EP as a free download, has opened one expects the doors to greater recognition.

Life is seemingly inspired by the previous months for the band, its themes of love, loss and life trials maybe not directly reflective but it feels as if it is charged and emotionally sculpted by events. It is an atmospheric wrap with is intrusive and weighty whilst offering a captivating shadowed beauty. As the release agreeably scores the senses the obvious comparison is Deftones but to that you can add essences of Funeral For A Friend, Thrice and Devil Sold His Soul, with dark whispers of muse and Incubus for extra spice. It is a dense engagement lit by melodic invention and sonic skill, and an encounter which as soon as Lost unleashes its passionate heart finds a fulfilling connection to the listener. The opener stages a dramatic initial contact with bruising rhythms from the drums of Ross Senkbeil and the intimidating bassline of Stuart Ritchie within caustic flames of guitar from Eliot Leonard and Euan Wilson. It is a striking start which with the entrance of the fine vocals of Chris Spencer entwines and exchanges its intense gait with another of smouldering mellow ambience, the ‘respite’ itself also carrying a charge of passion which ignites thoughts.

The following Iscariot offers a similar stance though is still distinct in presence, soaking one in further intensity and thick melancholy to challenge and reward equally. As with the first, it is a song with a haunting shout to its voice and a coarse defiance which erupts in scowls of vocal rage at times alongside the increasing impressiveness of Spencer. At this point as one wonders if the whole release would offer a similar breath to is passion, the band shifts into a harsher aggressive tact with The Other Side. The song is an energetic badgering of the ear with an irresistible groove and questioning air. It is an excellent provocation which shows another side to the band whilst stretching their invention and skills in a new direction. Probably the most accessible of all the tracks it leaves one glowing in satisfaction to the same depths of the previous songs but with an openly different aspect.

The release is completed by the expressive rich sonics of Chemical Dreams and the slowly emerging passion of The Ocean. Both songs again venture down new soundscapes and songwriting craft whilst making seamless connections to the other tracks. The latter is a rising torrent of emotion which like the subject of the title ebbs and flows, rises and sweeps over the senses in powerful waves. It is an exceptional end to an excellent release which at times makes you work with it to discover all its wonders but ensures only a wealth of pleasure in return.

ElevenEleven provide something fresh and inventive to a genre which has seen many new bands step forward this year, but this quintet is the one you feel will go the furthest.

Grab the Life EP for free @ http://officialeleveneleven.bandcamp.com/album/life-ep

http://www.facebook.com/OfficialElevenEleven

RingMaster 13/12/2012

Copyright RingMaster: MyFreeCopyright

Streetfight Silence: We Must All Learn

Leading into the release of their debut album Cutting Strings on September 24^th UK power pop band Streetfight Silence first unleash the single We Must All Learn. Their first release for Angry Badger Records, the song is a vibrant and enterprising slice of pop rock to play as a tease for their imminent album.

The Bracknell based trio of Russ Merry (guitar/vocals), Chris Penfold (bass/vocals), and Chrissy Cooley (drums/vocals) has garnered a strong and passionate following, conquering locally before working on the country as a whole. Their live performances have drawn acclaim as the band shared stages with the likes of Don Broco, Tesseract, Burn The Fleet, Francesqa, Canterbury, Flood Of Red, and We Caught The Castle, each show adding to the buzz around them. The new single and album to come, follows their well received debut EP and look to have all the weaponry to thrust the band into wider recognition.

    We Must All Learn initially sidles up to the ear with bright melodic strokes and attention grabbing grooved strikes underpinned by a great heavy bass tone and firm rhythms. Once into its stride the vocals spread their warm and accomplished tones amongst the reasonably reserved sounds, every element then coming together in a chorus of natural harmonies and creative sounds. The song is not overly infectious but does secure a permanent focus and leave lingering strains of melodic craft in its wake. There is also a strong acoustic essence to the song within the energetic rush of tight guitar play and expressive vocals which suggests more of the album.

With a video to accompany it, We Must All Learn is a good appetiser for Cutting Strings and a good continuation of the creative maturity of Streetfight Silence, which the album should endorse and extend.

https://www.facebook.com/streetfightsilence

RingMaster 17/09/2012

Copyright RingMaster: MyFreeCopyright

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