Bullets And Octane – Waking Up Dead

Though a name familiar to a great many, attention on the UK side of The Pond did not particularly have Bullets And Octane as a concentrated spot on its radar despite some ear grabbing, appetising inciting releases since the band emerged in 2003. That was until the LA based outfit played a venue ripping tour over here last year with our own fine middle finger raising rockers Hung Like Jack supporting. It has sparked fresh interest and in turn real anticipation for the US rockers’ new album Waking Up Dead which we seriously expect to be embracing rigorous attention upon release. It is a beast of an album, rock ‘n’ roll in its most rapacious and rousing form and without doubt Bullets And Octane in their finest moment.

From the release of their debut EP, One Night Stand Rock N Roll Band in 2003, the St. Louis originating quartet has been on a hungry ride towards acclaim and attention. Their Gilby Clark of Guns And Roses produced first album, The Revelry started the growing appetite for their emergence, each of their subsequent seven albums escalating the temptation, including breakthrough album In The Mouth Of The Young, alongside a live presence which has seen the sharing of stages at shows and festivals with the likes of Avenged Sevenfold, Korn, Stone Sour, Flyleaf, Deftones, Unwritten Law, Gunfire 76, Social Distortion, Eagles Of Death Metal and many more over the years. Now we would suggest they are facing their biggest year and time yet with the release of the Brent Clawson (Wednesday 13, Hell or Highwater, The Knives) produced, recorded, mixed and mastered Waking Up Dead, a slab of devilry declaring that hard rock spun rock ‘n’ roll has never been healthier or more fun.

As soon as Bad Mother Fucker launches its attitude loaded stomp off of a warning siren, it has to said, ears and appetite were swiftly gripped; a hold tightening as the track almost stalks ears with riffs and grooves whilst stirring up the spirit with its contagious roar. Vocalist Gene Louis hollers at its heart with energy and contempt, the band’s united calls supporting his incitement as the swinging beats of Jonny Udell punch and Zachary Kibbee’s bass magnetically grumbles.

A raucously irresistible start to the album aflame with the wiry tendrils of Felipe Rodrigo’s guitar, the track sets the anthemic template for things to come and is quickly embraced by the album’s following title track. Guitar and mass incitement instantly draws ears into the almost as immediate blaze of the song, its pulsating stroll and fiery sonic flames surging straight to the instincts to rock out. There is a devious craft and imagination to the song though, predacious twists and tenacious clamours uniting in its spirit rousing exploits.

The calmer but no less lusty When We Were Young has the body bouncing again, it’s gripping hard rock nurtured canter almost poppy but all raw bustle and bite while Burning at Both Wicks jabs and snaps at the senses from its first touch, takes the listener on a bold hard rock infested ride thereon in. As the whole of the album, the songs blend the familiar with the boldly fresh in their individual escapades, each nagging to get under the skin riff by hook and hitting their target in swift time. It really was impossible not to offer up one’s own vocal and physical participation across the whole of Waking Up Dead as proven yet again by the simply captivating Fires. As its predecessor, there is a touch of Fall Out Boy meets Grumpynators to the track with a whiff of Turbonegro, a spicing which slipped through our ears like nectar.

All the same, every song within the album is stamped Bullets And Octane through to the core, the likes of the melodically aflame Fuck You Song and Murder Me Baby with its predatory prowl and salacious swing diverse proof. Neither track quite hit the personal spot as those around them actually but the fact they had us rocking and pressing replay with perpetually fresh lust shows the might of the rest of the album.

The final trio of tracks keep the stomping and thick enjoyment flying, Rolling Stone casting a ‘mellow’, in comparison to other songs, incitement which only needed a clutch of seconds to bypass inhibitions before Hostage seduced the body into a subservient sway. Even with its relative composure, the song is an insatiable rocker increasing its boisterousness and the listener’s involvement by the minute.

Heart Attack completes the release, the track maybe the best of the lot though it is hard to choose. Hooks and grooves ensnare as rhythms jab, vocals stoking up devilment and alone further involvement; the four prong rock ‘n’ roll attack as manipulative as it is simply balls swinging revelry. A great album deserves a thunderous end and Waking Up Dead certainly gets that though its whole body is a galvanic storm of rock ‘n’ roll; a tempest of pleasure we can only suggest, wherever you are, you should unleash your rocker instincts upon.

Waking Up Dead is released May 25th through Bad MoFo Records/Cargo Records.

https://www.bulletsmusic.com/   https://www.facebook.com/bulletsandoctane

Pete RingMaster 23/05/2018

Copyright RingMaster: MyFreeCopyright

Finding Kate – If I Fall

finding-kate-promo-shot_RingMasterReview

With eager praise surrounding debut EP Inside Out, British melodic rockers Finding Kate are now pushing for wider recognition with their first album and fair to say that If I Fall is twelve tracks of melancholy soaked and emotionally powerful rock which just demands attention.

The brainchild and creative outlet of alt-rock vocalist/lyricist Kate Pavli, her London hailing project has earned a potent reputation for its live presence to match that earned by that first EP. Linking up with pianist Chris Charalambides who wrote all the music for the album and a host of additional contributors to If I Fall, Kate is ready to tap into bigger spotlights with a release which ripples with skilful songwriting and strongly enterprising sounds.

Influences listed include Deftones, Flyleaf, Avril Lavigne, Karnivool, The Pretty Reckless, and Evanescence and there is no escaping a comparison to certainly the latter for the Finding Kate sound though you can add Forever Still like essences also helping shape the band’s potent first full-length. If I Fall opens up with the swiftly impressive Drowning, a track soon luring ears and appetite into its imaginative landscape. Little time is needed either to embrace the emotional fuelled voice of Kate, her presence and qualities catching eager attention  within seconds of her opening melodic cries. As often common to the album’s character, the song is a fiery simmering of intensity, an emotional cauldron which ignites from time to time but seduces rather than blazes within ears as guitars and keys especially echo the drama of Kate’s vocals.

White Lies follows the strong start, opening up with a rhythmically feistier coaxing which shapes its subsequent infectious character and energy. As with the first, there is something familiar about the song drawing those comparisons earlier mentioned yet both tracks develop a personality of sound and invention built on the potential of uniqueness.

finding-kate-cover-artwork_RingMasterReviewNew single, Forever is next, its sombre breath and emotional intimacy bred from the alluring voice of Kate and the plaintively shadowed melodies of Chris’ piano alone; their potency backed by the expansive suggestiveness of guitars and strings as rhythms court a darker climate. It is equally a template behind the emotive theatre of next up Don’t Let Go which is taken to even more intimate depths as Kate’s voice flames across another enticing tapestry of flavours and textures. As strong as its predecessor was, the track easily eclipses it.

Both Get Over You and Inside Out leave ears richly satisfied, the first creating another fiery landscape of sound and heart felt declaration matched by the second in its imagination seducing web of sounds and invention. Strings again add a sublime texture and presence to both songs, especially the former while its successor enthrals through that unpredictable and mouth-watering array of invention. It makes a great claim for best song honours within the album though quickly rivalled by Did It Again with its cinematic stringed beauty and the melancholic union of keys and voice.

Through the album’s dynamic yet tender title track and the magnetically sorrowful yet hope lit I’ll Save You, band and release only cement their hold on attention while Semper Fi explores arguably the album’s most adventurous creative scenery in its impassioned roar. It is fair to say there is a bit of a surface similarity which wraps many of the songs within If I Fall, though digging deeper frequently reveals a kaleidoscope of real individual imagination, but this track is an openly unique proposal to stir ears and enjoyment.

The dark vocal/piano romance building It’s Over captivates from its first breath and note straight after; a beguiling ballad hard to be anything but taken with before Gone brings the album to a fine and memorable close with its emotion soaked roar which pleasures with ease.

If I Fall shows that Finding Kate may have yet to find a truly distinct voice in their sound but the potential is a loud promise within their first album and its enjoyment rather easy to find.

If You Fall is released November 18th with pre-orders now taken @ https://findingkate.bandcamp.com/releases

http://www.findingkatemusic.com/    https://www.facebook.com/FindingKate    https://twitter.com/FindingKate_

Pete RingMaster 16/11/2016

Copyright RingMaster: MyFreeCopyright

Chasing Dragons – Faction:Prologue

CD_RingMasterReview

Almost two years on from their forcibly impressive Checkmate EP, UK alt-metal quartet Chasing Dragons unleash its equally striking and rousing successor, the Faction:Prologue EP. The three track roar is a teaser to a forthcoming album from the Yorkshire hailing band and an incendiary confirmation that their contagious sound is one of the really fresh and dramatic proposals within the British metal scene.

Formed in 2011, the Leeds bred outfit has earned a powerful reputation for their dynamic live shows which over the years has seen the band share stages with the likes of Skindred, Pendulum, InMe, Death Angel, Betraying The Martyrs, Fearless Vampire Killers, Attack!Attack!, Skarlett Riot, and The Dead Lay Waiting among many. Early releases in the Take Flight For A Firefight EP of 2012 and the single Hindsight’s A Bitch the following year, marked the band out for attention though it is probably fair to say that Checkmate sparked the biggest acclaim loaded reactions until now. Faction:Prologue in many ways carries on where its predecessor left off with rhythmically imposing and melodically fiery proposals but equally the new trio of songs reveal a fresh richness in tone and intensity aligned to tenacious attention grabbing craft and emotive energy.

Faction-Prologue-Album-Art_RingMasterReviewwork-WebResFrom opener Devil In Her Eyes, band and release firmly seize ears and a swiftly nurtured appetite for their enjoyably imposing temptations. Straight away, the first track casts a web of melodic enterprise and bullish rhythms with matching riffs upon the senses. It is a forceful entrance as intimidating as it is inviting, especially once the recognisable and ever potent vocals of Tank spring into action. Her presence adds further drama and harmonic tempting to an already fiery mix driven by the tenacious rhythms of drummer Kate and bassist Murf. The track continues to infect ears and imagination with its swinging gait and sonic hooks; seemingly drawing on inspirations from bands such as Halestorm and Avenged Sevenfold but in its great unpredictable twists and creative turns sparking thoughts of bands like Spinnerette  and Flyleaf also, a foursome which probably most often comes close to giving a clue to the Chasing Dragons sound and individuality.

The outstanding start is matched in compelling kind by The Mutiny. As in the first, guitarist Mitch spins a spidery web of melodic imagination and intrigue which enticingly wraps the more volatile character of the rhythms and the rich flame of Tank’s commanding presence and voice. With backing vocals and siren-esque harmonies colluding with the raw snarl of the track and its lead vocal attack, the song beguiles as it sets ears and instincts alight with grouchy riffs and anthemic prowess, ultimately taking favourite song honours in the process.

Whitehorse closes off the EP, unveiling another side to the band’s maturing sound and of course the upcoming album. An electronic coaxing brings the track into view, its lure quickly joined by the hearty tones of Tank and subsequently a predacious prowl of stabbing riffs, antagonistic hooks, and rhythmic irritability. Harmonies and melodies soon temper the intimidation of the assault but without defusing the intrusive intent fuelling every note and beat.

Another tapestry of inventive endeavour and virulently catchy aggression, the song is a fine end to an excellent ‘return’ by Chasing Dragons to ears and speakers. There is no escaping that the band has got creatively bigger, bolder, and even more captivating; so roll on that album…

The Faction:Prologue EP is released March 29th @ http://chasingdragons.bigcartel.com/

http://www.chasingdragons.co.uk/   https://www.facebook.com/musicchasingdragons/   https://twitter.com/xChasingDragons

Pete RingMaster 29/03/3016

Copyright RingMaster: MyFreeCopyright

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Adelitas Way – Getaway

AW_RingMasterReview

Adelitas Way has persistently shown themselves capable of writing and creating anthemic roars that instinctively ignite the spirit and adrenaline. From their self-titled debut album and tracks like Invincible, the US band has early on uncaged impassioned and dynamically persuasive proposals. With new album Getaway though, they have hit a new peak. From start to finish, it is a conveyor belt of rousing proposals, as sturdy and aggressive as they are melodically contagious. It is probably fair to say that the Adelitas Way sound has never been one close to re-inventing the wheel, but they and certainly these ears have no issue when body and spirit is relentlessly given a shot of the band’s fresh and anthemic virulence.

Getaway is the fourth album from the 2006 band, and as suggested another in a line of highly persuasive and captivating releases. Whether they have hit the personal sweet spot or not, all have gone to establish the Las Vegas quartet as one eagerly devoured proposition on record and indeed live where they have shared stages with the likes of Guns N’ Roses, Shinedown, Creed, Alter Bridge, Three Days Grace, Chevelle, Theory of a Deadman, Breaking Benjamin, The Pretty Reckless, Godsmack, Staind, Flyleaf and many more.

The successor to Stuck of 2013, the Johnny K (Disturbed, Staind) produced Getaway sees the foursome of Rick DeJesus, Tre Stafford, Robert Zakaryan, and Andrew Cushing in no mood to hold back on their emotive intensity and sonic dexterity. The evidence is immediate as the band’s new single Bad Reputation, and first taken from the album, launches at ears with infectious bait. Choppy riffs and similarly tempting rhythms immediately press suggestively upon the senses as the always welcome tones of vocalist DeJesus step forward. Inspired by his own feelings about a reputation he has earned over the past few years, his reflections come entangled in a web of spicy melodies and snapping hooks within a climate of sound which builds small but effective crescendos of energy and intensity.

COVER_RingMasterReviewIt is a great start which barely waivers over the next stretch of songs starting with the album’s title track. The band’s hard rock bred sound is in feisty mood from its first breath, almost irritable in its sonic jangle backed by attitude lined rhythms. Increasingly fiery yet equally catchy, especially around its sizzling chorus, the track has feet and emotions quickly involved and in time exhausted, though they get a chance to relax with the sultry smoulder of Good Die Young. The fiercely energetic tracks always emerge as personal favourites across an Adelitas Way encounter but as proven here, the band is very accomplished at creating emotively and sonically incisive balladry. Expectantly it does come with a raw edge and dramatic intensity which only helps it make a potent impact as enjoyment flies high.

Low brings a great grouchiness to its riffs and nature next, guitars almost carnivorous in tone as a Sick Puppies like flame of melodic and harmonic energy emerges from within the song’s growl. As many tracks, ears feel like they are meeting up with an old friend, being enveloped in a recognisable infectiousness which adds colour to the band’s blaze of heavily pleasing and fresh enterprise. By the end of the first minute, vocal participation is inevitable, a temptation most tracks are equipped with as shown by the volatile roar of Put You in Place with its web of spidery steely grooves and the mercilessly contagious I Get Around. A resonating bassline invitingly groans from the heart of the second of the pair, its dark hues a gripping tempering and spark to the tempestuous and boisterous roar around it. Not alone in showering the senses in serious infectiousness, the song epitomises the power, attitude, and rousing ferocity of the band’s sound, and equally its rock pop prowess.

Across the tenaciously excitable Filthy Heart with its blues spiced sonic winery and the mellower coaxing of Harbor the Fugitive, band and album, maybe without matching earlier heights, has ears and firmly attentive whilst Sometimes You’re Meant to Get Used really stirs things up again with its tantalising blend of rapaciously snarling textures and melodic revelry bound in emphatically infectious imagination.

The album concludes with firstly the blues rock flavoured Shame, an enticing flame of enterprise which again might not create the same lustful reactions as others but with a whiff of Bowie-esque toning to parts of the vocals, only holds attention firm before Deserve This twists and turns with robust rhythms and crunchy riffery leading its fractious yet anthemically layered tapestry of striking sound and endeavour.

It is a fine end to a thoroughly enjoyable release where major surprises are low but invigorating rock ‘n’ roll is nonstop incitement. Getaway is the most rounded and fertile release from Adelitas Way, and for us, the most fiercely enjoyable so far.

Getaway is out now via most online stores and @ http://adelitaswayshop.bigcartel.com/category/cd

https://www.facebook.com/adelitasway   https://twitter.com/adelitasway

Pete RingMaster 07/03/2016

Copyright RingMaster: MyFreeCopyright

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A Mouth Full Of Matches – Smoke Signals

AMFOM Promo

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

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

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

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

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

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

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

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

https://www.facebook.com/amouthfullofmatches

RingMaster 21/10/2104

Copyright RingMaster: MyFreeCopyright

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The Hunger Pact – Cold Woman EP

The Hunger Pact Online picture

Hailing from Reading, UK alternative rock band The Hunger Pact is continuing to emerge as one rather compelling and accomplished presence. Their self-titled EP released earlier this year triggered strong attention with its four track invitation to a new breath of inventive and richly promising multi-flavoured rock. Now the trio returns with its successor the Cold Woman EP to further the promise and reputation of a rather fine new band.

Consisting of vocalist/multi-instrumentalist (drums, bass…) Ed Rogers, his guitarist brother Ollie, and rhythm guitarist James Pierce, The Hunger Pact brings a parade of eclectic and potent inspirations into their distinctive sound, the likes of Eric Clapton, BB King, Flyleaf, Nirvana, Guns N Roses, Santana, Seether, and Daughtry amongst many spicing up their invention. Originally a solo project for Ed, with The Hunger Pact EP a strong first marker, the band expanded with Ollie providing the guitars for the release and beyond, and James linking up for subsequent live shows. Now with the release of Cold Woman you can sense another big step is about to be taken; their debut release the awareness nudging introduction and the new EP a potent reinforcement and you suspect sizeable trigger to a wider recognition.

The release opens with the title track, a slowly brewing song whose initial touch is that of raw brooding guitar and sonic coaxing as the The Hunger Pact Cover Artworkvocals of Ed opens up an emotive narrative with a strong expressive delivery. The song continues well into its body with the opening slow burn of a persuasion and energy, its presence a smouldering evocation with gently stirring sonic blazes from the guitar aligned to the melancholic laced bass prowling the scenery. As mentioned it is a simmering heat which simultaneously breeds a sonic temptation and intensity that without ever scalding the air spawns a fiery finale which flows seamlessly into its successor. The track is a mesmeric lure into the release and band making the perfect canvas for Alright to spawn its busier sinewed provocation from. The second track is a sturdier more classically rock bred encounter with an element of punk rock to its breath, and whilst not quite magnetising the imagination and emotions to the same potency as its predecessor makes for another deeply satisfying temptation. There is a simplicity which cores the track, and release, a straight forward lure which teases out stronger hunger but also a craft and invention to the guitar and the enterprise of everything on offer which screams out promise and adventure.

Cold Woman is completed by the predation coated and raw Alone Again, its sound coming with a causticity which suggests it was recorded as a live take and an unpolished attraction implying that on stage the band is as equally a formidable proposition. The track seems to finish too soon, well for the enjoyment and appetite anyway, it’s closing sonic dissipation expelled seemingly mid-chorus or certainly whilst the song is in full confrontation. To be honest whilst greed wishes it had held off, the moment works very well and indicates yet again that there is an invention and imagination to the band which will see them flourish with great adventures ahead.

The Cold Woman EP is a thoroughly captivating and exciting release, and though it is one spark short of a raging fire, it burns away with a creativity and charm that will surely only see The Hunger Pact excel and emerge as a potent force ahead.

http://www.thehungerpact.com/

7.5/10

RingMaster 25/10/2013

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Emphatic – Another Life

emphatic

Nestling potently and comfortably amongst the likes of Three Days Grace, Alterbridge, Chevelle, and Creed, US rock band Emphatic step forward once again to light up ears and thoughts with their new album Another Life. It is not a release which exactly sets down new markers or offers dramatically unique ventures within its eleven emotively powerful offerings but certainly it is one which leaves a strong canvas of infectious and richly rewarding musical narratives for senses and imagination to eagerly indulge in. The successor to the acclaimed Damage of 2011, the new album provides an appealing dose of heart sculpted highly accomplished rock intensity and passion.

Formed in 2004 by guitarist Justin McCain, Emphatic has had a steady and constantly ascending emergence, first leaving strong marks through their self-titled debut album of 2005 and three years later the Goodbye Girl EP. It was the release of Damage though which triggered a new depth of attention and awareness, not forgetting acclaim around the band. Live too with the sharing of stages with the likes of Stone Temple Pilots, Buckcherry, Avenged Sevenfold, Papa Roach, Breaking Benjamin, Flyleaf, Five Finger Death Punch, Theory of a Deadman, Alter Bridge, Black Stone Cherry, and Adelitas Way, the band’s reputation has grown and brought an enthused audience to their excellently crafted and energetically honed sounds.

The release of the last album was followed by the departure of vocalist Patrick Wilson who suffered a career halting injury when he fractured his larynx, and with also rhythm guitarist Lance Dowdle and bassist Alan Larson leaving, Emphatic was facing uncertain times. Eventually though McCain and drummer Patrick Mussack enlisted Jesse Saint (Scum of the Earth/The Autumn Offering) on bass and Bill Hudson (Cellador) on guitar whilst the frontman spot was taken by Toryn Green, the former vocalist of Fuel and touring lead vocalist for Apocalyptica. The new blood and energy gave a new lease of life to the band it is fair to say and certainly has combined to create in Another Life, their finest moment yet and a thoroughly enjoyable and persistently satisfying encounter.

The Omaha, Nebraska based band immediately works on the senses with the opening persuasion of Life After Anger. The song is a keen Album Coverand emotional caress with the vocals of Green taking little time to impress amongst sturdy beats and sinew driven riffs. The melodic heat and expressive voice of the track equally lays a reflective enticing lure and with an element of Seether to it, the song makes an excellent lead into the heart of the release which is straight away backed up by Time is Running Out. Again there is a familiarity to the track, something which applies to the album as a whole, but equally there is a flourish and intensity which marks it as Emphatic bred. The addictive sonic groove and continuing to impress vocals and supportive harmonies capture the imagination alongside a solid resource of invention and enterprise which parades across the song to bring forth a strong appetite for album and band.

The following Lights makes a gentle coaxing with its first breath before adding a little more urgency to its still restrained and emotional beckoning. The song than settles into a provocative and intensive narrative which without matching the heights just set still draws thoughts and emotions into its embrace whilst stretching the variety within the album, a melodic diversity given another flame by next up Some Things Never Die. The song similarly misses previous plateaus set but with a melodramatic touch of keys and tenderly preying call of riffs and bass, emerges to give its share of strong satisfaction and another string to the album’s aural bow.

Both The Choice and the title track bring the album up to its earlier heights, the first with an expectation feeding slice of rock but one which ensures they have a skilled and potent meal whilst the second entwines a delicious groove around an imaginative and fiery melodic painting of contagious adventure and evocative craft. The best song on Another Life, it leads passions by the hand into a sweltering dance of reflection bred, melody soaked colour within captivating passionate scenery.

As tracks like the stylish I Don’t Need You and the ballad Louder Than Love unveil their varying temptations and the fevered Forbidden You provokes the imagination, Emphatic continue to provide a thoroughly engaging presence. The three songs again are slightly adrift of the biggest highlights of the release whilst being soaked in a sound which arguably many bands have explored previously, but each nevertheless creates a persuasion and invitation that is hard to refuse or not want to accompany again.

Closing with the greatly pleasing Take Your Place, a track like many with an anthemic lure to its chorus and skilled bait to its melodic craft, and the lead single from Another Life in the shape of the adrenaline fuelled Remember Me, the album at the end of the day is an absorbing and openly enjoyable encounter. Superbly crafted and impressively delivered, Emphatic has brought a proposition which leaves you fully satisfied and with an increased appetite for their offering, a meal you know and feel safe with but also one filled with little spices of invention that keeps it fresh and daring.

http://Emphaticrock.com

7.5/10

RingMaster 23/10/2013

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