Venus Theory – Nightwalker (Pt. 1)

Having more than impressed around two years ago under the moniker London Has Fallen with the album Breathe, the duo of Alecia Gates and Cameron Gorham take things to another level with Nightwalker (Pt. 1). Now named Venus Theory, their creative union takes all the alternative/melodic rock and electronic qualities already established in their sound into new pastures of maturity and adventure within a release which consumes almost devours ears and imagination with emotive and atmospheric intensity.

Hailing from Peoria, Illinois, first came together in 2013 and over time earned increasing praise and attention especially through a pair of albums in Fracture and even more so Breathe. When the move to Venus Theory we cannot tell you but it comes with a definite evolution in their music which quickly reveals a darker more experimental edge and equally potent new attributes in Nightwalker (Pt. 1).

First track Fire opens like mist, its electronic dust coming together around the ever enticing vocals of Gates. With her harmonic tones a beacon in its shadowed immersion of ears, the song continues to slowly but evocatively swirl around the senses with gothic and emotive suggestion with Gorham’s keys casting a tapestry of electronic drama as haunting and powerful as Gates’ soaring voice.

The following Afraid to Let Go similarly simmers around the listener as Gates’ harmonic beauty unravels the song’s heart and emotion, its grace as haunting and seductively solemn as its predecessor’s yet with an elegant radiance which invites unbridled attention. It is like a glimpse into a bigger reflection of sound and emotive exploration yet a full and rich look which fascinates and absorbs the imagination like a moth to the flame before Echo resonates with electronic ripples and mystique soaked melodic suggestiveness. There is a keener edge and weight to the track, in both its industrial nurtured temptation and Gate’s vocal fervency. The track is outstanding, the peak of the already impressing release though its successor makes a powerful challenge.

Lay Down shares a bolder electronic serenade with its rhythmic undercurrent a skittish tempting inviting feet and bodies to share its tenacity. Above its shuffle, melodies and vocals unite in harmonic intimation of the song’s heart and soul; a mix which sees the release once more beguiles ears and thoughts but with a greater potency in luring the body to physically and greedily involved.

The release ends with Heart Still Beating; an atmospheric kiss with deep realms of melodic splendour and emotion drenched atmospherics, Gates and Gorham absorbing the listener into their creative depths and imagination once again through another individual haunting current of emotion and sound. It is a transfixing end to an EP which infests and explores the listener as much as its own dark corners and emotional intensity and a release which confirms Venus Theory as one of the most mesmeric treats around.

Nightwalker (Pt. 1) is released Oct 6th.

https://venustheory.com    https://www.facebook.com/venustheory

Pete RingMaster 26/09/2017

Copyright RingMaster: MyFreeCopyright

Everyday Sidekicks – Fracture

Everyday Sidekicks Online Promo Shot_RingMasterReview

Fracture is the new video single from British post hardcore quartet Everyday Sidekicks and a track which venomously growls as it grips ears in a pleasing tempest of sound and emotion.

Towards the end of last year, the Bristol hailing band released The Things I’ve Seen EP, an encounter which certainly pleased with the potential of bigger and stronger things to come the lingering emotion. Fracture realises some of that promise, the track a rousing and imaginative confrontation revealing the swift growth of the band’s sound since emerging in 2012, debut single Hometown Hero two years later, and indeed since that last EP. The years have seen the foursome of vocalist Archie Hatfield, guitarist Tim Brown, bassist Sam Hughes, and drummer Mat Capper earning a potent reputation for their live shows, which have included sharing stages with ands such as Marmozets, Shvpes, and Coldrain, and praise from the likes of Rock Sound, Metal Hammer, and Powerplay Magazine. Fracture suggests a new chapter in their ascent and continuing plaudits will be no surprise.

The single descends on ears in a wall of thumping rhythms and climactic riffs, both wrapped in melodic intrigue before things settle down into a groove infested swing fluidly broken up by the blend of harsh and clean vocals as well as a web of suggestive enterprise from the guitar of Brown. The intensity and power unleashed by Hughes and Capper is formidable; almost merciless at times as they drive the song forward but always respectful of the ‘gentler’ aspects of the track and its varied dynamics.

As yet, the Everyday Sidekicks sound is not the most unique but Fracture shows an individuality to the band which is equally as big a step forward as the imagination involved.  Everyday Sidekicks left satisfaction behind with The Things I’ve Seen EP, Fracture leaves an excited pleasure with the suggestion of plenty more to come.

Fracture is out now.

https://www.facebook.com/everydaysidekicks   https://twitter.com/edskofficial

Pete RingMaster 05/08/2016

Copyright RingMaster: MyFreeCopyright

London Has Fallen – Breathe

London has Fallen_RingMaster Review

London Has Fallen is a duo from Peoria, Illinois; a band with a sound which smothers ears with melodic caresses within a creative drama and who have just released a rich captivation in the shape of second album Breathe. Uniting alternative and pop rock with electronic and orchestral imagination, the pair of vocalist/keyboardist/songwriter Alecia Gates and multi-instrumentalist/producer Cameron Gorham create emotive, shadow lined aural romances as songs, encounters bursting with a vibrancy and passion which potently capture the imagination. Breathe is an album which maybe takes its time to fully seduce, but from first to every subsequent listen, it is a release which only leaves a lingering pleasure behind.

Gates and Gorham first met in 2013 courtesy of a mutual Facebook friend. This led to the latter working on Gates debut solo project which in turn led to the pair uniting as London Has Fallen. Last year saw the release of well-received debut album Fracture, a slice of rock ‘n’ roll crafted with melodic fire and emotive intensity. Since its release, the band’s sound has grown and evolved into a just as forcefully persuasive proposition but with a mellower air and more uniquely dramatic character, first hinted at by the Into The Night EP. The four new songs in its body are also part of the broader adventure of Breathe, its success as a teaser taken on and explored much more through the new ten track encounter.

breathe-artwork   Breathe opens with What You Wanted and an emotive touch of piano quickly joined by the enticing voice of Gates. Almost as quickly keys spread a melodic breeze as electric enterprise courts the emerging body of the song and a heart which flames through the increasingly gripping tones of Gates and the imaginative tempting cast by Gorham. There is a feel of Danish band Forever Still to the song, its rock intensity and milder melodic warmth a tantalising union continuing to enthral across the album in varying designs.

The electronically stringed and orchestral dawning of second song Damage Done is equally as engrossing, its charm and elegance alone aural magnetism which continues to lure as guitar and keys brew up a more volatile but controlled wind around Gates. The track eclipses its predecessor overall, leaving a rich enjoyment in ears which is carried into the classically hued walls of A Light in the Dark. Similarly building flames of vocal and emotional energy within its reserved and elegant frame, the track is a hug on the senses, growing as the album, more powerfully persuasive and essential over time, as too the following thick croon of Empty Tomorrow and the harmonically heated Into the Night. The first of the two rousingly smoulders with its melody driven angst and nature, piano and electronic imagination as tempting as the vocals whilst its successor without quite emulating the other’s plateau of success, enslaves with that mesh of great vocals and another orchestral toned tapestry of suggestive sound. The song is nothing less than thick enjoyment but does show the strongest sign of the certainly surface similarity which lies upon Breathe. It is not a particular issue to be fair as closer investigation reveals the diversity at the heart of tracks but it is something to be hoped is less noticeable on, and already eagerly anticipated, future releases.

The emotively and vocally tenacious simmer of What’s Come Over Me holds ears and attention tight next whilst Falling Again seduces with its acoustic coaxing within the dark shadows which lace all tracks upon the album. It is a texture, as skilfully epitomised here, which thematically and musically lines the anthemic hearts and roars of all songs in their varying characters, and emulated again in the increasingly gripping infectiousness of Leave Me Broken, one of the big peaks, with its rhythmic agitation and blazing emotive tempest.

The album is brought to a fine close by firstly the tempestuously alluring Breathe In and finally A Warning, a bewitching caress of melodious tempting within a landscape of disentangled and emotionally unravelled melancholy. Gloriously provocative and stirringly imaginative, the track is a powerful end to a very enjoyable and perpetually impressive release, an album also loaded with the potential of even bolder and original things ahead which excites just as much.

Breathe may need a few listens to reveal all of its rich charm and persuasive power but the attention is fiercely rewarded as they join the list of bands to keep a heavily focused eye and ear on.

Breathe is out now via Independent Ear Records @ http://londonhasfallenband.com/store

http://www.londonhasfallenband.com   https://www.facebook.com/londonhasfallen

Pete RingMaster 11/11/2015

Copyright RingMaster: MyFreeCopyright

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Insurrection – Prototype

Insurrection - High Press Photo

Though not exactly an album breaking in new ground, Prototype the new album from Canadian metallers Insurrection, is a rather decent slab of creative death metal which certainly in its company makes for a pleasing and adventurous experience.  Whether it offers and holds enough to capture the memory away from its brutal touch is yet to be proven, as after numerous exploits within its tempestuous walls tracks have still to emerge as lingering accomplices to thoughts and passions beyond its departure, but side by side stalking its ravenous scenery and intent Prototype makes a quite satisfying persuasion.

Formed in 2003 by vocalist Stef Jomphe and guitarist Martin Samson, Insurrection built a strong reputation initially in the local underground scene evolving to be a strong force in Canadian metal in general. Their technically carved rapacious metal has earned the band a potent fan base which 2009 debut album Prologue and its successor Fracture the following year pushed further afield outside their homeland. Now with the Topon Das (Fuck The Facts) produced Prototype and its death metal predation, you can only feel that the band will be widening their presence further even if the album seems a little bit like a lost opportunity, the release failing to really go for the jugular as its body potentially suggests.

Released via Quebec label Galy Records, the album introduces itself through the industrial crafted intro Overprocessed, an ok lure which Album Cover - Insurrection - Prototypesets the scene before the gripping Abattoir launches its malevolence. Grooved riffs and a carnivorous bass growl leap through the ears from the first full track whilst the rhythmic battering from drummer Philippe Moreau Latreille shows little respect for restraint or predictable enterprise. It is a captivating start which only grips tighter as the vocals of Jomphe scowl and graze the narrative with a strong presence and the guitars of Samson and Vincent Laprade Séguin cast an intriguing and exciting web of sonic mystery and enjoyment.

It is an appealing strike soon matched by The Chronophobes, a track which twists and turns with imagination to secure full attention with its inventiveness. As previously suggested, away from its temptation it is hard to bring a groove or hook back into focus but inside its storm with the bass of Francis Girard a moody bestial provocateur, the track is a formidable encounter just like its successor Checkmate, a fury of a track which blazes away with creative spite and scorching adventure to songwriting and its realisation. There is undeniably across song and album a compelling ingenuity to the structure and sound of tracks, a rhythmic bait and sonic temptation which is never prone to predictability or taking easy routes to achieve its intent, but again there is a lack of that killer element or potent enticement which lingers and infiltrates the imagination long term.

One of many great things about the album is the mix of English and French sung batterings upon the senses, the mix adding extra pleasing flavour and texture as shown through the likes of Sueurs Froides, where the bass of Girard reaches into its primal depths to forge a rabid predatory voice to its sound, and the virulently swarming Trois Minutes De Carnage, the track a magnetic pestilence with senses licking grooves and acidic enticement around thumping rhythmic incitement commanding the emotions and imagination.

The album seems to raise its heights from here on in, starting with Archetype. The track leads the passions into a ferocious sonic squalling which is perfectly honed and crafted to wrap the ears in a riveting entanglement of enterprise and aggressive causticity making its company irresistible. It is a thrilling lift to the album which is only one step as the title track next shows, the song similarly gaited and structured to thrust the listener on a raging yet calculated contagious scourge. The technical skill of the band once again grips attention whilst the bass voice and similarly grilling vocals brings the appetite an intensive hunger even if again the track misses creating something irreversibly addictive.

Completed by the rigorously engaging They Rise, a track which takes time to burn its venom into thoughts but emerges as a certain highlight of the album and the outstanding Bruits Sans Fin with its rampaging snarl and vindictive ingenuity, Protypte is an impressively accomplished and satisfying onslaught. It may have a lack of weaponry or the claws to retain its place in thoughts and passions away from its lures, something you can only feel as it plays with the senses were lurking in the shadows, but it is a release you can easily recommend as a doorway into the growing presence of Insurrection.

www.InsurrectionMetal.com

7/10

RingMaster 16/10/2013

Copyright RingMaster: MyFreeCopyright

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