Bailer – Shaped By The Landscape

There is a new bruiser in town, a creative bully as at ease turning the senses and ears to mush as it is breeding a dervish like reactions in the body. That uncompromising assailant is Irish quartet Bailer and its choice of irresistible weapon, debut EP, Shaped By The Landscape. The band’s striking introduction is a fiercely irritable groove fest of demands and rewards; a caustic fusion of groove metal and hardcore which leaves body and soul wasted and spirit and emotions ignited.

Formed in the January of 2015, Bailer has been a welcome scourge through its local and Irish underground scene, sharing stages with the likes of Red Enemy, Novelists, The Colour Line, Shields and more as well as playing main support to Murdock on tour. Aidan Cunningham from that fellow Irish band recorded, mixed, and mastered the Shaped By The Landscape, and fair to say if describing the distinct Bailer sound, Murdock would be used as a kind of reference as well as maybe Gacys Threads and The Dillinger Escape Plan. There is no escaping the sonic and vocal, let alone emotional, animosity fuelling and shaping the band’s first poke at the broadest attention, or that it is one of the most punishingly thrilling debuts in the hardcore scene for quite a while.

The EP opens with Failsafe and immediately has ears enticed with its spicy guitar coaxing and then under siege by a wall of hungry riffs and barbarous rhythms. It is all conducted by the ferocious tones of vocalist Alex O’Leary, his searing squalls almost visibly scarring his throat as they enjoyably abrase ears. There is equally a swing to his delivery, a devilish catchiness which is even stronger in the web of fiery grooves that entangle ears and appetite amidst the rampant aggression of Paul Cashman’s rhythmic swings. The carnivorous growl of David Cleere’s bass is simply delicious in the mix as too the wonderfully nagging tapestry of metal and punk grooves and riffs cast by guitarist Chris Harte. The track is a glorious start to the release, and maybe the most virulently infectious slab of abuse heard in a long time.

It is not a one off though, being swiftly matched by The Binding. It starts off in the same vein as its predecessor but soon reveals its own nefarious twists and turns as O’Leary again shares rancor with the air. Everything about the song is also ridiculously catchy; the body and imagination is soon caught up in its hostile groove almost unaware of being battered and bruised, sonically and emotionally tossed around. Its sensational onslaught is followed by Anti-Venom and its own animus of spite and infectiousness. Grooves squirm with the tempest of noise and irritability, the snarling lure of the bass as seductive as ever whilst vocals rage and almost gloat over the victim, in the shape of the senses, crippled by the rhythmic battering alone. Not that the listener realises when being manipulated by an infestation of grooves and stirring hooks shared with similar zeal and power.

The Benefit Of Doubt is an even darker and more predatory proposal; venom toning every rhythmic strike and scything flash of guitar while all the time the bass adds a grouchy nag linking it all up. Maybe the least openly catchy song on the EP, though not by much, the track is as bold and majestic in craft and invention as it is in highly persuasive animosity. It is a formidable and stirring end to what is simply a killer and monumental debut from Bailer.

The CD version of Shaped By The Landscape actually comes with bonus tracks Call Of The Unknown and Animosity, and the cause of the only issue with the release; the fact that we were not sent those songs to cover too, though it is easy to assume they will live up to the other quartet. Already we are greedy for the Bailer incitement and it is hard to imagine we will be on our own once it is out there playing havoc with ears and the passions.

The self-released Shaped By The Landscape EP is released 29th April digitally and on CD @ https://bailerofficial.bandcamp.com/

https://www.facebook.com/bailerofficial/

Pete RingMaster 27/04/2016

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Today, They Are Older – Self Titled

For some reason it took time to particularly warm to the self-titled EP from UK post-hardcore quintet Today, They Are Older. To be honest there are still elements not quite lighting personal fires, but the five track incitement definitely goes on to prove to be one very solid and skilfully accomplished proposition. Getting a national reboot November 27^th via Sunbird Records, the EP also justifies why there is a potent buzz brewing up around the band.

Formed in 2010, the Darwen in Lancashire hailing band soon set about arousing attention and support with first EP, Universal. 2013 saw the uncaging of the band’s debut album The Evergreen Theory, it also waking more appetites to the band’s emerging presence and a sound inspired by the likes of Underoath and Heights. A line-up change followed as the band looked to capture the band’s true sound and raucous energy, always evident on stage, into their recordings. The new line-up seemed to give the band the spark they wanted in that aspect, and following linking up with Sunbird for its release, attempted to find that success on their latest EP.

   It is an aim seemingly realised as the EP erupts with Empty Eyes, the track an immediate causticity of sound and emotion littered with enticing hooks and sonic bait driven by the raw throat spewed squalls of vocalist/keyboardist Liam Corran. There is a raw bluster surging through the song but one able to easily embrace an imaginative enterprise and the open craft within the band. For personal tastes, not enough time and space is given over to the unpredictable twists and flirtatious slithers of invention in track and release that emerge as the starter really comes alive for its finale; jagged riffs and discordant spicing majorly igniting proceedings with their bolder adventure.

The strong start continues with A Fool’s Gold Fuel, an instantly bruising and belligerent assault with a touch of Gacys Threads to it. The guitars of Jordan Howard and Adam Turnbull rage and entice with their web of aggression fuelled riffs and inventive sonic endeavour, both aspects backed by the robust swings of drummer Matthieu Woodburn and the primal tone of Thomas Jones’ bass. As its predecessor, the song satisfies and at times sparks greater reactions as the band tries to explore new tenacious ideation within ultimately a more recognisable yet rousing confrontation.

From Finland With Love soon becomes the focal point of the EP as from its first breath it spins a tapestry of off-kilter and unpredictable invention for a still savage but forcibly imaginative exploration. It is an experiment of sound to be honest not really seen elsewhere within the EP and the track simply blossoms because of it. Great female backing vocals and melodic elegance only adds to the strength of the song and the sure fire arousal of ears and imagination, with anticipation of this being the direction the band heads off into now hopeful.

Such the might of the track it gives both Statues and No Guts, No Glory a testing time to live up to its success. Neither manages it yet the first, with its enjoyable rhythmic agitation and the ever fiery and creative prowess of the guitars, leaves plenty to spark a hungrier appetite whilst its successor provides a harsh savaging lit by more enticing rhythmic bait from Woodburn and Jones as a great mix of clean backing vocals aligns to the more regular roar of Corran.

As it started, the EP end on a strong point but the bigger treats are within, especially in the shape of From Finland With Love. The EP still has not lit a big fire in the passions but at certain moments it definitely truly excites as the band suggest they can move out of the crowd to make a bigger impact.

The Today, They Are Older EP is released November 27^th via Sunbird Records @ http://shop.sunbirdrecords.co.uk/product/today-they-are-older-today-they-older

https://www.facebook.com/TodayTheyAreOlder  https://twitter.com/ttao_uk

Pete Ringmaster 26/11/2015

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Sexwolf! – Hangin’ With The Boys

It has been digitally devouring the senses for a few months now but in the breath it takes one month to roll into another, Hangin’ With The Boys gets to physically violate the world. A fierce infestation of punk fuelled rock ‘n’ roll, the EP is the debut release from noise merchants Sexwolf!, an English quartet which has become recognised as one of the wildest and greedily devoured hardcore confrontations on the Birmingham, indeed Midlands rock scene. Going by Hangin’ With The Boys they are one of the most exciting too, a treat lovers of feeling something substantial in their hand which bites, i.e. a CD, will go wobbly over.

With inspirations from the likes of Every Time I Die, Cancer Bats, Black Sabbath, and Refused sparking their sound and sharing stages with bands such as He Is Legend, The Bastard Sons, Black Shapes, Black Art, and Heck (Baby Godzilla) amongst a great many more, under their belts, Sexwolf! go straight for the jugular with Hangin’ With The Boys and its opener, the band’s forthcoming single None Stop Body Rock.

   Guitars and drums respectively send a torrent and barrage of their finest ferocity down on the senses straight away, their bait leading the listener into a tempest of vocal antagonism and infection dripping grooves from within an already more hostile onslaught driven by the vicious beats of drummer Jenk. No quarter is given as the track continues to abuse and batter yet the guitar of Joe Lane conjures virulent sonic enterprise to temper his carnivorous riffs and those of bassist Dan Mogg, whilst together the band breed a contagiousness which is especially virulent in the rousing and ravenous chorus helmed by the raw squalls of vocalist Richard Phillips. As much as you might say the song and the band’s sound is living off essences heard often before, they become twisted and cultured in the ways of Sexwolf! to emerge with a fresh and fiery character of their own.

Evidence is swift as She Got Gold leaps from its waiting seat and tears a raucous hole in air and psyche. As it abrases the senses it simultaneously spins an addictive tapestry of noise rock hooks and impossibly catchy grooves matched by the diversity of the vocal attack. Like Shevils meets Gacy’s Threads with a splattering of Every Time I Die for good measure, the track is a glorious trespass of body and soul, a protagonist to a lustful appetite for more of band and sound. Guitars are bluesy, vocals unpredictable, and the rhythms, well they just beat an enslavement out of you with force and violent charm.

Nomesayin resourcefully uses its few gasps over a minute to unleash an hellacious bestial swamp of violent punk ‘n’ roll that just breed pleasure whilst Captain Bastard Face seems to have the scent of blood in its nostrils the way it explodes from the blocks and ravishes air and listener. It does have the invention to also share waspish grooves and hostile repetition across its sonic predation, an enterprise which seems to only increase the potency of its maliciousness and the emerging bolshie but mischievous swagger.

The final thrilling skirmish between band and ears comes courtesy of Fuklashnikov, a minute and a half of twang infested rancor and raging belligerence, and another tsunami of noise that just hits the spot. If hardcore in its full savagery is not for you then run, run away now but for the rest of us with a taste for spiteful invention and devilry, Hangin’ With The Boys is a must, especially now in its physical glory.

Hangin’ With The Boys is available on CD from October 31^st and digitally now at the Sexwolf! Bandcamp.

Pete RingMaster 24/09/2015

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Shevils – Lost In Tartarus

Anticipation for the new album from Norwegian hardcore band Shevils has been eager even bordering on rabid for us, especially after the temptation and hinting of impending glory which came with the already released singles from it, We Walk On Shattered Glass and Black Eyes. The songs showed perfectly why the band has bred a fervour clad following for their distinctive and adventurous sound and why Lost In Tartarus could be the trigger to the widest deserved recognition for the Oslo quartet. The ten track fury of invention and passion is a monster of a release, a brutal yet ingeniously sculpted confrontation which equals the heights suggested by the singles and surpasses the promise set by previous releases. The band has an adventure and exploration to their sound which not only sets them apart from most hardcore bands but puts them on the frontline of the genre, the evidence being rife and rampant within Lost In Tartarus.

Shevils first made a richly promising and attention luring entrance with their debut album The Year Of The Fly of 2011, the release coming a year after the band’s formation. It made a strong impression, receiving enthusiastic responses and acclaim, as did the following single Is This To be (Our Lives)? the same year. The foursome of vocalist Anders Voldrønning, guitarists Andreas Myrvold and Christoffer Gaarder, and drummer Anders Emil Rønning (expanding to a sextet live), continued to build their stature and sound through live performances, which has seen them to date play with the likes of Man The Machetes, Social Suicide, Overthrow, Barren Womb and many more, and the excellent Necropolis EP of 2012, that release receiving its uncaging in Indonesia early this year to incredible acclaim and greedy attention. As mentioned the two singles released in 2013 has triggered a hungry appetite for the band’s second album in a great many, all rewarded and more by the sonic riotous alchemy of Lost In Tartarus.

Opener Is This Where We Are At?, as maybe expected barges through the ear from its first breath, riffs and rhythms striking hard whilst squalling vocals from Voldrønning and band bring a causticity which Shevils is so good at making distinct to themselves. The band brings multiple flavours and ideas to their songs, styles which flirt and run amok within the hardcore heart of their songs, and the first easily shows how effective and inventive it is. Grooves and hooks conspire to seduce whilst the energy of the band bruises with unrestrained intensity as an unleashed melodic acidity colours the fury. It is an invigorating and incendiary mix which with a want, maybe need within the band to experiment is irresistible.

Black Eyes is a trap quickly sprung by the passions, its rhythmic swagger and challenge an addictive enslavement  and the frame for the antagonistic vocals to launch their tirade upon. The guitars equally lure with virulent scythes of sonic temptation from the off which ignite into a burning fire as the throaty bass prowl and ferocious energy of the band explodes in hot crescendos of attack. The track is an intrusive and unbridled contagion, creating a stunning maelstrom of adventure best described as Coilguns, Kunz, Man The Machetes on a rampage with a lighter punkish feel of Baddies. That description applies to numerous exploits within the album but all tracks are pure Shevils in their potency and ultimate sound.

The heavy bass stroll provided by Marcus Forsgren brings Timelines purposely and pleasingly into focus  next, another rich enticement laid as the band combines to stomp and lurch around the ears with another epidemically riveting punk brawl. Offering a persistent stalking, the song ripples with attitude and antagonistic intent musically and vocally whilst the constant growl to the guitar riffs bring a primal intimidation which only reinforces the confident prowl.

Both Sorely Fucking Provoked and These Walls Are Coming Down exploit lustful passions for the album further, the first a rapacious tempest of rhythmic combativeness and sonic pestilence honed into a tantalising yet menacing aggressor, group shouts and energy driving it forcibly home whilst its companion led by a crawling bass examination expands into a ridiculously captivating fascination of spellbinding melodically touched grooves and scathing sonic imagination.

We Walk On Shattered Glass soars to the highest pinnacles of the album next, the song still as scintillating as its first appearance as a single a few months back. Intensive rhythms barrack and massage the ears first, a bass growl their delicious companion to be soon joined by the sonic web of noise from the guitars and the ever impressive vocals. Incredibly hungry in its reserved yet ravaging voraciousness and unstoppably infectious in its maelstrom of ingenuity, the track is a titanic persuasion, easily one of the songs of the year and soon rivalled by State Of Regret. Once again bass and drums ignite the senses and passions to set up the frame for a canvas of vocal scowling and skilfully grooved sonic teasing to play out their intentions, the result another quite hypnotic creative frenzy.

The relatively straight forward hardcore attack of Blizzard Beach, which reminds a little of Irish band Gacys Threads, adds another brief but powerful element to the album whilst the excellent perpetually evolving Destroy All Villains and the closing storm of Young And Restless impressively concludes a quite exhilarating slab of breath-taking invention and adventure. Shevils offers hardcore something new and different and in Lost In Tartarus, an album which just sounds and gets better with each listen, one of the genre’s pinnacles of the year, of hardcore, punk, and extreme rock of any description to be honest.

http://shevils.com/

10/10

RingMaster 08/11/2013

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Save Your Grace – The Arms Of Idiocy

There has been a great and deeply promising burst of new British metal/Hardcore/metalcore type bands forcing their way to bigger attention and focus this year with the likes of Adelphia Of Kings, Doomed From Day One, and Gacy’s Threads, all make their distinctive deeply scarring mark on UK metal with sounds to crush and inspire. Another band to be solidly added to this impressive bunch is Birmingham band Save Your Grace. Their new EP The Arms Of Idiocy the overwhelming and perfect evidence as to why they should and will be one of the future forces in UK metal.

The quintet from the Midlands first made their appearance in 2010 and continued through hard work and shows to increase a more than ardent following. A full UK tour and the sharing of stages with the likes of Devil Sold His Soul, While She Sleeps, Martyr Defiled, Heights, Silent Screams and many more has only gone to make the band one of the more exiting certainties to break big for a great growing many. It will be with this their second EP that most positive damage will be done as its intense muscular charms spread wide and far.

Consisting of Dazz Jones, Luke Sheppard, Joe Geach, Dan Morris, and Eddy Geach, Save Your Grace have unleashed an EP of five tracks fuelled by uncompromising might and deliberately malevolent intent that will inflame a great many metallic hearts. The EP is raw and in need of a fuller and more rounded production to fully meet its potential but despite this it is a mighty and impressive debut any band would be proud of.

The release starts laying waste to the senses with ‘Intensity’, its senses shattering riffs and consuming rhythms an instant satisfaction upon demanding ears. The guitars grind and groove deeply into flesh as destructively as the heavy riffs crumble defences. The grating growls are harsh and venomous and even the appearance of clean vocals midway carry a sinister tone to their harmonies.

Next track named ‘Interlude’ shows the melodic skill and creativity of the band, its incisive and emotive guitar sounds making the two minute instrumental a mesmeric piece and subtle lead into next song ‘Limitless’. Though not as instantly addictive as the other songs this third song is a menacingly lumbering track veined by scorching guitar play and caustic vocals showing just how well the band can vary their sound.

The title track is the real standout moment. Bursting in on a cutting groove and senses wilting riffs coupled with acidic threats and brutality posing as vocals, it is an impressively persuasive and compelling song that is as vibrant as it is intense. Though the band is still in its informative musical years this of all the songs shows why the promise and acclaim coming their way is so strong. Creative , diverse and unrelenting it with a warm welcome lingers in the ear and head long after it lays down its last thoughtful note.

As mentioned the production is lacking a little preventing the full effect of the band’s sound to truly numb its recipients. The hollow tones especially on the vocals is a shame as is the fact the drums sound held back far more than personally is preferred, but the music and quality still shines through with great effect. The Arms Of Idiocy  gives all the evidence and belief that Save Your Grace will turn into one of the bands whose strength and ability will guide British metal to greater heights in the near and future times ahead. With bands like this UK’s extreme metal future is in safe hands.

Download ‘The Arms Of Idiocy’ for free @  http://www.mediafire.com/?kt5uuo1o2p4m7s5

RingMaster 28/11/2011

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