Bad Solution – The War Within

BS_RingMasterReview

A handful of weeks over two years ago, British metallers Bad Solution seriously impressed with their first EP, Self Destruct. A fiery and inventive roar, it seeded a keen anticipation for the London based band’s debut album; a hunger made to wait but now rewarded with a beast of a first full-length not only confirming that early promise but pushing their sound and writing to a whole new level.

That fresh new adventure tempers the slight disappointment of four out of the album’s ten tracks coming from that first release though such their impressive and highly enjoyable impact there is never a negative hearing them again and again. Their infusion within the brand new tracks on The War Within actually brings other previously less noticeable attributes within the quartet out to join those of their newer companions to create a fully rounded and increasingly riveting proposition.

With originally an all Polish line-up, Bad Solution was formed in 2011 by guitarists Trix and Mariusz Chojnowski. By the November of that first year, British vocalist Alex Willox came in with fellow Brit Joe Patterson replacing Mariusz Burzynski on drums two years later. With the current line-up completed by original bassist Wojtek Suberlak, Bad Solution has gone from strength to strength on the UK live scene, also sharing the stage with the likes of Gallows, The Blackout, and Soulfly across numerous festivals. The release of Self Destruct in 2015 thrust the outfit into a new richness of attention which can only be eclipsed by that generated by the outstanding exploits of The War Within.

Drowning starts things off, instantly confronting ears with rapaciously wiry grooves and hard jabbing beats. It pulls back a touch soon after, relaxing into a more controlled stroll as the guitar weaves a melodic web though still the rhythmic incitement of Suberlak and Patterson brings a bite and lively tenacity. The quickly impressing vocals of Willox are potently backed by the roars of Trix as the song develops a Clawfinger like snarl, it in turn evolving into a just as enticing melody rich cry. The carousel of the song continues to turn, increasingly engaging ears and involvement with very round whilst developing a volatility which only adds to its potency.

cover_RingMasterReviewIt is an outstanding start matched by the equally boisterous and aggressive proposal of Nothing (You don’t know me). Like a fusion of Five Finger Death Punch and Bloodsimple, it is a fiery protagonist grabbing and teasing ears with its muscular and melodically seductive enterprise, Willox again a striking and impressive presence within a maelstrom of ravenous and creatively tenacious magnetism.

Demon In My Bed then follows, beckoning the imagination with its initial Middle Eastern flavoured coaxing, a hue continuing to seduce and flourish throughout the track’s beguiling tapestry of sound and flavours. Once more there is a Clawfinger-esque feel to moments within the song but as in its predecessors, the song soon shows its own individual character in sound and writing as mellow passages beget invasive groove stoked dexterity which begets revolving flames of melodic endeavour.

The melancholic caress of the piano amidst sorrowfully ethereal keys brings Self Destruct into view next, Willox laying his plaintive tones in their arms as darker hues simmer and eventually grow. Veining them are spicy tendrils of guitar and a bass snarl which just intensifies as the song eventually erupts into greater aggressiveness bringing a Papa Roach meets Spineshank air to proceedings. Trix and Chojnowski add additional creative flames with their magnetic guitar craft, the track boiling up with every passing twist and turn for an impassioned climax taking a final bite out of the senses before the calmer presence of Echoes Of The Cry steps forward. With captivating elegance to its melodies and atmosphere, Willox similarly restrained in his tone, the track smoulders and simmers but with an increasing edge which sparks thicker flames of intensity across its lively croon. Though a slow burner compared to those around it, the song simply blossoms over time to one of the album’s truly memorable moments.

The chunky invitation of The Last Lie has ears and appetite swiftly on board whilst adding another strain of refreshing flavouring to the release with its echoes of One Minute Silence. Added to the progressive, slight seventies scented journey of the encounter, it makes for a beguiling and seriously virulent persuasion though still not as addictive as the ever manipulative exploits of Desert Rock. The star of the first EP, it seems to grow with every listen even two years on. It’s also Middle Eastern seeded temptations come backed by a rhythmic incitement which has feet bouncing within seconds. As infectious as they are though, they carry an aggressive bent which strikes almost venomously, the snarling bass matching that ferocity as those early evocative melodies continue to seduce around the addiction stoking chorus. Every band has a track which seals the deal with fans more than any other; this is Bad Solution’s and then some.

The swinging stroll of Dear Sarah follows, a flirtatious affair grabbing feet and hips with its first breath as the imagination comes under the magnetism of tangy sonic tendrils and the vocal prowess of Willox. A fusion of alternative metal and hard rock, the song is as rugged as it is graceful ensuring that the album only increases its grip on ears and pleasure; a hold tightened further by the classic/blues rock hued FOD. A fire of sound and intensity equipped with its own contagious kindling, there is no escaping its creative drama.

The War Within is completed by the equally inflamed White Washed, a track with irritability in its veins and a melodic rapacity in its heart. Suberlak’s bass is a delicious grumble within the flames, though not given enough clarity to groan for personal tastes, whilst Patterson masterfully scythes across the hungry tide of riffs and resourceful web of grooves cast by Chojnowski and Trix.

Though maybe not as impacting as those before it, the track is a fine end to a greed inspiring album. Two years back, the Self Destruct EP suggested Bad Solution were knocking on the door of major recognition. Its opening surprisingly never quite came but no worries, the quintet have just kicked it down with The War Within.

The War Within is available now from most online stores.

 

https://www.facebook.com/badsolution    https://twitter.com/bad_solution

Pete RingMaster 08/08/2017

Copyright RingMaster: MyFreeCopyright

Eat Dirt – Self Titled EP

Punk rock has lost much of the anger it first set sail with back in ’77; certainly it is not as audible or open with modern bands seemingly worried more about, dare we say,  accomplished traits in their sound than their inspiring and rousing ire driven counterparts of yesteryear. One exception though is ‘Pissed Off Punk Rock Collective’ Eat Dirt, an outfit which has unleashed one of the irritable treats of the year in the shape of a self-titled debut EP. It is raw and uncompromising, belligerent and angry offering bringing a quartet of raging roars which yes are also skilfully crafted.

Forming in late 2016, Eat Dirt is the coming together of members of previously of well-established UK acts, putting “their frustrations with real life together.” From within its mysterious ranks, one of the band has admitted, “I’d given up on music. I wasn’t really angry enough. I had nothing to sing about anymore. Then the whole Brexit thing happened. I’m mad at people. I’m mad at the world around me. As a group, we need to vent. EAT DIRT is that release.

With inspirations drawn from the likes of The Bronx, Every Time I Die, Gallows, and Comeback Kid, Eat Dirt get right down to business with the EP’s thirty odd seconds title track. Instantly a wall of riffs and rhythms descend on ears, vocal scowling in their tow before a raucous stroll is in place. The unrelenting caustic attack is tempered by mellower backing vocals, their child nurtured ganging up as infectious as the brief but still eventful, hook lined proposal.

The great start is matched by the antagonistic prowl of Pigs. A call to arms littered with its own irresistible punk hooks, many old school bred, the track snarls and vents within an equally rousing web of guitars and rhythmic incitement. There are no frills, no unnecessary detours, just raging rock ‘n’ roll making its forceful point but with the imagination to leave ears hooked and spirits aroused.

48. follows swiftly after, the song badgering fifty seconds of fury and furious hardcore punk rock like a mix of Angelic Upstarts and Sick Of It All to again ignite the instincts and passions before Dead brings it all to a close with its contagious escapade. Almost flirtatious in comparison to its companions, the track has an anthemic catchiness and vocalised swing further continued in its hooks and swagger. There is no escaping bouncing bodies and swerving hips breaking out to its roar or a rising irritability with life alongside its own biting incite.

The track is a glorious end to a release which has the passions for not only punk rock but music itself alive and ready to snarl. The Eat Dirt EP is a defiance driven punk fuelled treat which we truly hope is just the first of many from its creators.

The Eat Dirt EP is available now as a free download @ https://eatdirtuk.bandcamp.com/releases

https://www.facebook.com/eatdirtpunk/

Pete RingMaster 11/07/2017

Copyright RingMaster: MyFreeCopyright

Ninjaspy – Spüken

It is fair to say that Spüken, the new album from Canadian metallers Ninjaspy has been a long time in the making. With its ten tracks spanning a decade and its recording beginning late 2014, the band’s second full-length has had time and attention given its creation and character; it all reflected and more in its thoroughly enjoyable and imaginatively dynamic adventure.

Consisting of a trio of blood brothers in vocalist/guitarist Joel, bassist Tim, and drummer Adam Parent, Ninjaspy has honed a fusion of groove infested metal, reggae, and other heavy natured flavours which now roar mightily within Spüken. It is a web of sound which grabbed attention in the Vancouver threesome’s 2007 debut album Pi Nature and even more so in the following EP, No Kata six years later. Their new offering is the natural and lofty evolution of these earlier successes; a release weaving occasionally familiar but always unpredictable proposals which tease, flirt with, and persistently arouse the senses and imagination.

Linking up once more with producers GGGarth Richardson (Rage Against the Machine, Red Hot Chili Peppers, Mudvayne, Gallows) and Ben Kaplan (Biffy Clyro, Atreyu, Haste the Day), Ninjaspy gets the album under way with the single Speak, a track certainly sparking anticipation of Spüken with its release last August. Its relatively low key Australasian entrance cored by an emerging bait loaded groove soon leaps into a smouldering swinging stroll with more than an air of Dog Fashion Disco meets Faith No More to it. Subsequent raw outbursts come loaded with ferocity and zeal, trespassing with the same catchiness as the song’s mellower teasing where rhythms dance and the bass grumbles.

It is a stirring start swiftly eclipsed by Shuriken Dance. It too shows restraint in its initial coaxing, melodic twang and rumbling rhythms colluding in an understated but bold tempting before a web of sonic and creative espionage binds ears and appetite. A punk roar escapes the throat of Joel, his aggression matched by the punching beats of Adam and both tempered by the melodic exploits of guitar. Their calm is as deceptive as the raw touch they temper, each beckoning ears into a waiting System Of A Down-esque bedlam of psychotic sound and invention. The track is pure virulent infectiousness, drawing body and voice into union with its own twisted exploits.

The following Brother Man warmly grabs ears next like a collusion of Ruts and 12 Stone Toddler; its stalking groove and melodic coaxing a delicious mix soon embracing a reggae and metal induced tempest in turn proceeding to entangle all earlier aspects within its similarly and seriously catchy landscape. The further into its depths the more deranged twists show their voracious enticements as too mellower melodic but no less certifiable essences. Thorough captivation, it is more than matched in aberrant adventure by Dead Duck Dock. The song also follows those before it by making a relatively gentle melody woven entrance but also one soon showing argumentative discord in sound and intensity as its groove metal instincts rise. With hues of Slipknot and Society 1 to its growl, the song is a roar of creative irritability and intrigue never resting for long in one flavour or mood.

The outstanding Become Nothing is a loco romp revelling in a sound and imagination something akin to again SOAD  this time in league with Kontrust while What!! infests ears and satisfaction with a Skindred/American Head Charge scented escapade though as every reference used as a hint, it is a potent hue in a Ninjaspy bred roar.

The sweltering infection fuelled funk of Jump Ya Bones soon spins its own particular tapestry of rich flavours and various styles as it flirtatiously bounds through ears before Grip the Cage provides a more even tempered shuffle though it too expels moments of incendiary emotion and energy. They both equally push the diversity of the album and songs, that ten years of writing and maturing giving birth to Spüken skilfully shaping their varied designs.

The melody rich and increasingly agitated Azaria stretches that variety yet again, the song deceptively straight forward initially, luring ears into its own expectation defeating maze before Slave Vehemence brings it all to a thrilling close with a cauldron of capricious invention and impulsive ideation wrong-footing and exciting ears at every turn.

It is a fine end to an increasingly pleasing album unveiling new nuances and moments with every listen even after double figure plays. It is a release sure to harass global attention the way of Ninjaspy but more so leave new legion of fans lusting for their sound and presence.

Spüken is released April 14th

http://www.ninjaspy.net/    https://www.facebook.com/ninjaspy/    https://twitter.com/ninjaspy

Pete RingMaster 12/04/2017

Copyright RingMaster: MyFreeCopyright

Cute Cute Death – Vessels

Cute Cute Death Promo Shot_RingMasterReview

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

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

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

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

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

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

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

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

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

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

Pete RingMaster 13/05/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com

Date Changes For Hiraeth Tour With Lost In Despair

First Show On Hiraeth Tour With Lost In Despair Moved To Derby

Hiraeth Pic _RingMaster Review

The first date on London based agro mob Hiraeth’s upcoming UK tour in support of the stunning Lost In Despair has changed. The tour will now start in Derby at the Victoria Inn on Feb 19th.

The band are set to play the following dates:

Feb 19th – Victoria Inn – Derby

Feb 21st – The Lemon Factory – Swansea

Feb 22nd – Sticky Mike’s Frog Bar – Brighton

Feb 23rd – The Unicorn – London

Hailing from the suburbs of London, Hiraeth wasted no time erupting onto the scene in 2015 with their stunning debut EP “The World Ends With You”. Quickly building a name for themselves in the underground Melodic Hardcore scene, and scoring solid reviews from the likes of Metal Hammer & Terrorizer.

Combining high energy onslaughts in the vain of Gallows, and infectious melodies, that stand beside bands such as While She Sleeps and Defeater; Hiraeth are certainly on the brink of captivating a deprived audience across the UK with their sonic battery.

With a new EP firmly in the wings, and more shows booked across the year, Hiraeth are looking to make even bigger waves in 2016. Watch this space.

Ondt Blod – Finnmark

ondt_blod_RingMaster Review

If the opening weeks of January are anything to go by, we are in for a mighty year of emerging potential drenched bands, seriously thrilling releases, and propositions to make your toes curl. One such prospect to add to the already expanding list encapsulating all three of those aspects is Norwegian band Ondt Blod and their debut album Finnmark. The ear grabbing release is a ridiculously gripping collection of fury fuelled, antagonism sculpted tracks infused with unpredictable imagination and virulent contagion. It is a rousing incitement as sure to get you cursing the world as dancing feverishly on tables from a band already easy to suggest big success is coming the way of.

Formed in 2013, Ondt Blod comes from Norway’s most northern county bearing the same name as the band’s album. Since emerging, the quintet has earned a mighty reputation for their “crushing and intense attitude on stage”, a success including playing with bands such as Gallows, Blood Command, and Kvelertak. Drawing on inspirations from the likes of JR Ewing, Blood Command, and Kaospilot, Ondt Blod’s songs, as on the album, come with themes revolving around un-employment and industrial communities in decline as well as self-contempt and small town pride. Produced by Yngve Andersen (Blood Command, Girl Army) and mixed and mastered by Ariel Sivertsen and Brad Boatright respectively, Finnmark pulls no punches yet it also offers one of the most uncompromisingly catchy hardcore proposals in recent times.

ondt_blood_cover_RingMaster ReviewWithin seconds, the band has feet and hips as involved as a swiftly eager appetite for the band’s sound as opener Svarte Daga stomps in with nagging riffs and grooves amidst just as irritable yet anthemic rhythms. The grouchily growling tone of Kristoffer Joel Høe’s bass and in riffs in general easily hits the spot even before the raw rousing tones of vocalist Aslak Heika Hætta Bjørn, melodically backed by the alluring calls of the band, whips up a frenzy courted by a sonic web spun by the guitars.

It is a storming arousal of the senses and emotions backed up craftily by the less intensive but just as agreeably hooked littered Nye Lydspor. Not quite pop punk but certainly with a warmer tone and grin to its aggression, the song has a touch of Zebrahead to its engagingly volatile character again marked by a stirring bass snarl and the nagging prowess of guitarists Alexander Våga Mortensen and John Nilsen. The pair creates a fevered tempting which gnaws the senses as it leads the body into unbridled revelry, this enterprise just as tempting within Kompis Med Satan and its enjoyable blend of vocal deliveries. With each track sung in Norwegian, lyrically tracks are a mystery but the heart and emotions driving all are as open as the hefty and predatory swings of drummer Håvard Rushfeldt.

Tragedien Kommer brawls with the senses next, stamping its rhythmic feet as throats bleed with their roars before twisting things on their head by introducing a chorus of upbeat, almost ‘grown up’ vocal propriety and then going through the enjoyable process again as punk rock hooks and flirtatious ingenuity leap at ears. The track quickly has ears and emotions drooling, as too does the waspish irritancy of Gjengtegn and its belligerently devilish parade of unpredictable twists, sonic expression, and vocal dexterity.

Take any track from Finnmark and it epitomises the Ondt Blod sound and invention though no song sounds the same as proven again by the chest beating roar of Symbola. Like CIV meets fellow Norwegians Shevils, the track buzzes busily around ears as it burrows deep under the skin and into the psyche. Punk and hardcore colludes once more with fresh faced melodic drama and unbridled infection showered lures, the album’s variety unrelenting with the bruising and at times inhospitable 9900 Sodoma proving as it rages with ire upon the senses next. Equally it teases with some glorious anthemic bait led by hooks and the increasingly impressing vocal adventure across the band before Betongtro bears its vitriolic soul with creative tenacity and concussive intensity across calmer reflections and melodic detours.

The album is completed by firstly Brent Jord and its thick cloudy squall of sound and muggy sonic persuasion and finally the album’s title track which explores strains of post punk within its irritated disposition of emotion and sound. As its predecessor, the song moves into darker depths and richer arrays of flavours across its evocative landscape, and though it maybe does not make the same immediate impact as the riots before it, the tempestuous exploration grows to only enhance the enjoyment and invigorating experience of the album.

Norwegian hardcore seems to be going through a noisy, thrilling heyday right now with Ondt Blod right there helping lead the way, not only at home but as Finnmark proves, across the genre as a whole.

Finnmark is out now via Loyal Blood Records

https://www.facebook.com/ondtblodband

Pete RingMaster 20/01/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

This Year’s Ghost – Yesterday Becomes Tomorrow Today

Band_RingMaster Review

This Year’s Ghost might not be a particularly familiar name for many right now but with more releases like Yesterday Becomes Tomorrow Today, it is hard to imagine that remaining the case. The five-track EP is a rousing blaze of anthemic melodic rock woven from the varied strains of alternative rock, grunge, and melodic metal, and though in some ways it is not particularly unique there is no escaping the fresh and arousing character to the roar of sound and release.

Formed in 2012, London hailing This Year’s Ghost consists of vocalist/guitarist Paul McKenzie, bassist/backing vocalist Joe Kusionowicz, and drummer Jake Tellinghusen. Last year saw the release of the Winter Earth EP, a release recorded with producer Meyrick de la Fuente. It was the start of a year which sparked good interest the way of the band, a UK tour and numerous other shows adding to the growing awareness of their emergence. Yesterday Becomes Tomorrow Today is the next step, a release sure to increase the swell of attention crowding around the band and alone reason why those in the know keenly shout about the trio’s compelling exploits.

THIS YEAR'S GHOST - COVER _RingMaster ReviewART     Recorded with producer Matt Hyde (Slipknot/Machine Head/Funeral For A Friend/Gallows), Yesterday Becomes Tomorrow quickly stirs up ears and an eager appetite with Death Of A Gift, its entrance of fuzzy guitar and brewing intensity a potent coaxing. In no time it is into a reserved but fiery stroll with the superb tones of McKenzie strongly impressing, as too the web of grooves and sonic endeavour escaping his guitar strings. Band inspirations include the likes of Biffy Clyro, Pearl Jam, and Alter Bridge, and fair to say in the opener alone you can feel those essences colouring the song’s inviting roar, but equally This Year’s Ghost casts its own identity in the rich melodies and vocal harmonies shaping the excellent drama of the song.

The stirring start continues with December Sun, a track featuring guest vocals from Stitch D of The Defiled. Straight away as melodic persuasion gallops in on hefty beats and grouchy bass, ears and appetite are gripped, even more so as the vocals croon with expression and quality. Though not as energetic as its predecessor, dynamically the song is a rampant stallion of sound and invention, its metallic side the flaring nostrils and melodic invention the heart of one impassioned and arousing encounter.

Carry Us In Blue similarly aligns a carnivorous rhythmic enticement, especially from the bass, with harmonic and melodic flames; the union breeding the emotive intensity escaping through the pores of the track’s tempestuous but controlled bellow. Whereas the first two songs immediately stir the senses and emotions, the third is more of a smouldering persuasion but one subsequently leaving ripe pleasure and a captivation of the over time. Though Silver Tongue hits with a swifter temptation it too blossoms more over numerous plays, its inflamed seduction a success unwilling to rush things but increasingly successful whilst adding to the rich enjoyment arising from Yesterday Becomes Tomorrow.

The EP is completed by the provocative infectiousness of Black Dogs, another where bass and drums are predatory, vocals and guitar sonically radiant, and all unite to craft a fire of imaginative sonic expression and intensive lyrical reflection, something which applies to the whole of the increasingly impressing release.

Bolder originality is the only thing you could offer up as something missing within Yesterday Becomes Tomorrow Today, an essence though easy to assume will emerge as the band evolves and grows. Other than that the EP borders on the majestic; a thickly pleasing proposition which might not change your musical life but easily doffer up This Year’s Ghost as a new long term friend.

The Yesterday Becomes Tomorrow Today EP is available now via iTunes.

https://www.facebook.com/ThisYearsGhost   http://www.thisyearsghost.com  https://twitter.com/thisyearsghost

Pete RingMaster 22/11/2015

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/