Fathoms – Cold Youth EP

IMG_9708small

Last year UK hardcore metallers Fathoms introduced themselves with the Transitions EP, a six track free download release which left you thinking that the Brighton quintet had a towering future in UK metal. Their acclaimed release’s successor is now upon us and the Cold Youth EP not only confirms and furthers that suspicion but makes the previous confrontation seem almost deceptive in its promise. The new four track fury is breath-taking, an incinerator of senses and thoughts which launches a torrential and imaginative tirade of invention and ferocity to leave the most potent of rapture in its blistering wake.

Formed late 2010, Fathoms took little time in finding a fervour led fanbase for their aggressively intensive sounds and acclaim for their live performances which has seen them share stages with the likes of A Hero A Fake, Polar, Dividing The Silence, Legend, Set Your Goals, Deez Nutz, and Napoleon as well as tours across the UK, Europe, and the US all equally as successful. The Transitions EP took what their fans knew to a wider audience and strong acclaim within media coverage but with Cold Youth you only feel it was a gentle start as the release in its immense presence surely is a trigger to major things.

Opener Pride of Lions springs from a sample of a speech on teaching children in a sonic haze to inflict the cruellest rhythmic badgering ColdYouthand predatory riffing within an instantly unpredictable and riveting corruptive temptation, the guitars of James Munn and Dan Goddard sculpting and conjuring a web of insidious provocation and startling imagination. It is impossibly captivating, the drums of Lui Sarabia insatiably inventive and impacting whilst bassist Tom Axtell is like a heavyweight raptor as he skirts it all with his carnivorous intent. It is a staggering start, a ridiculously addictive torrent of abuse which is ridden by the equally aggressive and corrosive vocals and vicious scowls of Max Campbell. His attack is uncompromising but also diverse like the sound which ensures something different and apart from not only other similarly clad bands but their previous release.

The following XIV soon notches the intensity and craft up a level, a contagious lure fuelling the chorus and primal swagger of the track whilst the guitars again twist song and manipulate air into a destructive narrative which senses and imagination can only devour with greed. To be overly critical there are elements which are well used and trodden in recent years but employed in a blazing creative fire as here it is hardly an issue. It is fair to say if breakdowns do not feed your appetite song and release might struggle to fully persuade but there is still a wealth of invention to seduce that same hunger whilst for those with a passion for such invention the track is a furnace of manna.

Third song Old Bones opens on a progressive caress if with a soak of menace, and soon stretches its evocative breath into a flesh flailing, bone splintering expanse of crippling rhythmic danger and sonic intrusion. It is a glorious slab of aural turmoil, perfectly crafted and impossible to resist. The vocals solo and as a band, are a fury which is virulently infectious and bewitching whilst musically there is debris flying mentally and emotionally before the thrilling corrosive escapade.

The closing Home/Less is just as ridiculously addictive and inventive, waspish grooves uniting with raptorial rhythms and the intensive riff brutality. The technical craft and inventive thought of the song and whole release, again is transfixing and makes multiple listens to Cold Youth essential to explore and suffer all of its glories, though it only takes one engagement to breed lust.

Fathoms have gone far beyond what was expected after the Transitions EP or maybe just got there quicker. The bottom-line though is that the Ghost Music released Cold Youth is a staggering slice of sadistic mastery which makes the future of the band even more exciting and you can imagine ground-breaking.

https://www.facebook.com/fathomsuk

10/10

RingMaster 02/10/2013

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://www.audioburger.com

Conjuring the vision: an interview with The Afterimage

Photo by: Brooks Reynolds

Photo by: Brooks Reynolds

The Afterimage is one of the imaginative and creative new bands to explode onto the metal scene initially in their homeland Canada and more recently Europe, this year. Their outstanding debut EP Formless is an introduction to a band which fuses flavours of extremes and melodic spicery into a sensational and unpredictable adventure. Given the opportunity to ask the band more about themselves and their release we had the pleasure of talking to vocalist Kyle Anderson and guitarist Alex Lappano.

Hi and welcome to The Ringmaster Review

Firstly tell us about The Afterimage, its conception and intent as a musical force.

Kyle: The Afterimage was formed in December 2011.  I (Kyle) had been fronting a project before that called ‘Centuries Apart’ which Alex was involved in briefly.  Alex and I stuck together and recruited drummer Nick McCaslin and bassist Dallas Bricker shortly after.  They were involved in a project with Alex previously and were a great fit.  Mike Ticar was later added on guitar a few months after.

You have been a band around a year and in that time made a major impression at first in your home state Ontario and now beginning to worldwide. Has it seemed a bit of a blur or have you had the chance to reflect and enjoy as things brewed and grew?

Kyle: In all honesty this has been amazing for us.  We never imagined having some of the interest we’ve had in our material.  We’re just having fun playing music we enjoy making.

From the outside Ontario appears a potent breeding ground for metal and rock bands; is that the reality and how has the area affected you as a band if at all?

Kyle: It has definitely had a huge impact on us through our time in the heavy music scene.  Growing up listening to a lot of great bands from the area and being impacted by their performances and records always inspired us to create ourselves.

You just released your outstanding Formless EP across Europe, have the highly positive responses surprised you?182321_363752250345032_761764621_n

Kyle: We are very surprised about this!  We never imagined we’d be able to release the EP in Europe and that in and of itself is  a blessing.

The tracks show a wonderfully diverse and pulsating blend of sounds, who are the major influences which if not inspiring your sound, has influenced the way you look at and create it?

Kyle: We actually have some major influences outside of Metal.

For instance…

Jaga Jazzist, This Town Needs Guns, Toe and The Bulletproof Tiger are all huge with our guitarist Alex who handles a lot of the writing.

In terms of Metal, Meshuggah, Ion Dissonance, Danza and Tesseract would be some big ones.

Musically it is fair to say you bring many sub genres and flavours together for a unique result. For newcomers how would you describe your sound to best represent your imaginative creations?

Kyle: I’d say we’re a Progressive Metalcore band if you want to use a title.  We just fuse chaos and melody.  That’s how I’d put it simply.

How do the songs, from seed to final creative explosion, come about within the band?

Kyle: Like I said before Alex handles the majority of the writing.  He had a lot of the ideas locked away for quite some time and we refined them for the release of ‘Formless’.

You have found a strong and eager audience and response in Canada, has Europe and the UK taken to the same things as your countrymen in your sound and EP or picked up on and found an ardour for different elements?

Kyle: I find the response is pretty similar.  I’d say groove/rhythmic aspects are bigger in the UK but the chaotic parts are generally received well over here.

Is the Canadian underground metal scene one which is wrapped in its own ‘juices’ or takes plenty of influences from elsewhere and how does it help new bands like yourselves?

Kyle: I’d say the influence comes from everywhere.  With the internet being the a huge force for distributing and sharing music it’s become quite easy to keep track of projects from all over.

Tell us about the writing and recording of Formless.

Kyle: As I said before a lot of the riffs were already compiled by Alex in his archives.  We re-worked structure and tweaked a bunch of things about a month before recording.

In terms of the recording, Jordan Valeriote (Structures, Counterparts, Silverstein) produced and engineered the EP.  He is an absolute pleasure to work with and we will continuously go back to him.

Photo by: Brooks Reynolds

Photo by: Brooks Reynolds

Reverie  the single from the EP which we said had a maniacal mastery through the sonic mayhem of the guitars and offered elements of jazz and improv to its chaos. A fair reflection of what is an immense track in your thoughts?

Alex: I’m extremely picky with what I like to hear, and due to this I find that I always end up writing songs that jump back and forth from each side of the musical spectrum. For example; with heavier styles of music, I love chaos and abrasiveness, but on the other hand, I’m a huge sucker for melody and instrumentals that can express emotion. On top of being extremely picky, I get bored very, very quickly, so I try to keep myself constantly entertained with the music. So I’d say my attention span (or lack thereof) is what leads to having dissonant chromatic sections followed with a melodic passage! I hope that answered your question!

What were your hopes for the EP with its release in Europe?

Kyle: We honestly had no idea how that was going to go, but so far Ghost has treated us great and we’re quite happy with the response!

Are you itching to come over this side of the world to play and when are we likely to have the pleasure?

Kyle: We’re not sure of the when right now, but it’s something we’d love to do as soon as possible!

What is next for The Afterimage, an album maybe?

Kyle: We’re currently finishing up writing the full length album, although no release dates/plans have been made as of yet.

You released Formless through Ghost Music; is this union one which goes beyond that release and how have you found them in comparison to how your releases at home have come about?

Kyle: Toyan from Ghost Music has been great to us. He’s an extremely nice guy and very organized. We have nothing but great things to say about Ghost!

What are your plans for the end of the year and hopes going into 2013?483438_428899413830315_467549125_n

Kyle: Just playing our city Toronto, ON.  2013 will consist of touring and working on the full length.

Great thanks for sharing time to talk with us here, any last words or thoughts you would like to end with?

Kyle: Just want to say thank you for interviewing us, and make sure you check out our new single ‘THE SEEKING’!  It’s a free download.

https://www.facebook.com/TheAfterimage705

Read the review of the Formless EP @ https://ringmasterreviewintroduces.wordpress.com/2012/10/30/the-afterimage-formless-ep/

The RingMaster Review 23/12/2012

Copyright RingMaster: MyFreeCopyright

Silent Screams-When It Rains

The new album When It Rains from Coventry band Silent Screams marks not only an impressive debut for the UK metalcore band but the initial release from Ghost Music, the new label founded by Ghostfest creator Toyan St Hilaire, who made the band his first signing. Immediately impressed by the band’s album St Hilaire threw himself into unleashing it on the world; commenting about the release he said “As soon as I heard the new SILENT SCREAMS record, I just knew it was gold – I just knew I had to do something with it… ‘When It Rains’ made such an impact on me that I’ve decided to finally put my money where my mouth is; hence GHOST MUSIC was born! I’m super excited to be working with this band and their record!”  Upon hearing When It Rains it is easy to understand his enthusiasm as the album is a power house of intent and creation. For a debut it is immense and though it may not be flawless it carries an edge and purpose as well as thoroughly stunning sounds that many if not most releases lack.

The band already have impressed during their rise up the UK metal ranks, tours and shared stages with the likes of Bring Me The Horizon, Your Demise, For The Fallen Dreams, and Emmure around not only the UK but Europe and Australia, bringing constant upward surge in their following and anticipation for their debut release. When It Rains produced by renowned producer/engineer Joey Sturgis (Devil Wears Prada, Asking Alexandria, Miss May I), does not disappoint at all only pleases.  

To some extent When It Rains takes a little work when first diving into its feast of sound, there is not an immediate connection. Well not strictly true as musically it does light up the senses and offers intrigue and thrills at every twist and turn in its varied soundscape of hardcore, progressive and melodic metalcore. Where it struggled to make an impact initially was vocally though repeated listens, which all releases deserve for a true assessment, found the blend much easier to come to terms with. It is hard to work out if it is the production or James Ryan’s natural delivery but his growls and shouts at times lack definition and are too unrefined to make them easy at first to take in. To be fair it does not help when alongside him bassist Tom Craig provides clean vocals that are glorious and give a wonderful scope to the songs. Personally the hope more use will be made of his voice in the future to bring a greater even mix between them both brings eager anticipation.

That is the only issue there is with an excellent debut form the band. Musically they are tight and unafraid to infuse varied directions and ideas which provide a constant interest and invitation within their release. Opening track ‘Assume The Worst’ strikes with full aggression and intent providing a mighty wave of fierce drumming from the explosive Adam Mallabone and cutting guitars sounds and bludgeoning riffs from Sam Varney and Ozzi Osman. The first half of the track paces itself with a firm steadiness holding back its diverse moment when with a growling riff and resonating bass from Craig it starts exploring and expanding its limits, the vocals from the bassist soaring out over the gruffness of Ryan.

The consistency across the album is perfect, not one track dipping below the high level set with the opener. Songs like ‘Desperation’ with its commanding teasing groove, the strongly emotive ‘Til There’s Nothing Left’, and the album’s best track ‘Sinking’ all raise the bar with sounds and performance lined with fierce assertiveness and incisive delivery. The latter of the three unveils its kaleidoscope of inspired songwriting, intricate play, and diversity wonderfully, engaging forcibly as it permeates the senses. It is the strongest example of what the whole album achieves and which is bringing menacing and brutal sounds together with stirring harmonies and delicious melodies that enthuse as equally as the forthright and irrepressible riffs.

When It Rains is an immense debut and gives strong excitement for future releases from Silent Screams, and if they find sort out the vocals a little more the band will tower over most rivals.

RingMaster 25/10/2011

MyFreeCopyright.com Registered & Protected

Photobucket

The best and easiest way to get your music on iTunes, Amazon and lots more. Click below for details.