Dead Hands – Nobody Exists on Purpose EP


Just over a year ago, we were taken by and aback by the noise infested fury of British band Sexwolf! and their debut release, the Hangin’ With The Boys EP. Our submission to their senses devouring sound was followed by their demise in the first half of this year. It was a frustration though quickly replaced by intrigue as three quarters of the band, linking up with one half of fellow Midlanders A Werewolf and a second guitarist, emerged as Dead Hands. They have just released debut EP Nobody Exists on Purpose and fair to say any gap left by the loss of one band has been more than filled by a new encounter which sears ears as it excites them.

Creating a maelstrom of fiercely infectious noise from texture reaped from the likes of mathcore, hardcore, grind, and numerous other punk and metal based savagery, Dead Hands have taken little time to stir up attention and it is easy to hear why with Nobody Exists on Purpose. The six track violation is an irritable tempest of abrasive sound and toe curling intensity delivered through an invasion of twisted hooks and demented grooves within a sonic savaging fuelled by some viciously catchy enterprise. It is merciless, at times painfully inhospitable, and constantly a joyously addictive abuse of body and senses.

It all starts with the band’s recent acclaimed single Open Bracket. Straight away guitars are squirting sonic toxicity, tangy riffs soon joined by the heavy insatiable rumble of bass and the scything viciousness of drummer Jenks’ rhythms. It is intensive furious stuff just as infectious as it is barbarous with Richard Phillips spilling his lyrical and vocal venom into the compelling mix. All the flavours mentioned above and more are in open sight within the furious turbulence, all adding to the thick lure of the track.

It is a sign of things to come within the EP, the following Elephants Crush People just as crabby and uncompromising and just as fascinatingly littered with unpredictable trespasses, inventively virulent hooks, and ear catching twists. A mix of The Chariot, Every Time I Die, and Dillinger Escape Plan is an obvious but maybe closest equivalent to the Dead Hands roar with additional Cancer Bats/Brutal Truth hostility.

Diving Board (Jack Christ-Ho) instantly and fractiously devours and punishes while gripping the appetite with more virulently contagious enterprise, it all springing from the Jenk’s initial rolling rhythms. Guitarists Niall Jones and Dabby Gough in turn lay their creative snares, further unavoidable traps as the song overwhelms and sparks body and mind into lustful responses. Of course this is not going to be for everyone but if noise does not annoy but inspires than Dead Hands have the ability to raise the strongest ardour through songs like this and its successor Buck Angel’s Challenging Movies. Arguably the catchiest proposal within the release, the track is a quarrelsome stomp led by the deliciously testy tone and grooves of Daniel San Mogg’s bass, its truculence matched by that of the guitars and vocals. Moments of calmer, post punk lined imagination only adds to the thrilling character of the song, the pinnacle of the EP with ease.

The closing pair of 7 Days (of Craig David) and Close Bracketté finish off Nobody Exists on Purpose, the first a mouth-watering ear plundering wall of heart bled enmity and sonic rancor while the last blasts and tangles ears in a tetchily red-blooded incursion of technical and emotional fury. Both tracks also come equipped with even bolder invention and experimentation and it is no coincidence that as each song gets braver the EP only gets stronger and more irresistible ending on a rousing high.

 Nobody Exists on Purpose is superb, a triumph in many ways with its seeds in the previous exploits of Dead Hand members but blossoming into not only something totally new to them but distinct to pretty much anything else out there. It is a must!

The Nobody Exists on Purpose EP is out now @

Pete RingMaster 14/10/2016

Copyright RingMaster: MyFreeCopyright

Eight Days – More To Life


Seemingly tagged as melodic hardcore more often than not but showing a hefty side in hook laden punk rock in their new proposition, British trio Eight Days is one of those bands knocking on the door of broader attention. Since emerging on the first breath of 2014, the London based outfit has earned a reputation of being one of the more potent forces within the underground scene. Evidence of that strength linked with a generous invention for ears and imagination to embrace can be found in the More To Life EP, a release suggesting that Eight Days might soon be going above ground to tap into national attention.

With inspirations said to come from the likes of Norma Jean, Black Peaks, Blink 182, and Yellowcard, Eight days released their debut at the end of their first year. The well-received No Idols EP was followed by the band rampaging across the UK on numerous tours before sophomore EP, Surrounded By The Ones Who Want Me To Fail, was unveiled to greater acclaim, proving that the months had also seen the band’s songwriting and sound blossoming.

More to Life is another step forward in all aspects by Eight days, a quartet of songs as raw and emotionally intrusive as they are fiercely infectious with dramatic hooks and surprising twists to the fore. There are still areas where uniqueness is a less obvious proposal but continuing as they are, that is something easy to suspect being remedied in the future.

eight-days-cover-artwork_RingMasterReviewThe EP opens up with Was It All Worth It and straight away the track has attention hooked as a melody, with a mix of warmth and shadow in its character, wraps enticingly around ears. A rising storm of rhythms led by the feisty beats of  Lewis Fife with the brooding rumble of James Carty’s bass alongside soon join the invitation, it all taking the listener into the turbulent yet catchy heart of the song where the guitar of Ben Brazier casts suggestive melodies and inventive hooks around his emotion flushed vocal squalls. It is a potent mix captivating from start to finish, melodic and post hardcore textures engaging each other in an arguably less than original but certainly potent way for a strong start to the release.

The band’s imagination kicks up a gear from hereon in starting with Unclear as the threesome bring some stronger punk rock elements into their bruising dramatic roar. Carrying a touch of Cancer Bats to its bellow, the second song bounds through ears with venom and animosity though again the instinctive catchiness of their song’s gaits and swinging rhythms make it all very enticing. Spicy hooks and unexpected twist and turns in the imagination of the song makes it stand out in no time, group shouts and the predatory growl of the bass adding to a creative drama not as obvious in its predecessor.

It is a fresh invention and boldness even more persuasive in the following Counterweight. From its first breath, the song is throwing tangy grooves and virulent hooks at the listener while Brazier’s throat is raw through ire fuelled confrontation. The track is irritable rock ‘n’ roll, an irrepressible trespass on the senses and the biggest highlight of the already impressing release.

A growling grouchy bassline opens up final track Walls; hard and melodic rock spiced flavours mixing with the band’s instinctive aggressive enterprise. At times a twist away from taking best song honours from its predecessor, the song is a fine end to a very satisfying release.

More To Life is proof that Eight Days are something fresh in a crowded melodic hardcore scene and once they find that real uniqueness there may be no stopping them.

The More To Life EP is out in stores on Friday 14th October and @ and

Pete RingMaster 13/10/2016
Copyright RingMaster: MyFreeCopyright

Twisting sounds and textures; exploring the sonic roar of Fero Lux

Fero Press_RingMasterReview

Casting their own fusion of math and hardcore upon the senses, Fero Lux is a South Florida quartet beginning to spark richer attention. The release of latest album No Rest has played a big part; the raw but addictive sound it shares demands attention as in infests the imagination. Live the Broward County hailing band has similarly earned a formidable reputation so we thought it was high time we got to discover more about the band. With big thanks to vocalist Victor, we look at the heart of Fero Lux, its beginnings, that latest album and more…

Hello Victor and thanks for taking time out to talk with us.

Yo! Thanks for talking TO us.

Can you first introduce the band and give us some background to how it all started and what brought you all together?

We’re a band called FERO LUX from south Florida. When we started, we all played in other bands. Our guitarist, David, wanted to start a heavy, mathy band. So he recruited us all. I was in something else at the time that I wanted to take seriously, and realized this was more fun. So…over five years later, here we are.

So you have been involved in other bands before so has that had any impact on what you are doing now, in maybe inspiring style or change of direction?

Oh yeah. We’ve all been playing in bands for 12+ years. I think FERO LUX is a HUGE melting pot of all of those bands combined. Our sound certainly has an overall heavy theme, but we’re all over the place if you listen to our latest record from front to back.

What inspired the band name?

We were huffing the smell of 100 unwashed turtle tanks. And boom…FERO LUX.

art No Rest_RingMasterReviewWas there any specific idea behind the forming of the band and also in what you wanted it and your sound to offer?

Yeah, like I mentioned we started with a sound in mind, but after half a decade we certainly found what we were aiming for all along. I think it shows on NO REST.

Do the same things still drive the thoughts of band from when it was fresh-faced or have they evolved over time?

I think we’ve become more socially aware. We always wanted to be a band with something to say, and I think we’ve harnessed that a little better over time.

Since your early days, how would you say your sound has evolved?

It’s more refined. The song writing is far more structured, but there are still a lot of riffs you have to hear more than once to kinda fully understand; still heavy, still mathcore. Also, this line-up–myself, Ben, David, and Nick are the most cohesive we’ve had to date.

Has it been more of an organic movement of that sound or plenty of moments where the band deliberately wanted to try new things?

It was certainly organic. We just lock ourselves in our warehouse and jam until new songs come out. We don’t really vocalize how we want them to sound. They just…sound.

Presumably across the band there is a wide range of inspirations; are there any in particular which have impacted not only on the band’s music but your personal approach and ideas to creating and playing music?

At The Drive-In is one we all say we can agree on musically. They pushed it like no other. They mesh all sorts of ideas and themes into each record…and ALWAYS had something to say. We consider them a very brilliant and selfless band.

Is there a process to the songwriting which generally guides the writing of songs?


Where do you, more often than not, draw the inspirations to the lyrical side of your songs?

Global strife.

Give us some background to your latest release.

NO REST came out on March 25th, 2016. It’s about a bunch of different things happening all over the world and locally. There’s heavy stuff, and not so heavy stuff. I personally like to think it has something for everyone.

Can you share some insight to the themes and premise behind it and its songs?

The opening track is called No Insignia. It’s about the war crimes committed on Ukraine and Crimea upon the invasion from Russian soldiers who wore no identifying insignia. People were forced from their homes, people were killed, and we here in America cared more about what was taken off Netflix that month.

Are you a band which goes into the studio with songs pretty much in their final state or prefer to develop them as you record?

They’re finalized beforehand. I’d say the lyrics are usually 85% done beforehand and I just top it all off whilst in the studio.

Tell us about the live side to the band, presumably the favourite aspect of the band?FL_RingMasterReviewn

It’s certainly my favorite. Live, we like to jump on people and have them jump on us. What fun is a live show if everyone is just standing around? And when we’re tuning and whatever, I like to try to make people laugh. We’re a “serious” band who tries to not take ourselves too seriously.

It is not easy for any new band to make an impact regionally let alone nationally and further afield. How have you found it your neck of the woods?

It’s hard in south Florida. We have to drive over 6 hours just to leave the state. We’re always envious of the north eastern states that can cross three or four borders in the time it takes us to get to Georgia. We’ve found the cities we do well in down in Florida, so it’s been cool to revisit them. But we’re planning some longer stuff for Fall and Winter and we’re very excited to share these dates with everyone.

How has the internet and social media impacted on the band to date? Do you see it as something destined to become a negative from a positive as the band grows and hopefully gets increasing success or is it more that bands struggling with it are lacking the knowledge and desire to keep it working to their advantage?

It’s honestly crazy. Bands that seem to know how to manipulate Tumblr and Instagram get huge. Unfortunately for us, we don’t know how to do either of those things. We also don’t know how to sign unfair record deals. So I feel like we’re destined to remain the size we currently are. But who knows…maybe Myspace will come back?

Once again a big thanks for sharing time with us; anything you would like to add or reveal for the readers?

Thank you again! Check out our music and videos at and

As far as a reveal, not yet! But we’re doing a small run in August, so if you’re in the south east, come check us out!

Pete RingMaster

The RingMaster Review 21/08/2016

Copyright RingMaster: MyFreeCopyright

Bad Case of Big Mouth – Break It to Build It EP


New Jersey band Bad Case of Big Mouth creates their sound by bringing the contrasting qualities of pop driven punk and hardcore together and as their new release shows, it makes for one highly enjoyable proposition. The Break It to Build It EP is an infectious and often intrusively commanding fusion of hook-heavy punk rock and metalcore scented voracity, five tracks which tempt and assault with equal measure and craft. It is not maybe the most unique proposal but even by the end of track one it is certainly one of the most rousing.

Formed in late 2010, the East Coast quintet has continued to hone their sound and earn rich support and plaudits around their local scene and beyond. Their acclaimed live presence has seen Bad Case of Big Mouth share stags with the likes of State Champs, Chunk! No, Captain Chunk!, and Hit The Lights as well as making attention grabbing performances at festivals like Skate and Surf, two Bamboozle Fests, and on The Vans’ Warped Tour on four separate occasions. Now with a tour along the East coast with Crunkasaurus Rex coinciding with its release, the Break It to Build It EP is ready to nudge bigger spotlights.

The EP forcibly launches itself with opener We Wasted the Good Surprise on You; riffs and melody thick hooks instantly encouraging attention as rhythms are swung with firm intent. The clean tones of John Price swiftly impress, matching the lively hooks on offer and uniting nicely with band roars and the fiercer vocal scowls that join the affair.  It is infectious stuff with an imagination which constantly keeps the listener on its toes to counter a somewhat familiar character in sound.

CD ART_RingMasterReviewThe great start is continued by What a Save; aggression and raw vocal confrontation leading its initial assault on ears. Even with its hardcore ire and antagonism, there is a certain catchiness to the nature and enterprise building one tempestuous proposal, one which blossoms further as the guitar of James Benedetto helps spin a melodic web around the mellower but equally captivating clean vocal persuasion. Continuing to twist between its primal and seductive extremes with a gorgeous breakdown within, the song hits the spot easily before making way for the robustly raucous roar of Take Off. As virulently poppy as you could wish and as physically angry, the anthemic proposal is another treat on the ear and example of the Bad Case of Big Mouth ability to combine contrasts with skill and imagination.

Growing Distance keeps enjoyment high even if it lacks the punch and inventive spark of its predecessors, though it does show the band’s wish to stretch their songwriting and melodic invention in fresh ways whilst still intruding enjoyable on the senses. There is nothing not to like about the song or the EP’s closing offering, No Guarantee. A foot to the floor slice of pop punk initially, it goes through the gears of energy and ire with charm and invention to bring the release to a rousing close.

It is so easy to like and enjoy the Break It to Build It EP and understand why Bad Case of Big Mouth is beginning to stir greater attention. As they evolve a more unique sound, here is a band looking at much bigger things.

The Break It to Build It EP is out now via Manic Kat Records @

Pete RingMaster 21/08/2016

Copyright RingMaster: MyFreeCopyright

34 – Self Titled EP

34 Promo Pic  _RingMasterReview

Grouchier than a stoked up hornet nest and just as damaging, the sound of Kansas City hailing 34 leaves no hiding place for the senses and imagination on the band’s debut EP. The five-track self-titled offering is a rabid and ravenous fusion of hardcore, noise, and metal, all honed into an assault with a sonic sting just as merciless as its rhythmic and vocal bite, and both incidentally constantly veering towards irresistible.

Formed in 2015, 34 features current and former members of bands such as Sisters Of…, Eighteen Visions, At The Left Hand of God, David Hasselhoff On Acid, and Maps For Travelers. It has taken little time for the band to make a potent mark, their live ferocity acclaimed and devoured with shows alongside the likes of Black Breath, Motograder, 68, and Norma Jean adding to the quintet’s rising reputation. Now it is the EP preparing to stir things up further, a success hard to see failing with its impressive and seriously solid introduction to a wider landscape to the band.

The release leaves a lingering and memorable mark with its first two confrontations alone; the EP’s best tracks setting the tone and creative stature of the release with Alpha Blade starting things off. Fair to say we were hooked straight away by the dulled yet anthemic lure of drums which opens up the track. Their flat and compelling resonance easily has ears and appetite attentive, both further gripped as the wiry grooves and sonic animosity of the guitars winds around the senses before allowing the pulsating bassline of Erich Thomas and Jason Shrout’s increasingly addictive beats to lay their magnetic bait. With the throat raw snarls escaping vocalist Brett Carter taking their share of attention too, in no time the song shares a raw magnetism, showing itself a belligerent and aggressive beast with sinews sculpted in virulent noise and biting hooks. Like Unsane meets Pigs with the caustic catchiness of a Coilguns or Shevils, the tracks seduces as it corrodes the senses, every twist and turn within its unpredictable body enjoyably toxic.

34band_LOGO _RingMasterReviewThe following Stick Em Up is just as imposing and thrilling. It opens with chunky scarred riffs which need little time to persuade, their hint of repetitive temptation soon revealed to be one riveting texture in the grooved and rhythmic provocation of the track. As with the first though, things are soon evolving and shifting as melodically fiery and sonically scathing passages entwine with adventurously bruising endeavour within the track’s rock ‘n’ roll. The guitars of Phil Wolf and RL Brooks persistently nag and entice, stirring up the imagination and psyche as Carter vocally and lyrically savages with the backing of the similarly aggressive and potent tones of Brooks.

The final trio of tracks within the EP do not quite live up to the first pair, such their might, but with T.S.Y.T first, all only add to a thickly enjoyable and striking introduction to 34. The third track is as irritable and uncompromising as those before; bullying and arousing the senses with spiky grooves and predacious rhythms as vocals blaze while its successor, Flatliners, springs a Quicksand spicing across its scorched canvas and in its sonic causticity. The song is probably the most adventurous of the five, exploring different creative scenery which swiftly comes and goes, then returns with greater dexterity and imagination as new ear exciting twists become involved.

The EP closes with Machines, a furious tempest and web of emotional and sonic tempestuousness riding on the whiplash effect of Shrout’s and Thomas’ predatory rhythms. It is a forceful and fiercely satisfying end to a great first look at 34. It is easy to see and hear why the band has made such a potent impact already, and to expect, as their sound and imagination grow bolder, they are going to be a potent force in the driving of hardcore/noise ahead.

The 34 EP is released digitally and on limited edition clear red vinyl May 20th via Fountain City Records @

Pete RingMaster 20/05/2016

Copyright RingMaster: MyFreeCopyright

Hells – Paradise EP


Corrosion is generally a gradual often unstoppable process but in the hands of US fury Hells, it is the swiftest undermining of the senses and emotions. Their attrition comes courtesy of their savage hardcore blend, a voracious sound making the band’s new debut EP, Paradise, one of the most punishing and thrilling things to hit the year so far. At the opposite end of the spectrum to the impression of its title, the six track release is aural and emotional dissonance fuelled by voracious anger and sonic spite. It is also a virulently addictive and rousing assault which asphyxiates and intoxicates the senses from start to finish.

Formed around two years ago, the Philadelphia hailing quartet of vocalist Larry Ragone, guitarist Brad Wallace, bassist Scott Signorino, and drummer Steve DiCicco, former members of bands such as Orchid, Transistor Transistor, Brain Dead, Wolves, Sore Saints, Psychic Teens, and Heathen Reign, soon earned the reputation of being one hellacious live experience. November of 2014 saw the release of a three track demo, a well-received platform for what now violates and thrills ears through Paradise.

The EP opens with its title track, Paradise an immediate wall of sonic and vocal abuse driven by vicious beats and an instinctively swinging groove. It has to be said that for all the punishing and creative antipathy conjured throughout the EP, it also has some of the most addictive and lively grooves and hooks heard in a long while. The outstanding track continues to ravage and incite as the rhythms become more imposing and tenacious with Ragone’s throat spilled scowls even more belligerent as they hang on twisted and venomous tendrils of guitar.

Paradise_RingMasterReview1-800-Shitfit shows itself just as intensive and irritable as it unleashes its emotive and creative animus next. A slab of barbarous punk ‘n’ roll, it grumbles and thrashes across two minutes of aural antipathy with the guitars as angry as the vocals and their roared words, while the bass is as anthemically pissed off as the scything trespass of DiCicco’s beats. Its savaging quickly makes way for that of Weather Report, which from its first breath again leaves nothing in the locker as it lashes into the listener. Grooves flirt and lacerate the senses as rhythms threateningly impose, Ragone’s raw squalls spilling irritancy with every ire drenched syllable; a combination which again simply ignites ears and an eager appetite for the threat.

As gripping and invigorating as things have been to date, the EP hits another plateau of tempting with firstly Tribute. The track is a cauldron of emotional and sonic animosity bound in the most salaciously catchy acidic grooving aligned to predatory riffs with matching rhythms.  It nags and badgers with a venomous glint in its creative eye, living up to its threat yet creating a maelstrom which is littered with the most addictive bait.

It is no different with Bad Apple, the track creating its own individual breakdown of the senses with a fluid blend of intensively assaultive and scavenging tempos around an equally unpredictable rhythmic gait stalking the listener from beginning to end. There is no escaping the hate of the song, or a wish to, though it is soon overshadowed by the brilliant EP closing enmity of Night Creeps. From its initial drone nagging of the senses, the track is rancorous alchemy, a bad-blooded proposal to brew thick lust for. Within that initial sonic niggle, DiCicco’s sticks rise to create a rousing shuffle before settling a touch as short grooves and melodic toxicity joins Ragone at his least hostile on the EP, though there is no mistaking the bitterness lining his prowling delivery. The song is hypnotic, a stylish yet bestial challenge which grinds down the defences while creating webs of contagious enterprise. At the time, it is also brewing a boldly simmering in intensity and jaundice, that growing into a fiercer rabid beast by its close.

The track is a brilliant end to a seriously arousing encounter from a band placing themselves aside certainly the likes of Pigs, Sofy Major, and Brutal Truth in one foul swoop. A must for all hardcore/noise abuse fans.

The Paradise EP is out now via Seeing Red Records @ or

Pete RingMaster 17/05/2016

Copyright RingMaster: MyFreeCopyright

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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.

Pete RingMaster 13/05/2016

Copyright RingMaster: MyFreeCopyright

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