Kill The Ideal – Heritage

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Ferociously melodic and raucously captivating, it is fair to say that our introduction to UK alternative rockers Kill The Ideal has been a fiercely enjoyable infestation of ears and appetite. It came through the band’s debut EP Heritage, an invigorating four song ride of anthemic proportions cast with intimate passion and explosive energy. It is an encounter which roars and croons with equal tenacity, very often simultaneously, and leaves a real hunger for more of its fresh invention and warm familiarity.

Formed in 2010, the Boston quartet release Heritage off a highly successful 2014 which saw the band light up stages alongside the likes of Lost Alone, Lonely The Brave, and Hawthorne Heights, shows adding to their CV of playing with bands such as Nine Black Alps, The First, Climates, and Emp!re. The foursome also left a mark on BBC Introducing in East Midlands before heading into the studio to create their first EP. Recorded with producer Lee Batiuk (Deaf Havana), Heritage is the potential spark to broader national awareness, and such its impressive body there is no doubting fires will be lit in a great many.

The EP’s title track stokes attention first, a raw stroke of guitar licking at ears initially before it all boils up into a pleasingly fiery stroll littered by the jabbing beats of drummer Jordan Bell and veined with a great dark bassline from Luke Farmer. Though the edge to the riffs is still slightly caustic there is a sharper and spicier tone to the subsequent melodies and hooks of guitarists Ross Gallagher and Ash Wilson hereon in, whilst the latter’s vocals bring an expressive and potent heart to the increasingly compelling encounter. The track is seemingly always on the precipice of a riot yet manages to bind its unbridled passion for a controlled yet incendiary anthem of a proposition. The song is a gem of a start to the release, an offering unleashing the addictive lure of a Lower Than Atlantis with the melodic fire of a Thirty Seconds to Mars and the impassioned angst of a Billy Talent.

Kill The Ideal - Heritage (EP Artwork)   There is no lessening of pleasure with its successor either. Higher again enters on a single caress of guitar though this time Wilson is there with the first breath to begin unveiling the song’s narrative. Once more it is an engaging start which swiftly becomes a contagion as Bell’s swings thump away with addictive bait whilst hooks and harmonies flame within the striking frame of his incitement. Fluid moments of melodic seducing only accentuate the potency and aggression of the band’s explosive tenacity, the anthemic virulence reminding of Always The Quiet Ones as the ability of Kill The Ideal to entwine tempestuous musical bellowing with gentle melody rich reflections simply impresses.

It would be fair to say that after two tracks the band had thoughts and emotions won over, leaving the remaining temptations of The Fire and My Friend an easier persuasion to make. Both though take nothing for granted and uncage their own individual inventive storms of sound and imagination. The first of the two probably feels the most recognisable of all the songs, offering more expected elements but still forcibly convinces with great jagged riffs and an excellent vocal union across the band whilst its successor is a slice of seriously catchy and similarly impassioned melody soaked rock ‘n’ roll with a roar to its heart and ruggedness to its energy.

Both tracks complete in fine and riveting style one outstanding release; in fact it is hard to imagine that Kill The Ideal could have made a better entrance into the wider spotlight of the British music scene than Heritage but easy to suggest even bigger and bolder things are destined to come from the exciting band.

The Heritage EP is available now @ https://itunes.apple.com/gb/album/heritage-ep-ep/id967280243

https://www.facebook.com/KillTheIdeal

Ringmaster 31/03/2015

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Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://reputationradio.yooco.org/

Reaper In Sicily – Islands

Reaper In Sicily Online Promo Shot

Listening to the debut album from Reaper In Sicily who cannot help wondering and going as far to suggest that the band has all the ability and creative strength to become Britain’s alternative to Billy Talent. Apart from strong whispers of the Canadians in sound across a lot of Islands, the quintet also has the same skill and invention in landing a mighty punch with their sound whilst seducing with melodic imagination and inciting the passions with anthemic crafted vocals and hooks. The ten track album is excellent, exceeding the promise earlier single Horizons suggested and setting the Aberdare band as one of the most exciting and promising emerging rock bands.

Reaper in Sicily began in 2009 and with a sound which has been compared to the likes of The Blackout and Rise Against and a potent and lively live show, soon became the winners of the unsigned live act in Kerrang! Magazine. Their debut single We Are The Show garnered strong responses and widespread play on TV and radio across the UK but then in 2010 guitarist Matthew Jenkins diagnosed with leukaemia taking the band on hiatus until he was able to return, which thankfully he did later the same year. Two EPs swiftly followed to continue the rise of the band as well as successful appearances at both the Reading and Leeds festivals and supporting and playing alongside the likes of Kids In Glass Houses, The Subways, Max Raptor, Attack! Attack!, Mallory Knox, Hawthorne Heights, Fightstar, The Xcerts, Straight Lines, I Spy Strangers, Evarosa, Hildamay and many more. Islands was recorded in the closing weeks of 2012 with Romesh Dodangoda (Funeral For A Friend, Kids In Glass Houses) and as mentioned the release of Horizons set up a urgent anticipation for its debut though even that hunger we would suggest did not expect such an impressive encounter.

The Prisoner sets things ablaze with dawning caresses of guitar before shrugging off any restraint to open up sinews and melodic Reaper In Sicily Album Cover Artworkpersuasion framed and veined by the firm hand of drummer Damon Miles’ beats and the rumbling tones of the bass of Mike Evans. With energy flowing freely and attention fully captured the guitars of Jenkins and Jonny Chappell carve a distinct and captivating character to the song whilst the excellent expressive tones of vocalist Rhys Bernardo drive the ride with slight squalls within his enticing delivery. The song is an immediate draw which without lighting the same depth of fire as following songs, sets the listener up to eagerly embrace what is to come.

The following 50 raises the bar again with muscular riffs and strongly beckoning grooves casting their temptation over senses and passions. The tight craft and melodic enterprise reminds of bands such as The Blackout and even Avenged Sevenfold whilst the punk snarl edges things with hardcore confrontation. Once it makes way for Down But Not Out it finds itself outplayed whilst the album continues to get better and better. The third song builds on the base of its predecessor to expel even stronger scowling venom and caustic winds within ridiculously infectious enterprise and sounds. Into its stride the track takes its recipient on a riotous dance with moments of bruising attitude and exhausting passion which again cements and accelerates the growing presence and promise.

The single Horizon still impresses as it did on its unveiling, thumping rhythms alongside the thick tones of the bass wrapped in fiery guitar washes thrilling whilst Bernardo lights another emotive heat to engage and entice things further, whilst the likes of Old Dogs and the title track romp and emotively stroll respectively to weave continuing creative textures and calls before thought and heart. It has to be said that there is a similarity to the surface sound of many of the songs but with the invention beneath and accomplished polish of its shine it is not an issue and will evolve out ahead as the band mature.

The tail of the album is its most impressive as Islands continues to get even stronger song by song. Sunnydale Sucks encloses the ear with addict forming riffs and a varied bluster of vocals, coarse and melodic, which enslave the imagination whilst the guitars bound it all in sonic teasing to set richer flames in their fire. Then Boys Will Be Boys comes in to steal top honours with its furnace of passionate vocals, virulent melodic contagion, and energetic imagination, every second a bouncing and incendiary companion uniting for a fervour crafted triumph.  Those Billy Talent references are at their most inviting at this point of the album with both The Catalina Wine Mixer and the closing Chuck Norris Got A Chainsaw making their thrilling interpretations. Both songs leave a breathless appetite rife which immediately snatches at the play button to enjoy the outstanding album all over again at their completion.

Islands should and will be a trigger to an unbridled new sea of attention and acclaim for Reaper In Sicily and it will be all deserved we can assure you. Check out the album and remove any doubts the very best way.

www.facebook.com/reaperinsicily

8.5/10

RingMaster 10/06/2013

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Reaper In Sicily: Horizons

   Reaper In Sicily Promo Shot

    Combining powerful and contagious energy with intensive melodies and squalling passion, the new single from UK rock band Reaper In Sicily is a potent lure to their debut album Islands due for release in June. The album has been the focus of strong anticipation and the first single from it, Horizons certainly does nothing but cement the strength of expectations and intrigue for what it will unleash.

Formed in 2009, the Aberdare quintet took no time in making a mark, the band winning the best unsigned live act award in Kerrang! Magazine. With a sound which has been compared to the likes of The Blackout and Rise Against, their first acclaimed single We Are The Show received strong radio play and its video good TV exposure. Unfortunately in 2010 guitarist Matthew Jenkins was Reaper In Sicily Single Cover Artworkdiagnosed with leukaemia so the band went on a hiatus until he was well enough to re-join and play with them again. On their return they lit up the Reading and Leeds festivals with impressive performances and continued their growing stature with the Eden EP. This was followed with equal success by the Chapters EP and extensive tours around the UK with bands such as Kids In Glass Houses, The Subways, Max Raptor, Attack! Attack!, Mallory Knox, Hawthorne Heights, Fightstar, The Xcerts, Straight Lines, I Spy Strangers, Evarosa, and Hildamay. The end of 2012 saw Reaper In Sicily enter the studio with Romesh Dodangoda (Funeral For A Friend, Kids In Glass Houses) to record Islands with Horizons the first striking piece of enticement.

The single takes mere seconds in filling the ear with thumping rhythms from drummer Damon Miles accompanied by the thick tones from the bass of Mike Evans. This potent core is wrapped in fiery guitar coaxing from Jonny Chappell and Jenkins their instinctive sounds caressing and provoking in equal measure. With the expressive vocals of Rhys John Bernardo bringing their emotive lilt to the enticing encounter, there is a continual strength of variety and passion to the song which alongside the thoughtful songwriting, enthralling weave of inventive, and emotionally heated sounds ensures a full engagement with its heart and inviting surface.

The song is catchy without being obvious and intensive without losing its melodic fluidity and richness. Arguably the song also lacks a truly distinct voice to step far from other similarly forged bands but such its strength and imaginative intent it is right now certainly not an issue. Most importantly the fine song leaves no option but to investigate Islands upon its release and keeps the rise of Reaper In Sicily boiling nicely.

https://www.facebook.com/reaperinsicily

7.5/10

RingMaster 22/03/2013

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

http://www.audioburger.com

 

The Elijah: I Loved I Hated I Destroyed I Created

Whether the expansive and impressive sounds of UK band The Elijah find a welcome in the heart or not one cannot help but be stunned by the expansive and creative might the quintet possess.  It is safe to say they will not be a band for everyone but they certainly are not one you can ignore or forget. I Loved I Hated I Destroyed I Created is their debut album which at times is as equally challenging as it is deeply enveloping and emotively inciteful. It leaves one rich in thought and grasping for support before its magnetic beauty and intrusive and destructive veins. Arguably not an album to see off or dispel any black shadows within, in fact one wonders if it should come with a health warning for such dark times, it clasps the senses with epic weaves of compulsive ambience and striking textures. There is a haunting breath permeating every note to ignite emotions and thoughts incessantly whilst the music wraps itself around the ear with sheer quality and imagination veined with a kind of self harming intensity.

The Elijah according to the promo sheet with the album was “determined to make a record that sounds like no other”. The North Shropshire band certainly achieved that and though you could cite bands which have taken a similar premise as The Elijah it is hard to bring to mind many as dramatically successful and as startlingly powerful. The past year has seen the band leaving audiences breathless as they shared stages with the likes of Hope Dies Last, Matyr Defiled, Liferuiner, and The Bled and the band is on the back of the album, destined to again ahead as the five piece head out on tour with As Cities Burn in July and Hawthorne Heights in September and October.

Removing themselves to an abandoned mansion in the Shropshire countryside that feeling of isolation is felt throughout the ten tracks on I Loved I Hated I Destroyed I Created. There is also inspired rightly or wrongly, thoughts and emotions borne from despair and desperation as the tracks play like a soundtrack to enflamed shadowed passions to wonderfully encroach either tenderly or with a fuller intensity on the heart.  The songs from the opening In Misery through to the wrenching closer I Created are a sonically soaked emotional wave upon wave of sound, all carefully and diversely  shaped and flavoured but with an overall seamless presence. Like the way feelings and thoughts evolve through varied states within a deflated or elated heart the songs shift and expand within one album long emotive consumption.

The likes of I Loved, In Fear, and In Death combine inner peace and ignited harsher shadows wonderfully and though most songs stem initially from the quiet into dangerous and incendiary states they are brought with distinctly varied and gloriously imagined invention. The smooth vocals of Mike McGough are stunning throughout, the singer/guitarist marking himself as one very accomplished and expressive vocalist. Combining with him and bringing the corruptive element of the sound is Dan Tomley, his disruptively harsh delivery fuelling the dark and near violent shades of the album. From personal preference his delivery at times threatens to permanently distract from and spoil the beauty in the songs to leave one longing for a different or better control on his part, though saying that he more than adds to the anguish and distressed emotions during songs perfectly.

The highlights of the release come in the shape of the simply irresistible and majestic instrumental In Regret where the pure class and beauty of the band in play and composition is at its height and the unnerving emotional dissection which is I Hated. Both have a resonance and atmosphere which not only erupts the senses and mind into sparse thoughts but linger to continue inciting ideas and feelings.

We cannot say I Loved I Hated I Destroyed I Created is one of our favourite releases so far this year but it is definitely one of the most skilful and imaginative let alone provocative to treat the ear. The Elijah from this impressive opening is a band destined for global appreciation and acclaim. This album might not be the right key but it will happen.

RingMaster 26/06/2012

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