A slow burner which takes time to getting going in some ways but emerges as a quite tasty slab of adventurous rock ‘n’ roll, Silence Is Acquiescence suggests the UK has another highly promising proposition in its rock scene under the rather cool name of Wolfetone. The release loudly hints that this is a band we should definitely be watching out for ahead, and with its rampant potential and increasingly persuasive songs, the band’s highly enjoyable debut album suggests why wait, a sentiment we can only concur with. It is a attention holding start to Wolfetone’s persuasion on a national spotlight, one with a few things needing ironing out ahead, but a collection of dynamic and exciting songs which do what all encounters should, leaves ears eager and satisfaction full.
Hailing from Northampton and Milton Keynes, Wolfetone has taken little time luring in eager support and attention through a live presence which has seen the band pick up highly favourable reviews and increasing acclaim whilst sharing stages with the likes of Heart of a Coward and Scholars. Their dynamic mix of alternative and melodic rock is bred with inspirations from bands like Billy Talent, Sikth, Protest The Hero, Foo Fighters, Reuben, and Hundred Reasons but as Silence Is Acquiescence shows, but it is a sound with its own emerging and distinct personality as shown by the album.
It opens up with Blame Culture, a track which personally did not grab as quickly or fully as following songs subsequently do with greater ease. In saying that once the big healthy bassline showed its lure and a potent wiry hook bound a flame of riffs, the track certainly had interest and appetite engaged. In hindsight it is a relatively low key song in comparison to many of its successors, but doing enough to tempt and certainly showing the strength of the band’s songwriting as well as their individual and united skills. The firm and punchy rhythms of Baz Woodsford and the increasingly alluring dark throated tones cast by Ollie Young’s bass make the strongest impression in a song which ultimately lacks the spark to ignite personal tastes. That success though is swiftly solved by the following Tanks, a vibrant and immediately striking slice of melodic rock veined by another spicy bassline and a potent blaze of enterprise from the guitars of Andy 
Simmons and Dan Moloney. There is also a pop punk contagion to the stride and chorus of the encounter, offering a dynamism lacking in the last song which in turn feeds a new energy in the craft of the band. The vocals of Moloney also have a new lease of life, ably backed by the rest of the band in a three pronged harmonic adventure.
Born Human steps up next and is similarly loaded with an eager attitude and adventurous nature; the album in full swing now and providing all the proof as to why Wolfetone is beginning to stir up a buzz. The prime hook of the song is a tangy temptation too which steals the show from equally robust and tenacious elements within the seriously catchy proposition, whilst the changing gait of the song adds to the easily accessible but unpredictable nature of the track.
The feverish Enemies with its emotional intimacy and thumping heartbeat has ears and imagination greedily involved, a tempting reinforced by the excellent slip into melodic and harmonic calm with just an edge of angst. It is a passing breath though as the song is soon flexing creative and rhythmic muscle as hooks bite and melodies flame over the captivating frame of the song. Another highlight of the album, it is matched in success by the impassioned drama of Lost Boys, where guitars and voice create a colourful scenery of lively melodies and reflective emotion respectively, and the punkier exploits of Milton. An immediate favourite on the album, the track stands toe to toe with the listener through abrasing riffs and bracing rhythms whilst vocals croon and hooks spread infectious enterprise. Once more the bass Young feeds instinctive likes as if it already knows what the listener wants, his growling instrument the darker intimidation of a song which is prepared to brawl but would rather rigorously party with the listener.
Another highlight of Silence Is Acquiescence seduces straight away, The Constant a song which is happy either stirring up a tempest of sound and endeavour or laying warm melodic hands on the senses, and does both with invention. There is certainly a depth to the sound and songwriting of Wolfetone which is untapped but hinted at throughout the album, this song the strongest evidence of that further promise and potential which we will hopefully be exploring over future releases.
The album is finished by an acoustic version of Blame Culture, a wholly captivating offering with bewitching strings, but one which does emphasize the only issue with Silence Is Acquiescence, and that is the production on the vocals. Less prominent on the first couple of tracks but increasingly obvious as songs pass by, the excellent voice of Moloney and the supporting tones of the band come in a hollow embrace. It is a slightly cavernous effect surrounding them which is almost as if the vocals were recorded in a large cold bathroom rather than where the rest of the songs were laid down. The fact it cannot stop the songs making such strong impressions is testament to the band and the writing but it does just temper and stop an impressive debut from being a truly striking introduction.
Nevertheless Wolfetone has set down a potent marker and base for their next steps, and bred a definite appetite for their highly enjoyable sounds with their impressive release.
Silence Is Acquiescence is available from February 23rd @ https://itunes.apple.com/gb/album/silence-is-acquiescence/id955979528 and through all stores.
https://www.facebook.com/wolfetoneuk
RingMaster 23/02/2015
Copyright RingMaster: MyFreeCopyright
Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from http://www.thereputationlabel.today
Dessent. It is not long before thoughts find a Hundred Reasons spicing to the already hook spilling encounter whilst the thicker more intensive tenacity of the song hints at a Reuben flavouring. It is soon a dramatically striding proposal, vocals full of expression and purpose whilst hooks and a great heavily voiced bassline contrast as they add choice temptation and shadows to the song respectively. From start to finish, the song is an adrenaline driven anthem leaving feet and senses breathless and appetite greedy.
and short grooves add to the appealing and raw texture of the song whilst the vocals offer a potent expression and raw honesty to the proposition. A healthy punk antagonism crowds ears and riffs too whilst there is an alternative rock invention to the twists and turns the song seamlessly strides through.
It is not stretching things to say there has been a fair amount of anticipation for the debut album from UK melodic hardcore band We Are Fiction, an eager appetite spawned by the band’s singles and impressive live performances. Consisting of eleven vibrant and skilfully crafted confrontations, One For Sorrow does not let hopes down even if maybe it does not ignite as many fires in the passions as expected. It certainly expands on all the promise laid down before, spawning even greater potency for future horizons whilst unleashing a few special moments for the now.
riffs and rhythms. With inviting flames of melodic invention offering their persuasion the song has the listener immediately engaged and ready for the fine vocals of Phil Barker backed by the harsher tones of guitarist Marc Kucharski who bring further passion and enterprise to proceedings. There is nothing openly ground-breaking about the song but with a great blend of raw and seductive elements uniting for an energetic expressive storm the track is an imagination stroking entrance.
bass before it is all intensified with a blaze of sinew driven energy and adventure. Courting the senses with its swagger the piece is a magnetic lure to the album and immediately shows the prowess and skill of faltered in creating imaginative and addictive sounds. It’s relatively gentle temptation is then pushed aside by the muscular Fortune Favours The Needy. Again drums lead in the charge with discord lit almost post punk like slashes of guitar and noise rock rapaciousness assaulting the ear. Instantly thoughts of Reuben make their call but the brothers then keep the listener off guard by slipping into a melodic alternative rock restraint which they swiftly shift between and entwine into a pleasing and intriguing emotive narrative. It makes for a strong and rewarding start to the album which has the appetite hungry for the next song.