VNDTA – Pale Glow

The moments of being truly bowled over by a release or ‘new’ band, introduction wise, seem to be far and few between right now but leave us on our backs with jaw wide open with exhilarated awe is just what British metallers VNDTA did with their debut EP, Pale Glow. With a sound which manages to caress and seduce whilst ripping out and feasting on the senses, the Hertfordshire quartet have just announced themselves as a real big deal.

Though formed in 2015, it was 2017 which saw the band really worry attention and acclaim as they shared stages with the likes of Aghast, Vanity, King Leviathan, and Confessions of a Traitor as well as a host of their own headlining shows. To be honest, Pale Glow is actually our introduction to the band and there could be no better a way to meet them and form a lustful union between music and ears.

Like a fusion of the raw aggression and spiteful trespasses of Iwrestledabearonce and Otep with the virulent catchiness of No Doubt and The Cardigans, the VNDTA (pronounced as vendetta) sound swiftly reveals itself within their latest encounter to be as unique to the band as you would wish. Tagged as alternative metal it embraces a host of other metal and punk flavours in its cauldron of intimation and intimidation. The recording of Pale Glow came within a turbulent time, vocalist Megan Targett admitting that “Recording the EP was probably the most difficult week of my life. We were broke, spent weeks living in my car; I ended an abusive relationship and lost a family member. But it didn’t stop me. We used the pain to fuel raw passion into the vocals and the music.” That passion is clear to hear as the EP’s tracks devour and arouse second by second.

From the moment the EP’s title track looms right up from its distant entrance attention was not only hooked but chained to what was to follow. Wiry tendrils of guitar wrap around ears immediately, senses slapping beats alongside and once the first track hits its voracious stride and the vocals of Targett unleash their incitement, the deal between lust and the devil’s music roaring from the speakers was done. Swiftly the singer impresses with a throat abrasing attack and venomous delivery but it is when she breaks into a glorious clean delivery that realisation at her talent is inescapable. Before then guitarists Callan Hughes and Jay Bacon gnaw at and chew on the senses, twisting and turning with grooves as their hooks pierce with imagination as the swinging rhythms of drummer Willem Mason-Geraghty infest body and spirit just as potently. The track is immense and no better way to succumb to the first abusive seduction of VNDTA.

Well we say that but the highlights just flood ears thereon in, the following Excuses a feral yet skilfully honed temptation as contagiously infectious as it is violently manipulative. Targett croons first this time, harmonically enticing as the band spin their creative web. There is of course a constant growl in the throat of singer and song, one subsequently erupting with carnal designs though still with melodic veining and atmospheric suggestion for inventive company. Involvement in voice and attitude is unavoidable as too with next up Swine, a tempest of contrasts and intensity amidst the drama of the imagination. Another as wickedly catchy as it is uncompromisingly gladiatorial, the song is another which just stirs body and spirit.

The visceral and physically twisted enterprise of Martyr is a sonic virus, getting under the skin and into the psyche within a few insidious breaths from where it burns and seduces with toxicity and beauty, again pretty much simultaneously as the sounds abound the senses with antipathy and infectiousness as Targett again simply exhilarates. The suggestive calm which bridges it and successor Rare Breed is magnetic yet soon in the past as the following creative escapade erupts. Again a tapestry of flavours and intrusion descends on ears and once more pleasure is swift and continuous. From voice to sound, melody to rhythm the song is a mercurial adventure rewarding at every twist and tempting at every turn imagination, unpredictability fuelling every moment.

Emotion and passion equally soak every breath and note, the final pair of Leeches and Virus blossoming with both. The first is carnivorous from the off, music and voice an intrusive animus but instantly as catchy as the lighter harmonics which intersperse the tempest of technical, extreme, and grooved endeavour with a fine line in progressive intuition. The track is yet one more immense moment within Pale Glow, a predator of the finest incitement pretty much matched by Virus. Straight away it gets under the skin though maybe no more than its other striking companions, but by the twist and turn it digs deeper and becomes more toxic and intoxicating but similarly graceful as it revolves its attack.

The excellent encounter completes the outstanding release, a nationwide introduction surely leading to bigger, broader, and richer things much as their sound blossoms across its length. Once in a while a band really excites, at the time and for things ahead. VNDTA has us drooling and we can only say go see why.

Pale Glow is out now, available @ http://vndtashop.bigcartel.com/

https://www.facebook.com/VNDTA/    https://twitter.com/VNDTA_OFFICIAL

Pete RingMaster 17/04/2018

Copyright RingMaster: MyFreeCopyright

Where Giants Once Stood – Live Above EP

WhereGiantsOnceStood-Promo-LoganLights-1-HiRes

The word in the ear before making our introduction with Canadian metallers Where Giants Once Stood through their new Live Above EP was that this is a band striding the lip of major things. Having been buffeted and captivated by their new four track proposition it is easy to see why the keen buzz around the Toronto quartet. The release brawls and seduces with equal success and potency, its tracks each an unpredictable and exhaustive adventure which lingers to inspire swift and regular returns to their persuasion. The band merges a wealth of styles and flavours into their imagination igniting metal and though some tracks excel with the passions stronger than others, there is no escaping the constant magnetism and voracious enterprise of the band.

Drawing ever increasing attention and acclaim through their live shows, which has seen them share stages with bands such as Born of Osiris, Veil of Maya, Chelsea Grin, Iwrestledabearonce, and Beartooth, Where Giants Once Stood made a powerful mark with The Changing EP. It set the band out as having the potential to ignite major fires within metal and Live Above does nothing to deter that suggestion, instead pushing the band’s sound and presence to even richer heights. Produced by Jon Howard from Threat Signal, the EP roars with passion and invention from its first breath, driven by metal which is as transfixing as it is aggressively bruising.

New single Living in Security opens up the fury, its heart soon raging from within the initial sonic coaxing which starts the track off. Riffs swiftly create an imposing wall of vicious stabs aligned to the hostile beats of drummer Austin EP COVER - Where Giants Once Stood - Live Above 2014Hamilton, before exploding into a magnetic stride with a swing to the grooves and rhythms and raw passion to the vocals of Reshaun Page. It is a blistering persuasion which continues to twist and evolve with every passing stretch of chords and sonic endeavour, and increase in temptation as the impressive angst soaked squalls of Page pass over parts of the song to the outstanding clean vocal tones of guitarist Jordan Turnbull backed as potently by those of rhythm guitarist Scott Major. Entwining melodic and progressive bred metal with metalcore ferocity and antagonism, the song is as resourcefully contagious as it is dramatically sculpted, Turnball igniting its air and canvas with some delicious and exceptional creative string skills.

Every second of the track is an imaginative and startling emprise, never allowing thoughts and expectations to settle. It is as much an impressive part of the song as the sounds themselves; that ingenuity continued with Illuminate and subsequently the rest of the release. The second track makes a less hostile entrance, mellow croons casting the first tempting before Page rages impressively from within the swirling warm maelstrom of sound. Expanding with tempestuous animosity and seduction combined, the song squalls and seduces with its emotive and physical turbulence whilst engrossing ears and thoughts with the tenacious skills of each member. Maybe without the final spark which makes its predecessor so incendiary, the track still sparks another vein of hunger in appetite and emotions before drifting off for The Damaged to begin releasing its sonic lures and voracious narrative. A virulent infectiousness roams the chorus whilst a spiteful but riveting toxicity soaks every scarring riff and syllable of the vocal malevolence. As by now expected, the song moves through more revolutions and curves of sound and ideation than a swing door, again thoughts bewitched by the entwining strands of widely varied metal weaved into the masterful and irrepressible incitement.

The release ends with the exceptional Myths Lies And Crimes, a track which is mouth-watering in its tapestry of sound and invention. At its core, the track is like a meeting of August Burns Red and Trivium under the influential potency of My Chemical Romance at their early best. It is as fascinating as it is dominating, a sensational encounter which like the EP as a whole, leaves ears ringing, thoughts full, and emotions greedy for more.

Whether the Live Above EP is your introduction to Where Giants Once Stood or the next instalment on the journey already embraced, it thrusts the band to a new dramatic and impressive status within metal. Canada’s creative sons could and should be devoured by the wide metal world thanks to the EP and if it is not now, certainly it is easy to expect it at some point in the near future.

The self-released Live Above EP is available now @ https://itunes.apple.com/us/album/live-above-ep/id907144882

https://www.facebook.com/wheregiantsoncestood

9/10

RingMaster 04/09/2014

Copyright RingMaster: MyFreeCopyright

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

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Hollow – Mordrake

Hollow - Press Photo

There are some debut albums which impress, some which raise a depth of excitement sparking a long term connection, and then there are some like Mordrake from Canadian death metallers Hollow which simply have you shouting feverishly from the rooftops. The release is an extraordinary maelstrom of startling invention, mouthwatering imagination, and enslaving hostility which simply blows thoughts and passions away. There has been talk of great things about the Montreal quartet from their live performances and previous release, the six track EP Cynoptic Eschaton, but it is fair to say we were not expecting something so devastatingly brilliant for our first introduction to the band.

Formed in 2009, Hollow has earned a fine reputation and potent presence across Québec and Ontario moving across their homeland through their live incitements which has seen them excel alongside the likes of Voïvod, Suffocation, Sword, Jungle Rot, Iwrestledabearonce, Blackguard, The Agonist, Beyond Creation, Marduk, 1349, Tyr, Orphaned Land, and many many more. Cynoptic Eschaton drew further strong acclaim and attention with its release in 2010 which Mordrake is sure to emulate in much greater strength and expansion. Bringing new character to some of the tracks on the previous EP and plenty more new breath-taking encounters within its twelve song body, the Kevin Jardine (Slaves on Dope) produced, with Dan Lauzon (Entropy) and the band, album was recorded with an uncluttered ‘analogue’ like approach which brings a raw and honest dimension to the proposition allowing music and individual craft to paint a stunning fiercely textured adventure.

Opener Lament Configuration emerges upon a sonic prowl which is almost lumbering in its gait and thoroughly engrossing in its Album Cover - Hollow - Mordrake 2014 - smallsearching sonic exploration over the senses, the fingers and strings of guitarist Cadaver already capturing firm attention. Pungent rhythms add to the portentous tension brewing within the dramatic coaxing whilst orchestral melodies and harmonies soak the oppressive atmosphere lying thickly over the evolving scenery. Eventually the band step from the initial evocative smog with a surging stride of riffs and concussive beats from Blaac which vocalist Mott roars over with every muscle of his malevolence. It is an impossibly contagious charge which is just as compelling in its imaginative twists and enticements, not forgetting individual skills, as in its turbulent catchiness. The track is the thrilling declaration of things to come, a tempest of bewitching ingenuity and lethal aggression within a blackened pestilential beauty of sound and creative intent.

It is a staggering start which both Cryptic Howling and A New Life explosively reinforce. The first is a voracious torrent of rhythmic rabidity matched by an unbridled hunger in riffs and outstanding vocals, Mott gloriously unpredictable in his venomously corrosive varied delivery. Within the scourging onslaught, bassist Snow finds an even more intensive bestial voice from his strings to add to the hellacious web, a tone which is as at home sculpting a carnal texture to the vitriolic attack as it crafting deliciously haunting lures to the enthralling melodic hues which seduce robustly later in the track. The track is a severe examination of senses and psyche with more riveting rewards in its single body than most death metal bred albums offer across their full lengths, a treat repeated by its predecessor. Entwining ears in a climbing vine of sonic imagination which is soon under a tsunami of pungent antagonistic intensity and ravenous enterprise, the track adds to its surprises with contagious grooves which lead to a heavy metal endeavour beneath a symphonically seeded elegance. This is all around a heart which is predatory in the extreme and soaked in a simply irresistible rapacious appetite.

It should be noted that whatever description tracks are given here they only hint at the whole picture, so much going on and being sculpted that it is impossible to truly represent their brilliance and impossible to take all in on just a few encounters ensuring the album is a constantly giving proposition with every assault. The next up rampage of Landscape is instant proof, its ferocious vehemence in sound, vocals, and imagination a senses eroding, thought provoking ruin which wrongs foot with majestically flighted harmonies of keys casting seducing melodies. As ever it is just a twist in the soundscape of the song’s blisteringly shaped and exposed narrative, the track a purposeful sublimely designed meander that chains mind and soul from start to finish, whilst lorded over by the just as impressive vocal diversity of Mott, more of which coming later.

The pair of Iscariot and Sunriser throws senses and imagination into further exacting furies, both again intensive weaves of addictive hooks and toxic grooves upon exhaustingly adventurous and demanding canvases. As with every track on Mordrake, each is a distinct individual with the first finding a poetical grace in the keys within a uncompromising plague of voracity whilst Mott brings a brief but just as impressive clean twist to his vocals amidst another range of guttural and poisonously squalling growls. It is a glorious track which is followed by the just as staggering triumph of Sunriser, clean vocals given another outing whilst standing in a storm of demonic toxins from the raw throat of the frontman. The bass of Snow is also a real highlight in the foreboding drenched climatic air of the song, though to be fair to all the encounter is a scintillating blur of inventive animosity and imaginative pestilence for which all deserve the outmost credit.

     The emotively driven Vlad comes next, a track we assume inspired by a former band member from the band’s first days who passed away unexpectantly. With keys and violins an insatiable seduction, the song is another which rabidly suffocates as it inflames senses and emotions before making way for the provocative epidemic of sound and fascination that is Anomie, a track bringing orchestral flumes into an entanglement with heavy metal wantonness; keys, bass, and guitars conspirators in a savagely hued, magnetically cultured creative virus.

Generally in an album so incredibly gripping and awe striking there are going to be lulls or weaker moments but honestly Mordrake holds no such inventive languor, the following innovatory alchemy of both the chilled Snow where those cleaner tones of Mott are given extra time and the hypnotic maze of Birth, rhythmically and sonically as spellbinding as anything on the release. The same applies to closing tracks Hate and Death, two final incendiary expanses of fertile minds and musical ingenuity.

Mordrake is simply remarkable, one of the most promethean debuts in a long time and certainly within death metal this year, though Hollow have a sound and presence which you cannot confine to a single genre or singular mind-set. A brilliant album from a brilliant band, what more do you need to know?

The self-released Mordrake is available via http://hollowcanada.bandcamp.com/album/mordrake

http://hollowofficial.com/

10/10

RingMaster 30/05/2014

Copyright RingMaster: MyFreeCopyright

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

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When Reasons Collapse – Full Of Lies

When Reasons Collapse Promo shot

Hailing from Paris, When Reasons Collapse brings their own inventive take on deathcore with the release in the UK of their Full Of Lies EP. Aligning melodic death metal and metal core into a potent enterprise, the French quintet through the seven tracks making up the release, whilst not standing as a unique presence in the genre and the wealth of new metalcore cored bands around, bring more than enough to suggest it is only a matter of time before they step into that type of stature whilst simultaneously raising strong appetite for their debut album due in 2014.

Formed five years ago, When Reasons Collapse has built a strong presence and reputation at home, a pair of two self-produced EPs earning critical and fan acclaim alongside as their explosive live performances. Now the band has its sights on the British metalcore scene and it is fair to say you would not bet against them making the same strong impression even amongst the amount of similarly clad bands already trying to seduce the passions here. With a sound seeded from the likes of Heaven Shall Burn, All Shall Perish, and The Black Dahlia Murder, and fronted by the great squalling tones of Christina, it makes for an instantly intriguing and satisfyingly rewarding proposition.

It is unlikely that Full Of Lies has enough to truly set the band apart right now even as good as it is, but as the septet of brutally When Reasons Collpase - Cover Artworkconfrontational and imaginative songs take their swipe at the senses it sparks the suggestion that their album has potential to if it evolves the strong and pleasing groundwork found on the EP. Starting with Another Beginning the release teases at first, the opening instrumental not really true indication of things to come for newcomers but certainly an accomplished and hue soaked welcome that awakens the senses and imagination ready for the following onslaught firstly brought by Another End. The track takes a mere moment to offload testy riffs and antagonistic rhythms all primed to welcome the emerging carnivorous core of the song and the caustic vocals of Christina. Her tones have a Krysta Cameron (ex-Iwrestledabearonce) persuasion about them and lie perfectly within the metallic malevolent tempest crafted by the excellent guitar work and bass predation. It is a striking start if not exactly a full enslavement of the passions but one which already marks the band as one to offer full attention to.

The following Wounded seizes the brief pause between tracks to brew up a similar but individual enough torrent of raging riffs and barbarous rhythms again ridden roughshod by the excellent vocals. Like its predecessor the track also finds nothing to lift it above its companion or other creatively like-minded bands yet with the fine guitar craft and venomous intensity there is nothing to lose hunger over or dismiss. That wanted uniqueness is found in its successor though, the exceptional Made Of Stone. Pissed off from its first second with vocals and rhythms searing and punishing the senses respectively and the guitars bringing their own corrosive fascination, the song just draws on greater strength and accelerates its qualities with each passing press of time. Contagious and demanding the track slips into a midway lumbering gait which with a weight as greedy as the rapacious attack seems to ignite something deep within band and song with the sound finding even greater maliciousness amid a richer blaze of vocals from Christina and band that is enthralling and diverse.

Will To Die and the title track rip into the ear with crippling drum provocation and sonic entanglement stalked by the strong if not jaw-dropping bass sound. The first of the two never settles into a single or determined intent instead pleasingly leaping around with inventive and unpredictable imagination whilst the second casts a vindictive and ravenous expanse of vitriolic fascination around the riff and rhythmically sculpted savagery leading to even stronger assumptions about the promise and future of the band, though the pair of songs still fall below that central pinnacle of the release.

The scathing barbarous fury of Walkers In The Dark completes the EP in red-blooded style as the band unveils more scalding sonic craft and belligerent attitude. It seals the confirmation that When Reasons Collapse is a real force in the making and Full Of Lies despite not pushing the band to heights above others, one thrilling and promising release.

www.facebook.com/WhenReasonsCollapse

8/10

RingMaster 24/08/2013

Copyright RingMaster: MyFreeCopyright

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Fade Out – Welcome to My Hell

Fade-Out - Welcome to My Hell - 2013

Fancy being thrust into a caustic creative storm…an agitated squall of rapacious and voracious imagination? Then checking out Welcome to My Hell, the debut album from Russian band Fade Out is a must. Combining a core of alternative and nu-metal with varied abrasive extras, band and release create an encounter with is richly invigorating and enthralling whilst simultaneously being intrusive and corrosive. Whether chewing the senses or bewitching them with acid borne melodic enterprise the album conjures a stirring web of invention proving that certainly nu-metal is not quite an empty well yet.

Formed in 2007 in Voronezh, Fade Out initially started out with a gothic metal intent but soon the band decided to explore a heavier nu-metal sound. The following year saw their first single released, the song proving to be the last to be sung in Russian by the band and the final appearance on vocals of guitarist Roman “Dagen” Davidov. From this point Fade Out decided all future songs would be sung in English only, the direction easily accepted as the band added incoming vocalist Katerina Davidova to the line-up. With the autumn of 2008 came second single Don’t Shoot followed in 2009 by festival appearances and gigs, all strengthening the rising reputation and fanbase of the band. Late the same year though also saw Fade Out go on a lengthy hiatus though a maxi-single kept their sound and name in the thoughts and passions of fans. The line-up of Davidova, Davidov, guitarist Ilia Sysoev, bassist Roman Kurlykin, and drummer Evgeniy Yakunin returned in 2012 and immediately began gracing festivals and working on releasing their full-length debut, Welcome to My Hell.

From the exploratory kinetic maelstrom of the intro Fade-In, the album sets to work on the senses with the exhilarating title track. Immediately riffs are rigorously rubbing the ear whilst drums unleash a mesh of bone splintering rhythms and the bass stomps with equal hunger within it all. It is an instantly contagious invitation set ablaze by the emerged carnivorous charge of the track and the rapacious vocals of Davidova, her delivery impressive guttural squalls stemmed from malevolence and bestial invention. The track gnaws with insidious passion but throughout the onslaught is constantly evolving and twisting its back and imagination for an irresistibly captivating forage of the senses. There is diversity and skilled provocation to every aspect of the song, musically and vocally which preys on the ear with craft and devilment like a mix in many ways of Iwrestledabearonce and Spineshank.

The following I Realize continues the stunning start, warning sounds heralding its malicious invention. Heavy riffs and intimidating rhythms wrap viciously around its recipient whilst again vocally there is a tempest of aggressive passion. Into its stride the track shifts and swerves into further intriguing and rewarding adventures, sonic enticements and ingenious avenues that only light stronger rapture for what is offered. In its nastier aspects there is a feel of Otep to the ravenous provocation whilst where melodies bring their easier warmth it is hard to imagine rock any more satisfying.

The open diversity continues through the menacing and oppressively chaotic Jump!, the industrial spiced Don’t Shoot, and Five Seconds with extensive cleaner vocals being merged with again wonderfully coarse scowls, all the songs exceptional and impacting confrontations. Amongst them is another major highlight in the scintillating shape of Ultima Ratio. Once more the vocals crawl the range from melodic to vicious with skill and temptation whilst musically the song is an insatiable fire of classic rock, groove metal, and melodic endeavour which, like the album as a whole, gives expectations short thrift with its unpredictable and fully imaginative course.

The opening of Twitch For Threads is a delicious mix of a pit spawned throaty bass lure and the kind of sound which harkens the presence of a devil in Asian horror movies like The Ring, the subsequent passage of the song intimidating as it crawls through its and your darkest shadows with evocative vocals and addictively harmful essences. It is an excellent lingering ‘evil’ soon pushed aside by the outstanding Annihilation Tool, another Otep like toxin of predatory fervour and esurient addict forming excellence leaving the senses and heart a furnace of lust.

Completed by Пять секунд, the Russian sung version of Five Seconds, and the closing Три цвета (Three Colours)which features Davidov on vocals, Welcome to My Hell is a thoroughly exhilarating storm and hopefully the start of a constant and successful presence for Fade Out, metal and definitely nu/alternative metal needs this band.

10/10

RingMaster 20/06/2013

Copyright RingMaster: MyFreeCopyright

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The Charm The Fury: The Social Meltdown EP

The debut EP from Dutch metalcore band The Charm The Fury is an immense release that the more you listen the more impressive and satisfying it gets. Initial contact with The Social Meltdown EP is a stirring and aggressive pleasure that awakens the senses but it is with a few more persistent visits that the release fully offers up all its qualities and absorbing strengths. It is an instant treat that is also an increasingly fulfilling experience with each and every subsequent contact. The scary thing is the release easily suggests the band is not close to their creative peak yet to promise even greater and stronger notable moments yet to come.

Formed in 2011, the Amsterdam the quintet has already successfully shared stages with the likes of Textures and While She Sleeps. With a show with Unearth amongst others on the near horizon they have in a short time firmly caught the attention. It is easy to get carried away with debuts and shout out about the future from one release but The Social Meltdown is that impressive without being perfect that it is impossible not to expect and to anticipate some remarkable moments ahead from them. Consisting of vocalist Caroline Westendorp, bassist Lucas Arnoldussen, drummer Mathijs Tieken, and the twin guitars of Mathijs Parent and Rolf Perdok, The Charm The Fury leave one enthralled, breathless, and eager to feel more of their aggressive and creative hard sounds. The band brings a firm understanding and obvious skill in how to combine softer melodic aspects of music to intense and uncompromising sounds without spoiling or depleting either. There are many bands emerging with similar talents and ability but The Charm The Fury offer a striking undefined element as well as one of the more impressive vocalists to excite the ear.

The title track opens up proceedings and with no respect for formalities incites a riot within the ear with raging riffs and rampant rhythms plus the coarse tones of Westendorp blistering the flesh. The song surges with a caustic resonance and antagonistic intent to light up the senses easily. Instantly it is evident that this is metalcore with freshness and vibrancy that is rarely heard, a mesmeric light and dark pulsating swarm upon the person. For all the great sounds from the band behind you cannot move away from the skill and excellent voice of Westendorp, her ability to bring bone scraping venom and intensity in her delivery with a fine clean and radiant alternative is startling. The opener does not fully show her range and diversity concentrating more on her malevolent side but the following songs soon unveil more.

Virtue Of Leadership is a more intricate song with the guitars bringing more involved and diverse directions within its wall whilst still pummelling with commanding drums and a stern bassline. The melodic guitar play is impressive and at times dazzling as it opens up the track even further to make an eager companion rather than alternative to the tumultuous riffs and energy. The fullness of the clean vocals alongside her coarse attack lifts the song further though as with all the songs it is an aspect of and not the overriding thing which is important for its success. Westendorp reminds of Krysta Cameron from Iwrestledabearonce at times though with a stronger control and variation towards the even mix of aggression and smooth delivery.

The rampant Family Values continues the triumphant sounds as the release just gets better and better. The song is outstanding and riles up the emotions further with its intelligent songwriting and intrusive sounds. With the remaining brilliance of Dirty South and Bridges completing the release it is hard not to go overboard in praise but truthfully it is deserved with maybe only a similarity across the surface of the EP despite the inventive diversity beneath, the only thing one could offer up as not quite spot on yet and thus the promise of greater things ahead. Dirty South and Bridges both thrash about like wild stallions, muscular brewing power with a grace and class within that sets the band out from most other metalcore/hardcore bands. Dirty South alongside Family Values is the best track on offer though ask tomorrow and it might be another, The Social Meltdown that even in pleasure.

The Charm The Fury with their debut has announced themselves as a band on a sure rise to becoming a truly notable one. They and the EP are immense and deserve as much attention as they surely will get.

https://www.facebook.com/thecharmthefury

RingMaster 09/05/2012

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