Phoenix Rising – Ignite

Just a number of months into their existence, it is fair to say that Phoenix Rising is already creating a real stir with their rousing sound; their praise drawing presence and suggested success in the “Best New Artist and Best Metal Band awards at this year’s MXD MAG Rock and Metal Awards evidence. Plenty of reasons for the buzz around them are now clear to be heard in their debut EP, Ignite. Offering four slices of rap rock infused with nu metal, the release is an ear grabbing, potential soaked introduction bred on imagination and creative energy.

Emerging from an ad vocalist Kent Summerour posted on Craigslist, the Dallas hailing band arose to swiftly grab local attention, in turn quickly finding broader landscapes to impress. With the two prong vocal attack of Summerour and Scott Lathwood in front of the invention of guitarist Lee Deane, bassist Allan Kurt, drummer James Espinoza, and Mark Ridlen on synths, Phoenix Rising embrace the inspirations of bands such as Hollywood Undead, Skillet, Papa Roach, Killswitch Engage, Union Underground, Linkin Park and more. The latter is probably the one which most comes to mind across their first release but adding to rather than deflecting from the band’s already evolving into individual sound.

Ignite opens up with Do You Know, a piano drawing ears as rhythms rustle together in the background. Soon the track is fully to the fore, not forceful but certainly magnetic as synth and guitar cradle the rap and following clean vocal persuasion. Though it suggests it might, the song never quite explodes into the hinted furor but persistently entices with melodic caresses, vocal dexterity, and a mercurial rhythmic attack.

It is a potent start laying down a strong reason to stay involved with the EP with drama which is soon escalated within the following If I Say No. Immediately there is a more intensive feel and muscle to the song, metal essences lining its composed but impassioned roar. Once more Summerour and Lathwood create a great web of vocal attack and temptation matched by the hooks and melodic enterprise of their companions. As with its predecessor, it is hard to say that major surprises crossed ears yet neither did predictability or a lack of fresh imagination.

Open You Up continues the EP’s trait of building on the song before with bigger and bolder endeavour; the track a tenacious metal infused rock holler mercurial in its breath, persistent in its rousing incitement before easily the best track of the four descends on the passions. Lights Out immediately throws a thick rhythmic coaxing out so easy to jump upon; an initial shuffle before the main event which erupts and incites like a mix of Union Underground and Powerman 5000. Virulent in its hooks and traps, aggressive in its energy and dynamics, the superb track is brief, explosive, and reason enough alone to breed a hungry appetite for the band’s sound.

Ignite is the kind of debut you just have to pay attention to and anticipate bigger and bolder adventures springing from as the band grows, matures, and their sound finds its unique voice. The fuss around them already means Phoenix Rising will have plenty to live up to but the EP and especially its final track suggests they are more than ready or the challenge.

Ignite is out now @ https://www.phoenixrisingofficial.com/shop and other stores.

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Pete RingMaster 02/08/2018

Copyright RingMaster: MyFreeCopyright

Mid Reflection – Outcast

Reaping the rich essences of punk, rap, ska, and heavy rock for a sound which echoes the heart felt honest words it surrounds, UK quartet Mid Reflection have just released their debut EP. Outcast is a four-track incitement of creative intent and open emotion with plenty to please fans of those genres just mentioned and equally those looking for something fresh and hard to truly pigeonhole.

Drawing on inspirations ranging from Linkin Park and Sublime to Gorillaz and House of Pain, London based Mid Reflection emerged in 2016. In no time they were making a strong impression on the London and South East live scene, their reputation constantly increasing as they shared stages with the likes of Imperial Leisure, New Town Kings, and Karl Phillips. The Outcast EP is their introduction to broader attention and quickly incites that inescapable success with its opening title track.

An initial guitar melody wraps ears first, rhythms soon adding their inviting yet dark hues as frontman Matthew Bishop, aka 2T’z, raps his open reflection on some of the battles in life he has overcome. Just as quickly is an instinctive catchiness in sound and vocal delivery to which guitarist Martin Velicky spins a captivating web of melody as bassist Nathan Neumann provides a suggestively brooding shadowing. The beats of drummer David Bean add to the dark edge surrounding Bishop’s recollections of being bullied whilst Velicky’s guitar also carries a certain melancholy in its melody and defiance in its enterprise as the song makes an impressive start to the release.

Nevertheless it is soon eclipsed by the bouncing [Spunge]-esque ska pop stroll of Illusions. The track had ears and appetite hooked within seconds, its familiar yet individually fresh infectiousness and invention surrounding another lyrical probing inspiring fiery bursts of rock ‘n’ roll trespass. The old school punkiness which escapes some of its moments just adds to its strength and imagination, and the pleasure before Legalise It springs its own raw edged rock ‘n’ roll speared headed by the machine gun rap delivery of Bishop. With repetitive riffs and hooks, the song is not the most boldest on the release yet every thrust of its rhythmic incitement, blaze of sonic electricity, and roar of vocal carousing hits the spot.

Foes brings things to a close, offering up a thicker dose of The Kennedy Soundtrack spicing hinted at in the EP opener. Centred on betrayed friendships, the song is a melodic tapestry of emotion and intensity which seems to only further blossom listen by listen.

It is a great end to a release which may not forcibly put Mid Reflection on the ska/punk/rock map but will surely awaken a great many more to their presence and a rich potential which rather excites.

Outcast is out now through iTunes and Amazon.

http://www.midreflection.com/    https://www.facebook.com/MidReflection/   https://twitter.com/midreflection

Pete RingMaster 29/11/2017

Copyright RingMaster: MyFreeCopyright

Fallen Eight – Rise & Grow

FE_RingMasterReview

Fallen Eight is a Paris based quintet reminding all of the strength of the French underground metal scene right now. The band recently released debut EP Rise & Grow, a collection of songs gripping ears whilst being fuelled by attention grabbing potential. It offers six tracks which at times ignite the passions and in other moments leaves ears merely richly satisfied with the band’s unsurprising yet refreshing metal bred exploits, but from its opening second to its rousing last it only sparks a want to hear more.

Formed towards the rear of 2011 in Seine et Marne, Fallen Eight quickly set to writing and honing a sound merging the rousing essences of extreme and melodic metal with those of heavy rock. Within a year, they had the Paris music scene in their sights as locally they continued to be a potent live presence. Playing their first shows in the capital from 2013, Fallen Eight has gone from strength to strength in sound and support found, getting to the final stage of FallenFest that same year. The next year saw the band work on their first demo and open up for Black Bomb A while 2015 saw a line-up change within the band; vocalist Clément, lead guitarist Medy, and drummer JP joined by guitarist Florian and bassist Joffrey. That year ended with Fallen Eight having supported The Arrs and preparing for the release of Rise & Grow, which now is sparking a keen fuss and its initial teaser in the shape of the single Final Shot.

The EP opens with a bang, the band setting its stall out in sound and quality straight away with Reborn. From an initial vocal cry, quickly surrounded by feisty riffs and senses whipping rhythms, the track rumbles and growls; attitude and ferocity swift hues to the early Skindred like air of the song.  Almost as quickly its character evolves and expands as the band sweep across the senses with melodic tenacity without defusing their almost post hardcore meets melodic metalcore confrontation. Clément’s vocals impress as much as the musical craft and imagination revealed by the band, all combining for a powerful and thickly engaging opening to Rise & Grow.

EP Rise & Grow_RingMasterReviewThere is certainly some very familiar textures and essences to the song and indeed EP, but something to embrace as another flavour rather than admonish a song for as shown with Come From The Sky. Initially the second song caustically bellows with raw throated vocals to the fore but is soon in the process of weaving in clean harmonics and melodic imagination, subsequently alternating the contrasts thereon in. Whether the coarse vocals attack is also from Clément we cannot tell, the diversity suggests not, but whatever it is a major part of the band’s success and the enthralling tapestry of songs.

Leaving a Linkin Park feel in its wake, the excellent track is soon eclipsed by the EP’s best track, Final Shot. Its rhythms and riffs border the carnivorous, grooves and sonic enterprise the seductive, and all orchestrated by the outstanding and rousing vocal incitement of all involved. Listening to the track, you can visualise audiences swelling and rising as one to the track’s incendiary chorus alone, and especially the anthemic line incorporating the its title.

In some ways the EP is a proposal of two parts, the first trio of songs inciting the biggest reactions in personal tastes though that does not stop Breath Of The Ages making a powerful impact and keeping enjoyment on a lofty plateau. It just seems like the uniqueness of ideas are slimmer and less striking in the final trio, a spark missing, but as the fourth track reveals as it comes close to matching its predecessors, creative drama is as open and fascinating as ever. The irritability in sound and nature of the song is another virulent lure too with the vocals and individual prowess of all shining through.

Light prowls the senses next, its first riffs and grooves predatory before being reined in by a bluesy spicing to grooves and hooks as the band share some Avenged Sevenfold flavoured classic and heavy metal resourcefulness. It too has ears and appetite hooked before Worst Nightmare brings the release to a raw and ravenous close. The most aggressive and tempestuous track on the EP, its shows that Fallen Eight can savage the senses as skilfully and eagerly as they can seduce them with melodic imagination.

It is a fine end to a richly pleasing encounter from a band with the potential to indeed Rise & Grow to big things.

Rise & Grow is out now through most online stores.

https://www.facebook.com/FallenEight   https://twitter.com/FallenEightBand

Pete RingMaster 05/05/2016

Copyright RingMaster: MyFreeCopyright

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Create To Inspire – Home Is Where My Heart Dies

 

CTI_RingMasterReviewBuilding on the success of their debut EP, British melodic hardcore quintet, Create To Inspire, are poised to release its successor in the rousing shape of Home Is Where My Heart Dies. It is the band’s first offering since signing with Basick Records at the turn of the year; a pungent roar of emotion and imposing sound showing potent depths of invention and imagination beneath its impressing surface.

There are no major ground-breaking moments in the band’s new EP, the release more of a confirmation and expansion on the potential already offered by predecessor Halfway Home, yet predictability is noticeable by its absence while freshness in confrontational textures and accomplished craft is a persistent persuasion. From emerging in 2012, it is fair to say that the Essex hailing band has perpetually and increasingly drawn attention and praise their way; a success, it is easy to expect, set to reach another pinnacle with their latest release.

2014 saw the band win the Red Bull Studios Live At Download competition, subsequently playing alongside the likes of Aerosmith, Linkin Park, Avenged Sevenfold, and more, before the Halfway Home EP really stirred up ears and appetites. Since then they have toured alongside While She Sleeps and Giants, they particular highlights of a busy 2015, and following the release of Home Is Where My Heart Dies, Create To Inspire are set to make their debut tour into Europe in support of Skywalker, before returning to again hit the road with While She Sleeps. 2016 is looking another eventful year for the band starting here with Home Is Where My Heart Dies.

art_RingMasterReviewThe EP opens up with History and immediately has ears under a rhythmic cosh with predatory riffs for company. Thereafter the song uncages a tide of hungry riffs amidst the vocal ire of Sean Midson, subsequently expanding and blossoming its catchy rhythms and melodic endeavour with every lyrical snarl and sonic scythe.  The hefty swipes of drummer Luke Taylor continue to punctuate the track whilst inciting ears alongside the similarly intrusive tones of Dan Fuller’s bass. They also make a forceful impact on the senses whereas the imagination is held by Midson’s potent mix of attack and the web of enterprise cast by guitarists Jack Morris and Connor McLeod. The track is a potent start to the release; an ear grabbing proposal lining familiar hues and flavours with the band’s own stirring invention.

Counting Days steps forward next and instantly reveals its punk origins with its hardcore bred opening, a bracing bellow of voice and sound. Forceful as it is, the song also keeps one hand on the reins so melodic endeavour can flow seamlessly from within its brooding tempest. As aggressive and abrasive as it is melodically and harmonically infectious, the track is a striking roar of volatile and emotive intensity, and the EP’s strongest moment.

A gentle melodic caress brings Don’t Let Go into view next, its melancholic charm joined by the rawer expression of Midson’s vocals as beats land with determination. It is a highly suggestive start which is only accentuated by the infectious hooks and swinging energy which follows before the process is repeated with an even more irritable air coating the song’s subsequent energetic expulsion. It is another memorable encounter, maybe the one which lingers most from the EP though it’s title track has plenty of creative and catchy moments to its storm that hang around in thoughts and enjoyment.

It is another inflamed proposal of sound and emotion which masterfully shows off the vocal variety and sonic resourcefulness of the band , and the rhythmic imagination which steer the songs. As the EP generally, the closing track is not rich in ear catching surprises but has a multitude of alluring sounds and ideas in its equally pleasing body. Home Is Where My Heart Dies as a whole is an impressive continuation of the first Create To Inspire EP and confirmation that this is a band with the potential to make great strides within the UK music scene.

The Home Is Where My Heart Dies is released March 25th via Basick Records.

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Pete RingMaster 23/03/2016

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THE TiPS – TWISTS’N’TURNS

pic C_Helge_Tscharn

pic C_Helge_Tscharn

An album to get you dancing, thinking, and acting on your instincts, TWISTS’N’TURNS is a mighty reminder that its creators, THE TiPS, is a band you really need in your life, especially if reggae, ska, punk, and funk brings your ears and emotions to life. The third full-length from the German band, it is also their most eclectic and imaginative adventure yet and in turn their most rousingly enjoyable.

Hailing from Dusseldorf, THE TiPS was formed in 2009 by vocalist/guitarist/keyboardist Aljoscha Thaleikis after returning back to his homeland after spending some of his formative years in the United States where he was introduced to styles of music that he was previously unfamiliar with. Having explored the merger of flavours such as soul, ska, reggae and dub with the punk rock of his roots, his return to Germany led to the creation of THE TiPS. The band’s debut album High Sobriety was released in 2011 with its successor Trippin’ unveiled two years later, both to potent success. The past two years alone has seen the trio of bassist Philip Pfaff, drummer Janosch Holland, and Thaleikis play over 130 shows, the sharing of stages with band such as The Mad Caddies, Die Rakede, Ruts D.C., The Toasters, and Jaya the Cat amongst them. Now they are poised to stir up broader and stronger attention with the Alexander Beitzke (Jamiroquai, Ed Sheeran, Florence And The Machine) produced and Pete Maher (U2, Linkin Park, Lana Del Ray Nine Inch Nails) mastered TWISTS’N’TURNS; twelve tracks which swing and stomp whilst taken a bite at issues impacting on all.

The album opens with Birds in Trees, instantly clasping ears with vocal and melodic temptation before showing its sonic and rhythmic muscles. From that wall of energy a mellower but no less magnetic stroll emerges as the song saunters with its reggae bred gait. Thicker eruptions break throughout, grooves and spicy hooks adding to the welcome trespass before things relax into captivating calm again. It is a riveting persuasion, a rich tempting only blossoming further with the distinctive tones of Skindred frontman Benji Webbe who guests on the excellent start to the album.

THE_TiPS_TWISTSNTURNS_RingMaster ReviewThe following Leaving Home gently swings in next, its sultry sway aligned to the thick brooding tone of bass and gripped by the excellent vocal presence of Thaleikis. Impossible not to be hooked by its reserved yet anthemic chorus alone, the song has a By The Rivers meets The Skints nature which simply entices, a success matched by the seductive croon of Wasting Time. Similar spices line the infectious romancing of ears, as too an equally catchy and tenacious energy which soon has hips and voice in eager involvement. Both tracks are irresistible, easy going yet imposingly compelling proposals though both are overshadowed a touch by the outstanding Chosen Fool. Stabbing riffs collude with the grouchy bass to quickly excite ears; imagination and an already keen appetite swiftly inflamed by the Ruts like punk ‘n’ roll invention which also emerges to add fresh bite and attitude to the exceptional encounter.

The band’s punk heart is given full rein for Johnny’s Song next, another striking and virulent arousal of body and emotions carrying an essence of Russian punks Biting Elbows to it. Similarly THE TiPS brew flavours which hint at a Sublime/Living End link-up, but coming up with something distinct and incendiary to themselves. It is uniqueness just as apparent in the infectiously sultry funk infused saunter of If You Want To and the noir lit landscape of City Lights. The first glides through ears with a slightly mischievous enterprise whilst the second is pure aural and emotive drama. From vocals to keys, exotic hooks to the ever pungent tone of Pfaff’s bass, the transfixing incitement is a web of intrigue with a volatility that is seemingly Skindred seeded.

Alien emerges with the same shadowy hues and emotional intensity next, flowing from the provocative shadow of the previous track. It swiftly wraps heavily persuasive and seductive tendrils around ears, at times conjuring a darker climate of intimidation to contrast and unite with the bluesy hued flames also arising from the mellower strains of the slow burning treat of an encounter.

Igniting another devouring of the band’s punk ‘n’ roll imagination straight after, Parade shares a riveting steely bass lure amongst swinging rhythms from Holland, before Do It Right prowls and flirts with its predacious ska punk devilry. Managing to be as sinister as it is irresistibility tempting, the song has body and emotions bouncing, matching all feisty movements in catchy and melodic kind. Equally, it powerfully stirs up thoughts too; an impressive knack the band has leading to full involvement from all aspects of the listener as evidenced by the Red Hot Chili Peppers spiced Back in the Days. There are some songs which are instinctive manna for the soul; encounters which simply turn on the sweet spot for an everlasting romance and this definitely qualifies as one.

Completed by the simply mesmeric, emotive serenade of Still Turning, another song which leaves a lingering imprint, TWISTS’N’TURNS is one thoroughly and imposingly thrilling union between band and ears. It is surely the release to take THE TiPS to the attention of spotlights beyond their homeland’s borders and the underground scene in general, at the very least destined to make a mark on a great many end of year favourites lists.

TWISTS’N’TURNS is out now on Long Beach Records Europe @ http://thetips.de/shop/

http://thetips.de/   https://www.facebook.com/thetipsofficial

Pete RingMaster 22/02/2016

Copyright RingMaster: MyFreeCopyright

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Haster – The Current Sea

Photo Courtesy of David Trejo Photography

Photo Courtesy of David Trejo Photography

As explosive and dynamically striking as it is creatively imaginative, the new album from Californian metallers Haster is one of those offerings that bring the day, body and emotions alive. The Current Sea is anthemically huge and inventively bold yet weaves in to it a host of familiar styles and flavours which only go to enhance its virulently imposing and contagious roar. The result is a slab of defiant and emotive rock ‘n’ roll as intimidating and cantankerous as it is one mighty feel good incitement.

Formed in 2010, the Huntington Beach quintet seemingly and unsurprisingly going by their latest offering, took little time stirring up attention and support, especially once releasing their debut album Searching in 2011. Its successor Let It Go cemented the band’s stature on the Orange County music scene with its unveiling in 2014 and now it is The Current Sea gearing up to push the band to new spotlights not only at home but within the broadest landscape of metal and rock.

Fusing dark and alternative metal with heavy rock ‘n’ roll; Haster creates a sound which will have something for most with a taste for metal and heavy rock. As proof The Current Sea offers a perpetual wave of familiar and unique essences bred from inspirations that range from Korn and Deftones, Chevelle and Tool, to Breaking Benjamin and System Of A Down, and as soon as opener Your Silence hits ears with its sonic coaxing, attention is on alert and swiftly gripped. Emerging on a looming almost foreboding energy and tone, the track aggressively and purposefully bounds towards the senses, then once up close as a growl of aggressiveness passes, it slips into a rugged stroll with melodic scenery wrapped in the fine clean tones of vocalist Jarret Stockmar. It is a delivery carrying a great persistent snarl though which is matched by the irritable riffs and punchy beats of drummer Brian Tew. Quickly those Chevelle/Breaking Benjamin references are understandable but there is plenty more to the character and air of the catchy encounter and as quickly realised, the album.

The-Current-Sea_RingMaster ReviewAs good as it is the song is soon overshadowed by the bands outstanding latest single, The Unscene. As keys caress whilst riffs grumble and burrow into ears, the bass of Mondo Salazar prowls like a predator skirting the similarly snarly tones of Stockmar holding a mutual attitude to its presence. In no time the track is an addiction, a Disturbed meets American Head Charge like contagion with a chorus you will only find yourselves involved in after it leaps into ears just the once. Elevated further by the tenacious and inventive weave of guitarists Patrick Nolan and David Heida, the track is prime anthemic bait and unavoidably irresistible.

Haunt Me has a slightly mellower air to its confrontation but still carries an emotive intensity that flows readily through the great blend of Stockmar’s lead and Nolan’s backing vocals. Becoming more agitated and antagonistic minute by minute, the track explores a Korn like enterprise lined with melodic toxins carrying a scent of Life Of Agony to them before making way for the grumbling emotion and rhythmically gripping prowess of Substance Low. It too mixes infectious and unpredictable resourcefulness with more abrasive textures, a merger simply igniting ears and appetite into a greed quickly fed by The Resistance and its fiercely enticing collusion of wiry and sultry grooves with rapier like beats and vocal dexterity; again it all coming with a touch of Korn at times.

Potent bait and rich satisfaction continue to come together as Asfixiate and The Artist’s Life share their creative narratives and individual dramas. The first initially sounds like a close relation to its predecessor though soon it explores its own emotive Drowning Pool/A Perfect Circle spiced journey whilst the second brings back that grouchier provocative nature of the band’s music to merge into a potent tempest of sound that at times plays like Linkin Park crossed with Bring Me the Horizon. As shown by next up Consumed though, there is a constantly shifting and evolving nature to the tracks which only excites and impresses. The new track is similarly volatile in temperament to those before, fluidly moving from aggressively rapacious to sonically calming with vocal invention to match.

Connection Error is a cranky protagonist next; a choleric encounter gnawing on the senses as it fires up ears and pleasure with an irritable rousing roar easy to get hooked up on, much as the album is as a whole to be fair. Its confrontational body is contrasted by the reflectively emotive and calmer Shoved Aside, though the album’s closer has plenty of creative and impassioned sparks to create a blaze able to erupt with heart driven anger. Though for no particular reason, it fails to make the same kind of impact as other tracks, the song brings The Current Sea to a powerful and richly enjoyable conclusion.

To date it is probably fair to say that Haster is a name predominantly lent to US awareness but we suggest not for much longer thanks to their stirring new album.

The Current Sea is available from January 29th via Musicarchy Media through iTunes and more.

http://www.hastermusic.com/   https://www.facebook.com/Hasterband/

Pete RingMaster 28/01/2016

Copyright RingMaster: MyFreeCopyright

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Grenouer – Unwanted Today

GrenouerBand1

Russian metallers Grenouer are one of those bands which has been seemingly around for decades, two in fact, and increasingly been looking like they were about to break from relative obscurity into intensive spotlights within world metal through their recent releases. Certainly the Saint Petersburg quartet has been drawing stronger and broader attention over the past few years but still they have yet to make that big step; maybe though that moment has come with the release of new album Unwanted Today. A release bulging with melodic expression, grooved tenacity, and sharp hooks, it also carries a hungry snarl bred in the early days of the band, a combination which goes to make one rather impressive offering from a band surely poised to leap into the wider consciousness of the metal world.

Formed in 1992 by vocalist Andrey Ind and guitarist Alexander Motor, Grenouer has released seven albums to date with the last, Blood on the Face, a thrilling and gripping enticement confirming the creative invention and musical weight of the band for those in the know whilst luring a great flood of new appetites. Again released via Mausoleum Records, Unwanted Today takes its potency into new explorations of imagination and sound. It is not a big departure from or massive leap forward in their already established sound yet there is something fresh and unique at the new album’s heart which gives the release a new voice. Emerging twenty plus years ago, the band was a raw and uncompromising extreme metal proposition, but over time and records, a melodic and alternative metal exploration has evolved and now shows its finest blooms within Unwanted Today.

With its line-up completed by bassist Al Bolo and drummer Danny D, Grenouer works on the imagination right away with brief opener Awake, a cinematic and provocatively atmospheric piece with industrial clangs and suggestiveness courted by floating harmonic vocals. It is an imposingly picturesque lead into the album’s title track, a proposal instantly pouncing on ears with punchy rhythms and growling riffs. This in turn slips into an inviting embrace of gentle melodies within a warm ambience, though even this is courted by the early predacious shadows and sounds which take their turn leading the tempting ears. It is an excellent start to the album, the vocals of Ind as alluring and potent as ever whilst musically the song radiates attitude and seduction.

Things only grow in strength and contagion with the following pair of A Little Too Obsessed and Something Really Bad. The first of the two immediately has attention and appetite GrenouerUnwantedTodayenslaved, bounding in with a heavy stride and an addiction forging groove. It is a hook lingering even in the mellower twists of the song, just waiting to unleash its swagger and tenacious tempting, and always with increasing effect. Embracing essences of groove and nu metal as eagerly as the swing which infests song and listener, the track is modern metal with a nod to a diversity of styles and time, and quite brilliant. It also has a great, almost muggy air to its presence, and a bedlamic edge to its invention which shows its magnetism again in its successor, though maybe not as openly. This is another song which bewitches from its first sonic and vocal caress, and another unafraid to merge abrasing snarls of sound and grouchy basslines into a colourful and fascinating tapestry.

That dark bass toning and attitude also opens up On A Rainy Day next but in the arms of an electronic wrapping and melodic caress; voice, guitar, and keys a seducing contrast to the track’s equally flavoursome dark side. Their union is soaked in an increasing tempestuous air and intensity, one never overpowering what lies within but certainly and enjoyably giving it all a stormy and imposing landscape to colour. It is a similar blend of textures which lights up the rock/pop virulence of Blossoms In The Dust, a riveting croon of a song built on rising crescendos of sound and emotional energies. There is no escaping the mesmeric and creative romance of the song though it is soon eclipsed by the outstanding I Can’t Stand It. Everything about the song gets under the skin. From another bestial bass sound and accompanying stabbing beats to spicy melodies and soaring vocals, but especially in the unpredictable imagination and ingenuity which infects especially the latter two of aspects, the song is a compelling fascination and impossibly infectious.

   Daily Miracles is another primarily instrumental flight through evocative scenery, similar to how the album began and feeding thoughts further before Going To Stay immerses ears in its own individual melodic and emotional emprise of dark and light textures embroiled in a weave of electro rock spicing and ravenous Meshuggah like voracity. Its melodic side reminds of UAE Absolace but, as all tracks, the resulting entwining of flavours only results in an encounter with the familiarity of Grenouer alone.

Album and pleasures only continue to grow and excite as the fiercely enticing Point Of No Return unveils an invigorating maze of melodic and nu-metal equipped with the alternative flair of a Linkin Park, the inventive antagonism of a Mudvayne, and the intensive roar of a Prong. Escape from its claws is impossible as another peak is set in course of the release whilst the next up gentle balladry of Artificial Tears brings a moment to take a breath but not a slip of attentive focus on Unwanted Today. It is fair to say that it did not impact as powerfully as other songs on personal tastes, but reveals yet another side to the songwriting and charm of band sound to further feed a greedy appetite.

The same applies to Don’t Let Them Get You Down in many ways, the song missing a spark found in its predecessors but still adding its own thick slice of modern metal before the closing Clearway provides a short and delicious volatile come seductive proposal for ears and thoughts to sink within. A fine end to a great release, the track sums up Unwanted Today perfectly with its heavy and light, raw and elegant unions; creating another hypnotic adventure.

There are moments where some songs maybe have too similar a surface to others which without a deliberate concentration sees them losing some of their clear identity, but alone all show modern metal with its strongest diversity and imagination whilst together they ensure Unwanted Today is a seriously enjoyable encounter. Grenouer is knocking even harder on the fullest recognition of the metal scene now, how long they can refuse entry we will see.

Unwanted Today is available from March 20th via Mausoleum Records

https://www.facebook.com/grenouer   http://www.grenouer.com/

RingMaster 20/03/2015

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