Leopards – Future||Fate||Forever

Leopards Online Promo Shot

It seems like we have been enthusing over a torrent of impressive debuts from and introductions to truly promising bands this year already, and taking their place in that list is certainly UK alternative rock band Leopards who are about to unveil their new EP Future ||Fate ||Forever. A five track blaze of melodic rock infectiousness and alternative tenacity, the encounter is a highly appetising and imaginatively crafted adventure which maybe does not quite push the band head and shoulders above a flock of similarly flavoured propositions but definitely allows the band’s presence and potential to shine and grab attention.

The Manchester quintet emerged in 2010, weaving in inspirations from bands such as Mallory Knox, Don Broco, Natives, and Lower Than Atlantis into their own fresh ideation. Their live presence was soon putting the band on the map locally as did with broadening success early releases, though it was the release of the track Have Heart last year that a wider attention was nudged. It is a spotlight easy to see being properly awakened by the Romesh Dodangoda (Kids in Glass Houses, Funeral For A Friend and Twin Atlantic) produced Future||Fate||Forever hereon in though.

That notion is soon raising its suggestiveness with opening track Save Yourself. In a single breath the potent rhythms of drummer Rhys Gibson are framing a blaze of melodic enterprise cast by the guitars of Ben Corbett-Mills and Craig Henderson, through which a just as flavoursome bassline from Billy Fletcher adds its shadowed expression. The strong start relaxes in intensity as the swiftly impressing vocals of Jenna Clare begin unveiling the song’s narrative, a dip embracing her warm tones but keeping the already fascinating character of the song as potent as before. The PromoImage-2-600x599feisty hard rock weight and energy begins lapping over ears with tidal regularity as the whole song progresses, ebbing and flowing across its length and around the broadening enterprise of guitars and vocals. Speared by the rhythmic tenacity of Fletcher and Gibson, the track continues to grow, edging nearer to a climactic chorus which steals the song’s show ultimately as Clare roars with passion and a melodic tang which grips her delivery.

The impressive start continues to hold ears and attention tight as both Promise Me and Take Control dance with creative vivacity over the senses. The first of the two twists and flirts with a pop rock invention and unpredictable imagination next, occasionally stopping in its tracks for brief seconds to wrong-foot and spark new adventure to the superbly spun sound. Aligning itself to this is an anthemic bellow which again finds its focal point through a pungent chorus that easily recruits the listener’s own endeavours to its cause. Its successor bounds in with similar energy and creative hunger, and again is unafraid to shuffle up its attack and flavours. It is, as the EP, probably fair to say that the songs are not creating new templates for alternative and melodic rock, but equally they bring a fresh and invigorating proposition which leaves pleasure full and interest in Leopards eager.

The outstanding Broken Family steps up after, this a song which in some ways draws on the existing qualities and successes of the previous songs on the EP to shape its own infectious temptation. There is maybe a touch of similarity across the quintet of songs as well as an unmistakeable Paramore essence, but each and proven powerfully here, explores its own distinct and captivating identity whilst keeping ears and emotions firmly enthused. The catchiness of the song is irresistible pop rock at its most potent, firing up body and imagination ready for the closing charms of April. The final song emerges on an almost tribal spread of rhythms, Gibson instantly enslaving an instinctive like as Clare croons with siren-esque elegance within the melodic hug of guitars aligned to darker bass shadows. Once again Leopards hold attention and pleasure in the palm of their creative hands, something Future||Fate||Forever does from start to finish with ease.

The EP is a thoroughly enjoyable first major prod at national attention, and confirmation for those in the know that Leopards is a band with very healthy and impacting horizons just waiting for them if they want them.

The Future||Fate||Forever EP is available from February 23rd physically @ http://leopards.bigcartel.com/product/future-fate-forever-physical-ep and digitally through all stores.


RingMaster 23/02/2015

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Out For Tomorrow – You’ll Find A Way


There seemed to be a rather healthy wave of anticipation for You’ll Find A Way, the debut album from UK alternative rockers Out For Tomorrow and now having had its collection of melodically bred encounters roaming around ears and imagination it is easy to understand why. Consisting of ten skilfully crafted and passionately delivered songs which manage to seduce and incite with resourceful enterprise and vivacious energy, the release provides a richly promising and impressively accomplished full introduction to the Bristol quintet. It is fair to say that the album does not light big fires in the passions at any point across its flowing adventure but it certainly captured the imagination and bred a keen appetite for itself and the band’s horizons.

Taking inspirations from You Me At Six and Taking Back Sunday into their own ideation, influences which make the most potent comparisons across the album also, Out For Tomorrow soon after forming had attentions turning their way with their feisty live performances which including sharing stages with the likes of Lower Than Atlantis and Deaf Havana and then their first EP World On Your Side last year. The release sparked a bigger spotlight across the country and was followed by Bring Me The Horizon guitarist Lee Malia getting in touch with the band, leading to them working on new material together alongside producer Phil Gornell of Steel City Studio. The result is the impressive You’ll Find A Way, an album which stirs up a sizeable impression for itself.

Opening track White Noise emerges with a ticking coaxing, its entrance a timed fuse to an evocative and emotionally intense premise OFT - Cover - Low Res #1which does not explode but offers a captivating and potent first caress with a magnetic initial lure of chipping stabs and melody soaked flames from guitarists Jack Isaacs and Ashley Scott. The thumping but restrained rhythms of drummer Ben Havercroft also make a strong bait for thoughts and appetite to seize hold of; it all combining for an appealing enticement prowled by the slightly covered but impacting bass of Lee McGarel. The song swells and flows engagingly around the senses but it is the impressive voice and soaring tones of Ben Lumber which seal the deal for a striking start, a beginning just as powerfully and enjoyable continued by Give Me A Reason which flows from within the first song. Holding a punkish breath and sinew to its body, the track like the first casts a potent impression and as it proceeds, it’s stretching arms of melodies and vocal harmonies within a cage of provocative textures only reinforcing the reactions. There is rich infectious air to the song too which persists even within the fiery intensive moments that consume ears.

Both the radiantly contagious Your Shining Star and the vigorously smouldering One Last Time inspire a stronger hunger for their sounds, the first a pop punk seeded croon which again is more than happy to strength its walls with a muscular frame entwined in inventive sonic charm whilst the second spreads from a sultry opening suasion into an emotive blaze which roars and simmers alternatively to tease out reflections. Both songs keep enjoyment high and the album under a firmly attentive gaze, and though originality is not as vivid as the sounds it’s lacking is impressively replaced by the craft and inventive endeavour of the band.

   Strike A Match is another song which arrives on a stirring train of intrigue and thrilling enterprise though unlike many others it holds onto its striking character and temptation once the heart bred melodies and harmonies blow hot and powerfully across the landscape of the track. Infusing an almost metallic incitement to its riveting body, the track is a virulent fire of contagiousness and expression which subsequently provides the pinnacle of the album.

The brief You Belong With Me makes for a mesmeric and enchanting interlude before the throaty triumph of If I Could Have You, with another unveiled impressive bass stroll matching the similarly colourful guitar hues, and the climactic You Are Your Own Enemy lie lingering persuasions upon thoughts and emotions. Again there are no major surprises but over time and numerous adventures with the album, unpredictable twists and underlying creative invention emerge to increase the weight and strength of the propositions.

The album closes with two more highly pleasing encounters in the immensely effective shapes of The Nicest Thing and Take My Place, the pair again carefully and passionately crafted songs which leaves the release as a memorable finale. With You’ll Find A Way, Out For Tomorrow has easily appeased any anticipation and expectations likely to have been awaiting its release and though it does not quite light a fire in the belly of voracious thrills it easily uncages the strength and potential of the band and like so many others for sure we will be watching them very closely.

The self-released You’ll Find A Way is available now @ https://itunes.apple.com/gb/album/youll-find-a-way/id868159995



RingMaster 06/05/2014

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Midday Committee – Girls In Open C


UK pop punks Midday Committee continue their steady and increasingly impressive emergence with new release Girls In Open C, a six track plus intro mini album of melody rich emotively designed pop songs with a raw edge to their presence and energy. There has certainly been a buzz around the Portsmouth quartet across the south of England for their vibrant presence, shows with Kids In Glass Houses, Lower Than Atlantis, Mallory Knox and Verses adding to their strong stock, but with a newer grazing glaze to their sound that attention threatens to spread much further afield through the new release. Arguably there is nothing dramatically new to the songs upon the release, a familiarity always making its hints to stop the band from distinctly standing apart from other similarly genre clad bands, but equally there is a craft and passion not forgetting creativity to the foursome which ensures they are not just another easily forgettable proposition. With songs which linger and hooks that dig in deeply to prolong the potency of tracks long after they have finished their declarations, Midday Committee warrant eager attention.

Formed towards the end of 2010, the band has been through the expected line-up changes in its initial growth as well as less assumed happenings like near fatal accidents involving Jet Ski’s to build a presence with the prowess to turn heads and light fires as their increasingly potent fanbase proves. Their previously two EPs, Nice Kids, Bad Judge Of Character in 2011 and I’m Sure Someone Mentioned A Cheque the following year, marked out the band for acclaim and attention but it is fair to say that the Matt O’Grady produced Girls In Open C sees the band at a new level in songwriting, sound, and craft. As all good pop punk proposals, the songs making up the release are as anthemically infectious as they are melodically bewitching, whilst the heart and passion of the band soaks every note and syllable so that the release may not be unique but it is undeniable contagious and a long term engagement.

From a fourteen track Intro which maybe has been given a track listing of its own just to say there are seven offerings on the release (too Frontcynical?), things start properly with I Swear To God I’m Going To Pistol Whip The Next Guy Who Says Shenanigans, a track which emerges from the coaxing of that potent brief starting piece. The guitars of Rich Sanders and Keiran Heath cast a pleasing graze of riffs and sonic tempting across the ears but it is the great throaty tone of Adam Hall’s bass which steal the initial focus most of all. That is until the excellent vocals lay their compelling hand on the suasion. Whether it is Sanders or Heath which leads the narrative, both driving the vocals together across the release, we cannot say but it is hard not to take to the delivery as keenly the potent sounds around them. With the drums of Kurtis Maiden a respectful but thumping protagonist to it all, the song makes a powerful marker for the release to follow. Melodies and hooks do not demand but command a healthy appetite towards them whilst the accomplished stance and flavoursome weave of enterprise just catches the imagination.

Maybe I Should opens up with a similar melody to its predecessor though it is soon courted by distinctly different rhythmic bait and guitar sculpted endeavour. As the first everything from the individual skills and united melodic enticement is easily accessible and infectious though the track does lack the spark of its predecessor, that little something to lick at and tease the passions into a stronger submission. Nevertheless with precise hooks and good group vocal calls the track continues the strong start with ease which Casino through a slower emotive showing matches. The shadowed dark tones of the bass once more seduces whilst the emotionally atmospheric caress of vocals and guitar bring senses and emotions thoughtful satisfaction which is lit further by the ever catchy choruses.

The pair of the virulently infectious and inventively bright Hometowns and the eagerly vivacious in energy and charge Game’s Been Called, keep spirits lively and pleasure intense, both rife with addictive hooks and ear seducing melodies all coming with a bite and edge to captivate further. Again there is that definite surface familiarity across songs which prevents some tracks leaping out as they should but beneath that with focus there is plenty simmering and subtly inventing within songs which ultimately stand out, and in the case of the second of these two with an open blaze of dramatically imaginative persuasion leaning into a classic closing vocal lure.

The release is finished by the excellent Just Me And You which features Christina Rotondo of the also impressive and well worth checking out Searching Alaska. The song starts out as an acoustic embrace with simply bewitching dual vocals which alternately embrace the senses. The track is a delicious encounter which if remaining in this state would have brought the curtain down to a rousing applause but once the vocals hold hands and the rest of the band flesh out their emotive hues, the track becomes an evocative fire.

It is easy to see why Midday Committee is highly thought of by a great many and with Girls In Open C expect them to move into a more intensive and deserved spotlight. The release also suggests that the band is still evolving with plenty left in them to discover and explore which has anticipation already quite excited.

Check out the video for Hometowns @ http://www.youtube.com/watch?v=LUQwO5_evP8




RingMaster 07/04/2014

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Nemecyst – Our Burdens Will Bury Us

Promo Shoot 4

Though arguably only flirting with a sound which is wholly distinctive, Scottish metallers Nemecyst certainly show and offer all the potential to forge a future unique position within British melodic metalcore with new EP Our Burdens Will Bury Us. Consisting of four ferocious and fiery blazes of aggressive endeavour and impacting potency, the release is an attention grabbing slab of provocation, a confrontation which puts a spotlight of the Glasgow quintet even if without lighting any real fire in the passions for its accomplished ferocity.

From its formation in 2010, Nemecyst took little time in awakening senses and attention locally with their music and live performances. A home-produced demo of early material in 2012 also set down a marker of promise for those coming across the band, even if still the band was a secret hidden from most of us. You can only feel as it chews on the senses that Our Burdens Will Bury Us will rip apart the shadows which closed the band off from the country and start an ascent which the release certainly suggests is a looming potent possibility. Released via the newly formed Radicate Records, the Nick Scholey (Yashin, Lower than Atlantis) produced EP definitely puts Nemecyst on the front foot as they attempt to get their juggernaut of sound and intensity rolling across the country to plague and thrill ears nationwide and beyond.

Opener Through Blind Eyes, which has just seen its video also unleashed, has no time for niceties, riffs and rhythms Album Art - Our Burdens Will Bury Usimmediately falling upon the ears guided by a vocal squall from James Bartolini. Its entrance slaps attention around the face and its way before settling into an intensive weave of melodic rock and rousing metallic provocation. Drummer Blair Hutcheson offers an instant enticement, his skills a senses rummaging rampant fury of venomous rhythmic intent courted by the equally predacious throaty croon of Jason Ingram’s bass. Together they give a dark intimidating depth and attack to the track which is malevolently complimented and rivetingly tempered by the sonic sculpting provided by guitarists Sam Allan and Danny O’Donnell, their invention rife with acidic melodies and evocative hues. Ridden by the clean yet slightly coarse tones of Bartolini it makes a strong and inciting start.

Place Your Bets steps up next with tendrils of sonic flames from the guitars wrapping around the ears before the rhythms uncage another intense rabidity to their persuasion. Bartolini offers a very pleasing blend of clean and aggravated growls to mix things up, though the production slightly defuses the venom and snarl in his caustic delivery a little too much for personal tastes, but a minor niggle in a second impressive encounter on the EP. The track, as the vocals, flows easily between angst fuelled rapaciousness and descriptive beauty, each member on the song showing impressive individual craft whilst uniting for an equally powerful enterprising brawl of sound.

The remaining pair of I’m Just An Exterminator and Pulling Me Under continues the flair and intensity rippling within the release, a more progressive expanse permeating both colour packed sonic landscapes. The first of the two is the favourite which emerged here, the continually evolving and exploratory nature of the track a seamless journey which ensures intrigue and unpredictability are the leading aspects even if debatably there is nothing truly new on offer to that anywhere else within harsh melodic metal. Nevertheless the song is an absorbing adventure soon matched by its successor, this track again unafraid to play with and merge extremes into one strongly pleasing, promise full sonic pot.

With thoughts of bands such as Trivium, All That Remains, Bury Tomorrow, and As I Lay Dying raising their knowing heads as references throughout its presence, Our Burdens Will Bury Us lacks that something, a spark to dramatically fire up the passions but certainly leaves Nemecyst as a force to find an eagerness for and to watch closely for an anticipated explosive future.



RingMaster 10/12/2013

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Touchstone – Oceans Of Time


Highly anticipated, Oceans Of Time the new album from UK progressive rock band Touchstone is a release sure to delight and excite their fans. It brings a wave of creative sounds and mesmeric temptation which is  destined to also recruit more passionate followers and though admittedly this was our first introduction to the quintet,  it took little time in becoming a compelling and beautifully crafted persuasion to meet expectations which were bred from being aware of their well seeded reputation,   a good strength of anticipation which the album met with its expressive presence. Whether it lit enough major fires in thoughts and emotions is still under debate but undoubtedly the ten song melodic evocation bred a desire to investigate  previous releases with its riveting premises and absorbing touch.

The Hear No Evil/Cherry Red Records released Oceans Of Time according to its promo, continues the Wintercoast story which began in their acclaimed 2009 album of that name and has continued through subsequent title tracks of the equally welcomed The City Sleeps of 2011 and the new release. Also to be found upon the album is the final part of the Shadow trilogy, which started with 2007 release Discordant Dreams. Obviously if this is your first time with the band this means little apart from adding to the retrospective intrigue but as all songs are easily standalone suasions it makes little impact on the end thoughts. Produced by John Mitchell (You Me At Six, Lower Than Atlantis, Funeral For A Friend), Oceans Of Time combines the purest essences of progressive and melodic rock with a wealth of flavours and spices which brings a magnetic and enthralling call from the songs. Not all of the tracks are as successful as others but throughout each it is impossible to journey their expanses without finding elements and ideas which ignite the imagination, even if often the songs fail to follow up those moments so that overall it draws strong satisfaction and appreciation rather than lingering passion.

There is no problem with the opener though, the new single from the album. Flux is a scintillating introduction and aural temptress TS_OOT_Artwhich expels an electro breath before it takes a mere second to unveil a stomping gait and glorious melodic embrace, riffs scything through the air with poise and sonic bait whilst rhythms make a crisp platform for the sirenesque vocals of Kim “Elkie” Seviour. Backed by the tones of keyboardist Rob Cottingham it is an elegant and smouldering long kiss on the ear within a vibrant flame of sound and energy. This album version of the song takes the listener on a fuller expressive and pulsating stroll with enthralling melodic asides which builds on the punchiness of the single edit to provide stronger atmospheric and evocative pastures to immerse within. Neither stands above the other ensuring that if you have the album it is well worth picking up the single also.

From the excellent start the following Contact with an almost dance seeded initial beckoning emerges into a sultry climate heated by the again outstanding vocals, a constant over the album, and the precise guitar invention of Adam Hodgson. It is an enchantment given substance and depth by the bass prowl of Moo and the strong yet respectful rhythms of Henry Rogers. Like many of the tracks on Oceans Of Time it suggests and hints at more than it delivers but nevertheless with the rhythmic skill and potency of the drums the track is a thoroughly engaging and enticing continuation of the fine start of the release.

Next up Tabula Rasa has a light almost eighties coaxing to its tenderly touching melodic lures whilst vocally Seviour holds a Stevie Nicks caress to her tones which matches the Fleetwood Mac like enterprise and flavour of the song. Like its predecessor the track fails to live up to the opener but leaves plenty to be enjoyed and devoured greedily by ears and thoughts whilst its successor Fragments rises to and stretches beyond the great heights which was laid down initially. Fragments is rhythm heaven, the opening big boned tantalising web of Rogers’ adventure immediate slavery of the passions, especially aided by Seviour walking its tendrils with her beguiling voice. The drums hold their irresistible lure throughout the song whilst it evolves its narrative exploring exotic Middle Eastern climes and transfixing beauty through melodic sceneries which change and emerge to greater seduction before the ears. It is a magnificent track; the highest pinnacle of the album which gives the rest of the release a tall order to contend with.

Both Spirit Of The Age and Shadow’s End create charms to wrap the senses in for full satisfaction though they understandably fall short of the target just set. The first is a gentle melodic evocation which like many songs juggles the passions, at times holding them tight and in other moments letting them slip through less efficient persuasions  though like the album with time and attention it does make stronger convincing declarations. The second of the pair also has times where it sparks up riveted interest and then loses the strength of its hold to leave a satisfied smiling but eager to move on appetite. The same applies to Solace, the song a reworking of the song from Wintercoast. It is a strong and pleasing track but one which still has yet to really seduce the imagination and thoughts, it raising more uncertainties than appreciation in many ways.

The rhythmic devilry of Rogers triggers keen anticipation as Through The Night steps into view, again his craft and invention a virulent tempting. The song itself once into its flow does not live up to the fascination though again maybe one which ebbs and flows in its creative captivation but still makes a provocative companion. The guitars and vocals alongside the drums dance with some stirring imagination across the offering which cannot be resisted but at the end of the day like parts of the album it has no lingering enticement to leave behind.

The closing title track has veins of undefined familiarity running through it which instantly pricks interest from its start and with whispers of those earlier eastern winds, is an arresting conclusion. Masterly constructed and impressively presented the song epitomises the album, a song which at times walks the edge of rapture but in the end never crosses the line to bother such intense flames. Oceans Of Time is definitely a richly appealing and enjoyable album, but one which missed its potential and certainly for these emotions fails to light major fires in the passions, then again it triggered a want to discover previous albums so Touchstone certainly had some strong success.



RingMaster 11/10/2013

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All To Ruin – Parables EP

All To Ruin Online Promo Shot

Unleashing melodic metal which has essences seeded in the likes of Friend For A Friend and Protest The Hero and a snarl and venomous aspect which you might find in an August Burns, UK band All To Ruin unveil their debut EP Parables. It is a release rife with potent promise and explosive craft, a record which maybe is low on offering something to right now set the bad truly apart from numerous other emerging bands stalking the same genre of sound, but a collection of impressive tracks which undoubtedly grab attention and stoke an appetite to see where the band go from their strong and pleasing debut.

Hailing from Port Talbot, South Wales, the quintet of vocalist Aaron Roberts, guitarists Luke Curran and Rhodri Williams, bassist Andrew Pope, and drummer Tom Richardson first drew attention with not only their live shows around their local area but a demo recorded in 2011 with Martyn ‘Ginge’ Ford and Matt Bond who have earned a big reputation for their work with the likes of Slipknot, Trivium and Bullet For My Valentine, the pair also handling the new EP. Shows alongside the likes of The Gallows, Young Guns, Deaf Havana, This Is Hell, Lower Than Atlantis, The Blackout, Fei Comodo, Funeral For A Friend, Heart Of A Coward, Heights, Sylosis, Revoker, Bury Tomorrow and many more has only enhanced their reputation of a young fired up and creatively striking band. Recorded early last year, Parables is the next thrust forward for the band and one which though still searching for that unique voice you only suspect will take All To Ruin up another rung or three.

Opener As We Exit takes little time to take a grip on ear and thoughts, searing melodic grooves and thumping rhythms instantly makingAll To Ruin - Parables Cover Artwork a potent persuasion aided by the raw caustic riffs and throaty menacing basslines, it all ridden by the excellent clean yet fiery vocals of Roberts. Before assumptions can be made that this is possibly nothing new the band and song unleash a lethally addictive groove and unbridled intensive passion to its sound and vocals. It is a striking and rampant start but one with thought and emotive craft which ensures an intriguing and enterprising ride. Each listen sees the song make a louder stronger declaration which leaves a lingering claw in passions and hunger.

The following A Part Of the Line certainly has fire in its belly but a less intimidating presence to start things off, guitars and vocals making an almost desperate emotive plea with their heart coloured narratives. Speared by the ever impressing beats and rhythmic caging of Richardson, the track is a strong if paler successor to the first though that is also left in the shade of the best offering on the EP, The King Is Dead. This is a song which shows that time could very well deliver a distinct standalone presence for the band, soaring vocals and raging rhythms within exhaustingly enticing grooves a rapaciously addictive and enthralling flood of expression and aggressive emotion. Virulently contagious without losing its stirring inventive potency, the track is a blaze of niggling burrowing beneath the skin riffs and sonic teases framed in another rhythmic trap by Richardson who also adds some strong melody tempering growls.

     Under The Shade steps forward next with what is arguably the most expansive sound and flavour of all the tracks on Parables. There is a definite familiarity across the chorus though the exact reference to whom eludes recognition, but then again all tracks for their only real issues have a breath and voice which is similar to others. Nevertheless the song is another burning fire of craft and melodic flame which impresses before allowing the grouchy Vultures to conclude the release. The most destructively aggressive and antagonistic of all the songs it still makes room for the continuing to impress vocals and inventive guitar weaves to bring their rich adventures and feelings. Without the same clarity as in other songs, the brawling atmosphere and the compact thickness of its sound only enhances the intensity and effective assault.

Parables is an impressive debut which only lacks that standout element or presence to step aside many other equally strong bands. That is not always the easiest thing to achieve but the promise offered by All To Ruin suggests it is within their imagination, though as ever time will tell.



RingMaster 22/09/2013

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ALL TO RUIN Debut EP ‘Parables’, out 23rd Sept

All To Ruin Online Promo Shot


Pulling from early FFAF, Killswitch Engage and a sliver of August Burns Red, All To Ruin deliver a potent sound that merges thunderous riffs and contagious hooks; the end result is both dominant and anthemic. The hotly-tipped five piece ink hearty slabs of melodic metal, penning their music with the earnest intent and real passion that demands and warrants attention. Look out for the band’s debut EP ‘Parables’, out Monday 23rd September.
Born in the blue collar steel works town of Port Talbot, South Wales, All To Ruin were formed during the summer of 2011 with Aaron Roberts on vocals, Luke Curran serving up lead guitar, Rhodri Williams handling rhythm guitar, Andrew Pope pounding on the bass and Tom Richardson hammering the drums. Coming from a close kit community, all five members had known each other from time served in previous bands, and quick to forge a strong bond, they soon began to rattle out tunes in their rehearsal room.
After a series of successful regional shows, the band went into the studio at the tail-end of 2011 to record their first demo at Newport’s Nottin’ Pill Studio with Martyn ‘Ginge’ Ford and Matt Bond, who’s previous credits include Slipknot, Trivium and Bullet For My Valentine. The demo pushed the metallic tunesmiths out of their local area and also secured national coverage in Kerrang! magazine, as well as helping the five-some play a host of shows throughout the country. To date, the bands’ career spanning accolades include shows with The Gallows, Young Guns, Deaf Havana, This Is Hell, Lower Than Atlantis, The Blackout, Fei Comodo, Funeral For A Friend, Heart Of A Coward, Heights, Exit Ten, Textures, Viatrophy, Continents, Sylosis, The Chariot, Revoker, The Casino Brawl, Twin Zero, Bury Tomorrow and Yashin.

At the start of 2012, ATR headed into the recording studio, again with ‘Ginge’ and Matt Bond at the controls, to begin work on their first official release. The band came out of the studio with their brand new EP ‘Parables’, and it’s mighty impressive. From the blistering opener and new video single ‘As We Exit’, to the whiplash riffery and anthemic craft of ‘Vultures’, the quintet have rammed together an engrossing EP that cunningly balances melodic hooks with crushing riffage. The melodic metal crew will now take their killer tuneage to the far reaches of the UK; keep tabs on the band via their Facebook and watch them break later this year!
FOR FANS OF: Funeral For A Friend, Protest The Hero, Killswitch Engage, August Burns Red.
All To Ruin - Parables Cover Artwork