Kill The Silence – Self Titled

Kill The Silence Promo Shot

Inspirations to UK band Kill The Silence are said to include the likes of Lower Than Atlantis, Bring Me The Horizon, and Reuben and it is the latter which most comes to mind as the band’s debut release sets about inciting an excited appetite for their sounds. The self-titled EP from the Leeds quartet is an explosive roar of imagination and fierce energy with potential oozing from every idea and twist whilst an already nurtured enterprise simply floods the four-track rampage. Release and band straight away stirred up a bloom of pleasure in ears and emotions but now after numerous excursions across its raging sonic rapids it is fair to say that responses offered now come with a healthy dose of lust.

Kill The Silence emerged in mid-2013 and it was not long before their ferocious mix of alternative rock, post-hardcore, and melodic metal was earning invites to play shows and appearances at festivals. The time since forming has seen the foursome of vocalist/rhythm guitarist Jason Walsh, lead guitarist Sam Rickerby, bassist Jack Townend, and drummer Reece Cockayne play with bands such as Fearless Vampire Killers, Blitz Kids, Max Raptor, The Family Ruin, Attention Thieves, Ashestoangels, Yashin, Mallory Knox, The Defiled, Dinosaur Pile-Up and Rolo Tomassi across the north of the UK. Now the whole of Britain is their target and it is easy to suggest that their first EP just might be all it needs to push the band into the broadest national spotlight.

Kill The Silence Cover Art     The EP opens up with the band’s current single Get Out, Get Out! and swiftly has ears engaged in a blend of riffs and melodies. It is a raw introduction mellowing out with the clean vocals of Walsh who in turn reveals his prowess at offering raucous throat bred squalls and angst hued harmonies. His delivery is nothing less than impressive, something applying to all elements of the band to be fair. Bleeding addictive citric grooves and disorientating rhythms, the track continues to explore a widening expanse of rock music for a potent start to the EP, though the song is the ‘weakest’ on the EP for personal tastes with the major excitement and might of Kill The Silence coming in the following trio of tracks.

Darling is next and from a muffled rhythmic shuffle explodes into an intimidating blaze of sonic ferocity and vocal hostility, both soaked in instant anthemic persuasion. The track proceeds to lurch and scythe through the senses with its volatile animosity and virulent contagion, that Reuben spicing a loud whisper in the tempest of punk and metal with melodically lined rock ‘n’ roll. The searing and psyche seeded hooks of the song are irresistible on top of this whilst the sheer energy and passion of the band is fuel to its voracious fire and indeed ire.

The major inciting of ears and emotions continues just as forcibly with S.S.D.D, its opening prowl of low key but suggestive riffs courted by a nagging single-minded bait of beats. There is a menace and intensity to the track from its first breath too, one slowly brewing up a storm which erupts in a web of riffs and cantankerous rhythms driven by rawer but no less magnetic vocals. The muscularly swinging beats of Cockayne dominate the sound in some ways, a very small niggle over the production there, but it only adds to the confrontation and explosive character of the outstanding song. Though again openly infectious, the song is a predator, from voice to beats, riffs to barbarous hooks, it looks to challenge the senses as it takes the EP up another level.

It is a step soon outshone by the best song on the release in Chapter II. A waspish groove almost instantly emerges to seduce and bind ears and appetite, springing from a bracing bluster of guitar and bass aligned to again wickedly swung beats. It is a toxic and intoxicating lure buffeted by another strong variety of vocals and the tempestuous heart of the dirty and ravenous song. Drawing on the most metal honed and carnivorous aspects of the band’s sound, the track equally entangles catchy pop rock and melodic ferocity into its tempest, creating a song the Reuben boys would have been more than proud of.

The EP is a seriously exciting and attention stealing introduction to Kill The Silence, the first of many impressive and incendiary offerings ahead we suspect as they do indeed spark a pungent nationwide spotlight on their blistering sound and presence.

The Kill The Silence EP is available from April 20th through all stores.

https://www.facebook.com/KTSilenceOfficial      https://twitter.com/ktsilenceband

RingMaster 20/04/2015

Copyright RingMaster: MyFreeCopyright

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

Murdock – Dead Lung

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How to describe Dead Lung, the new album from Dublin trio Murdock? Well quite simply it is a BEAST! In sheer power, ferocity, and primal instincts the album is a devourer of senses and psyche. Similarly though it has all the creative wile and lithe characteristics of a predator and once it has its claws in there is no escaping the savaging of hardcore, noise, or the technical trespass assaulting ears and igniting the imagination. Dead Lung is just immense.

Since emerging Murdock has earned an increasing and devoted following to go along with the reputation bred of being one incendiary device live. It is a devastating experience which in the words of the band has the attitude, “If you are not bleeding or exhausted, what is the point?” The band has ignited stages alongside the likes of Every Time I Die, The Dillinger Escape Plan, Unearth, Sick Of It All, Lower Than Atlantis, Coilguns and numerous more, either on tour or at individual shows but now it is their debut album Dead Lung, released via Basick Records, that is poised to be the detonator to greater intensive climes, and with little to surely stand in their way such its might and hellacious alchemy.

The album opens with the first single taken from it, Deer Noises. It is a track going for the jugular from its first breath, riffs gnawing the senses whilst rhythms venomously batter them, and it is fair to say that the sonic spicing wrapping both is up to no good either. It is a magnetic entrance enhanced further by the raw vocals of guitarist Aidan and the contagious elements flaring up in the tempest of sound and emotion. It is not just an infectious essence emerging either, an inventive unpredictable flurry of fierce and melodic twists adds to the gripping turmoil too. Coilguns comes to mind listening to the song but equally spices of bands like The Ghost of a Thousand and Kunz tease thoughts, all mere whispers in the roar though as the album gets off to a thumping irresistible start.

Albumcover   The band has so many weapons that impress, that unpredictability a major one outside of the sound itself and it continues to seduce across the album starting with I Am Not A Continent next. This also has the listener’s throat in its sonic jaws from the first second, guitars and bass snarling and ravaging the senses whilst the beats of Ronan show more restraint yet still unload with a punishing intent. Slips into mellow scenery equipped with sultry harmonies and progressive beauty virtually flirt with the listener inside the encounter too but always they have to submit for the similarly riveting fury fuelling the proposition.

A lustful appetite is already brewing by the time What You Don’t Like takes over; its psychotic character and agitated rhythmic bait a swift proposal to be feared and embraced. It is even angrier than the rages before it but also in some ways lacking the same addictive quality, though this is more to do with personal preferences across Dead Lung. The track seems to lean deeper in the hardcore side of the band compared to its more evenly sculpted predecessors but also arguably more experimental ideation with its Deftones like detours. It provides another fascinating incitement though but one soon surpassed by the band’s latest outstanding single Erk. An avalanche of rhythms bruise and inflame ears first, riffs and sonic ferocity just as toxic from within the storm. The bass of Rob lays down a mean throaty lure throughout the increasingly anthemic and volatile brute of a triumph also, but the song is a success again unafraid to slip into melodic beauty and evocative caresses. Its hooks are sheer addiction on top of it all and the band gets more accomplished in ability and imagination in three and a half minutes than most others will across a whole album.

Narrowcasting finds a post punk coldness and monotone elegance to its prowling presence next, the song managing to sound like a hybrid of Palms meets late seventies band Artery. It is just as intimidating in its doom lined mellowness as it is in the outbursts of pent up vocal and sonic vitriol and takes album and listener on a completely new direction to what came before whilst continuing in the same vein as the previous provocations. The track is mouth-watering stuff matched by Brainface which explodes in the face after the brief jazzy and progressive instrumental seduction of 51 West 95th St. This leads straight into the sonic windstorm and blistering inhospitality of Brainface, a relatively short punk brawl clad in noise rock devilry and furious dissonance.

Neither The Signal In The Noise nor Leave Me Here For The Crows take any prisoners, the first a scorching and scarring sonic consumption speared by magnetic rhythm invention, warped slithers of unconnected styles, and rabid vocals. Once feeling in the senses returns, there is only pleasure for the might and thrilling violation of the track, the same applying to its successor. This takes a more controlled assault to the senses yet is still a volcanic maliciousness which intensifies its potency and weight with every passing swipe and grazing riffs, whilst its core groove just makes the tongue pass over lips.

Juices spill again with the cyclonic Old Blood Dead Lung, a glorious beating with convulsive rhythms and a bass sound you can only describe as demonic. The guitar enterprise and vocal vehemence of Aidan strip ears of their stability magnificently and in no time the track is locked in as a favourite across the increasingly impressing album.

It should be noted that every glimpse of the song we are trying to portray is as just that, choice moments in the ever evolving and twisted landscape of the tracks, each conflicts you can make assumptions and have expectations over but will never get a full handle on until heard, as Vebalectomy next. It is hardcore and punk in its heart but a broad and constantly shifting diversity of sound and ideation in presence, and arguably this is one of the more straight forward tracks in its make-up.

      Dead Lung comes to a close through firstly the portentous doom seeded Nineteeneightyfive, a sinister and almost meditative soundscape as hypnotic as it is threatening and lastly Monographia which blooms from within its predecessor and returns to the post punk hued atmosphere and persuasion glanced over previously in the album. The vocals of Aidan and Rob are smouldering caresses within the raw and caustic but similarly reserved sounds, though in time it all becomes a turbulent and bracing proposition.

It is a superb end to an engrossing and simply thrilling album. Even the pair of singles put out just before Dead Lung barely gave a true picture of the variety and scintillating depths of songwriting and adventure of sound to be found within it. The list already is getting long for possible album of the year contenders but there is no other option than to add Murdock’s name to it.

Dead Lung is available now via Basick Records @ http://music.basickrecords.com/album/dead-lung

https://www.facebook.com/murdocknoise

RingMaster 17/04/2015

Copyright RingMaster: MyFreeCopyright

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

 

ASCENDING MELODIC METAL CREW ALL TO RUIN RETURN WITH NEW EP!

All To Ruin Online Promo Picture

With a melting pot of influences stemming from August Burns Red and Protest The Hero, All To Ruin continue their climb with their own brand of melodic metal that blends blistering riffage against catchy hooks. The rising crew nationally release their spanking new EP ‘Among Us’ on Monday 27th April.

Hailing from the blue collar steel works town of Port Talbot, South Wales, All To Ruin were born in 2011 and quickly became a force to be reckoned with. By the end of the year, the band began work on their first demo, which happily secured national attention from Kerrang! Magazine. A series of successful shows followed before the band headed into the studio with Martyn ‘Ginge’ Ford and Matt Bond, whose previous credits include Slipknot, Trivium and Bullet For My Valentine. The tuneful metallers came out of the studio with a cracking debut EP in hand. The five-some dropped the record in 2013 and it firmly stamped All To Ruin on the map. The EP picked up glowing reviews and support from Rock Sound Magazine, Metal Hammer, Big Cheese, Powerplay, XFM Rock show and Team Rock Radio.

In addition to picking up critical acclaim for their recorded work, the band also have an impressive live CV to date, having played 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.

2015 looks ripe for the band to transcend the underground, and they are loaded with their explosive new EP ‘Among Us’. Opener ‘Take The Reins’ gets the ball rolling in supreme style with its crunching techy riff assault pitched by Aaron Roberts’ hugely infectious vocal lines that will bed down deep into your pores. The EP’s namesake ‘Among Us’ is another impressive nugget of melodic metal with its thunderous riffery and layered texturing. ‘Disconnect’ and ‘History’ offer up additional evidence that the South Wales metallers really have an arsenal of banging tunes at their disposal. Lastly, ‘Beneath The Steel Sky’ completes the record with its stunning muscular delivery and killer refrain. Stay tuned to the band’s Facebook page for tour announcements and show updates; big things are going to happen ……
All To ruin PromoImage
www.facebook.com/alltoruinmetal https://twitter.com/alltoruinuk

-ALL TO RUIN RELEASE ‘AMONG US’ ON MONDAY 27th APRIL THROUGH ALL STORES-

YORKSHIRE YOUNG GUNS KILL THE SILENCE RELEASE DEBUT RECORD!

Kill The Silence Online Promo Shot

Taking from a collection of influences, spanning from Reuben and Lower Than Atlantis to Bring Me The Horizon, Kill The Silence come at you from Leeds and nationally release their self-titled debut EP on Monday 20th April through all digital stores.

Consisting of Jason Walsh (Vocals/Rhythm Guitar), Sam Rickerby (Lead Guitar), Jack Townend (Bass) and

Reece Cockayne (Drums), Kill The Silence were officially formed during the middle part of 2013. Show invites and festival appearances soon began to take shape. To date, the foursome have played extensively through the north, rounding up support slots and festival appearances with Fearless Vampire Killers, Blitz Kids, Max Raptor, The Family Ruin, Attention Thieves, Ashestoangels, Yashin, Mallory Knox, The Defiled, Dinosaur Pile-Up and Rolo Tomassi. The hi-octane rockers have also picked coverage from BBC Introducing and internet radio, and have been featured as Kerrang!’s Local Heroes.

The time is now ripe for Kill The Silence to step up and reach out to a national audience, and the band have the right tools in the shape of their new EP. The juggernaut rhythms and soaring chorus of their current single ‘Get Out! Get Out!’ start up the record, and it’s a perfect introduction for the wiry quartet. The punchy grimy hardcore of ‘Darling’ is next up and it’s an engrossing slab of adrenaline fuelled punkcore. The pounding onslaught of ‘S.S.D.D.’ continues to batter your eardrums before ‘Chapter II’ caps off the EP with its blistering riffage bonded with oft-kilter phrasing. Kill The Silence now hit the road with their record in tow, so stay tuned to their social sites for tour announcements.

-KILL THE SILENCE RELEASE THEIR SELF-TITLED DEBUT EP ON MONDAY 20th APRIL THROUGH ALL STORES-

Kill The Silence PromoImage

https://twitter.com/ktsilenceband

https://www.facebook.com/KTSilenceOfficial https://www.youtube.com/user/KTSilenceOfficial

Kill The Ideal – Heritage

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

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

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

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

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

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

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

https://www.facebook.com/KillTheIdeal

Ringmaster 31/03/2015

Copyright RingMaster: MyFreeCopyright

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

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.

http://www.weareleopards.co.uk/

RingMaster 23/02/2015

Copyright RingMaster: MyFreeCopyright

 

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Out For Tomorrow – You’ll Find A Way

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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

https://www.facebook.com/outfortomorrow

8/10

RingMaster 06/05/2014

Copyright RingMaster: MyFreeCopyright

 

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