When We Were Wolves – Heartless

When We Were Wolves

At the end of our review of the deeply pleasing The More Things Change, The More We Stay The Same EP from Welsh post hardcore band When We Were Wolves, we added that this was “still a band in the making”. Now the Bridgend quintet unleash its successor in the stunning shape of Heartless to show that they are a creative tempest which has arrived at its first pinnacle whilst still offering the potential of even greater things to come. The five track fury of invention and intensity is a startling encounter exploring a broader and more mature landscape than its predecessor yet still passionately driven by the band’s now distinctive and imaginative post hardcore intent.

Formed in 2011, When We Were Wolves has built a rich reputation for their live presence, which has seen them play alongside the likes of Bury Tomorrow, The Blackout, Devil Sold His Soul, Malefice, Born Of Osiris, Exit Ten, Betraying The Martyrs, Martyr Defiled, and Carcer City. Add that to the success of The More Things Change, The More We Stay The Same and it is fair to say that anticipation for its successor was ripe and full, a hunger swiftly sufficed as Heartless rampages through the ears.

Opening track Dying On The Inside straight away lays a feisty glaze of riffs over ears, their lure fusing a punk and metal attraction before the rampaging beats of drummer Josh Baker uncage their full weight upon the sonic turbulence. The bass of Matt Shaw prowls the gripping brawl of sound with relish whilst vocalist Mitch Bock roars with emotion and animosity. Riffs and grooves spill equal animosity through the craft and invention of guitarists Steve French and Rhod Evans too, their intensive proposal alone creating a riveting baiting of thoughts and emotions within the song. It is a stunning start to the EP, the track twisting and embracing the senses with enthralling imagination whilst further inescapable temptation is expelled through the outstanding and impressive vocal delivery of Bock. Like a collision between While She Sleeps and Slipknot with a twist of Cancer Bats, the song is an irresistible contagion.

Coating ears in an initial melodic yet fiery embrace, the next up The Devil You Know soon twists into a ferocious beast of vocal hostility and sonic antagonism. It is a demanding and compelling start but taken to another level as Bock PromoImageunveils more of his superb clean and melody rich vocals which had already enhanced its predecessor. Equipped and skilled to merge both extremes, he proves himself on Heartless to be one of the more exciting frontmen around. An essence of Dead Til Friday prompts thoughts towards the song but again a mere whisper to a sound undeniably belonging to When We Were Wolves. Predatory and seductive, it is a riveting adventure matched immediately by the voracious Blind. A sonic haze starts it off before grooves come out of the woodwork with insidious intent as pounding rhythms bring their equally enslaving thunderous textures. Vocals also explode with wide variety and unbridled passion across the destructive maelstrom smothering the senses. It is an exceptional savagery with a lingering spite ensuring it is one of the pinnacles of the release.

The following Confession takes its spark from the previous track, staggered riffs and venomous grooves an intensive and welcome intrusion as rhythms cast their heavyweight provocation. There is no respite from the vocals either initially, the fighting tones of Bock showing no mercy until his seamless slip into the equally impacting clean and velvet delivery he possesses. The encounter is a masterfully invigorating tempest which like most of the songs, perfectly sculpts its relatively brief length for the most dramatic impact before making way for the closing title track. Lighter in its presence in comparison to the last couple of tracks, Heartless is a radiantly emotive song, a melodically fired croon of sonic enterprise and vocal intensity which steals attention and ardour with Bock again exceptional though well-matched by the skilled sonic and rugged rhythmic charm of the rest of the band.

The Heartless EP is a major triumph for When We Were Wolves and the British post hardcore scene. The Welsh band has not only found its own voice but set out a new vat of promise and invention to inspire even greater anticipation for their next offerings.

The Heartless EP is available digitally through all stores on Monday 22nd September.

https://www.facebook.com/whenwewerewolves1

RingMaster 21/09/2014

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WHEN WE WERE WOLVES reveal their ‘Heartless’, on 22nd September‏

When We Were Wolves
EXCITING SOPHMORE EP FROM WHEN WERE WOLVES RELEASED AND UK TOUR ANNOUNCED!
 ‘The Welsh quintet hold nothing back here, ensuring that their heavy parts are scathingly so and imbuing their melodies with heart-rending ethereal grace’ KKKK Kerrang!
Impressive South Wales Post-Hardcore quintet ‘When We Were Wolves’ unleash their explosive new EP ‘Heartless’, through all stores on Monday 22nd September. The rising bruisers will also tour throughout the UK this September.
Reared on a healthy diet of A Day To Remember, Slipknot and Parkway Drive, and adding to that genuine craft and an imaginative approach to penning highly engaging slabs of post-hardcore, ‘When We Were Wolves’ have sculpted a sound that is whole-hearted, progressive, and above all, utterly gripping.
Born during the middle part of 2011 and hailing from Bridgend, South Wales, the band soon set themselves on a course for playing as many shows as possible, which saw the five-some quickly amass a strong and loyal following. Their unbridled determination to deliver a ferocious, dynamic live performance at every show has earned them a glowing reputation, and in turn, has led the band to share stages with the likes of Bury Tomorrow,Born Of Osiris, After The Burial, Betraying The Martyrs, Bleed from Within, Heights, The Blackout, Devil Sold His Soul, Malefice and The Amity Affliction, to name a few! As well as being a growing force on the live scene, the band have worked diligently on recording, witnessed by last year’s ‘The More Things Change, The More We Stay The Same’ EP, which secured widespread national praise from Metal Hammer, Terrorizer, Big Cheese and Rocksound, through to radio airplay with XFM, Totalrock and Kerrang! Radio. The record also racked up a stunning KKKK in Kerrang!, as well as a new band featurette in the magazine. Further UK and widespread European touring followed in support of the record before the troupe decided to hit Bandit Studios (home to Devil Sold His Soul) to commence work on their new record, soon to be titled ‘Heartless’.
The band’s follow up EP certainly delivers on all fronts, exploding with innovate ideas and cut-throat riffs. The first track and lead single, ‘Dying On the Inside’, soon slams you in the gut with its infectious groove that stomps and sways before a killer refrain blows you over. The menacingly brilliant and adrenaline-fuelled ‘The Devil You Know’ pounds it ways into your head before ‘Blind’ continues to batter you into submission. ‘Confession’ is further evidence that When We Were Wolves knows how to execute an engaging slab of exhilarating post hardcore, packed with sheer intensity and gripping dynamics. Lastly, the EP’s namesake, ‘Heartless’, rounds off the record with a captivating and passionate vocal performance by Mitch Bock, who really pulls it out of the bag. ‘Heartless’ is an EP that is destined to be heard, and with a UK tour confirmed for September, there’s nothing stopping the band’s swift rise.
WHEN WE WERE WOLVES LIVE W/ Valiant – SEPTEMBER 18 – BRISTOL, The Gryphon; SEPTEMBER 19 – PLYMOUTH, Tiki Bar; SEPTEMBER 20 – WORKINGTON, Lounge Bar; SEPTEMBER 21 – NEWCASTLE, Think Tank; SEPTEMBER 22 – HULL, O’Rileys; SEPTEMBER 23 – STAFFORD, Grapes; SEPTEMBER 24 – SOUTHAMPTON, Unit; SEPTEMBER 25 – ADDLESTONE, The Cave; SEPTEMBER 26 – BRIDGEWATER, White Hart Hotel; SEPTEMBER 27 – CHELTENHAM, Two Pigs.
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ZOLTAR SPEAKS UNVEIL NEW VIDEO SINGLE!‏

Zoltar Speaks Online Promo Shot

ZOLTAR SPEAKS lift new video single from their debut album.

 

Rising female-fronted Brit metal crew ‘Zoltar Speaks’ have just released their explosive debut album ‘Save As I Save’ and now the melodic metallers set loose their new video single ‘Nothing In The World’ on Monday 12th May.

Pulling from everyone from the likes of Avenged Sevenfold and Iron Maiden to Coheed and Cambria, Zoltar Speaks are here to shake your world with a sound that merges both fiery and majestic vocals with hearty riffs and elephantine choruses.

Formed in 2009 and bursting out of the rural plains of Somerset, Zoltar Speaks are fronted by enigmatic vocalist Louise Body, with Ben Dean hammering at the drums, Simon Roocroft providing the backbone on bass, and Daniel Pratt and Jason Coles shredding it up on the guitars. The unstoppable five-piece have built up an army of dedicated followers fuelled by extensive touring throughout Southern England and Wales where they notched up supports with Idiom and Malefice. The release of the band’s debut EP ‘Treatment’ further increased their national profile, and now with the launch of their new full length album ‘Save As I Save’, the ascending metal crew are set to soar.

The south west melodic metal crew’s debut album ‘Save As I Save’ features twelve stunning slabs of cutting metal and has already racked up critical acclaim from Big Cheese, Metal Hammer, Rocksound and Powerplay. Metal Hammer in particular have been very supportive of the band by placing a track from the record on their cover CD. The band now surge forward with the release of the video single ‘Nothing In The World’, out this May and the cut is destined to grace TV screens.

 

CHECK OUT THE ZOLTAR SPEAKS’ ‘NOTHING IN THE WORLD’  VIDEO  HERE

https://www.youtube.com/watch?v=XKuimZxl5gk ++

 

www.facebook.com/zoltarspeaks

Zoltar Speaks – Save As I Save

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The appearance of the Treatment EP, the debut release from UK metallers Zoltar Speaks, was one of the very best introductions to any band in 2012, a collection of potent and intensive songs which showed the band as having all the weaponry to leave a deeply impressive and long lasting mark on British melodic metal. Now with the release of first album Save As I Save, the Somerset quintet not only confirms all the promise and qualities paraded on its predecessor but ignites them to greater and richer effect and results. The album is a masterful blaze of sound which whether carnivorously snarling or tenderly seducing is a superbly crafted and insatiably attentive provocateur of thoughts and passions.

Zoltar Speaks made their first firm steps in 2009, the band soon breeding a loyal and passionate following throughout the South of England and Wales with their impressive live show and the sharing of stages with bands like Malefice and Sworn to Oath. The Treatment EP sparked critical acclaim from the metal underground and more whilst sparking a greater awareness for the band around the country, a growing devotion for their captivating sound nurtured and expanded through their stage performances. Now as Save As I Save is uncaged you can only suspect and expect the band to trigger the fullest attention with its skilful furies and enchanting persuasions as the band’s ascent to the fore of UK’s melodic metal scene accelerates.

From the piano sculpted Intro, band and release erupts into a sizzling suasion with See You In Another Life, guitars and the Zoltar Speaks - Save As I Save Coveroutstanding fiery vocals of Louise Body enslaving ears and thoughts from the start. It is a tempered entrance by the track but one soon given a boost of aggressive adrenaline and incisive passion as the guitars of Dan Pratt and Jason Coles encase the ears in hungry riffs and sonic enterprise.  The sinewy track easily holds attention from start to finish, forging a strong and tall stature for the album which is followed by the first single from the release, Last Man Standing. As its predecessor the song has a hard and rapacious intent to its start, the rhythms of drummer Ben Dean framing the creative guitar play and scorching range of tone and delivery from Body, her craft and vocals even more impressive than on Treatment. Though maybe not the obvious lead song from the album for personal thoughts, it still makes an accomplished and intrigue sparking invitation into Save As I Save.

The excellent I’m Coming sets the heat and intensity up another notch, predacious riffs matched by the dark bass tones crafted by Simon Roocroft alongside again the commanding beats of Dean. Like a raging fire, the song dances around the senses with melody soaked flames and testing rhythms aligned to those similarly predatory riffs. It is a formidable encounter which sets up the imagination and emotions perfectly for the adventurous Cannot Be. There is a swagger to the invention of the song, its melodic enticements and sonic endeavour whilst a stomping swing drives the intent and gait of the track. Together it makes for a song which is invigorating and musically anthemic but still a thoughtful and caring guide for the imagination as it runs with the engaging narrative.

The album is still climbing in quality at this point, each song bringing a little more to devour eagerly and be inspired by. The ballad Flesh And Blood makes for a relatively gentle persuasion next, one which allows a breath to be taken in the drive of the album and though maybe it does slip from the heady heights set it is a beautifully crafted and skilled attraction which makes a flavoursome spice for the strong appetite already awoken by the album. That gulp for air is needed in preparation for Face The Claymore, the track stepping forward to rabidly ravage and ignite the passions. Intensively aggressive and almost bordering malevolent in its attack, the track is a glorious merger of harsh and melodic adventure, a brawling tempest which brings a further rigorous diversity and tormented energy to the release.

Through the magnetic Take It Away, an enthralling evolving anthem with a solo seemingly soaked in the finest Eagles seeding, the smouldering ballad Braver, and the devastating Nothing In The World, the band continues to incite the fullest satisfaction and strongest emotions for its offering, the last of the three a dazzling display of vocal diversity, clean and spiteful declarations storming through its core with Coles providing growls to compliment and inspire equally extreme and passionate attacks from Body.

Completed by the enjoyably imposing and creatively exploratory I Can, I Can’t, its aggression and lingering melodies pure enslavement, and the constantly building climactic Treatment, the album is a tremendous encounter. As powerful and impressive as it is Save As I Save also suggests that there is much more to come from Zoltar Speaks, an even stronger uniqueness inside which is something to keenly anticipate and get excited over.

http://www.zoltarspeaks.co.uk/

9/10

RingMaster 12/11/2013

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Doomed From Day One – Nine Fingers

Doomed From Day One Online Promo Shot

It has been two years since the release of their acclaimed debut EP The Wasted World but on the evidence of its successor Nine Fingers, UK progressive death metallers Doomed From Day One have not been resting on its laurels. The new EP is six tracks of confronting and impacting enterprise which leaves predictability a dormant factor and intrigue a toxic substance within its consuming presence. The Surrey quintet has honed their already impressive songwriting and intensive sound into a real predator of senses and emotions, an accomplished brutality which is sculpted by feisty invention and incendiary imagination, and though arguably the new release lacks those moments which impact after the event, it is a magnetically striking and creatively dominant beast during in its company.

Formed in 2009, the Guildford band has been on a formidable rise through the ranks of UK extreme metal, their passionate fanbase recruited not only by their first release but their formidable live reputation and presence.  Through impressive shows alongside the likes of Malefice, Martyr Defiled, The Defiled, Gallows and most recently Black Dahlia Murder, Sylosis, Bleed From Within and Thy Art Is Murder, as well as world media acclaim, Doomed From Day One has earned a worldwide attention which you can only imagine the strength of Nine Fingers will cement and accelerate. Released as the band share dates with Red Seas Fire and Fathoms, the EP confirms Doomed From Day One as one of the most potent, imagination tipping encounters with an immense depth of promise.

The title track opens up the release; an enthralling instrumental which introduces itself and the album with a sunrise of excellent guitar Doomed From Day One Cover Artworktemptation and orchestral bred elegance. It then evolves into a fire borne sonic blaze of craft and evocative textures whilst melodic flames scorch the ears for a wholly persuasive invitation into the release and the following Cut And Hunt. The second track takes little time in testing the senses with a crippling array of spiteful rhythms, corrosive riffery, and equally caustic gutturally primed vocals from Sean Scott. The track rages and ravages with craft and malevolence but equally exports a range of hooks and barbed grooves which dig deep and contagiously from within the dangerous tempest. It is a breath-taking companion which increases it’s tempting further with an excellently progressive, almost avant-garde teasing from the guitars of Charlie Griffiths and Charlie Frederick which evolves from their persistently impressive skills.

The immense full start to Nine Fingers is backed up by At Graves End, a song which falls short of the plateau just set but creates its own unique stature of imaginative and mercurial invention. As the drums of Daniel Ristic sculpt a web of bone splintering craft and force, the guitars again send spirals of sonic ingenuity through the heart of the vitriolic intensive track whilst vocals quall and scar the surface of the ear with the great tones Scott first successfully unveiled on the EPs predecessor. Creatively antagonistic and fuelled by enthralling enterprise, the song drifting into a progressive jazz spawned landscape at one point before returning as ferocious and dramatically impacting as it started, there is little to dismiss about the track but it does like most of the others lack that ignition to remain a potent instigator away from its destructive arms.

The Promise does verge on that break through, the delicious irritant of flesh scorching sonic toxicity and rhythmic barbarism a vicious alchemy which lays down the strongest inventive bait upon the EP. With the bass of Eifion Sweet prowling with predatory glee and menace across its length, the track like its predecessor is unafraid to explore a slower melodic beauty and progressive tapestry. The skill of the band and the imaginative songwriting is impressive and again bordering spellbinding but still without that lingering claw for the mind, though when it sounds this good in the claws of the song and EP is it really an issue?

Dread and In This Life Not The Next complete the release; the first an insatiable fury of lethal rhythms and riveting riffing which is just as inciting through its mordant touch with the vocals of Scott a ferocious maelstrom of passion and maliciousness upon the outstanding blend of vindictive and seductive musical craft. Personal favourite of all the tracks, it spears the body with imaginative violence to provoke the strongest satisfaction before its successor finishes things off with a thrilling torment sculpted by a technical fire of extreme and fertile aural retribution. The track unleashes everything which is good about the band and the release in a seven minute deeply pleasing scourge.

Nine Fingers is an excellent release which as mentioned only misses out on finding that one element which plays in thoughts and memory long after it takes its leave. All the same Doomed From Day One has created a release which when standing in front of the body feeds every want and hope for an extreme metal offering whilst reinforcing the band as one of the finest and most promising to emerge in the UK in recent years.

http://www.doomedfromdayone.co.uk/

8/10

RingMaster 21/10/2013

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Waking Theo: Reborn EP

Waking Theo Promo Shot

    Sparkling with strong enterprise as it accosts the ear, the Reborn EP from UK metallers Waking Theo is a thoroughly satisfying and impressive release primed to spark a national recognition to the powerful quartet. As melodically compelling as it is unrelentingly aggressive, the three track release marks the band with ease as one of skill and thought in their songwriting and sounds alongside a passion which expands their creative intensity.

The Yorkshire foursome formed in 2006 and took no time in exciting the underground metal scene locally before spreading beyond with their fusion of varied influences including thrash, metal, melodic death, and metalcore into their own instinctive ideas. Since that initial entrance the band has shared stages alongside bands such as Malefice, Mendeed, Trigger the Bloodshed, and Biomechanical and released two well received EPs, the second Ghost in the Machine in 2011 setting the band up as ones to watch for a great many. The beginning of the following year saw the departure of vocalist Mikey Slatcher, one of four essential cogs in the evolution of the band to that point. A band driven by determination as much as anything, Waking Theo recruited Craig Gordon to its ranks and began working on new material which was showcased at Bloodstock the same year, an event they were handpicked for. Now with the release of Reborn and its formidable sounds it is not fantasy to imagine the EP being the trigger to nationwide awareness.

The release is an instant lure as opener To the Lions grabs the ear with a firm sinewy grip and sonic enticement. Immediately the Waking Theo Cover Artworkrhythms of drummer Chris Vinter snap with control and energy whilst bassist Chris Giles prowls the song waiting to pounce on the unsuspecting listener with thrilling intensity. The track into its stride is a perfectly abrasive endeavour veined by the masterful melodic flames of guitarists Ben Wright and Chris Town. It is constantly magnetic and provocative especially with the vocals of Gordon, his delivery a brawl with the senses which adds excellent muscular confrontation to the bewitching acidic charms of the music.

Second song Downcast evolves the ear with a fine melodic caress before the again sturdy riffs and rhythms state their declaration. Once satisfied it has your attention the track explodes into an unrelenting barrage of thrash drenched riffing and sonic teasing from which only pleasure is borne. Arguably the song fails to match the heights of its predecessor but with the ravenous energy and stalking of the riffs side by side with malice soaked beats, the track is a thrilling and uncompromising encounter for which you can only add further praise to the release. To slightly contradict the previous comment the song leading into its climax also offers a passage of sonic elegance and fiery seduction which is possibly the best individual moment across the release and quite mesmeric.

Ending on the title track, Reborn is without doubt a release all metal fans need to look at. The final song is a furnace of invention and passion which consumes and energises the listener whilst chewing them up and stomping on their spat out carcasses. It is a monster unleashed but with that melodic craft and imagination which persuades fully and helps set the band apart from and ahead of many others. With an album scheduled for later in the year, 2013 is looking to be a very big year for Waking Theo.

www.facebook.com/wakingtheoband

7.5/10

RingMaster 11/02/2013

Copyright RingMaster: MyFreeCopyright

Cambion: Virus

   cambion

    If like us you thought Cambion was the business with their Last Rites EP of 2011, then be prepared to be a whimpering fully bloated with pleasure wreck as their new EP Virus wreaks its havoc on the senses. The UK metallers have left the previous triumph looking almost pale against the new onslaught of technical and progressive metal found on the EP. The Devon quartet has not ventured far from their already established sound on Virus but honed it into an even more lethal and expressive beast which gnaws, chews, and teases the senses for a simply sensational confrontation.

Formed in 2009, the band pulls its influences from the likes of Meshuggah, Fear Factory, and Divine Heresy but has distilled them into their own aggressive and inventive tonic. It is aggressive and corrosive but equally is an incendiary engagement melodically and emotively. The past years have seen Cambion tour with US rockers Fozzy as well as share stages with the likes of The Defiled, Malefice, Blaze Bayley, Fury UK, Revoker, The Fearless Vampire Killers, and The Dead Lay Waiting, and light up festivals like Bloodstock with the line-up of vocalist/guitarist Elliott Alderman-Broom, guitarist Liam Neary, bassist Colin Beale, and drummer Frank Dennis impressing continually. The band has reached into another level of depth in their already expansive and impressive creativity so that where the previous EP had like us many drooling Virus just ignites sheer rapture with its immense presence and sound.

The release opens on the atmospheric and stark corrosion of society through varied news sound bites and a serpentine presence; it 480282_10151163818991971_2129231106_nis a cinematic introduction fitting the theme of the release and pulls Virus Part 1 (Outbreak) into immediate focus. The emergence of the band is a step back, the brewing intensity seemingly another world as a guitar glows with sonic elegance in an open clear sky. Soon though towering rhythms add their sinews for an imposing stature elevated again once the band badger with debilitating riffs and a hungry abrasion. The storm is a building intensity with the great vocals sending warm shards through the tempestuous ambience and eventually erupts into a charged and overwhelming maelstrom of technical violence and enterprise. It is also unpredictable and beautifully surprising, the Latin blush of guitar mesmerism sensational as the riot subsides for brief moments. It is a compelling and stunning start which leaves all previous thoughts of the band as lacklustre praise in comparison to those generated from the first track alone.

Virus Part 2 (Infection) was first featured on the previous EP and was stunning then but within the encasement of the new release feels even more impressive. The song is a caustic ravaging spawn of the industrial metal craft of Fear Factory and the exhausting and ravenous intensity of Static X bled into an electrifying abrasion all Cambion. Like all the songs on the EP, it rewards as deeply as it gnaws away at the listener and their psyche, the melodic fires enflamed and aggressive violation unleashed, metal at its very compulsive best.

The brutal entrance of Virus Part 3 (Death) with sheer malevolence to the squalling vocals and heart stopping beats from the drums, brings the world to a juddering halt such its intimidation and power. It is a mere one minute of physical barbarity which leaves one shell shocked yet ready to face the next part of the Virus in (AfterLife). If you thought moving on from this plain would be all beauty and peace, the erosion of light and expulsion of civil tranquillity let free by the track soon corrects and sends one to their knees. Combining a contagion of acute grooves with crippling rhythms and further technical savagery, the track is a persuasive assailant and one which with its melodic flames hitting mesmeric heights and additional impressive clean vocals and harmonies, one which provokes and evocates the strongest passions and emotions.

Virus Part 5 (Resurrection) continues the sonic viciousness with sheer mastery of sadistic intensity, unforgiving sounds, and glowing melodic beauty. The track scores and depletes the senses until numb but at the same time energises and inflates the heart with a melodic enterprise and touch as magnificent as the quarrelsome ruin surrounding them.

Completed by a hidden track which is as stunning as all the others, Virus is just outstanding, a release which declares Cambion firmly as one of the most important bands in UK metal and a delicious violation all should allow to rampage inside.

http://www.cambionofficial.co.uk

RingMaster 25/01/2013

Copyright RingMaster: MyFreeCopyright