The Survival Code – Hopelessness Of People

Checking out recent single Crawl combined with the potency of previous releases, we declared The Survival Code a band it is so hard for us not to be excited about. That track was the second teaser for the London based outfit’s new album; an intimation alongside its predecessor of something to truly anticipate. Having feverishly devoured the full-length we can announce that Hopelessness Of People not only lives up to the promise offered by its singles but has emerged as one of the year’s major gems.

Formed by Dubliner Gary McGuinness, The Survival Code has bred and earned a rich reputation since emerging late 2011, each release seeing their imaginative rock bred sound openly growing and evolving backed by a live presence which has constantly proven itself a rousing experience. Though numerous musicians have been alongside lead vocalist guitarist McGuinness, it has been his long term link up with drummer/backing vocalist Tom Cook which has been the heart and power of the band. A trio for their acclaimed Matt Hyde (Trivium, Slipknot, Ash) produced 2015 debut album, MMXV, and the subsequently just as striking Broken Strings EP two years later, The Survival Code has slimmed down to just the core duo upon Hopelessness Of People and the band has never sounded more powerful, dynamically bold, and rousing.

With Hyde again producing, Hopelessness Of People takes mere seconds to entice and thrill ears with opener Same Skin. Its initial guitar shared lure is a calm intrigue ridden coaxing which soon flares up with rapacious energy as Cook’s beats court their own infectious trespass of a swing. McGuinness’ vocals are just as captivating, like the sounds a blend of melodic composure with underlying aggression and volatility. Embracing rock in its various shades alongside a twinge of punk irritability and metal bred ferocity, the track and band’s sound soon establishes its inescapable identity though with its tenacious almost stalking hooks and hungry grooves there is a certain Sick Puppies hue to the excellent encounter, a spicing which enjoyable lingers across the whole release in varying degrees.

Crawl is next to snare thick attention, immediately imposing with its senses harrying riffs and formidable rhythmic swing. From its already infectious threat, appetite wrapping grooves and imagination stoking twists combine for a web of contagious enterprise matched by the equally compelling vocals of McGuinness in turn backed by Cook’s potent tones. There is a touch of Coheed & Cambria to the track, a pinch of Adelitas Way too as well as the aforementioned Australians but the song rises to be all The Survival Code. As a single it got us lustful to hear Hopelessness Of People and still does each and every time roaring from within its midst.

A calmer entrance by the following Take It As It Is only brings a mutually eventful slice of melody rich and highly catchy hook loaded alternative nurtured rock where rhythms swing with muscular intent and emotion fuels vocal expression while Anything Goes These Days strolls with emotive tempestuousness in its heart and raw power in its snarly breath. In their individual ways, both songs had the body and imagination bouncing, the first especially with its keenly crafted unpredictability.

One of the album’s early tasters is next, Along The Way a single earlier this year which effortlessly hits the spot whilst leaving a lingering breath which again just draws intrigue and attention the way of the album. Though the track does not have the incendiary dynamics of Crawl, it is a virulent persuasion which again has the body dancing to its whims before Self Medicate wraps thoughts in its emotive balladry and the imagination in a tapestry of creative and vocal intimation. A slow burner compared to its companions within the album, the song just grew by the listen enticing purposeful contributions from hips and vocal chords.

In so many ways the track epitomises the almost deceitful virulence of Hopelessness Of People, quietly nagging away yet openly seducing with its resourceful breeding; a template just as successful behind the decisive enterprise of Not Working. It is another which seems to be a touch subdued compared to other tracks but the truth is clear when from nowhere we found ourselves repeating melodies and a chorus which had burned itself into the memory.

Damn these Survival Code boys are devious and at it again within the smouldering and increasingly fiery and just a bit funky This Time Around. McGuinness and Cook unite to weave a contagion of hooks and melodic grooving as tenacious as the expectations devouring exploits of the song, repeating the feat with new imagination for the quite outstanding and devilishly tempting Too Late and in turn Next Step. Another major favourite here, the second of the two borders on the feral, its metal seeded antics spring grooves which demand subservience and riffs which harass to the point of addiction. Around them, melodic flames and vocal angst roar to add to the undiluted captivation.

The final pair of Integrity and Goodbye proves there is truly no moment within the album which is lightweight in presence and enjoyment. The first has a vocal calm which rests perfectly within the more unevenly tempered air of the song though McGuinness’ delivery has a hint of prickliness to it too while the closing offering is a slice of magnetic rock ‘n’ roll which too mixes hushed aggression with volatile energy whilst casting an infectious wind of melody woven turbulence and emotive exclamation.

Quite simply releases like Hopelessness Of People are the reason our hunger to devour new music is more lustful than ever. It is an appetite which has been rewarded so many times this year alone but few as relentlessly and powerfully as by The Survival Code.

Hopelessness Of People is released Friday 31st August, through Good Deeds Music Ltd.

 https://www.thesurvivalcode.co.uk/    https://www.facebook.com/thesurvivalcode    https://twitter.com/thesurvivalcode

Pete RingMaster 30/08/2018Copyright RingMaster: MyFreeCopyright

Brightlight City – Our Future’s Not Dead

Having impressed with debut EP, Adventures in 2015, British rockers Brightlight City now reveal the blossoming invention and increasing maturity in their sound with successor Our Future’s Not Dead. Hinted at by a pair of singles last year, the new release is evidence of a band building on an impressive start and potential with stylish adventure whilst nurturing a whole new promise for continued growth.

Surrey bred, Brightlight City weave in inspirations from the likes of Hundred Reasons, Million Dead, Yourcodenameis:milo, At the Drive-In, Biffy Clyro, and Jimmy Eat World into their sound; indeed sparking comparisons to the former and others such as Thursday and Hell Is For Heroes with their melody rich and harmonically honed songs. Equally there is a fresh and potent catchiness and steel to Our Future’s Not Dead which as suggested was first glimpsed within last year’s singles Gravity and Thieves. It is a growth in sound which has come with an increasing reputation and praise for their live shows through the quintet sharing stages with Max Raptor, Fizzy Blood, Bad Sign, and Blood Youth and playing alongside Rise Against and Millencolin at Envol et Macadam Festival in Canada in 2015as well as their own shows.

Recorded with Matt Hyde (Funeral For A Friend, Bullet For My Valentine, Slipknot), Our Future’s Not Dead is likely to spark another bout of attention and hunger for Brightlight City, setting out its persuasive strength with opener It Depends On You. Skittish beats alongside vocal and guitar offered temptation bring the song into focus; their low key yet agitated attitude soon a full roar as vocalist Jamie Giarraputo heads a web of melodic enterprise from guitarists Jonathan Staunton and Justin Giarraputo, the latter adding his own potent vocal expression to the mix. Anthemic in heart, imposing in rhythm as the hefty jabs of drummer Ben Bell court the brooding lines of bassist Tom Stock, the track roars with energy and passion.

With a mellower air Leave A Light On follows, wiry melodies swimming round a throaty bassline as emotive vocals entice with distinctive expression. Once again there is an instinctive catchiness at work, never wavering as fiery textures evolve and unite in a livelier blaze of sound and emotion. In some ways it is a less intricate proposition than its predecessor but only to its strength as each element is a flame of craft and drama before making way for Heart Stops. The third track comes coated in the infectiousness of the opener, its swinging body almost pop punk like and relentlessly coaxing listener involvement with its vocal harmonies and controlled but boisterous swing; a tenacious essence just as open in the calmer moments of a song taking best track honours.

The EP is brought to an end by Past/Future, a track epitomising the evolution in the Brightlight City sound with its rounded fusion of melody and energy amidst a new depth of contagiousness and invention. As all the songs within Our Future’s Not Dead it is a memorable and lingering encounter going to make a thoroughly enjoyable and impressing release. The Brightlight City sound has yet to become something truly unique but as the EP shows, it is well on the way and providing some rather tasty encounters along the way.

Our Future’s Not Dead is out now through Undead Collective Records.

https://www.brightlightcityofficial.co.uk/   https://www.facebook.com/brightlightcityofficial   https://twitter.com/blcband

Pete RingMaster 12/04/2017

Copyright RingMaster: MyFreeCopyright

Big Jesus – Oneiric

Pic cred: Chris Sullivan

Pic cred: Chris Sullivan

Imposingly dreamy, Oneiric is a proposal which simply infests, seduces, and lingers with increasing potency listen by listen. The new album from Atlanta bred outfit Big Jesus, the transfixing Oneiric is a warm serenade of the senses but equally has a predacious side to its shadows and rhythmic weight which hooks eager attention. Mellow and raw, seductive and fiery, the band’s sound sits somewhere between My Bloody Valentine and Deftones, Smashing Pumpkins and Palms but is all the time weaving its own distinct adventures now collected on one gripping album.

According to vocalist/bassist Spencer Ussery, the Big Jesus sound was bred on inspirations found in nineties rock;  everything from metal, psychedelic pop, shoegaze, hip hop, and classical piano music impacting on the ideas and music of the band. It is a mix which lured potent interest in the band with the release of their debut album One, and is set to escalate as the Matt Hyde (Deftones, Slayer, Monster Magnet, Sum 41, Alkaline Trio) produced Oneiric swarms over more and more ears.

Bringing four tracks from their earlier release with six new encounters, Oneiric quickly grabs ears and imagination with opener SP, the song instantly a writhing mix of fuzzy melodies and hungry grouchy riffs. It is imposing yet inviting, especially as the warm tones of Ussery float across the feisty landscape of the song. Guitarists CJ Ridings and Thomas Gonzalez cast a great web of warm and aggressive enterprise too, riffs and grooves a conflicting yet beautifully united adventure which with the ethereal nature of Ussery’s voice offers a House Of Love meets Smashing Pumpkins enticing.

art_RingMasterReviewThe snarling air of Ussery’s bass and the intensively swinging beats of Joe Sweat make a matching powerful lure, their driving energy and dark nature as virulent in the following pair of Always and Lock & Key. The first of the two is a ridiculously catchy affair, it’s relentlessly twisting grooves and rhythms a feistily contagious invitation wrapped in magnificent psychedelia/ shoegaze spiced vocals while its successor musically ventures down the same creative avenue to create its own tempting while caressing the senses with romantic melodies as sonic suggestiveness warms with celestial hues. Again there is heaviness and intensity involved which sublimely tempers the bright air and only increases the potency on ears and imagination.

Through the rapacious directness and melodic meanderings of Floating Past You and the gentle yet intrusive and slightly melancholic croon of Fader, the album transfixes with ease while their successors, the sonically incendiary Shards and the heavy metal hued Oneirica only tighten the pull of one increasingly engaging encounter. The latter is another song which fizzes with infectious vitality and a rhythmic boisterousness which seems to inspire all the other elements making up the outstanding and seriously enjoyable multi-flavoured track.

Shrimp caresses the senses with its melodic and vocal gossamer next; a golden kiss on ears with a fiercer underbelly. it is an irresistible calling on appetite and emotions before Felt In Reverse coaxes the senses with magnetic reverberation into another sonically flaming and vocally seductive fire of sound and imagination. As at times across the album, surface elements of the song seem a touch similar to that of other tracks but with closer focus and each subsequent play, the song reveals its own mesmeric and often wonderfully volatile character of craft and invention.

Concluded by Heaviest Heart and its mix of irritable predatory riffs and airy almost diaphanous melodies and harmonies, Oneiric is pure temptation in your speakers. As suggested, the album simply grows and further entangles the listener with every listen, unveiling plenty to satisfy fans of rock music from psych and melodic rock to shoegaze and grunge.

Oneiric is out now via Mascot Label Group / Mascot Records and available across most online stores and @ http://www.mascotlabelgroup.com/big-jesus/

http://bigjesus.net/   https://www.facebook.com/bigassjesus/   https://twitter.com/bigassjesus

Pete RingMaster 07/10/2016

Copyright RingMaster: MyFreeCopyright

Anti-Clone – The Root Of Man

Anti-Clone_RingMasterReview

If asked at the start of the year which was the one release we were most anticipating in 2016 there would have been no pause of thought involved in saying the debut album from UK metallers Anti-Clone. They had us addictively hooked into their own distinct nu-metal bred, psyche twisting sound from the outstanding Hands Sewn Together EP, which had its highly successful national release back in 2014. Its tracks were a regular part of our podcasts too, finding the same eagerness across a horde of other shows and stations with the mainstream media soon waking up to the band’s emergence in turn. Now two years on and quickly following reputation cementing and pushing performances supporting Mushroomhead and Sanguine on certain dates of their recent UK tour, the Boston hailing quintet are poised to unleash The Root Of Man.

The question was never going to be would the album live up to expectations seeded in the last EP and the hefty fuss around the band, that just seemed to be a given in thoughts, but would their music have grown and evolved enough to make them a real contender to stir up the metal scene beyond the UK as earlier songs suggested. Well, the answer is found within the first few tracks of the eleven song incitement alone. Together they give a rousing confirmation with their creative roar, only being forcibly backed by the rest of an album which in some ways continues where the Hands Sewn Together EP left off but immediately shows a craftier and imaginatively more exhilarating, not forgetting broader, weave of styles and flavours in its boldly sculpted songs. The Root Of Man is Anti-Clone on a new mature imagination drenched plateau from songwriting to sound to presentation. There is inventive confidence and fierce adventure at every turn as the scent of inspirations from the forefathers of the nu-metal scene are again embraced, twisted, and honed into openly fresh textures within the band’s own fascinating experimentation.

art_RingMasterReviewFormed in 2011 but really finding its creative mojo once the current line-up was in place a couple or so years later, the Lincolnshire band soon sparked a hungry and swiftly growing fan base for their dramatically addictive sound which reached its first pinnacle in the Hands Sewn Together EP. Live too, the band has grown to be one of Britain’s prime incitements, sharing stages with the likes of American Head Charge, Kindred, ESO, Breed 77, Sworn Amongst, Maplerun, Evil Scarecrow, and Bloodshot Dawn amongst many along the way. Linking up with EP producer Matt Hyde (Machine Head, Trivium, Fightstar, As I Lay Dying and Slipknot) again for The Root Of Man, the quintet of brothers Drew (drums/ programming) and Peter ‘Mr Clone’ Moore (vocals), Conor (guitar) and Liam Richardson (guitar), and Mike Bradbury (bass) are seemingly poised to set their place at the head table of the UK and indeed European metal scene.

Dually looking at “the beginning of the human race, starting with Eve committing original sin which resulted in us being cast out of Eden” and symbolising the band’s beginning as a band; “These are the roots that we are planting to fully establish ourselves as our own entity, to establish ourselves as Anti-Clone“, the pledge music funded The Root of Man immediately grips ears and imagination with its title track. It is a brief but inescapable lure into the album, an as expected apocalyptically ambience clouded scene setter which is soon crawling portentously over the senses as steely bass and toxic grooves wrap the enjoyably familiar tones of Mr Clone. Its dark tempest rolls straight in to Deracinated which seamlessly draws ears into its own animus of intent and creative rapacity. Straight away an industrial toning merges with the schizophrenic nu-metal prowess which flows from the band, Society 1 meets Mudvayne like essences adding to the imposing character and trespass of the fearsome magnetism on offer. Ebbing and flowing in raw confrontation, the track bewitches ears and stirs up the appetite, setting them in an unfamiliar and disorientating yet welcoming blend of old school aired modern imagination for a seriously rousing slab of predacious incitement.

SwitchBlade growls at and brawls with the senses next, vocals from Mr Clone and the Richardson brothers almost pestilential in their psyche invading animosity as the sounds around them rise and fall with constant inhospitable adventure. Melodic calms and percussive invention are just as potent lures in the agitated imagination and landscape of the song; all colluding to savage and spellbind before A Sight For Sewn Eyes prowls ears with Fear Factory/Spineshank tinged ingenuity. As replicated across the whole of the album, every moment of the song brings greed breeding drama to the listener, Mr Clone showing his clean melodic tones are as fiercely agreeable as the rawer psychosis fuelled side of his vocal character. The song persistently twists and turns from the start before reaching a bedlamic crescendo that never truly departs once erupting as the song leaves on a groove bound web of suggestiveness.

With a constant range of peaks across its landscape as momentous and memorable as the Alps, B9 adds another with its Manson-esque textured slice of predatory heavy metal whilst Twisted Neck entangles ears in the intoxicating vines of toxic grooves which wrap a calmer melody hued serenade beneath a thickly tempestuous and predatory climate of sound and personality. Both tracks present a tapestry of styles and textures, the first also flirting with steampunk like elements where, not for the last time, Anti-Clone have a touch of the now sadly demised Shanklin Freak Show to them. Its successor flirts with a colouring which is more 6:33 meets Dog Fashion Disco though as always, it is hard to pin down a flavour such the Anti-clone ingenuity as they align spices to their own enthralling ideation.

A great punk metal hue seeps into the riveting and mercurial soundscape of Mechanical Heart, the track as welcoming as it is fearsome with sinister keys and avant-garde devilry lining another almost rabid mix of nu and industrial metal carrying at times more than a whisper of death metal to it. Compelling to the extreme, the track simply wants an apocalypse based Hellraiser movie to grace to see its majesty totally fulfilled, though fair to say there is no time to linger in thought with any song during the album as here Feed The Machine steals attention instantly with its vocally anthemic and physically bracing proposal. Repetition in word and sound within the track is a glorious igniting of instincts; that simplicity employed in another rich weave of roving grooves and a cantankerous rhythms skilfully sewn into an irresistibly unpredictable but dramatically galvanic onslaught. Like early Korn in some ways and Slipknot in others, the track still stands distinctively tall as another unique Anti-Clone ravaging of the senses and passions.

ComaSpace brings a moment of relative calm and the chance to catch breath next though unsurprisingly it too has irritability to its tone and dark imposing edge to its atmosphere. Vocally Mr Clone entices ears with a clean delivery as melodies merge acoustic and more aggravated hues into the Deftones spiced offering. Again the band has ears and appetite enthralled, though even being another impressive moment within The Root Of Man, it gets overshadowed a little by Astaroth. The band’s new upcoming single, the song is sonic slavery; the reason mosh pits and lustful reactions were bred into life. As barbarous as anything on the release and the most virulently contagious assault too, the track has everything you need to know about Anti-Clone and whether they are the tonic to your personal musical passions.

Completed by the grisly presence and voice of Sentinel, a sonic inferno of psyche burrowing riffs and grooves amidst an insatiable and concussive tempest of sound and attitude, The Root Of Man is the declaration of a new major force in UK and undoubtedly European metal. Anti-Clone is set to be one of those guiding their journeys over the following years whilst with this superb release, the band has placed themselves right there in stature alongside a great many of those who have inspired their adventure to date.

The Root Of Man is released 29th April  via PHD (Plastic Head Distribution) with more information @ http://www.anticlonehq.com

https://www.facebook.com/AnticloneHQ/   https://twitter.com/AnticloneHQ

Pete RingMaster 04/04/2016

Copyright RingMaster: MyFreeCopyright

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Anti-Clone recording debut album with Matt Hyde (Slipknot, Machine Head)

New_AC1-ringmasterreview

Following a highly successful tour with Skindred and the release of their EP ‘Hands Sewn Together’ – Lincolnshire, UK nu-metal band ANTI-CLONE have announced they are now back in the studio recording their debut album.
Working with acclaimed producer Matt Hyde (Slipknot ‘All Hope Is Gone’ Machine Head ‘The Blackening’) Anti-Clone’s next release is set to be a big evolution for the band.
“This debut album will be our first official footprint on the music industry. The EP was an early test, an experiment and we’ve learnt so much from the whole process. As soon as we started writing for the album earlier this year, we knew immediately we wanted Matt Hyde involved” said frontman Peter Moore.
 “The step up in musicianship and song writing is immense” said Hyde “and as a producer you can’t ask for anymore than the band to be willing and open to trying new ideas.
Anti-Clone pushes themselves and it’s no surprise that they have gained a lot of fans along the way. I can’t wait to have the record completed, there is no doubt in my mind that 2016 is going to be a big year for them.” 
Big words to live up to? Not really when you look at Matt Hyde’s work to date, which includes Slipknot, Machine Head, Bullet For My Valentine and Trivium.
And he’s not the only one to see the potential in Anti-Clone. Skindred frontman Benji Webbe praises the band for their live shows “Anti-Clone have the full package! After having them support Skindred for 2 weeks, I saw them deliver an amazing performance night after night. I believe with the right direction they could be a ruling force in British metal!” 

“Expect the unexpected” says Moore “This album WILL be the birth of Anti-Clone.” 

The debut album is set for release in 2016 (date tbc) via Pledge Music and PHD (Plastic Head Distribution).

Anti-Clone’s Pledge Music project:

This Year’s Ghost – Yesterday Becomes Tomorrow Today

Band_RingMaster Review

This Year’s Ghost might not be a particularly familiar name for many right now but with more releases like Yesterday Becomes Tomorrow Today, it is hard to imagine that remaining the case. The five-track EP is a rousing blaze of anthemic melodic rock woven from the varied strains of alternative rock, grunge, and melodic metal, and though in some ways it is not particularly unique there is no escaping the fresh and arousing character to the roar of sound and release.

Formed in 2012, London hailing This Year’s Ghost consists of vocalist/guitarist Paul McKenzie, bassist/backing vocalist Joe Kusionowicz, and drummer Jake Tellinghusen. Last year saw the release of the Winter Earth EP, a release recorded with producer Meyrick de la Fuente. It was the start of a year which sparked good interest the way of the band, a UK tour and numerous other shows adding to the growing awareness of their emergence. Yesterday Becomes Tomorrow Today is the next step, a release sure to increase the swell of attention crowding around the band and alone reason why those in the know keenly shout about the trio’s compelling exploits.

THIS YEAR'S GHOST - COVER _RingMaster ReviewART     Recorded with producer Matt Hyde (Slipknot/Machine Head/Funeral For A Friend/Gallows), Yesterday Becomes Tomorrow quickly stirs up ears and an eager appetite with Death Of A Gift, its entrance of fuzzy guitar and brewing intensity a potent coaxing. In no time it is into a reserved but fiery stroll with the superb tones of McKenzie strongly impressing, as too the web of grooves and sonic endeavour escaping his guitar strings. Band inspirations include the likes of Biffy Clyro, Pearl Jam, and Alter Bridge, and fair to say in the opener alone you can feel those essences colouring the song’s inviting roar, but equally This Year’s Ghost casts its own identity in the rich melodies and vocal harmonies shaping the excellent drama of the song.

The stirring start continues with December Sun, a track featuring guest vocals from Stitch D of The Defiled. Straight away as melodic persuasion gallops in on hefty beats and grouchy bass, ears and appetite are gripped, even more so as the vocals croon with expression and quality. Though not as energetic as its predecessor, dynamically the song is a rampant stallion of sound and invention, its metallic side the flaring nostrils and melodic invention the heart of one impassioned and arousing encounter.

Carry Us In Blue similarly aligns a carnivorous rhythmic enticement, especially from the bass, with harmonic and melodic flames; the union breeding the emotive intensity escaping through the pores of the track’s tempestuous but controlled bellow. Whereas the first two songs immediately stir the senses and emotions, the third is more of a smouldering persuasion but one subsequently leaving ripe pleasure and a captivation of the over time. Though Silver Tongue hits with a swifter temptation it too blossoms more over numerous plays, its inflamed seduction a success unwilling to rush things but increasingly successful whilst adding to the rich enjoyment arising from Yesterday Becomes Tomorrow.

The EP is completed by the provocative infectiousness of Black Dogs, another where bass and drums are predatory, vocals and guitar sonically radiant, and all unite to craft a fire of imaginative sonic expression and intensive lyrical reflection, something which applies to the whole of the increasingly impressing release.

Bolder originality is the only thing you could offer up as something missing within Yesterday Becomes Tomorrow Today, an essence though easy to assume will emerge as the band evolves and grows. Other than that the EP borders on the majestic; a thickly pleasing proposition which might not change your musical life but easily doffer up This Year’s Ghost as a new long term friend.

The Yesterday Becomes Tomorrow Today EP is available now via iTunes.

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Pete RingMaster 22/11/2015

Copyright RingMaster: MyFreeCopyright

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A Mouth Full Of Matches – Smoke Signals

AMFOM Promo

Swiftly showing a fresh maturity and adventure to their sound, the new Smoke Signals EP from UK alternative rockers A Mouth Full Of Matches, leaves no doubt that this is a band truly finding its creative feet. The four track release bulges with thick melodies and intriguing hooks, providing ears and imagination with a warm and persistently impressing landscape of evocative textures and adventures. It is a riveting encounter from start to finish and though it is possibly a few sparks short of the blaze it could have been, the EP is a stirring and rigorously captivating proposition from a band on the rise.

Formed in 2012, A Mouth Full Of Matches, the name taken from a piece by spoken word poet Anis Mojgani called Milos, took little time in drawing attention with their sound, live presence, and debut EP, Tasting Fire. The Manchester quintet’s first release was well-received and potently opened up the potential and invention of the band’s songwriting and sound, a promise skilfully realised by Smoke Signals whilst providing suggestions there is still plenty more within the band to be explored. Recorded with producer Matt Hyde (Bullet for my Valentine, Slipknot, Machine Head, Funeral For A Friend), and following the band’s success in making it to the final Red Bull selection of 15 bands vying to play Download Festival, Smoke Signals is a potent statement in luring a greater spotlight upon the band.

The release opens with a sultry and gentle caress as first track Danger High glides into view. It is an atmospheric start embracing the imagination but just the gateway into punchy beats from drummer Steven Hall and a weave of raw AMFOM Artworkriffs and sonic enterprise cast by guitarists Mark Holden and Jane Hebenton, the latter’s twin Helen providing dark portentous shadows with her brooding basslines to the mix. It is a masterfully magnetic entrance to song and release, which as it grows and brews in intensity, continues the charm offensive through the excellent mellow tones of Tom Buxton. Finally settling into a firm and contagious stride, as guitars and vocals spread evocative and harmony soaked expression respectively, the song almost growls in creative contentment and melodic temptation. It is an enthralling encounter which just gains in strength and depth over time.

The following One By One matches rugged riffery and imposing rhythms with more seductive melodies and vocal elegance. It works from a similar template to its predecessor but in its individual way builds a wall of lingering persuasion, which again over time shows inventive twists and avenues within its tantalising scenery. The rhythmic bones of the track are big and its melodic skin tight, creating an anthemic potency which is inescapable. The song, as maybe the EP, is missing a snarl or two to wrong-foot or intimidate ears and thoughts, but with the impressive design and skills of the guitars aligned to soaring vocals deeply flavoursome, the track easily makes the strongest engagement.

Wait For Me attempts to find a grizzled call initially, though it is tempered by keys which continually help enflame each song in varied ways, before slipping into an emotionally flamed flight of pungent melodies and vocal warmth veined by sinew driven rhythmic tenacity. It is a transfixing track which sits somewhere between Deftones and 30 Seconds To Mars, with the bordering on orchestral strength of keys finding seeds in the likes of an Evanescence or Flyleaf. Though not the most accessible song of the release, it is its most gripping in imagination and exploration, the band on a new plateau for invention.

Smoke Signals is closed by Young Blood, another track which suggests it is an explosion in the making but remains within an appealing restraint, swapping ferocity for spicily tanged short grooves and crystaline keys amidst guitar sculpted melodies. Once more individual flair combines for a lively smouldering of emotive colour and sonic expression, resulting in an engrossing melodic adventure.

The track sums up the strength of the EP, and also its only miniscule want, that of the previously mentioned aggression or snarl to draw a more distinct line between the overall sounds of songs. Nevertheless Smoke Signals is a tasty and bewitching encounter marking another big step in the emergence of A Mouth Full Of Matches, a band heading in the right direction with the prospect of major horizons in their own hands.

The Smoke Signals EP is available now @ http://amouthfullofmatches.bandcamp.com/

https://www.facebook.com/amouthfullofmatches

RingMaster 21/10/2104

Copyright RingMaster: MyFreeCopyright

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