Forever Still – Tied Down

Forever Still - Promo Shot_RingMaster Review

As for a great many, Danish rockers Forever Still has been a persistently impressing pleasure through the release of songs and EPs since emerging with their debut release Breaking Free in 2013. Their sound is a virulent fusion of rousing intensity and seductive melodies fuelled by an emotional exploration unafraid to get into the darkest, disturbing corners of life. The last twelve or so months has seen the band working towards the release of their debut album; the release of two of the three EPs making up its strikingly impressive body ripe with the rich qualities which has drawn strong attention the way of the band. With the third offering in the trilogy making its first entrance as part of the new ten track adventure, Tied Down is one thrilling roar of melodic rock from a band destined to major things.

Hailing from Copenhagen, Forever Still revolves around the creative and songwriting union of vocalist Maja Schønning and multi-instrumentalist Mikkel Haastrup. As mentioned, the band first hit ears with their potent debut Breaking Free, subsequently breaching a broader expanse of attention with the following pair of Scars late 2014 and Save Me last April. Those two EPs were the first in the journey to create the band’s first album, the tracks within the two releases making up the first part of Tied Down with that final unreleased EP providing a quartet of new songs to explore and as it turns out, get equally gripped by.

Forever Still Cover Artwork_RingMaster ReviewTied Down opens with the mighty roar and anthemic insistence of Scars which from the off is a pleasingly unpredictable and ferocious proposal. Additionally featuring Jens Berglid on drums and Dennis Post on guitar, the track immediately presents a grouchy and volatile incitement soaked in the gripping voice and delivery of Schønning. Even having devoured previous releases hungrily, her vocal prowess never fails to impress each and every time and especially shinning and exciting in the album opener backed by the equally dramatic tenacity of Haastrup. Continuing to create an enthralling web of spicy grooves, intensive energy, and a growling resourcefulness as potent as the raw emotion driving the song, the song makes for a formidable start to the album.

The pair of Once Upon A Nightmare and Miss Madness quickly and strongly back it up; the first of the two exploring a slightly mellower landscape but being no less imposing in its emotive flame amidst skilfully evocative textures. Post appears again as bass and guitar collude with a flavoursome electronic enterprise, Schønning standing magnetically astride the tempestuous melodies and dramatic climate escaping song and sound. Almost intrusively majestic, the thick and impassioned encounter makes way for its classically elegant, power balled seeded successor, the song a keys and vocal led beauty skilfully tempered but inflamed further by the moody bass and guitar suggestiveness of Haastrup and Anders Bo Jespersen.

Awake the Fire steps up next, instantly gripping ears and appetite with a tangy groove which in turn sparks an energetic swagger to a boisterous stroll of hefty rock ‘n’ roll cored by a great rolling rhythmic enticement. Post appears again alongside the craft of Haastrup, the pair stirring up air and ears with their almost toxic web of enterprise within a spicy tapestry of melodic incitement and bruising anthem building rhythms. Throughout the album it is easy to suggest Evanescence and Lacuna Coil as hints to what is overall the Forever Still uniqueness in sound, and here Poets Of the Fall also comes to mind briefly as a clue to the melody rich body of the song.

The following Breathe In leaps from a great electronic teasing into a more lively but controlled canter, that early pulsating coaxing still a pungent lure alongside the tempting tones of Schønning and around the tempestuous blazes of sound and energy which erupt to further reward ears. Those rugged squalls also lead to bracing moments of carnivorous aggression with Schønning and band flirting with an Otep like confrontation before the outstanding Save Me takes over. A striking mellow but expectantly inflamed seduction compared to the last song; it is also soaked in emotional turmoil with thunderous tempests of heart and intensity seeded in the poetic melodies and harmonies caressing the imagination. As all tracks, the kaleidoscope of emotion is open; melancholy and despair as ripe as loneliness and hope, love and darkness across Tied Down.

With Anders Bo Jespersen in addition, the first brand new song, Your Light, bounds from a sonic mist with muscular rhythms loaded with punchy beats and a raw edged line of riffs which spark spice heavy grooves and melodic drama. In no time attention and appetite are greedy, especially with the virulent prime hook which connects the calm and more climatic layers of the song. A quick want for more of the band’s new exploits is rife by its end and fed by Alone. Emotively intimate with its first breaths, epically cinematic in a few more, the track continues to impressively entwine both contrasts as an industrial air also invades the thick theatre and sonic beauty of the encounter; the outcome a metal bred Bond theme ready in the waiting.

Break The Glass boldly rumbles as it pulsates next, the bass offering a growling belly to a riveting blend of electronic and melodic expression soon walled by aggravated riffs and speared by whipping beats. Schønning owns the song, as all, from the first second, her tone and presence the puppeteer to the dancing piano crafted melodies and passion rich adventure shaping the increasingly thrilling temptation.

Tied Down is brought to a close by its title track; a song also revealing individual character through a weave of calmly reflective and rigorously forceful endeavour bred in increasingly inventive and infectious ingenuity. It is an epic close to a towering release which even with around half of it strongly familiar through the earlier EPs, makes a major impact reinforced by the creative might of the new tracks.

Forever Still is a giant in waiting with Tied Down the perfect key to force that lock.

Tied Down is available from January 15th through all stores and @ http://www.foreverstill.bigcartel.com/

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Pete RingMaster 14/01/2016

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Order Of 315 – Antipi

 

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Three years ago French metallers Order of 315 awoke ears and attention with their debut album Near-Birth Experience, a fierce and tenacious offering which only grew in persuasion and stature over time. Now the Paris quartet have returned with its successor Antipi, raising the heat of the qualities and potential found in the first album whilst creating an even more compelling and varied confrontation. Antipi is a rousing incitement and cantankerous roar bred across eleven individual stirring aggravations of sound and imagination. Fair to say the band’s music still wears open inspirations at times but is now really showing its own character whilst unleashing tapestries of varied and aggressively delivered flavours.

Formed in 2010, Order of 315 draw on a host of styles from metalcore and hard-rock to progressive, djent, and alternative-metal; flavours bred in the experiences and tastes of its members with bands such as Black Label Society, Pantera, Machine Head, Slipknot, Stone Sour, Five Finger Death Punch, and Korn amongst individual sparks to their sound and imagination. The 2012 released Near-Birth Experience earned strong attention and acclaim from certainly the metal underground and media with its striking tempest, its seeds now blossoming into the creative voracity that is Antipi. The new album is more brutal yet equally richer in melodic tempting and certainly a more atmospherically volatile confrontation around a heart feverish in its resourcefulness.

Cover_RingMaster ReviewAntipi opens with A Slap On The Wrist and an initial sample stroked by an innocence drenched, single strand melody. It caresses the imagination, awakening ears ready for the swift assault on the senses of jagged riffs, beefy rhythms, and the instantly recognisable and welcome grizzly tones of Edgar Jabberwocky. His voice and delivery is a mighty lure alone easily igniting a pleased reaction in ears to match that being sparked by the growing rabid swing and antagonistic rumble of the sounds around him. The song is bullish rock ‘n’ roll, an easy anthem to get eager teeth into and a hungry appetite from, both fed with every passing swell of bruising enticement.

It is an outstanding start to the album quickly continued by Telescope. From its first groaning breath the track is a more imposing and intrusive proposition with the rhythms of drummer Pablo Civil unruly in their skilled design. Aligned to the predacious air of Grm Lecouflet’s bass, they make for a hostile yet gripping frame entwined by the thick winy grooves of Klaus Kersey, his guitar just as magnetic in primal riffery and sonic enterprise too. As with its predecessor, the track has hips violently gripped with its swinging challenge and ears hooked by its rapacious sound, Jabberwocky leading the incitement as masterfully as ever before The Feather Factor takes over with its industrial metal breeding and groove meets heavy/alternative metal tempestuousness. Subsequent switches into melodic flames bring a relatively undefined familiarity to things but only adds to the thick and captivating drama unfolding within ears.

Without quite finding the same dynamic impact as the first tracks, Abelian still keeps satisfaction fully whetted with its spidery melodic enterprise around a fierce tempest of a heart whilst the following Meiosis almost beats pleasure from the senses with the brutal rapier swings of Civil, though the atmospheric melodies, scything sonic trespasses, and unpredictable landscape of the assault are just as thickly tempting and alluring. Once more there is something recognisable in the spicing of the song but warped perfectly by its great bedlamic nature.

A creative composure lines Rumble Fish, the bass of Lecouflet a prowling protagonist leading the listener into the awaiting animus of the song. It never breaks its pleasing chains though, hinting and provoking with subtlety and atmospheric imagination whilst showing more of the growth in songwriting and maturity of the Order Of 315 sound, something clear across the whole of the album and indeed next up Data Warfare with its Korn meets Bloodsimple like turbulence with just a touch of Fear Factory adventure to it all.

Both the magnetically wiry Greyscale and the senses enveloping Densen keep things mean and keen; the first an inflamed mix of heavy metal and alternative rock as flirtatious as it is menacing whilst its successor crawls through ears with a slight but definite salacious sway to its evocative and intensive rock ‘n’ roll design. Both carry an attitude and hearty intimidation which, with the sonic imagination, sparks a want for more, a success just as easily drawn by the spiralling textures of Unperfect Circles. The track perpetually winds around the senses, the guitars especially influential in tempting out lusty enjoyment.

Drone brings Antipi to an end, the track a tangle of sonic craft and expression ridden by the brawly tones of Jabberwocky amidst a rhythmic tempest. Though in some ways the song takes longer to get to grips with, it is a fine end to another thrilling offering from Order Of 315. To be picky, there is a slight diminishing of unpredictability towards the rear of the release, until the final encounter anyway, but each track only ignites body and imagination to declare Order Of 315 one of the potent fresh roars within the metal scene.

Antipi is available now through numerous online stores.

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Pete RingMaster 21/12/2015

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MACHINÆ – Clockwork

machinae-clockworks-promo_RingMaster Review

A breath or two over a year since first emerging upon the Finnish metal scene, MACHINÆ make a broader and richer introduction to their melodic metal exploits with debut album Clockwork. Given its global release via Concorde Music Company barely two weeks after a successful unveiling in the quintet’s homeland, the album is a fascinating and captivating encounter making a persuasion that builds and then lingers rather than providing an immediately explosive one. From start to finish though, Clockwork tantalises and entices with its imaginative weave of potently varied flavours within a metal bred rock ‘n’ roll landscape.

Formed by guitarist/keyboardist Eriksson and drummer Romppanen, MACHINÆ took their first step as a full band on Halloween 2014, swiftly getting into the creation of their first album thereafter. Potent teasers in the shape of singles/videos Never Coming Back and Frozen Ground earlier this year ignited great anticipation for Clockwork and now here, fair to say it delivers a highly enjoyable and imaginatively accomplished incitement. Covering themes ranging from “death, independence, and an overall tone of overcoming hardships”, the self-financed and self-produced album is merges aggressive and seductive contrasts within an often tempestuous canvas. As if bred on the melodic/progressive prowess of Amorphis, the epic and industrial intensity of Rammstein, and the emotive resourcefulness of Poets Of The Fall, the album persistently entangles ears and imagination in its creative drama to leave satisfaction full.

machinae-clockwork_RingMaster ReviewDestroy And Rebuild starts things off, raw riffs and rhythms colluding with theatre laced enterprise spread quickly by the keys and guitars of Eriksson and Karenko. Enveloping ears with thick tempting from the start, the song’s energy relaxes a touch as the clean tones of Piipponen step forward, though beside him the carnivorous tone of Kauppinen’s bass ensures dark intimidation is still a prowling feature. Throaty growls add to the mix too as the swinging swipes of drummer Romppanen drive and shape the great volatility at the heart of the song. It is a great proposal epitomises things to come; the track not sending the senses and passions spinning but perpetually working away on them to emerge a long term and increasingly persuasive proposition.

The gripping Never Coming Back comes next; keys straight away hugging ears with lively yet shadow hued melodies as the vocals paint an evocative portrait of paranoia and the tragic outcome it leads to. As throughout the release, the song carries a familiarity which adds spice to the highly agreeable mix whilst its raw and bracing textures wake and hold attention as potently as the enterprise colouring their confrontation.

Barely a breath is allowed between tracks, This Will Be The Day emerging from the final release of sonic air out of its predecessor, instantly casting a folkishly melodic and engaging coaxing evolving into brewing angst and the intensity of the song. Its light might darken in the process but the track also unveils eager infectiousness and a similar welcoming glow from the keys which tempers that Poets Of The Fall like melancholy.

Across the quartet of songs so far, the album shows distinct diversity within its imagination, and continues to spread those wings through the brooding gothic croon of Casualties and the haunting air of Frozen Ground. The first of the two embraces symphonic and grouchily predacious elements whilst its successor blossoms a provocative electronic expression aligned with a gnarly touch and at times intent.

From a warm reflective smoulder to a rousing rock ‘n’ roll roar simplifies but gives a glimpse of the heart of Into light whilst Falling One By One weaves a tenaciously sculpted tapestry of sultry keys and hungry riffery around the enjoyable variety in vocal delivery and imagination colouring the song’s contagious body. It is an enticement and virulence echoed within Forever, where, not for the first time within Clockwork, there are certainly parts closely similar to others in the other songs but skilfully nurtured to positive effect in the emerging individualism of again an inescapably enjoyable encounter.

MACHINÆ continue to please and intrigue with their craft and imaginative songwriting as Almost Human Doll and Don’t Get Used To This provide eventful and unpredictable exploits, the latter especially riveting and anthemically incendiary before making way for the magnetic Blank Canvas which brings the album to a musically and melodically evocative close, with a contrasting snarl or two included.

Clockwork is not an album which left ears and thoughts awe struck, though thorough enjoyment was an easy conquest, but each song and moment offered something adventurous and sparked an appetite to explore the band more now and across future releases.

Clockwork is out now via Concorde Music Company.

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Pete RingMaster 08/12/2015

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Mercutio – Back To Nowhere

mercutio shot 1_RingMaster Review

It might not have the passions always ablaze throughout the length of its certainly compelling body, but Back To Nowhere, the debut album from Mercutio is a new acquaintance you only want to get to know better and of its creators, more about. The twelve track encounter is a tapestry of varied flavours and perpetually enticing enterprise with something for all varied tastes. At times it embraces a metal breeding, others moments a diverse rock seeding, whilst across its twelve tracks a host of other styles and flavours are zealously infused and entwined into its theatrical and fascinating adventure. The result in a collection of songs which raise the passions in varying degrees but all entice and captivate as they make up one thoroughly enjoyable proposition.

Italy hailing and now London based, the quartet of vocalist Mirko Petrini, guitarist Fabio Staffieri, bassist Emanule Nazzaro, and drummer Francesco Lucidi since forming in 2011, has increasingly garnered a potent following and reputation on the UK scene with their progressive weave of sound, earning supporters in the likes of Anna Phoebe and the Porcupine Tree’s Colin Edwin amongst a growing legion of fans along the way. Recorded with Andy Wright [Jeff Beck/Simple Minds] at the Assault & Battery Studio in London, with Gianluca Cucchiara co-producing, Back To Nowhere is the band’s strong and inviting nudge on broader attention and keener spotlights with a rich personality to back it up.

It opens up with Shed Your Skin, instantly soaking ears in drama and awakening the imagination with its opening build of sinister sound around the instantly alluring tones of Petrini. Just as quickly, the track unveils a bubbly funk underbelly to a brooding union of riffs, voice, and rhythms. Reminding of UK band Japanese Fighting Fish, it is a gripping entrance by song and release which only increases in persuasion as things get more creatively agitated and atmospherically darker, as well as virulently tempting. Within this the bass growls seductively as drums lay down anthemic bait, around both the guitar painting a suggestive proposal lit by the excellent vocals. Ravenous metal, heavy rock, avant-garde mischief, and indie enterprise is all in there with other hues equally catching ears and imagination alight.

Packshot BTN_RingMaster Review   The following album title track is as rousing and inventively exhilarating in its individual way, opening on a rock ‘n roll stomp before casting a weave of electronic and melodic rock endeavour gripped by the just as dramatic but controlled vocals. Its heart is warm and air symphonically painted with melodies that entangle the senses with emotive prowess, though shadows are always a constant flirtation too as things build to small and harmonic but potent crescendos throughout before A Part Of Me lays a calm acoustic hand on ears. Melancholic with an air of the ever present drama in songwriting and sound, the song is an increasingly bewitching offering which certainly is enjoyable on the first listen but something to get more enamoured with over every subsequent listen.

The flirtatious Anytime with its emotive breath within rugged rhythmic scenery forges a similar engagement next, its classic and melodic rock enterprise given greater potency by the rousing exploits of the rhythms, whilst Fake unleashes another ridiculously infectious and instinctively off-kilter treat to match the opener. At times Mercutio create sound and imagination that stalks the listener, a mix of flirtation and intimidating in the invention which here courts strands of alternative metal and darkly bred rock ‘n’ roll with bands like Pryapisme and Toumaï coming to mind. It is a trespass of sonic intrigue which, as in most songs, leads to catchy embraces of energy and tempting posing as a chorus.

The reflective balladry of No Compromise is a warmly engaging proposal next, its emotive hues wrapped in summery spices keeping satisfaction high even if it is still over shadowed by its predecessor. Nevertheless with a delicious stringed embrace and the ever impressing vocals of Petrini, pleasure is a sure thing and back in torrents through the voracious shuffle and invention of Hail The Night. Again Japanese Fighting Fish is the closest to describe the robust imagination and draw of the track, a dash of 6:33 and Faith No More also adequate hints to the rich and provocative rock ‘n roll courting ears.

Featuring an appearance by Colin Edwin, In Front of you romances and captivates next with a carousel of vibrant melodic invention which works its way to an even more thrilling stretch of rap/alternative metal where Skindred meets Muse might be a good comparison. The song just gets bolder and more unpredictable with each passing minute, its theatre engrossing and matched by the smouldering allure of Mother, another song growing into its skin and exciting ears more over numerous plays. In contrast the fuzzy triumph of Set Me Free has body and emotions enlisted in its volatile and invigorating stomp from the first breath, a tinge of grunge aligned to Queens Of The Stone Age spicing its boisterous nature for another pinnacle within Back To Nowhere.

Straight after The Ghost That Is You casts a more restrained and atmospheric roar of sound but one with tempestuousness to its emotion and invention which soon gets under the skin and leaves a healthy appetite just a touch more greedy before Reasons To Erase brings it all to a jazz/funk/classic rock swinging close. Some tracks hit the sweet spot straight away and others take longer to ignite a similar reaction, but ultimately all do as with the final track which despite some sensational moments steals most full admiration over a host of pleasing plays.

As suggested earlier with Back To Nowhere, Mercutio provides something for everyone with plenty of just as flavoursome sounds and moments to back each aspect up; at times they make you lustful for the album, other times just leave you fully content, but throughout the band inspire a want to hear more and more…

Back To Nowhere is out now via Diverge Records through most online stores.

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Pete RingMaster 25/11/2015

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Saint[the]Sinner – Masquerades EP

S[t]S_RingMaster Review

Starting with the band name, Saint[the]Sinner weaves a thick web of temptation and drama that simply devours ears and imagination from within new EP Masquerades. The UK sextet are beginning to be renowned for casting tapestries woven with theatrical post-hardcore, melodic metal, and contagious pop rock, to simplify their sound. Their reputation in turn has grown by the year since forming in 2011 but after Masquerades it is easy to say that Saint[the]Sinner have stepped onto a new plateau and are ready to embrace the richest spotlights.

The past two to three years has seen the band share stages with the likes of Crossfaith, Bullet for My Valentine, and A Day To Remember amongst great many as well as play the Warped Tour in 2013 and Takedown a year later. 2015 has been no less busy for the band, culminating in the release of Masquerades, which Saint[the]Sinner recorded with and was produced by Romesh Dodangoda (Bullet for My Valentine, All Time Low, Bring Me The Horizon). The six track adventure of sound is pure magnetism and though arguably its contents bask more openly in inspirations than the band’s previous songs, it has only resulted in the most unique and exciting offering from the band yet.

Rich in the scent of bands such as My Chemical Romance, Panic at the Disco, Avenged Sevenfold, and Fall Out Boy, Masquerades is a perpetual torrent of creative adventure and imagination soaked in instinctive drama, as shown by the opener Theatre Of Broken Dreams. From its initial music box like melody the song holds court, swiftly throwing open the door to muscular rhythms and ravenous riffs as a two prong vocal attack spreads the emerging narrative. The raw squalls of Lukey Juan are uncompromising but superbly tempered and accentuated by the excellent clean tones of James Laughton, his impressive presence similarly illuminated by the enjoyably rabid delivery of Juan. With that first starting touch of symphonically laced keys still flirting within the intensive blanket of invention and sound, the track relentlessly twists and turns, its volatility seeded in a maze of styles and compelling imagination. Those early references are a vocal colour to the song, but as suggested, clear hues in something original and creatively vaudevillian to Saint[the]Sinner.

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The outstanding start is followed by First Blood, another ferocious mesh of rich flavours and varied styles honed into something distinct to the band. Keys appeal early and again get smothered in the thick tide of sound and atmosphere but still continue to lurk as the guitars of Pash Stratton and Billy Muircroft evolve through seduction and predation, matching the vocals simultaneously. Whiffs of Muse and Bullet for My Valentine also drift across the tempestuous wave of multi-coloured sound, as the track creates an enthralling invitation impossible to refuse.

The next up Left For Dead revels in more pop rock scenery for its vibrant if still intimidating start, virulence instantly flowing through the magnetic proposal, especially in its Fall Out Boy like infestation of a chorus. The bass of Tom Bigg is a growl of shadows whilst drummer James Booth scythes through the air with instinctive intensity to match the contrasting grouchiness of Juan’s vocals. Along its thrilling length, the keys spread symphonic evocation whilst the guitars write their own dramatic persuasion within another striking proposition within Masquerades.

She’s a Vampire is the same, every element seeming to have its own story going on within the total play of the track, but all uniting with fluid and resourceful craft for one riveting croon come storm of emotion and sonic adventure. Across the EP, Laughton increasingly impresses with his expressive and potent tones, they the more dominant presence here, but that is something easy to say for all members as each song stirs up ears and appetite with zeal and a prowess of dramatic invention.

The EP comes to an end through the irritably imposing Set It Off and finally the alluring labyrinth of Asylum. Both tracks show another shade of the sound and songwriting of Saint[the]Sinner, the first of the pair entangling metalcore seeded savagery into its blossoming landscape of post hardcore and melodic metal theatre. Its successor also opens, as the first song on the EP, with a haunting melody, quickly casting a cinematic theatre of hooks and enterprise which is soon caught in the claws of rapacious metal and vocal ire, that in turn revolving within a melody honed calm and symphonic mysteriousness; all elements in league with each other from thereon in to masterful and gripping success.

It is a mouth-watering end to an equally mighty release. If the likes of the aforementioned My Chemical Romance, Panic at the Disco, and Avenged Sevenfold do not do it for you than maybe Saint[the]Sinner might be a proposal that lacks something but as said, the band takes all flavours and turn them into their own continuing to grow and impress body of invention so for all they are worthy of a listen. The bottom-line is that this is a band with the potential to go really places, and soon so do you want to miss out?

The Masquerades EP is out now @ http://saintthesinner.co.uk/shop/

http://www.saintthesinner.co.uk  http://www.twitter.com/saintthesin   https://www.facebook.com/SaintTheSinnerOfficial

Pete RingMaster 10/11/2015

Copyright RingMaster: MyFreeCopyright

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Between Waves – Paper Chain

Between  Waves Promo Shot_RingMaster Review

As debuts go in 2015, Paper Chain from Between Waves has to be one of the most enjoyable. There is also a rich fuel of potential to back up its striking introduction to suggest the South Wales quintet is not going to be a flash in the pan, indeed bringing five rousing highly accomplished tracks to awaken attention, the EP suggests it is only the first step to even bigger and bolder things ahead in its air.

Formed in 2013, Between Waves took little time in whipping up an eager local following, a support stretching further afield especially, more recently, through the video of their song Place To Fall. Now Paper Chain is ready to open up fresh lures with its national uncaging, a persuasion you can only see succeeding in stirring up new fans and appetites for Between Waves.

Paper Chain opens with its title track and swiftly has ears involved in a web of melodic and vocal tempting. The new upcoming single from the band, its first intricate coaxing is magnetic as guitar caresses blend with the swiftly apparent vocal prowess of Helen Page. It is an inviting union but with an edge which becomes more open as the darker hues of Andrew Gordon’s bass joins the crisp hits of drummer Grant Robinson and the sparkling enterprise of guitarists Richard and Lee Wood. As fascinating as it is quickly infectious with a prime central hook as delicious as the moody enticing of the bass, the track is like a body of water, sonically shimmering in melodic light whilst a more shadow rich undertow works away in the depths of its drama.

Print_RingMaster Review   It is a great captivating start that is instantly eclipsed by Revelation, and matched by the following Place To Fall. The first of this pair also opens with a tender hug of melodic and emotive warmth but is soon bringing a thicker weave of melodic metal seeded snarling and technical tenacity to the fore. Thumping beats add intimidation whilst the vocals simultaneously serenade as they roar within the song’s increasingly predatory nature. Departing on a reflective calm, the song passes the brewing greed for the release over to its successor, the third track upon Paper Chain again making its entrance in a gently resourceful manner. The current single from Between Waves, it is easy to hear why its success luring in support, the strength of Helen’s voice and delivery the perfect contrast to the simmering sounds and subsequent spark to their ascent towards a more aggressive and varied metal/rock tapestry.

The final two tracks on the EP ensure there is no dip in pleasure or impressiveness. The creative hostility of Deceiver is first, a contagion of addictive hooks and antagonistic invention incited further by Helen’s fiery tones and the great backing of Richard’s aggression thick vocals. As punchy and menacing as it is, the track equally bewitches with a melodic detour, an eye of the storm like moment as potent and suggestive as the rowdier climate around it.

Fathom brings the release to a mellower close though it too has crescendos of intensity and passion as soaring guitars and anthemic rhythms spring from the song’s atmospheric canvas. There is a familiarity to the track without any obvious reason and this only adds to the undiluted strength of its persuasion and presence, that and the individual prowess of the band and their want to be adventurous in songwriting, sound, and performance.

As you would always wish from a release, Paper Chain just sounds and feels bigger and better with every listen, at times justifying references to the likes of Lacuna Coil and Tool whilst creating their own if not yet distinct voice certainly a presence which stands away from the crowd. There could be a big future for Between Waves if they want it.

The Paper Chain EP is released October 23rd through all stores.

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Pete RingMaster 22/10/2015

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Dienamic – Afterlife

Promo Picture Dienamic_RingMaster Review

Norwegian metallers Dienamic offered themselves up as a seriously promising proposition with their debut album Surfing the Apocalypse. Now confirmation has arrived in the rousing shape of Afterlife, an attention grabbing confrontation which still suggests there is more to come from Dienamic and still to be discovered by the band within their creative depths, yet provides one compelling and very often incendiary incitement to leave nothing less than full satisfaction in its wake. The band is still establishing itself in many ways, yet to really step from the crowd, but with Afterlife as evidence is destined to be part of the staple diet of a great horde of metal fans now and ahead.

Formed in 2009 or 10, depending where you look, the Tromsø hailing Dienamic quickly unleashed their thrash fuelled, death lined raw metal via a self-titled EP the same year. That in turn sparked the band’s renowned live assaults and hunger which over the years have seen them tour the likes of Japan, Central and Eastern Europe, and of course their homeland. 2012 saw the release of Surfing the Apocalypse, a swiftly devoured and acclaimed proposal marking the band out as one of the new promise flooded protagonists in the world metal scene. Backed by that live presence, which only helped increase the stature and reputation of the band across 2013 and since, Dienamic has given confirmation of their blossoming sound and impact through Afterlife. With guitarist Eivind Kjær Killie, bassist Kenneth Iversen Muotkajærvi, and drummer Sebastian Jacobsson joining band founders in vocalist Gustav Harry Lindquist and guitarist Stein-Odin Johannessen, a line-up coming together late 2014, and the signing with Italian label Worm Hole Death too, Dienamic is ready to stir up some spotlights and appetites with their new album; something it is already beginning to do with its release a few short weeks back.

cover_RingMaster Review     The Reaping starts Afterlife off, a squeal of riffs the perfect appetiser to the barrage of feisty rhythms and nagging riffs which follow. It is a quickly riveting start which continues to worry and entangle ears in acidic sonic temptation. The grouchy growl of Lindquist is quickly in place to add to the intimidation and lure of the song, his input the trigger for a broadening weave of winy grooves and an addictive torrent of addictive riffs and rhythms. Like a mix of Pantera and Bloodsimple, the song is a masterful and persistently enjoyable start to the album instantly awakening full involvement of ears and appetite which Innocent Gun makes full use of straight after. The second track has a similar basic landscape but in different hues and shades of attitude, musically and vocally. Soon striding with a belligerence to its infectious bait of swinging beats and spicy grooves, the song reveals a whole new character to that of its predecessor whilst being the extension of its creative devilry.

Essences of bands like Testament and Exodus creep into the opening parade of enterprise within the excellent Revolution for Nothing, strains which get repeated throughout in between masterful roars of voice and emotions wrapped in infection soaked, melodic rich exploits. Good unpredictability also enriches the track, not bringing major moments to wrong-foot ears but enough to ensure every twist, each turn in the aggressive flight, is fresh and distinctly inventive, a quality highlighted again within the more primal Where God Feeds. Riffs are carnivorous from its first breath whilst the bass prowls the song with a predatory air as drums sticks swing some shuddering beats. Once more thoughts of bands like Pantera are lured out in the course of the ravaging grooving, as also of others such as Stam1na and Gojira for varying reasons.

The pair of Dance with the Devil and You Still Walk leaves the body breathless and a little greedier for more, the first through its thrash fury bound in anthemic ferocity and rapacious enterprise and the second, if not with quite the same impact, with an evocative storm of more prowling endeavour and skilled craft from each of the band. This is a song which grows and enthrals even more over time whereas others make a more instant impression, like the hellacious and riveting tempest of Generation Reboot. An infestation of rhythmic animosity and grooved seducing that bellows and buffets the senses with raw energy and rabid enterprise, it is easily one of the major highlights of the album.

One of but not THE one, that title falls upon Overthrown and its ordered bedlam of wicked beats, grievous riffery, and emotional intimidation speared by tendrils of sonic imagination. Again it is not easy to say the track is wholly original but all familiarity embraced is twisted into a tapestry of physical discontent and bordering on barbarous seduction as it stirs the passions. Amongst many impressive tracks it is the standout antagonist and more evidence of the quality within and still brewing inside Dienamic.

The album’s title track is breeding similar pleasures next, its fierce opening outpouring evolving into an oasis of melodic metal warmth before erupting into an even more venomous and intoxicating stalking of ears and air. The track is danger and bewitchment rolled into one before the melodic shimmer of The End completes the album. It is a melo-death seeded offering which as elegant and melodically entrancing as it is has a raging fire in its emotional belly, a furnace of angst and intensity which oozes from every pore of the album’s potent finale.

Dienamic are not close to touching their pinnacle yet but in Afterlife show they has all the armoury to become a highly notable presence in world metal and, as here, offer some highly satisfying and very often imposingly thrilling adventures along the way.

Afterlife is available now via Worm Hole Death.

Pete Ringmaster 02/09/2015

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