The Kreoles – Psycho

the_kreoles_RingMasterReview

Psycho is the new album from Italian melodic metal/ alternative rock quartet The Kreoles, a release which makes a highly enjoyable first impression but continues to sneak up on the imagination as each track passes with diversity and inventive fun; the result an encounter very easy to get rather excited about.

The Kreoles emerged in 2011, the realisation of an idea by founder Ivan McSimon, a Como-based producer, songwriter, and guitar player who previously played with Dyve. The new project was born from the intent to explore new creative paths and subsequently saw McSimon linking up with vocalist Valentina Merlo, bassist Marco Francesco D’Elia, and drummer Davide Piccolo. 2014 saw the release of their well-received debut album Touch The Sun, the potent base from which Psycho now blossoms from with even greater adventures.

Released through Sliptrick Records, Psycho makes a strong and steady start with opener The Last Man. Coaxing attention with its initial country scented melodic jangle, the track soon breaks into a muscular stride with swinging rhythms, an irritably steely bassline, and the fiery roar of guitar. In the midst of it all, the instantly engaging and impressive voice of Merlo lures with siren-esque quality drawing ears even deeper into the rousing heart of the song. Slips into melody rich emotively calmer passages only adds to the alluring drama of the encounter, McSimon scorching the senses with his volcanic melodic tapestry as the album roars into life.

Disease takes over with the same kind of imposing but welcoming intensity to its body, more classic metal hues colluding with the band’s enterprising canvas of textures and sounds. Again there is an instinctive nagging snarl to the underbelly of the song driving the melodic fire consuming and pleasing the senses; Merlo enticing and the open individual prowess of the band uniting in a similarly explosive and anthemic proposal.

With exotic keys to the fore, Empty steps forward next, that early charm soon entwined and vocal in a web of sonic and rhythmic rapacity embraced by an Animal Alpha like character of song. Infectiously irresistible and a fierce flame of melody and tenacious energy, the track stirs the spirit before making way for the equally creatively hungry and energetically dynamic Too Fast To Live, Too Young To Die. Breeding a great punk pop essence recalling seventies bands like The Photos and The Adult Net whilst infusing it in a tapestry of heavy rock/melodic metal enterprise, the song similarly catches attention with swift ease and potency, only increasing its hold minute by minute.

Though just as heated, a calmer climate embraces next up Don’t You Know, a Pretenders spiced offering with more of the southern hues which the band skilfully infuse in many of their songs. With the vocal beauty and expression of Merlo sheer magnetism, the song boisterously smoulders, its touch a burning seduction as catchy as anything upon the album.

Through Obsession with its rhythmic irritability and melodically metallic confrontation and the tempestuous confrontation of Like A Scream, The Kreoles keep enjoyment high even if neither song ignites the appetite as imposingly as their predecessors. Both tracks are missing the same kind of surprises lighting up those around them but ensure there is no wandering of attention before Dolomites installs itself as our favourite moment. A rolling contagion of country punk pop as inescapably infectious as the flu but a hell of lot more fun, the song just cannot fail to place a smile on the face and in the heart with its virulent exploits.

Black Star’s Night is another which weaves familiar essences into its own creative domain to forcibly satisfy without turning emotions lusty before the album’s title track brings things to a thrilling close. There is cantankerousness to the rhythmic enticement of the song, a predatory edge lining riffs too as among them Merlo beckons with every syllable shared. Its eventful presence though is also a haven for melodic imagination and an evolving intensity as unpredictable as it is scintillating.

Psycho, song and album, is a masterful enslavement of ears and imagination from a band destined to real and eager recognition ahead and if their new enticement has its deserved way, beginning right now.

Psycho is out now through Sliptrick Records across most online stores.

http://thekreoles.com/    https://www.facebook.com/TheKreoles/    https://twitter.com/thekreoles

Pete RingMaster22/11/2016

Copyright RingMaster: MyFreeCopyright

Eyes Wide Shot – Back From Hell

EWS_RingMasterReview

Part of any success is down to grabbing attention and that is a quality the new album from French outfit Eyes Wide Shot certainly has. It offers a dynamic and rousing blend of alternative metal and melodic rock with many other varied strains involved too. Uniqueness is maybe a less obvious essence to Back From Hell but it and its ten captivating songs just grab ears and imagination leaving thick enjoyment behind.

Hailing from Jarny in the north-east of France and formed at the beginning of 2013, Eyes Wide Shot released their debut EP in their first year which helped firmly establish them in the local music scene. The following year saw the current line-up settled when drummer Anthony Marra linked up with vocalist Florent Curatola and guitarists Nicolas Menus and Kevin Guernane, further expanded since recording the album by bassist Jeremy Machado. Soon after Marra’s addition, the band came to the attention of producer Charles Kallaghan Massabo (Falling In Reverse) who subsequently flew to Los Angeles to record their debut album with them.

Back From Hell quickly commands ears and thoughts as its themes of life’s setbacks and obstacles, its manipulations and addictions, shadow songs which leap from the speakers with energy and enterprise. Heavy rhythms and hungry riffs collude with electronic revelry throughout; that mentioned fusion of rock and metal familiar yet unpredictable and ultimately always intriguing.

It all starts with Waiting In Vain and an instant confrontation of imposing sound and niggling riffs. Soon hitting a formidable stride still leaning heavily upon ears, the song lightens slightly for the potent tones of Curatola, his entrance aligned to inviting melodies and an infectiousness which lines every aspect of the proposition awakening ears. With an element of bands like Avenged Sevenfold to it, the anthemic roar of the track is a convincing persuasion as melodically imaginative as it is aggressively biting.

Cover_RingMasterReviewThe following A Glimpse Of Me is a similarly textured offering, riffs and grooves a rapacious proposal with rhythms an even more irritable aggressor. Their attack though is tempered by the catchy prowess of vocals and harmonies and the warm melodies wrapping their proposal. Together it is an engaging invitation easy to get involved in as too that of My Redemption which initially seems very similar to its predecessor but soon shows a potent vein of electronic twists and anthemic tenacity in a body which wakes easy participation but keeps the imagination busy with its varied flavours from djent and technical metal to alternative and electro rock.

It is an excellent highlight within Back From Hell quickly emulated by the fiery smoulder of Lost For You, a track which simmers with a volatility given its head in a chorus which blazes without exploding. Its melancholic calms and melodic mists only add to the song’s beguiling presence though, a success in turn breached by both Lisp Off My Lips and the album’s title track. The first of the pair is another which may not have major originality on its side yet from its first moments to its last and especially in a chorus which seduces the passions, the increasingly tempestuous song creates a fixed bond with pleasure. Its successor shares crystalline electronic melodies as riffs grumble, slipping into mellow reflection before brewing an emotional intensity which in turn sparks a contagious swing to the song’s gait. It is a real grower becoming another big moment in the album over listens.

Another pinnacle to Back From Hell is the virulently catchy Under The Knife, a song which hits like an old friend and has body and voice enlisted in mere moments of its inescapable arousal. Melodic metal and rock in rampant collusion, the track is a boisterously fiery and anthemic encounter impregnated with suggestive tendrils of melody rich enterprise.

Both Living The Dream with its underling irritable volatility beneath emotive flames and the poppy aggression of See What I’ve Seen pile on the enjoyment, the second especially tempting before Watch Me closes the album off in fine style. The song is a proposition which it some ways should not work. It is bedlamic in a ‘messy’ way, certain textures from its first second crashing into each other rather than aligning seamlessly yet it all makes for exciting harmonic disarray around concussive antagonism which increasingly captures the imagination, rap styled twists only adding to the off kilter landscape.

Eyes Wide Shot is without doubt a band well worth taking time out to investigate. Their sound is yet to find bold uniqueness but as Back From Hell shows it demands attention while thickly satisfying; success easy to recommend.

Back From Hell is out now across many online stores and @ http://ewsband.bigcartel.com/product/back-from-hell

https://www.facebook.com/Eyeswideshotband/

Pete RingMaster 09/11/2016

Copyright RingMaster: MyFreeCopyright

Light The Skies – Human

light-the-skies-promo-shot_RingMasterReview

It seems that there is a sudden swell of excitement around British quartet Light The Skies primarily because of their new EP, Human. Creating an attention luring sound built on a fusion of post hardcore with melodic metal influences, it maybe that the band has been on the radar of a great many before now but it is with their potential fuelled new release that the rest of us might just be catching on.

It is hard to say there are many major surprises within the six songs making up the EP but each is an accomplished and imagination built proposal easily enticing ears. Since forming during their college days in 2013, the Birmingham band has grown into a potent live force, sharing stages with the likes of Ghost Town, Palisades, Boy Jumps Ship, Alverez Kings, Scream Blue Murder, Lock & Key, Beyond Recall, and Templeton Pek along the way. The Human EP is a new step up in their ascent, a release sure to be nudging national awareness of the band’s dynamic sound.

The EP opens up with Animals, a track which promises much but does not always deliver yet leaves a definite intrigue to hear more. Its muscular opening with the probing beats of drummer Sam Hemus make a potent coaxing, escalating as just as intensive riffs and grooves from the guitars of Will Douglas and Charlie Elliott grip the senses. With the heavy tones of Conor Browne’s bass seducing it is a formidable start capped by the raw throated cries of Douglas. A sudden slip into mellow climes with clean vocals is a less potent move for personal tastes though redeemed by the great band harmonies which lead back into the tempestuous roar of the song.

light-the-skies-cover-artwork_RingMasterReviewContinuing to switch between its increasingly imaginative stages the song is ultimately a powerful and pleasing start to the release and soon matched by Distractions. Its gentler melodic opening paves the way for a tantalising mix of Douglas’ clean vocals and a web of guitar enterprise speared by the shadowy yet flirtatious nature of the bass. With a lighter climate throughout compared to the tempestuous air of its predecessor, the song is a radiant tempting with keys and melodies as suggestive as the emotion lining the eventful song.

Acclimate uncages its own irritable storm of sound and intensity straight after, a challenge nicely tempered by warmer vocals and melodic endeavour as rhythms intrude upon the senses. It many ways it is as poppy as it is aggressively raw, veering more towards the latter the further into its creative and emotional turbulence it ventures though still it makes room for more welcoming ideas.

Looking Back unites the same kind of contrasts in an infectious stroll with a forcibly anthemic chorus and heavier textures which prowl its body throughout while its successor Ourselves is an acoustic caress with Douglas showing the strength of his harmonic tones. The first of the pair is a certain highlight of the EP with the second increasingly beguiling, their individual qualities combined by the closing drama of Distance. As its start, Human ends with a song which fully satisfies if without finding all the ingredients which ignite other tracks but each nurtures an appetite to hear more from Light The Skies; a success in anyone’s book.

Human is out now via Snowhill Records @ https://itunes.apple.com/gb/album/human-ep/id1154785404

http://www.lighttheskiesuk.com/   https://twitter.com/LightTheSkiesUK   https://www.facebook.com/LightTheSkiesUk

Pete RingMaster 04/11/2016

Copyright RingMaster: MyFreeCopyright

Dead Winter – My Only Home

Dead Winter_RingMasterReview

The early weeks of 2014, saw UK post hardcore band Dead Winter make a rather potent introduction to themselves with debut EP Erasing Glaciers. It was a magnetic six track fury of melodic metal and hardcore ferocity soaked with open potential which had already aroused attention with its first outing a few months earlier. Its re-release four years ago though, sparked a more national awareness which the band fed with their impressive live presence. The past couple of years or so have seen the band seemingly quiet. Things were happening though with ideas and directions breeding line-up changes as the band headed into their next steps now marked by new single My Only Home.

Formed in 2011, the Blackpool hailing band soon lured loyal support and ears with their sound and in turn the successful Romesh Dodangoda (Funeral for A Friend, Twin Atlantic) produced Erasing Glaciers. Weaving inspirations from bands such as Bury Tomorrow, Bring Me The Horizon, and A Day To Remember into their sound, Dead Winter and EP were soon drawing acclaim from the likes of Rock Sound, Powerplay, and Big Cheese Magazine. That regrouping and defining of direction and intent followed but now, and ahead of their first album also called My Only Home, set for release this summer, Dead Winter ‘return’ with a bang in the shape of its title track and an equally gripping video.

With Dodangoda at the helm of album and single again, My Only Home swiftly descends on ears with rapier like rhythms and badgering riffs which soon reveal their own predacious intent and snarl. There is a great metalcore edge to the trespass but a hue soon matched by the melodic enterprise and warmth increasingly aflame in the song. In the first minute alone, the band shows themselves to have tapped into a new contagious and virulent quality in their music without defusing the emotive intensity and fire that marked out their earlier exploits.

As pop punk in many ways as it is melodic metal and post hardcore crafted, the song continues to stir up appetite and pleasure, It provides a compelling and at times almost hostile anthemic proposal further shaped by the guitar craft of Jamie Townsend and Adam Roberts whilst driven by Danny Dawkins’s addictive beats and led by Ant Jones’ outstanding clean and melodic tones. There is a real maturity to the song which hopefully is a big teaser to the heart of the album to come, and a bold adventure which simply whips up attention.

My Only Home, single, video, and album looks like the moment when Dead Winter reassert themselves as one of Britain’s most exciting and seriously promising propositions.

The single, My Only Home is out April 15th. Check out the video on our Video Selector page.

https://www.facebook.com/DeadWinterUK

Pete RingMaster 15/04/2016

Copyright RingMaster: MyFreeCopyright

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New Keepers of the Water Tower – Infernal Machine

Photo by Soile Siirtola

Photo by Soile Siirtola

Infernal Machine, the new encounter from Swedish “cosmic rock” band New Keepers of the Water Tower is a concept album based on the classic Joe Haldeman written sci-fi novel The Forever War, a story of an interstellar war between Man and the Taurans. Equally, it is a compelling incitement enabling the listener to invent their own dark and highly involved escapades within a musical soundscape which simply stirs the imagination and enslaves ears. It is enjoyably impossible to pin down the Stockholm band’s sound but very easy to suggest that Infernal Machine will become one of the year’s major triumphs.

Formed in 2006 as New Keepers, extending the name three years later, the band creates a proposition entwining a tapestry of varied and contrasting flavours with an epic canvas predominantly progressive and space rock bred. As shown by fourth album, Infernal Machine, even that description is a scratch on the surface. Consisting of vocalist/guitarist Rasmus Booberg, guitarist Victor Berg, bassist Björn Andersson, keyboardist Adam Forsgren, and drummer Tor Sjödén, New Keepers Of The Water Towers has the ability to transport the imagination into the focus and heart of its theme with its music alone; Infernal Machine their most devilish and sublime success yet.

The album opens with The Forever War, a track luring the listener into the centre of dark times and persistent dangers from its opening sonic pulse. Keys quickly unveil a portentous invitation, rhythms adding an intimidating drama soon after as guitars dangle evocative bait before ears. Then Booberg’s immediately impressing vocals swiftly begin unfurling the track’s rich narrative, his tones mellow and mesmeric whilst the sounds around him are predatory. It is a superbly designed blend of contrasting incitement which simply enthrals as it manipulates the psyche and imagination. At times the track is like a grungy XTC, in other moments a sonically bracing and fascinating merger of King Crimson and KingBathmat like essences, and all the time an absorbing and irresistible entrance into album.

art_RingMasterReviewIts dramatic presence and mighty temptation is matched and pushed further by the gripping adventure of Tracks Over Carcosa next. Initially, it is an echo of a cold and desolate place, a lonely place within whose shadows a pulse beats with increasing relish, emerging to pull the song into a contagious stroll lined with swinging surf rock grooves. Around it a sultry and tantalising atmosphere descends, stirring up even more infectious tenacity in rhythms and melodic enterprise. Hypnotic does not do the track justice; its instrumental air has a cinematic lure and intrigue which you can akin to sixties cold war/spy thrillers and only adding to an impossible to resist alchemy of persuasion.

Towards its departure, the track slips into a solemn noir tinged calm which continues in different form into the following and as thrilling Tachyon Deep. With the returning vocals casting a mist of seducing harmonies as rhythms reveal an almost shamanic nature to their shuffle, the song glides exotically over the senses. Thoughts run through its poetic glade of melodies and vocal caresses, immersing in the scenic expression and spellbinding landscape of the track. That deceptive calm and peace also has hidden dangers, progressively unveiling them with every twist and turn within eventfully its imposing jungle.

Misantropin Kallarv is a brief, relative to the tracks around it, respite to the intensive adventures before and after; like shelter in a soulless building or moment but one which holds secrets behind the turbulence and unrelenting pressure found in the likes of next up Escape Aleph Minor. Its successor also has a less incendiary and demanding nature to its sound and energy but certainly does not lack thick drama in sound and air or the collage of hooks and sonic seduction which incite body and thoughts. From the melodic seduction and discord of guitars and keys to the tribalistic potency of bass and drums, the song is a carousel of suggestiveness.

A slow piano sculpted gait with classical melancholy to its touch ends the track, wistfully floating away into the waiting melodic smoulder of Jorden and a lumbering, emotionally heavy engulfing of ears. More sludge than doom, the track is a rapacious and darkly poetic suffocation of the senses which may not match the impact of others within Infernal Machine but undoubtedly has the imagination conjuring away as eagerly as anywhere upon the album.

The Infernal Machine completes the release; the track with every passing minute growing and evolving whilst providing a kaleidoscope of cosmopolitan and tribalistic incitement. Its repetitious strands and drone like nagging is simply delicious, around them the craft of guitars and lure of sonic imagination mouth-watering as the album ends as majestically and thrillingly as it started. A bass led passage midway of post punk seeded virulence, the cream on the cake of the song.

Infernal Machine has so much for fans of every kind of rock and melodic/progressive metal. Those with the appetite for bands ranging from Pink Floyd and King Crimson to Goblin and The Ocean to Arcade Messiah, to hint at its diverse appeal, will find plenty to devour, though by the middle of its opener the only name on their mind will be New Keepers of the Water Tower.

Infernal Machine is released on 4th March via Listenable Records across most online stores.

https://www.facebook.com/NewKeepers

Pete RingMaster 04/03/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

Crossing Rubicon – No Less Than Everything

CR_RingMasterReview

Roaring out of Connecticut, Crossing Rubicon is a band tagged as hard rock but has plenty more to their potent sound as evidenced by new album No Less Than Everything. Entwining incisive strains of metal and variations of classic rock with their own modern rock ‘n’ roll adventure, the Bristol hailing band makes grabbing attention look like child’s play. Their debut full-length is the proof; twelve songs which for the main just leap out. At times they provide a familiar incitement of sound and other moments offer a rich bloom of the uniqueness openly brewing within the band. Throughout though, No Less Than Everything is a sonic charge of passion and craft which demands to be taken notice of.

Since being formed by in 2009 by vocalist Scott Anarchy (Wawrzyniak) when linking up with Pete Ahern (Red China Blue), and soon after drummer Brandi Hood, Crossing Rubicon has been through a few line-up changes whilst emerging as a generally recognised impressive live proposition. Before and since the release of first EP, In Pains Of Sleep in 2012, the five-piece has opened for and shared stages with the likes of Motley Crue, Queensrÿche, Bret Michaels, Tantric In This Moment, Nonpoint, Pop Evil, Saving Abel, Rev Theory and the list goes on. Their live presence has been a reputation building success which, with the band’s potent sound, has ensured No Less Than Everything was a highly anticipated proposition.

Straight from the off, band and release reward that eagerness. The quintet of guitarist/vocalists Zach Lambert and Jesse Near, bassist/vocalist and former All That Remains member Jeanne Sagan, and the pair of Anarchy and Hood, immediately entice ears with Tomorrow Never Comes. Flames of guitar provide the first inviting bait; they quickly joined by punchy beats and a throaty bassline, which in turn welcome the full and quickly impressing tones of Anarchy. Hitting its stride, the thrash tinted, riff driven persuasion has body and appetite hooked, with the imagination gripped by the front man’s rich vocals and emotions grabbed by the great band provided backing vocals and simply the virulent contagion flowing through the opener.

CoverArt_RingMasterReviewA great start is pushed on again by the outstanding Unhinged. Its initial sonic shimmer holds a sinister air which relaxes as the vocals come forward, though the gait and nature of the song remains predatory if skilfully restrained. A mix of vocals, with presumably Sagan one half of the two prong dark temptation alongside Anarchy, adds to the track’s intimidating seduction. It is enthralling stuff which blossoms further as spirals of guitar shared melodic enterprise wraps prowling rhythms, their magnetic alignment ridden by the increasing strength of the fiercely alluring vocals.

Never Again has the hard task of following the great encounter, living up to the demands from its initial lead of Hood’s heavily scything swings before casting its own predacious stalking of the senses. Enticing melodic suggestiveness soon infests the track, though its instincts remain grouchily confrontational before the mellower but still fiery charms of The Fallen and Bittersweet Day step forward. For personal tastes, neither can match up to their predecessors, though both leaves ears involved and satisfaction lively with their accomplished hard rock croon and classic rock blaze respectively.

Grooves create a web of tempting within Cut Deep next, the band weaving alternative metal and stoner-esque spices into the song’s pungent and devilish confrontation of variety soaked rock ‘n’ roll whilst with Who’s Gonna Save You, with a gorgeous growl of bass leading the way, they are back sizing up the listener with a predatory intent. This comes with venomous riffs which crawl through ears and the stirring up of attitude loaded revelry by the ever enjoyable vocals. As for the rhythms, they simply stalk the listener. The track is another major favourite to emerge, especially with the subsequent addition of an exotic mystique courtesy of the guitars, and another of a number of particular pinnacles across No Less Than Everything.

Crossing Rubicon continue to reveal diversity in sound and imagination within the release. Violet Carson reveals itself a track which is almost ritualistic in its dark character and emotive fire whilst Reason to Beg is a slice of sinew sculpted rock ‘n’ roll entangled in searing strands of sonic tenacity and uncompromising attitude, in word and emotion. It would be fair to say that the songs, as the album, create something fresh and fascinating from the use of recognisable flavours on familiar templates at times, but invigorating and enticing it ultimately is as proven again by the classic rock infused, plaintive rumble of Do We Not Bleed and straight after, the similarly woven and magnetic I’m Here. Neither of the pair quite lives up to the major high points of the release, but both potently please before Return to Atlantis brings the album to a close of rich sonic enterprise upon an eighties bred melodic rock landscape.

The track provides an increasingly impressing album with a rich climax summing up all the qualities and infectiousness of the Crossing Rubicon sound and imagination. As the band’s sound evolves, expectations are of bigger and bolder things to build on, what is right now, a thoroughly enjoyable adventure and a thick nudge on the broadest attention, No Less Than Everything.

No Less Than Everything is out now via Pavement Entertainment through most online stores and @ https://crossing-rubicon.bandcamp.com/releases

http://www.crossingrubiconband.com/   http://www.facebook.com/CrossingRubiconRocks   http://www.twitter.com/RubiconCT

Pete RingMaster 28/02/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

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/

http://foreverstill.dk/  https://www.facebook.com/Foreverstill  https://twitter.com/foreverstilldk

Pete RingMaster 14/01/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/