Every Hour Kills – Almost Human

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Rousing up anticipation and subsequently impatience for the release of their forthcoming self-titled EP, Canadian melodic metallers Every Hour Kills recently released new single Almost Human. The song is a roar of energy and skill which confirms the emerging potency of the band, already shown in their previous pair of singles, whilst revealing an even more striking adventure and creative ferocity in their sound. It is a highly infectious proposition crafted in arguably recognisable creative inks but casting a fresh and magnetic landscape.

The seeds of the Calgary bred Every Hour Kills began three to four years ago, when drummer Rob Shawcross (ex- Out Of Your Mouth, ex-Autobody, ex-Kobra and The Lotus) linked up with guitarist Sacha Laskow after his departure from Divinity. The pair subsequently brought in bassist Brent Stutsky (ex-Breach of Trust, ex-Death Valley Dolls) and vocalist Jerrod Maxwell-Lyster (Walk As Chaos, ex-Out of Your Mouth, ex-Autobody, ex-the R.A.C.E.) to complete the band’s line-up. With a name inspired by an anonymous literary quote which says “Every hour wounds, but the last one kills.“, Every Hour Kills has spent the time since forming working on and recording songs, which included the already released pair of singles, Deliver Us in 2013 and the following EHK_AH_900 smallyear the Joey Sturgis (Asking Alexandria, Emmure, Of Mice & Men, We Can As Romans) produced Chosen. Now with that impending EP on a close horizon, the band has set another spark burning in ears and appetite through Almost Human, a song showing even greater persuasion and adventure than that which fuelled its predecessors.

An electro bubble grows and explodes in a tempest of rigorously gripping rhythms and tenacious riffs as the song consumes and grips ears straight away. It is captivating start swiftly built upon by the excellent vocal prowess of Maxwell-Lyster and the breath-taking technical rapidity and enterprise of Laskow’s fingers and guitar. There is a blend of Sevendust and Dommin to the song, with just a hint of Disturbed and a louder whisper of In Flames, yet Almost Human soon reveals an individual character to its increasingly magnetic presence.

The song continues to croon and bellow across its intoxicating landscape, each turn of sound and ideation generally finding the middle ground between the two whilst the shapely invention which cores it all also embraces an industrial/electro metal adventure at times, a Rabbit Junk like spice fusing to the adrenaline sparking charge of the song.

Almost Human is a compelling offering and hint, and if the new EP can back it up with songs just as virulently convincing, we are in for one thrilling treat later this year.

Almost Human is available now whilst the upcoming EP can be pre-ordered as a limited edition package direct from the band @ http://everyhourkills.com/preorder/

http://everyhourkills.com   https://www.facebook.com/EveryHourKills/

RingMaster 03/03/2015

Copyright RingMaster: MyFreeCopyright

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

 

Crashgate – Tear It Down

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The UK rock scene is a bubbling cauldron of predatory invention and ferocious enterprise right now, especially in the underground scene. Kent band Crashgate is one of the reasons and right to the fore of the bands picking up steam to seriously challenge and stand aside the big boys in the future. Further evidence of this comes with new single Tear It Down, a raucous and rousing slab of aggressive rock ‘n’ roll fusing metal fury to a melodic hard rock tempest.

An attention grabbing proposition from almost day one after forming in 2011, Crashgate has increasingly grown in sound and stature. From a feverishly supported local attraction, the Deal hailing quintet has inspired a national bred buzz around themselves thanks to an adrenaline fuelled live presence and equally impacting releases. 2012 saw the band’s first release, the B.O.B EP igniting a breath of greater interest but it was debut album Crude Jokes, Death Notes & Unicorns which pushed and confirmed Crashgate as one of Britain’s rising rock talents. 2014 was a highly successful year for the band which they now continue with Tear It Down, a track hailing from their first album. Ever insatiable live and working towards their second album, Crashgate are at that point where big spotlights are surely beckoning.

Tear It Down opens with big bulging beats which soon lure in just as hungry and feisty riffs. It is a powerful lead which is only reinforced as the impressive vocals of Craig Sheridan start to roar alongside the fiery enterprise of guitarists Brian Andrews and Toby Dorman, both also providing some bracing backing snarls and vocals. The song soon shows it has a melodic heart but within a body unafraid to threateningly growl and unleash a predacious assault, an intimidation driven by the heavy swipes of drummer Richard Keeler and the black hearted and alluring basslines of Shaun Roche.

The single continues to kick up a thrilling storm, hooks and twists as addictively persuasive as the main blazing thrust of the thoroughly compelling proposition. Tear It Down confirms British rock is in a very healthy state and thanks to bands like Crashgate and songs like itself, a voraciously exciting one too.

Tear It Down is available from March 2nd

http://crashgateofficial.com     https://www.facebook.com/CrashgateOfficial

Upcoming Crashgate live date…

March 3rd – @ The Lady Luck, Canterbury

May 2nd – Noize Level Critical RACPA UK Festival @ The Maze, Nottingham

May 3rd – Stevefest @ The Astor Theatre, Deal (not announced yet)

June 20th – Festiv Isle, @ Quex Park, Birchington

July 10th – @ The Diamond Lounge, Doncaster

July 25th – Kent VW Festival, @ Headcorn Aerodrome

August 21st – Strumerville

RingMaster 01/03/2015

Copyright RingMaster: MyFreeCopyright

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

 

Pryti – Tales Of A Melancholic

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Tales Of A Melancholic is the debut album from Pryti, an emerging British solo artist already making a striking mark, with her seriously accomplished and captivating fusion of heavy rock and melodic metal, on the national scene. Consisting of ten tracks which roar with the emotional snarl of the Deftones, cast a Lacuna Coil like creative theatre, and smoulder with the melodic prowess of Paramore, all over dramatic landscapes sculpted by voracious riffs and predatory rhythms, her new release is startling in its potency and skilled in its expressive persuasion. Also embracing elements of alternative and varied rock flavours, the album grips the imagination and leaves a deep rooted want to hear more.

Bringing all the guitars and bass on the release to her captivating songwriting and vocal strength, the Birmingham singer songwriter is no stranger to garnering acclaim and attention. Her last EP Welcome To Pariahville, also the name of her own label, was a big spark to an increasing spotlight and acclaim from the Rock/Metal community. Magazines like Kerrang! and Rocksound were close on the heels with coverage and praise too whilst radio airplay was soon embracing Pryti’s sounds, especially for more recently released single Abyss. Produced by Justin Hill from Sikth, Tales Of A Melancholic casts a broader and greater lure to that awakening attention, one easy to anticipate being reciprocated in greater praise and focus.

A portentous ambience brings opening song Insomnia into view, a sonic haze wrapping ears as thick prowling beats and caustic riffs follow in close attention. They all relax as the instantly flavoursome vocals of Pryti open the song’s emotional narrative, only the rhythms holding the same shape of their initial pungent presence. Vocally Pryti soars with a substantial yet harmonic roarPromoImage.jpg which alternates with an elegant seduction. It is a blend across song and the album which can be best described as Dolores O’Riordan of The Cranberries sings Deftones but with a much feistier and fascinating presence then that suggests. The song itself continues to breach new climactic heights and strengths, guitars and keys a riveting proposal against the rousing voice of Pryti.

The Pessimist follows and straight away grips ears with its opening graze of dirty raw riffs swiftly aligning to evocative vocals. Melancholic yet warmly radiate within its increasing shadows, the song is a brooding tempest which eventually erupts with muscularly swung rhythms and a spicy sonic enterprise which has senses and imagination bound and bewitched. The track continues the impressive start to the album; the first two songs backed again, and eventfully surpassed by the previously mentioned single Abyss. Sculpting a web of intensive emotional and sonic turbulence, courted by a melodic radiance, the track is a moving tide of personal angst and melodic intimacy within a stormy atmosphere. It is an enthralling and anthemic incitement, and there is no surprise that it turned a great many heads on its first appearance.

As the second song, the next up Purge opens with a gritty edge to its opening chords, bait contrasted and complimented by the increasingly siren-esque tones of Pryti. Shadows wrap the balladry of the song whilst a creative bellow drives its heavier tempestuous turns of pace and intensity. The result is another intriguing and captivating exploration emulated right after in the solemn beauty of Bitter Pill and the haunting Amnesia. The first of the two is a flame of bracing vocals and melodies caught on a passionate sonic wind, but equally prone to reflective calms within its provocative dip into dark drama. Its successor merges a sinister ambience with emotional anxiety, both aspects cultured by an unpredictable musical landscape and vocal intimacy. Though the song does not quite live up to its predecessors, it increasingly engages and enthrals before making way for the fiery storm of Angst. Boldly carnivorous compared to other songs as riffs and spiky grooves are immediately predatory, the track soon shows wider enterprise and invention by luring in melodic and harmonic caresses to temper and unite with the imposing ferocity of one more major highlight on the album.

The potent energies and creative tenacity of Battle Wounds brings its volcanic endeavour and emotion forward next before the melancholic beauty of Ghost takes the listener on a harmonic cruise across a melodic sea carrying an increasingly compelling raw and aggressive edge to its lapping temptation. Both tracks bond ears and thoughts with ease though are overshadowed by the outstanding closing song Burden, a song which epitomises and sums up all the instinctive strengths and exciting inventiveness bringing Tales of a Melancholic to life.

Pryti most likely to most would have been an unknown name let alone quantity before Tales of a Melancholic, but from this moment she is surely destined to be a name on the lips of and stirring up the British heavy rock scene. This is one album all should take a close listen to.

Tales of a Melancholic is released digitally on Welcome To Pariahville on February 16th

https://www.facebook.com/prytigatgemusic

RingMaster 16/02/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from http://www.thereputationlabel.today

 

 

 

Hawk Eyes – Everything is Fine

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Debut album Ideal set the seeds for a lustful appetite which the following That’s What This Is not only cemented but took to new feverish heights; so anticipation for us and their fans for new album Everything is Fine was not exactly calm. Every want and expectation demanded of UK rockers Hawk Eyes it has to be said is swiftly met by the bands second full-length but it is only half of the story. On their breath-taking new encounter, the band explores new instinctively primal and raw depths within a greater and furiously fevered invention. Everything is Fine is rock ‘n’ roll at its most rugged and voracious, but also offered in its greatest imaginatively virulent form.

The heart and persuasion of the Leeds band began in the guise of Chickenhawk, a proposition similarly making a potent impression through their live presence and the album Modern Bodies of 2010. It was from the name change to Hawk Eyes though, that the unit tapped into a broader and richer vein of attention and personal creative exploration with a similarly expanding and creatively rebellious sound. The first album under the new guise, Ideals set a bigger roar within the British rock scene which That’s What This Is pushed even further but now having had Everything is Fine raging through ears into the passions, it is easy to say they were just hearty appetisers for a much bigger inventive meal.

The writing of the PledgeMusic funded Everything Is Fine began in 2012, songs emerging within and round the band’s constant hunger to tour and play shows, which included supported the likes of System of A Down at arena shows and playing the biggest music festivals across Europe, as well as SXSW over in the States. Even writers block for vocalist and guitarist Paul Astick could not derail the oncoming creative storm driving the new album, the man solving his problem by absconding to a hole at Spurn Point in Yorkshire on a really bleak evening with the outcome an oppressively dark and wonderfully ravenous title track.

The album though starts off with the inescapable lure of The Trap, a song making a gentle and slightly melancholic entrance with an air and dark stringed caress to match. Its first minute is a 4ca338c20ba067f7ab9f5dd77375627a0tantalising coaxing for ears and imagination before parting its veils for the pungent and anthemic rhythmic lure of drummer John Mackenzie aligned to the just as compelling throaty bassline offered by Ryan Clark. The outstanding vocals of the band are soon crooning and lifting the energy of the song, never letting it off its leash but prowling the senses and emotions with riveting expression and expertise. There is a breath of Dioramic and Pigeon Lake to the track, a harmonic and shadow wrapped breeze which only lifts the passions further as the opener crowds excitingly around the listener leading them towards a superb hook loaded vocal and almost combative climax.

The exceptional start is backed feistily by the sonic agitation of The Ambassador, a song grasping a dirtier hardcore laced vocal and rhythmic confrontation to its melodically clothed and tenaciously muscular breast. Hooks tease and riffs abrase from Robert Stephens and Astick, as vocals eye ball the listener with their boisterous tones and narrative. It is a blend ensuring body and emotions continue to be tightly clasped ready for the exceptional call of Die Trying. Soon offering punk vivacity to its heavier metal seeded tempest, the track equally finds an alternative rock contagion which offers shades of bands like Baddies in its unique creative brawl. It is a thumping encounter bringing further spices to its magnetic turbulence, a grungy essence as intriguing and gripping as the sinew driven aspects of the masterful persuasion.

There is strong variety to the flavours of the song and even greater diversity to the album, as straight away shown by the raucous heavy rock stomp of Permission with its progressively honed melodies and the catchy warm stroll of The Ballad Of Michael McGlue. The first roars like a mix of Queens Of The Stone Age and Therapy? whilst the second looks at another more indie/alternative rock canvas coloured with funky beats and melodically inflamed evocative hues. Both captivate with ease, though the sudden stop of the latter and the immediate charge of the following More Than A Million soon has album and listener hitting greater exhaustive energies. The wonderfully toxic snarl of the bass and accompanying acidic grooves chain the passions instantly, whilst the continually impressive vocals of Astick along with the unpredictable nature of song and individual creativity within the band, enthrals as they lure body and voice into the swing and anthem of the track.

Terribly Quelled shows its aggressive proclivity next, snarling with resourceful and inviting belligerence attached to punk fuelled anthemic suasion before Night Music absorbs a Faith No More like climate as it provides another fascinating and increasingly addictive inducement complete with roaming rhythms, mesmeric vocals, and sonic blazes. Both songs leave emotions high though are soon in the shadow of the outstanding I Never Lose and the album’s scintillating title track. The first of the pair twists and flirts with an agitated new wave bloomed enterprise reminding of the likes of We Are The Physics. This is aligned to an unbridled stalking of heavy rock ‘n’ roll rabidity for striking success, whilst the latter is a tempestuous consumption of ears with a post punk and discord lit bluster of predatory imagination and sonic causticity. It is also, from within its corrosive smother, one seriously infectious proposal brilliantly closing with a thrilling parade of enterprise which hints of very early Adam and The Ants.

Everything Is Fine is brought to an engrossing end by firstly, the controlled yet ferocious avalanche of rhythmic intimidation and sonic examination that is Enemies, and lastly the seven minute plus TFF. The final song does not quite match up to all that went before it, yet leaves the listener engulfed in a tapestry of melodic and dramatically multi-flavoured adventure, which shows just how exceptional other songs are to outshine it.

In many ways Hawk Eyes had a head start thanks to the already hungry appetite for their sounds already bred by the band previously but Everything Is Fine surpasses all hopes and greedy demands with quick and masterful majesty. Start those best of year lists right now and put Hawk Eyes right at the top.

Everything Is Fine is available from February 9th through Red Vole @ https://itunes.apple.com/gb/album/everything-is-fine/id962728478

Check out Hawk Eyes on tour@

Thurs Feb 12, Maguire’s Pizza Bar, Liverpool

Fri Feb 13, Barfly, London

Sat Feb 14, The Joiners, Southampton

Mon Feb 16, Louisiana, Bristol

Tues Feb 17, Bodega, Nottingham

Weds Feb 18, Sound Control, Manchester

Thurs Feb 19, The Cluny, Newcastle

Fri Feb 20, Nice N Sleasy, Glasgow

Sat Feb 21, Brudenell Social Club, Leeds

http://www.hawkeyesmusic.com

RingMaster 09/02/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from http://www.thereputationlabel.today

 

Armageddon – Captivity and Devourment

Photo by John Fell

Photo by John Fell

 

Over a decade since their last foray into ears and imagination, Sweden/American metallers Armageddon return with new album Captivity and Devourment, their most compelling and fascinating work to date. As to its strength against the band’s previous albums, that will be down to the individual and their appetite for the different stages of the continually evolving and exploratory invention of the band, but it is a creativity imposing and magnetic proposition which even when its persuasion ebbs a touch simply enthrals and when in complete tantalising majesty is a sonic masterpiece.

Formed in 1997 as a studio project by then Arch Enemy guitarist Christopher Amott, the Halmstad hailing project swiftly grip attention and fevered support with the release of cult album Crossing the Rubicon that same year. A sci-fi themed concept album, its lure and success was followed by the potent presences of Embrace the Mystery and Three of 2000 and 2003 respectively. Each release saw new line-ups in their individual persuasions and a shift from the bands initial melodic death metal explorations into power metal coloured landscapes. With another new line-up alongside Amott and a fresh creative emprise across technical and heavy melodic metal pastures, the now New York City based band and their album turn on ears and imagination to Armageddon once again with a bewitching tempest of emotion and sonic intrigue.

The album’s title track explodes in ears first, grooves and riffs an instantly virulent savaging as a hellacious rhythmic assault keeps pace with the track’s ferocious yet infectious start. The guitars ofarm Amott and Joey Concepcion swiftly cast a web of melodic and technical temptation as the raw caustic tones of vocalist Matt Hallquist abrase with varied and potent hostility. It is an impressive and gripping start to Captivity & Devourment, the dark hearted basslines of Sara Claudius and the unrelenting and creative swings of drummer Márton Veress adding antagonistic depths and appealing shadows to the dominant lure of grooves and the sonic ingenuity. Technically in craft and invention, song and band fascinate and seduce; the theatre of the song, as in most tracks, providing inescapable persuasion alone.

The great start is backed up if not quite matched by Locked In next, the portentous emergence of the encounter the appetiser to scenery of blackened malevolence courtesy of the vocals within a sonic tapestry of melodies and emotive colour. Carrying a classic heavy metal air at times, the track flirts and entices with every wash of melodies and bait of restrained rhythms with only the again caustic and this time not so adventurous squalls of Hallquist a tempering factor. It is enough though to accentuate the missing spark in the song compared to its predecessor, and the indefinable but prevalent essence which ignites the following Rendition. The third track, as the first, is a colossal beast in ears and attention within its first breath. The vocals are back on diverse form and riffs a rampant predation as they unite with the just as brutal rhythmic provocation. It is a formidable and addictive intimidation which finds a new plateau with the burst of impressive clean vocals from Amott and his subsequent tendrils of breath-taking sonic invention. The song is magnificent, everything about it as engrossing and seductive as it is venomously inhospitable, every flaming groove, unpredictable twist, and barbed hook a theatre of ingenuity and passion sculpting a canvas for body and emotions to greedily immerse in.

Its epic persuasion though casts a shadow which neither Fugitive Dust nor Conquer can evade next, though each provides plenty to keep an already potent appetite for the release satisfied. The first of the two rumbles with a great throaty bass threat from Claudius as guitars again burn air and sear the senses. Again though the vocals of Hallquist reveal little enterprise, certainly in comparison to the previous song, and dampened the seventies psych rock and progressive climate of the encounter. Its successor challenges and assaults with another breed of toxically enchanting and malicious intent where this time vocals find that enjoyable and inventive extra as they help enhance the internal conflict of the track where rage and melodic seduction entwine like creative lovers. The relatively short but exciting track makes way for the masterful drama of Thanatron. A gorgeous opening of acoustic guitar beauty swiftly has ears and emotions enthralled, and still tightly gripped as riffs and rhythms emerge from within its light to prowl and stalk the psyche. Equipped with seriously addictive grooves and scythes of melodic tempting, the song simultaneously bullies as it spellbinds, another incitement where every predacious shadow and melodic coaxing comes with thick virulence.

One triumph leads into the instrumental beauty of another, Background Radiation a warm yet haunting caress casting its own sublime provocative spell before making way for the scintillating and epically weighted grandeur of The Watcher. Brutal rhythms and riff driven scourges assault the senses with rapacious tenacity but have to submit to the welcome return of the clean vocal flames which erupt within the tempestuous soundscape. It is another mouth-watering tsunami of invention and craft which seems to grow broader and more impressive with every listen, just like next up Equalizer with its cantankerous threat of sinew sculpting rhythms and melodic exploration. Dipping into a mix of progressive and heavy metal, power and folk seeded enterprise, the track also captivates without restraint even though the viciousness it offers is held down by the warmth elsewhere in comparison to the absorbing turmoil of the last track.

Completed by Giants, though the CD version of the album has bonus track Stone Worker included, Captivity and Devourment is an invigorating confrontation and temptation. The last song is another missing that final intangible ingredient which turns great songs into insatiable treats within the album, but it is still a fine end to a release that can only be heartily recommended. As we said previously, you can expect differing views and tastes when comparing the might of the album against Armageddon’s previous offerings, such their open uniqueness to each other, but for us it has to be seriously considered as maybe their finest moment.

Captivity and Devourment is available from January 26th via Listenable Records @ http://www.shop.listenable.net/fr/143_armageddon

https://www.facebook.com/armageddonbandofficial

RingMaster 26/01/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://www.thereputationlabel.today

 

 

 

Feral Sun – Evacuate

 

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The final week of January sees the debut album from UK rockers Feral Sun getting a well-deserved reboot, a re-release sure to mop up the unsuspecting appetites and fans that were not netted the first time around by the band. Evacuate is quite simply a collection of emotive and sonic anthems which come in varying forms and all roar with a snarling angst. They are also propositions which seem as familiar as they are fresh, the band weaving inspirations from the likes of open Stone Sour, Karnivool, Alter Bridge, and Trivium into their own distinctive designs. It plays like an old friend re-groomed, revitalised, and with a new found individuality.

Formed in 2009, the London quartet spent time honing their sound and live set before unleashing themselves locally and gaining a swift reputation and potent following for their stage ferocity and similarly impacting sound. Next came the creating of their first album, an imposing but feistily seductive encounter which again embraced a strong and acclaimed acceptance upon its first unveiling. With anticipations keen thanks to a trio of singles from the release, Evacuate is now poised to inflame the country with its national outing, with an inevitable success it is easy to expect thanks to its stirring and imaginative body of sound and enterprise.

Evacuate takes little time in awakening ears and attention as opener Find A Way follows its initial jangle of guitar with a wall of heavily swung beats and predatory riffs. It is a formidable entrance given greater potency by the instantly magnetic vocals of Mick Burns and a broader coaxing of guitar from himself and lead guitarist Marco lo Coco. That earlier mentioned familiarity is soon apparent but it only spices up the dramatic weight and character of the song. At times essences of Seether make a suggestive whisper and in others a mix of Stone Sour and Mudvayne, but all colouring which increases the reach and appeal of the impressive start.

There is also a raw quality to the track and a ‘raggedness’ to riffs which only increases the texture and lure of the proposition, revealing one aspect of the band’s sound to which the next up Alone Feral Sun covershows another. Also offering an aggressive touch at first, the song soon slips into a mellower melodic landscape, Burns opening up an emotive narrative with increasingly impressing vocals as lo Coco tantalises with an elegant melody against the darker provocative tones of Alex Nikitin’s bass and the skilfully fluid rhythms of drummer Jay Stephenson. His rhythmic incitement ebbs and flow in attack and weight perfectly as the song croons with passion and intensity as a 3 Days Grace like persuasion spices the unique theatre of Feral Sun’s invention and fiery craft, the band entwining melodic and hard rock with a more classic bred adventure.

The album’s excellent title track is stomping with teeth bared and passions inflamed next, prodding and swiping at ears with antagonistic attitude wrapped in a sonic and melodic tempering. Feet and voice are swiftly recruited by the song, its anthemic qualities as potent as the intimate drama colouring the track before it passes the listeners over to the alluring charm of People Are Dying. Its opening balladry within a sultry climate, leads senses and imagination into evocative scenery of acoustic led persuasion when subsequently opens up into an expanse of fiercer fiery incitement in sound and vocals. A slow burner compared to its predecessors and arguably never reaching their plateaus, the song still impresses and thrills much as One More Day after it.

With no song leaving ears and satisfaction wanting, there is a shallow dip in the album caused by the might of its start and impending closing stretch. This song for example a seriously compelling stroll of brewing anger and militant intensity with a craft individually and united from the band to match, yet it just misses the final spark to emulate the heights of the early songs. Nevertheless with lo Coco spinning a web of impressive skill and adventure around the ever striking vocals, it leaves a lingering pleasure and impression just as the Audioslave scented Into Pieces and the enslaving Long Road. The first of the two almost stalks ears and thoughts with its predacious gait and aggravated riffery whilst the second finds a similarly imposing leer to its sound and emotion bound in another strapping of sonic intrigue and vocal might, especially in the latter passage where the whole band unveil an irresistible vocal call to arms.

Breathe continues the strong diversity to Evacuate next with its distinctive and rigorously engaging balladry. Its highly pleasing flame of melodies and harmonies is followed by the equally potent emotional reflection of Take This Away. The track aligns resourceful calm and expression with raw blazes of angst soaked aggression from guitars and rhythms, providing further evidence of the maturity and imagination within the band’s songwriting and its fascinating realisation.

The album ends as mightily as it began, with firstly Caught In The Act exploring a mouth-watering blend of hard rock revelry and dirty rock ‘n’ roll tenacity. It results in the most inventive and unpredictable treat on Evacuate. The whole album is a heady peak of quality and temptation, but its start and finish provide the pinnacles with this song a tempestuous march of hungry riffs, hostile rhythms, and grooves to drool over. Its successor Falling is just as exhilarating with its virulent stroll of vocals and hooks interspersed with gripping rock pop devilry posing as a chorus. The album’s final song leaves ears and appetites, which are already full to bursting with highly enjoyable sounds and enterprise, just that little bit hungrier and greedier for more.

Evacuate is a roaring stomp of a release, not always as unique as it might be but for the main using the recognisable flavouring in fresh and contagious ways. For a riot of thoroughly satisfying and invigorating rock ‘n’ roll, it is hard to imagine too many over shadowing Feral Sun’s debut in the coming months.

Evacuate is released on Monday 26th January through all good stores and @ http://www.feralsun.bigcartel.com/

http://www.feralsun.com/

RingMaster 26/01/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://www.thereputationlabel.today

 

 

Forever Still – Scars EP

Forever Still

Having made a striking entrance and impression with debut EP Breaking Free in 2013, Danish rock band Forever Still were one of the eagerly talked of emerging bands with their imaginative and powerful blend of emotive melodies and anthemic muscle. It was a release still luring in new appetites and passions for its gothic and melodic metal infused sounds across the following year, including awakening our attention on the Copenhagen quartet. Now the band has not only reinforced that rich introduction but pushed their presence and creativity to another level with its successor the Scars EP. Released in the final excited throes of 2014, the three track release is a proposition to stir the blood and inflame the senses with songs as soaked in diversity as they are creative drama. It is an encounter which seduces through the siren-esque vocals of Maja Schønning aligned to evocative melodies, and roars with nostrils flared through raging riffs and formidable rhythms. That alone makes for a potent canvas upon which the band spins aural colour and imagination drenched enterprise; quite simply it is a treat of a proposition.

Formed in 2010 by Schønning and Mikkel Haastrup (bass, guitar, keys), Forever Still has seemingly shown little hardship in enticing keen hearts and acclaim from those it has lured in through their previous release and songs as well as their impressive live shows. Playing events like Denmark’s Nordic Noise Festival and M’era Luna Festiva and the unleashing of the Flemming Rasmussen produced Breaking Free has helped push the band into a broader and hungrier spotlight, but ahead of the band’s first album this year, it is easy to feel that Scars is the opening signpost in the road to major things.

That thought is instantly sparked by the EP’s title track which opens things up. Scars is a beast of a song, a sinew driven seduction which is as unpredictable and anthemic as it is bewitchingly coverradiant. As one who always hankers for some kind of snarl in songs, the track is an immediate incitement to the passions. From the first tangy groove and pungent swipe of rhythms, the song stirs up the senses as Haastrup and guitarist Dennis Post cast a spicy coaxing littered by heavy swipes from drummer Jens Berglid. Things relax slightly as the ever alluring tones of Schønning open up the narrative but are soon back growling forcibly as the depth and quality of the lady’s voice adds its own intensity and bellow to the tempest. The song continues to croon and confront with inescapable virulence, every note and syllable coming with its own dramatic and flavoursome adventure. It is a relatively swift encounter, ending far too soon if you ask us, which leaves emotions high and pleasure exhausted.

The following Once Upon A Nightmare explores a mellower though no less imposing landscape. Whereas its predecessor was as metal as it is heavy rock, the second song explores more forgiving scenery with electronic expression and tempestuous melodies thick and provocative alongside the enthralling vocals of Schønning. Lying somewhere between Evanescence and Lacuna Coil, it is a fire of passion and creativity. Guitars and keys spin a riveting tapestry around the vocals whilst Berglid is at times a predator with his aggressive jabs. Admittedly taking longer to tempt than the opener, the song is soon igniting the same rapture with its distinctly different persuasion.

The closing Miss Madness brings a classical charm to its power ballad seeded, the band showing yet another twist to their sound and invention. It is not a song which finds the same heights as the first two for personal tastes, but with emotion binding vocals and intimately immersive sounds it only leaves appetite for the band and its rich varied sounds greedier.

Anticipation for the debut Forever Still album is building into a thick buzz thanks to the band’s two EPs, but you get the feeling even as Scars reveals even greater depth and broadness to their sound that we have seen nothing yet.

The Scars EP is available as a name your price download now @ http://foreverstill.bandcamp.com/album/scars-ep-name-your-price

www.foreverstill.dk

RingMaster 06/01/2015

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