Uncaging the roar: in interview with Fivefold

fivefold_RingMasterReview

Formed in 2007, St Louis, Missouri hailing Fivefold has earned a strong reputation for their melody thick and emotionally rousing rock ‘n’ roll. Taking in a quartet of albums and a host of shared stages with the likes of The Offspring, Buckcherry, Redlight King, 10 Years, Switchfoot, Sick Puppies, Greek Fire, The Urge, Shamans Harvest, Broadway, Red Jumpsuit Apparatus, Memphis May Fire, Jamies Elsewhere, HURT, Cavo, among many others, the quintet is one of the fresh breaths on the current music scene. We talk to the band to get a feel of their passion and invention…

Can you introduce the band and tell us to how it all started; what brought you all together?

Ryan Cheney – vocals

Matt Amelung – guitar, vocals

Matt Benne – guitar, vocals

Coco – bass

Derrick Huskey – drums

Derrick (drums) and Matt Benne (guitar) met through our late guitar player Jesse. Derrick met Ryan (vocals) at a church camp they were both attending. After a few line-up changes, Derrick, Matt Benne and Ryan met Coco (bass) from playing shows with his Hold On.

Have you been/are involved in other bands before? If so has that had any impact on what you are doing now?

Most of us have played in local St. Louis bands before Fivefold. I think we’ve each taken elements from previous projects and applied them to what we do in Fivefold.

What inspired the band name?

At first we did what every other band does…we looked through dictionaries. Haha! But really, we decided on Fivefold because it essentially means five different units/things that come together to accomplish one goal.

Was there any specific idea behind the forming of the band and also in what you wanted it and your sound to offer?

We just wanted to be “good”…and to promote positivity.

fivefold4_RingMasterReviewHow would you say your sound has evolved over time?

We’ve tried to push ourselves to continually refine our sound. In our case, I think that has meant approaching our music with more pop sensibility.

Has it been more of an organic movement of sound you deliberately setting out to try new things?

A blend of both.

Presumably across the band there is a wide range of inspirations; are there any in particular which have impacted on the band’s music and your personal approach to creating and playing music?

I don’t think anything one element impacts itself into our music. Rather, all of our inspirations impact our music.

Is there a process to the songwriting which generally guides the writing of songs?

Most of the time we just start jamming on a riff and take it from there.

Where do you, find inspirations to the lyrical side of your songs?

Honestly, our lyrics have no bounds. They are about anything and everything, whether it’s something one of us has been through personally or something greater than all of us.

Can you give us some background to your latest release?

Our latest release is Open Letter. We released it in December of last year and it’s the first batch of songs written with Matt Amelung on guitar.

What about its themes and premise.

Open Letter is our response/interpretation of the world around us.

Do you go into the studio with songs pretty much in their final state or have looser ideas to develop as you record?

We’ve done both over the course of our 4 albums. Both have their strengths and weaknesses.

Tell us about the live side to the band, presumably the favourite aspect of the band?

I think it’s definitely our favorite aspect. We like to make every show bigger and better than the last.

It is not easy for any new band to make an impact regionally let alone nationally and further afield. How have you found it your neck of the woods?Fivefold2

To be honest, we don’t know the answer. We just continue to work extremely hard and push ourselves and our band.

How has the internet and social media impacted on the band to date?

The internet has enabled us to delve deeper into the life of Bruce Willis.

Find out more about Fivefold @ https://www.facebook.com/FivefoldOfficial and http://www.fivefoldband.com/

https://twitter.com/fivefoldrock

Pete RingMaster

The RingMaster Review 19/08/2016

Copyright RingMaster: MyFreeCopyright

Story – Hopeless But Hoping

Story_RingMasterReview

With a sound living up to their name; music and songs which tell a tale for ears and imagination to get wrapped up in, UK band Story release their second EP, Hopeless But Hoping this month. Carrying six tracks fusing melodic metalcore with post hardcore amidst rock scented infectiousness, the release is a captivating and accomplished encounter which is as much at ease brawling with the senses as caressing them with suggestive melodies.

Formed in 2014, the Sheffield hailing band seeded their sound in the inspirations of bands such as Memphis May Fire, Of Mice & Men, Mallory Knox, and Young Guns. They quickly earned a potent reputation for their live show, sharing stages with the likes of Tek-One, Qemists, ACODA, Shields, Silent Screams, The Call Back Academy, and Summerlin over time whilst the release of their first EP and debut single Father Forgotten, nudged a broader attention. Now they are unveiling Hopeless But Hoping to stir things up again and to greater heights, a success not too difficult to contemplate.

Produced from within the band, Hopeless But Hoping opens with Story’s new single/video Article 10. It lays a gentle melodic touch upon ears initially, evocative guitar charm stroking ears and imagination before a bigger rumble brews and escapes the band. It soon relaxes as the impressive vocals of Bill Hobson step forward with the narrative, the guitars of Liam Gratton and Matt Baxter almost dancing around him with their enterprise. Equally, between them the pair uncage some feisty and imposing riffs to match the throbbing rhythms of bassist Tom Walker and drummer Chris Ogden as Hobson shows his fluid switch to angst fuelled aggression is equal to his harmonic delivery.

Story Artwork_RingMasterReviewThe track is a fiery and eventful encounter with a nice line in unpredictability, not a trait which every song exploits as well but when they do as in the following Push Me Away, the imagination cannot help but get involved. The second track swings in on a lure of tenacious rock ‘n roll, calming down again as vocals join the bubbling affair before rising up with energy into an emotive snarl. Great backing roars and keen spirals of sonic endeavour add to the contagious tempting and presence of the song; it as its predecessor offering plenty of textures and twists to be forcibly enticed by.

Community flares up next, its emotive and volatile blaze catching attention if without finding the same individuality and success as the songs before it. With open craft from the band in sound and songwriting as well as a strong anthemic feel to it, the song certainly keeps enjoyment high before Letting Go serenades ears as an emotive turbulence shares its ire in the background. Melodies and vocals gently and impressively hug the senses, proceeding to reveal their tormented side as in time provocative flames of sound and emotion erupt in a thick engulfing of the senses. It is a slow burner compared to the first pair of songs, but grows to be another highly agreeable moment in the adventure of the EP.

The release’s busily textured and energetic title track sizzles within ears next, Hopeless But Hoping a song which is as riveting as it is a touch frustrating. It leaps in with an irresistible turbulence of grooves and rhythms aligned to raw vocals but then lets the strength of its thrilling start wane as its intensity and drama drops. It saves itself though with some fascinating turns into atmospheric and melody fuelled resourcefulness to add a great element of surprise to an encounter which, as great as it turns out, just feels like it could have been even bigger and bolder.

Carry Me Home finishes the release, its rousing air and boisterous enterprising alone a blend to grab attention. It might not be a song ripe with uniqueness, something you could say about the EP generally, but as Hopeless But Hoping, it has a wealth of invention and drama, as well as the band’s undeniable skills, to leave ears and emotions healthily satisfied. The potential of their sound also makes a lingering impact suggesting that Story has a potent time ahead of them.

The Hopeless But Hoping EP is released March 4th, details @ http://storyofficial.bigcartel.com/product/hopeless-but-hoping-ep-pre-order

https://www.facebook.com/StoryOfficialUK  https://twitter.com/storyofficialuk

Pete RingMaster 04/03/2016

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Audio Poets – Make a Scene

artworks_RingMaster Review

Such the almost scattergun diversity escaping Make a Scene there are times you wonder how it works with such coherent unity but it does and what is on offer is one gloriously rousing and dynamically imagination incitement for ears and emotions. The new album from US rockers Audio Poets, it is a thumping merger of pop punk, alternative rock, and unbridled rock ‘n’ roll, to try and slim it down, which leaves an increasingly greedy appetite breathless for more.

Formed in Dallas as 2014 made its goodbyes, Audio Poets quickly hit the live scene the following year, playing their first show in Buffalo with Rookie of the Year. Debut EP Colours had its successful release the following month before the quartet spent the spring of 2015 recording Make A Scene. The latter months of the year saw the album uncaged and the band relocate to Los Angeles, as well as hungrily hitting the live scene across the US. The UK and Mainland Europe are now in their live sights for 2016, the band ready to pounce on the already eager reactions to the galvanic sounds and the quickly impressing adventure of Make a Scene.

Recorded with producer Geoff Rockwell (Forever The Sickest Kids, Memphis May Fire, Crown The Empire), the band’s album swiftly hits a rousing plateau with opener The Anthem. A scuzz lined guitar makes the first invitation with its sultry hues, the lead vocals of guitarist Chris Durio quickly adding their punch to the attitude loaded proposal. As the track develops there is no escaping the potent and enjoyable Rage Against The Machine essence to the track, it coming bound in just as appealing stoner-esque grooves from the fiery guitar enterprise of Bru Whitley and Durio who create a magnetic web around the increasingly defiance loaded narrative and vocal tones.

It is a riveting and contagious start to the release but soon overshadowed by the outstanding Wake Up. Straight away that variety in sound and imagination is arousing ears and thoughts, the second song bounding around with pop punk energy and revelry whilst casting an aggressive CIV like snarl and melodic tempting. There is a touch of UK band Hawk Eyes to the romping escapade too, enslaving hooks aligned to rowdy but controlled dynamics colluding excitedly with the darker inviting prowess of bassist Mike Knight and the sinew swung beats of drummer Landon Jett.

Next up Not My Time is a triumph to match the last, this time the band exploring a My Chemical Romance meets Fall Out Boy like theatre of invention and creative mischief. Feet and hips are soon seriously involved with the more restrained, compared to its predecessors, yet feistily swinging canter of the spellbinding song and its unpredictable invention. There is a serious urge to dive right back into the track after its conclusion, though that is soon diverted by the punchy roar of Burn and after that, the album’s Marilyn Mansion scented title track. For the first, Durio mixes his strong clean tones with more rap bred vocal jabbing, though this time The Kennedy Soundtrack is a closer hint to the adventure of sound and voice on offer. As the song evolves between standing toe to toe with grouchy agitation and seducing with poetic melodic infectiousness, a touch of Lost Prophets slips into the captivation, that one more arguably familiar colour which, as within every song, simply helps flavour something openly unique. Next up Make A Scene flirts with and barges across ears with a virulence of craft and sound which again has the body and emotions subservient; electronic and industrial ingredients as powerfully persuasive as the punk infused rock ‘n’ roll at its heart.

Fiery interlude Space is more the doorway into a new turn to the album than a break, its cosmic air a progressively textured tempting for the imagination before Revolution stands tall and defiant in attitude and sound. Featuring Jay Miller of Texan band Drudge, the song is a brooding maelstrom of imposing rock ‘n ‘roll spiced with melodic hardcore imagination and an array of intriguing sonic colours and styles. It easily holds attention and enjoyment tight and leaves satisfaction full though it is maybe not as inventively bold and tenacious as earlier songs, a success found by the equally weighty emotive and tempestuous embrace of Wounded Eyes. Mixing a rich blend of varied metal infused rock flavours, the track is again an encounter fulfilling all wants and hopes if without quite breaching the same plateau the album set in place early on.

Do You Feel It (Now) brings a feistier and in some ways creatively livelier proposal with its tapestry of styles soon after, vocals and sounds from every corner of the band helping draw physical participation before closer Make It Through, escorts ears into a broader electronic landscape that sees the album go out on a potent high.

For personal tastes the album produces its richest and most ingenious mastery across the first five or so tracks, exploring more emotively shadowed and intensive depths to matching success thereafter, and from start to finish Make a Scene is one irresistible and rousing temptation from a band surely heading towards major attention.

Make a Scene is out now through most online stores.

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Pete RingMaster 07/02/2016

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Concepts – Transitions

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Quite simply Transitions is the post-hardcore equivalent of popping candy; place it in the ears and it can seduce with a melodic calm and elegance which whets the appetite and then erupt in a tempestuous carnage of aggressive flavours and raucous temptation. The debut EP of US band Concepts, the release is a fascinating and compelling encounter, swiftly offering the evidence as to why there is a feisty buzz around the band right now but bursting with a potential suggesting we are only at the beginning of big things from and for the Houston quintet. Certainly the release is not flawless but there is barely a whisper to any ‘issues’ to temper any real enthusiasm for EP and band.

Concepts was formed in 2011 by Aaron Isbell and Jory Nunn, and despite undergoing a fair few line-up changes soon built up a thick following and potent reputation for a live presence which has seen the band play with the likes of Emery, Of Mice & Men, and Memphis May Fire, and indeed their inventive sound. Overcoming various hardships and financial difficulties which all emerging bands suffer to varying extents, the current line-up of Blake Williams, Cruz Stuart, and Barrett Powers alongside Isbell and Nunn, are ready to stir up real attention and fervour with their imaginative sound, and the Kris Crummett (Sleeping With Sirens, Alesana, Issues) mastered Transitions, the spark hoping to open new spotlights.

We labelled Concepts as post-hardcore early on but to be honest and straight away shown by EP opener Posthumous, the band’s sound is bred from a rawer voracious metalcore seeding, though the song also just as rapidly reveals there is plenty of flavoursome styles and scope within songs. Its opening is a portentous ambience with apocalyptic shadows which are soon splintered by ragged riffery and sonic toxicity. The mix of guttural spite and soaring melodic vocals is striking, superbly pitched and stealing attention though so too is the spiny rhythmic animosity and scarring djent sparked enterprise unleashed. Though the track does not quite light a major fire it leaves on a quite bewitching conclusion which lifts a good song into being a great one.

The following Mirrors caresses ears with a gentle stroking of keys cupped in a harmonic vocal hug. Of course the raw and instinctively aggressive character of the song has to emerge, which it yoyoepcoveryodoes with a rugged and unpredictable savaging of the senses. The song carries on twisting between charmed melodic temptation and jaundiced belligerence, all driven by violent creativity. It is enthralling and pleases with ease if again not quite finding that final spark to ignite the passions.

Both tracks have a fluid and seamless maelstrom to them which continues across the whole release in varying ways, starting with the tantalising Vultures which from its first breath seems an easier going and more restrained slice of invention. It still holds an intimidating essence though which is given moments to uncage its rhythmic teeth and predatory hostility; scarring and ravenous expulsions which almost flirt with deathcore as well as a metalcore spawned barbarousness. Just as potent though is the harmonic croon and intimate melodies aligning the primal side of the song, they equally magnetic and unpredictable in imagination and tenacity.

The EP’s title track lays down its own unique landscape of virulent vicious rancor and melodic intrigue next; the former inciting ears and energies for the latter to swarm all over with harmonic passion. Keys and strings provide the additional lift to the song, their brief but opportune appearances a riveting texture to the ferocious snarl of the song.

The EP just gets better with every song and it is by its midway point that ardour is really aroused though the finest hour of Transitions comes with the closing Abomination. A grouchy vocal scowl sets things in motion with almost instantly heftily driven jagged riffs and pungently aggressive rhythms also lending their antagonistic hand to proceedings. It is a gripping and attention grabbing entrance by the encounter, which is soon expanding horizons and enterprise with great flames of clean vocals across a more melodically even tempered fury. It is a brewing storm though as both aspects of the track’s character entwine and flirt alternatively with its imposing narrative. From within dramatic keys and the increasingly impressive harmonies seduce too, giving slight respite from the increasingly carnivorous tempest around and beside them. It is a tremendous end to a thrilling release.

There are times where things, intricacies and nuances, get lost in the thick melee but never enough to defuse the invention and creative potency of songs and EP. Concepts is being talked of very highly right now, but expect bigger claims as Transitions lures in more and greater attention with its Betraying The Martyrs meets We Are the Ocean like, to give some idea, adventure.

The Transitions EP is available now @ https://itunes.apple.com/us/album/transitions-ep/id956146009

https://www.facebook.com/Concepts.Band

RingMaster 18/02/2015

Copyright RingMaster: MyFreeCopyright

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Dead Winter – Erasing Glaciers

 

Dead Winter Online Promo Shot

   Formed in 2011, UK post hardcore band Dead Winter has bred an eagerly growing buzz around their emergence, an attention which especially over the past year has found a real potency which the Blackpool sextet hope to reap greater success from with the re-release of their debut EP Erasing Glaciers. A reboot of their first introduction, the six track fury of melodic metal and hardcore ferocity is a resourceful and magnetic beast of an encounter and the highly suggestive evidence that the band’s time is about to explode into wide recognition.

    Pulling inspirations from bands such as Bring Me The Horizon, Underoath, Oh, Sleeper, and Parkway Drive into their sound, Dead Winter were soon gripping attention locally and further afield from their early days. Comparisons to the likes of Memphis May Fire, A Day To Remember, and Parkway Drive were lofted on to their inventive sound as the band impressed on stage and with their Romesh Dodangoda produced debut release. Still missed by many at the time of its unleashing though, the record has a second refuelled chance to make the mark it deserves and it is hard not to see EP and band reaching into the passions of a great many more this time around.

    Consisting of guitarists Jamie Townsend and Martin Worsnip, bassist Adam Roberts, and drummer Danny Dawkins alongside Dead Winter Cover Artworkthe fiery screams of Laura Russell and the clean melodic tones of Ant Jones, Dead Winter take little time in gripping attention with EP opener Bribe For The Ferryman. A strong blaze of guitar and rolling rhythms enclose the ears initially before the rhythmic tempting strengthens its grip for the appearance of the throat raw squalls of Russell. It all combines for a dramatic and intriguing enticement which only deepens its bait with breaking muscular stabs of riffery and carnivorous aggression. Into its stride the now in place blend of clean and voracious vocals make a potent and alluring draw within a well-crafted and imaginative tempest of sound. The previously mentioned comparisons do come to mind as the song twists and ripples with inventive spite and enterprise but equally there is an individualistic essence to the provocation setting the band aside of other similar like-minded and sounding bands.

     The intense and strong start is not maintained by the following Snakebites & Streetfights as immediately the clean vocals of Jones feel out of kilter to the rapacious sounds around him and at times his own notes. Elsewhere on the EP he is masterful and impressive but for some reason the clean aspect does not feel right in what otherwise is a pretty decent adventure. There is still plenty in the track to convince that this is a rare aberration in the creative puissance of the band, the proof coming right after as the release rises up in gear and levels starting with Every Silver Lining Has A Cloud. A gentle guitar coaxing is soon exposed to a vitriolic vocal causticity and senses splitting intensity driven by equally predacious rhythmic provocation. It is an exciting assault which merges merciless savagery with a melodic soaking led by the back on form vocals of Jones. An unpredictable and exhausting maelstrom of energy and impressive individual endeavour uniting in a superbly sculpted and absorbing invention, the song is quite simply a barbarous incitement for imagination and passions.

     The title track comes next and unleashes a similarly brutal breath and body as its predecessor from its opening second. The riffs come armed with senses tearing teeth and rhythms with an armoury of sinews which bruise and ignite the ears, but it is the excellent mix of vocals from Jones and Russell which steer the impressive and ruthlessly intensive ship to another richly thrilling and irresistible triumph. With the previous song, the two tracks alone make Dead Winter a proposition to feel confidence and anticipation for their future but as You’re Not The Only One shows they are not alone in offering the fullest persuasion of this being a band with a blazing horizon ahead of them. This time taking an almost tempered approach to the listener at first, the song is soon storming within the ears with vocals impressing once more within inventive but unfussy guitar craft from Townsend and Worsnip whilst the rhythmic impact of the band again seizes a full hunger for their impact. With pleasing additives of keys to the masterful display, the song provides another lingering memorable suasion, which is not always something you can say about many other same genre bands and efforts over recent times.

    The closing Survival, like You’re Not The Only One, is a new song on the release from its original appearance at the tail end of 2012, and again with the other newcomer shows the band is evolving and growing in a potent and riveting direction. Soaked in a greater voracity and antagonism than elsewhere on the EP, the track also explores a stronger contagious depth to its body. It is a tremendous conclusion to an outstanding release, one which hopefully should take Dead Winter into a spotlight befitting their rewarding and tasty sound. British post hardcore has a new furnace of creative severity in its midst, an inventive scourge which only leaves unbridled pleasure.

www.facebook.com/DeadWinterUK

http://www.deadwinter.co.uk/

9/10

RingMaster 02/02/2014

Copyright RingMaster: MyFreeCopyright

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DEAD WINTER to unleash new EP, ‘Erasing Glaciers’ on 3rd February‏

Dead Winter Online Promo Shot
Unstoppable North-west sextet ‘Dead Winter’ drop their enticing ‘Erasing Glaciers’ EP through national outlets on Monday 3rd February.
 
Igniting glowing comparisons to Memphis May Fire, A Day To Remember and Parkway Drive, Dead Winter come at you with powerful guitars, gargantuan choruses and earnest purpose. Dead Winter are quickly picking up the pace and the ascending metallers are poised to be one of the breakthrough bands of 2014.
Formed in 2011 in Blackpool, and featuring Ant Jones (Clean vocals), Laura Russell (Scream vocals), Jamie Townsend (Lead guitars), Martin Worsnip (Rhythm guitars), Danny Dawkins (Drums) and Adam Roberts (Bass), Dead Winter are rapidly taking flight and creating a stir. Soon after their formation, the youthful six-some began work on inking new tunes for their much anticipated debut record. To help make their mark on the scene, the post-hardcore crew honed their sound by notching up shows throughout the north and gaining hearty support in the process.
The Blackpool bruisers are now set to push open the envelope with a reboot of their stunning debut EP ‘Erasing Glaciers’. Serving up six meaty cuts of hardcore amalgamated metal and taking influence from Bring Me The Horizon, Underoath, Oh, Sleeper, and Parkway Drive, Dead Winter produce an explosive record bursting with invention and buoyant intensity, and with esteemed producer Romesh Dodangoda at the helm, you know the production will be top draw. ‘Erasing Glaciers’ kicks off in barbarous fashion with the hammering beatings of ‘Bribe For The Ferryman’ before it rolls into ‘Every Silver Lining’, which deftly highlights the band’s agile use of devastating dynamics. The record’s namesake, ‘Erasing Glaciers’, further drives the six piece’s message home to great effect; Dead Winter are set to rise—catch the UK noise chiefs on tour as they plan a massive onslaught for the early part of 2014.
Dead Winter Cover Artwork

From Sorrow To Serenity – Antithesis

FSTS

As ravenous and barbaric as a tornado but with the passionate insatiability of a tsunami, the Antithesis EP from Scottish metallers From Sorrow To Serenity is a striking ruthless ferocity wrapped in a scorching melodic elegance and rapacious imagination. Consisting of four merciless confrontations, the release is the debut of a band metal we will all be taking intensive attention of, if not now certainly in the near future as the Glasgow quintet build on their powerful and impressive entrance.

Formed in 2010 by the core of vocalist Fraser Smith alongside guitarists Steven Jones and Mark McInch, From Sorrow To Serenity  have earned a formidable reputation for their unbridled mesh of metalcore ripe with flames of progressive, groove, and technical metal; a colossal recipe which has fuelled their intensively impacting live show. Sharing stages with the likes of Memphis May Fire, Bleed From Within, Stray From The Path, The Color Morale and many more across Scotland, the band has continued to impress and strengthen their stature and explosive presence, bassist Andrew Simpson and drummer Matthew Cowie completing the potent line-up challenging and invigorating the senses. Following their recent successful showing at Techabilitation where the band played with the likes of Meta-stasis, Nexilva, Visions, and Aeolist, the Antithesis EP is the next heavy swipe at the nation, one you can only imagine leading the band to the strongest positive responses.

The title track instantly tells you all you need to know about From Sorrow To Serenity, Antithesis emerging from a sonic brew a0430344357_2designed by the guitars to launch a savage and riveting exploitation of the band’s craft and maliciousness. The track is a carnivore, riffs and rhythms a ravaging creative spite cloaked in a sonic seduction which scorches as it tempts. The technical enticement is equally as predacious and addictive, the band coaxing out a rapturous hunger for its towering and erosive presence whilst the vocals of Smith squall with as much animosity as that provided by the rhythms. It is a hypnotic fury completed with twisted grooves which swing with a compelling swagger from within the inventive and exciting maelstrom. The outstanding track never relinquishes being the finest moment on the release though it is constantly challenged by the remaining trio of songs.

The following Synergy approaches the ears with an electro cast ambience, an industrial lilted embrace not long alone as djent splintered rhythms and grooves encroach and prowl around the immersive evocative canvas. Into its full storm the song has less clarity to its individual elements than the first song but spawns intensive sonic smog which consumes and ignites the senses once again. It is a viscous encounter but one which flows with enticing ease as it intertwines aggressive rabidity and emotive suffocation into its exhausting melody stretched torrent.

Dead Reign is another to lend a gentle, in this case crystalline bait to lure the listener into a subsequent voracious furnace of intensity and emotional savagery. The track is a hypnotic and ferocious slab of sonic alchemy, an ever evolving passage of electronic shards and kisses, Middle Eastern promise, and melodic imagination which steals the passions within the similarly infectious violent abrasiveness and straight forward voracity. It is a masterful violation, a stunning and inventive blend of extremes and opposites merged into a sonic narrative which rivals the opener and is debatably the most creative confrontation on the EP.

The release is completed by i9, a track featuring Nexilva vocalist Gaz King. It is a barbarous challenge for the senses, the guitars and bass at their most uncivil yet refined on the release and the rhythms a blur of animosity and skilled intimidation. The track does not neglect the melodic hues the band has already shown they are accomplished at exploring either, the whole result a scintillating provocation for body and mind which backs up the immense promise and presence of the band.

There is little to temper the praise for Antithesis with, a slight lack of diversity from the vocals and a production which does submerge their delivery within the sonic tempest a little too much at times the only thing to be picky about. The EP is a powerful and incredibly weighty persuasion which declares From Sorrow To Serenity as a band to expect and anticipate a dominate future from.

The Antithesis EP is available as a buy now name your price digital release from http://fromsorrowtoserenity.bandcamp.com/album/antithesis-ep

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8/10

RingMaster 28/11/2013

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