Virtue In Vain – For All You Know Is The Mask I Wore

Virtue In Vain Promos

Virtue In Vain Promos

Though it makes a strong impact first time around, it is with further intensive attention that For All You Know Is The Mask I Wore from Welsh progressive metalcore band Virtue In Vain wins out and defuses any initial doubts or uncertainties. To be fair there is little about the band’s debut EP which raises any major disagreements between ears and proposition from the start, but being as brutal as it is creatively uncompromising, there is plenty to try and take in which needs time to explore and appreciate. The potential of the band within the release is especially exciting, and fills any moments which do not quite work as well as other elements, with assumptions of greater things to come.

Hailing from Cardiff, Virtue In Vain began in 2012 sparking and spicing their sound with inspirations from the likes of The Devil Wears Prada, Napoleon, Whitechapel, and August Burns Red. Their impact and sound has led the quartet to be regarded as one of the strongest upcoming bands in the UK metal scene, backed impressively by shows alongside bands such as Napoleon, Demoraliser, Dead Harts, Astroid Boys, Ready Set Fall, Lock & Key, Fathoms and many more. Now they are poised to explode upon the nation attention with For All You Know Is The Mask I Wore, a release with more than enough to leave a hungry appetite in its ferocious wake.

virtue in vain     The EP opens with Prologue, a decent enough short instrumental soaked in drama and portentous ambience. Its dark tones do have the imagination supposing something predatory and intensive coming to examine ears, and so it proves to be once Martyrs emerges. A heavy snarling riff is first point of provocation, backed swiftly by uncompromising rhythms and a winy sonic lure of guitar. It is a gripping entrance, enticing bait which subsequently gathers its opening elements together to forge a more direct and slimmer raw incitement growled over by vocalist Hywel Thomas. Venom and antagonism spill from his gutturally bred syllables whilst the guitar of Emyr Thomas dances over the hellacious attack with sonic endeavour. Additional squalls of vocals add good variety whilst the guitars scythe through their attack and the corrosive potency of rhythms with addictive and acidic enterprise. The vicious swings of drummer Luke Sullivan bruise and tenderise the senses whilst the bass of Ryan Jones is a perpetual stalking of song and listener. Continuing to twist and show plenty of imagination in its varying gait, sonic trespass, and creative hostility, the track is an impressive full start to the release.

In Faith, In Ruin leaps in next and immediately has a great almost swinish texture to the vocals to shuffle things up there, whilst riffs and grooves again snarl with almost toxic intent. The more formula tones of Hywel Thomas provide the rawest challenge but variation again ensures that their alluring violation matches the persistently shifting landscape of the song. The intensive and busy nature of the track, as across the EP, means the technical and deeper layers within the encounter are often smothered but given time reveal the strong depths to songs, as shown again with the erosive persuasion of Left Behind. Its more restrained opening subsequently kicks up a gear though still reining in the violence and unleashing an addiction forging groove which lures the listener swiftly into the sonically cancerous and turbulent heart of the song. Aspects like that simply bewitch as does an unexpected and calm passage of melodic beauty which leads to a tempestuous climate, though the more expected sonic raging in the song does feed expectations and enjoyment equally. The potential even in the less striking elements though is inescapable and only adds to the anticipation for what comes next.

My Heart Is Bruised But Never Broken is another which takes longer to reveal all of its persuasion. Its technical and imaginative layers within the less attention sparking storm raging around them, are again the song’s major potency but once more needing time for ears to explore and revel in. It is nevertheless an intrigue and satisfaction igniting offering revealing more of the inventive songwriting within the band and their ability to skilfully create ruinous and inhospitable landscapes or scenery of pure melodic beauty as evidenced by the brief instrumental Relapse which follows. Like the oasis within the savaging of Left Behind, the piece is enthralling, spreading its elegance and charm into the EP’s title track which evolves out of its embrace.

The closing track is soon slipping into the darkest, ravenous depths of despair and sonic confrontation with a rhythmic battering to match, but still blending in the transfixing invention of its predecessor. The song slips from fury and violence to gentle seducing impressively and seamlessly, another aspect to the band’s creativity which it is easy to expect greater exploits from.

For All You Know Is The Mask I Wore is a strong and impressive introduction to Virtue In Vain, not one which declares the band as the future of British extreme metal but certainly with the potential to suggest they could make that kind of impact as they grow and evolve.

The For All You Know Is The Mask I Wore EP is available from May 11th through all digital platforms and at http://virtueinvain.bigcartel.com/

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

RingMaster 11/05/2015

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://www.reputationradio.net

Under Paris – Transitions

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A release does not always have to totally blow you away to make a compelling and perpetually appetising proposition, but it needs something at its core and invention which through any uncertainties and ‘issues’ acts like an alluring beacon. That is exactly what Transitions, the debut album from US metalcore band Under Paris has. There are elements which do not whip up the imagination and passions as pungently as others within it but consistently the release has ears and imagination seriously engaged, and though it might not take metalcore into something approaching new pastures the Iowa quintet’s ferocious incitement definitely has plenty about it to stir up serious attention.

Clinton hailing Under Paris began in 2012 and swiftly went to work enticing appetites with their first single If the Drugs Don’t Work, Can You Drive Me Home?, a track featuring Rene Lopez of Scarlett O’Hara. An acoustic EP called Clean Lungs and shows with the likes of Beartooth and The Ghost Inside only enhanced their emergence before the beginning of 2014 saw the release of debut full band EP Our Stories, recorded with Derek Moffat of 608 Studios. The encounter and the two singles unveiled from it before hand in the shapes of You’re Going Nowhere and Hold On Pain Ends sparked yet another influx of attention and interest. From there and later that year Under Paris ventured into the studio to record Transitions, releasing its first single Midwest Winters as a flavoursome teaser soon after. It lured in another dose of keen interest, which the band having signed with Imminence Records this past February, hope to exploit with the worldwide release of their new album.

IR032     Release and band prey on the senses immediately through opener Shallow Graves as irritant riffs and venomous vocal growls collude with vicious beats and bestial bass tone from the off. It is an imposing and gripping start which relaxes a touch as melodic toxicity and rampant rhythms erupt and smother ears in familiar yet fresh metalcore hostility. The guitars of Jayden Serrano and Evan Morrow spin a web of sonic enterprise within their barbarous riffery, enticing and holding the imagination whilst rhythms and vocals create a hellacious trespass of the senses. It is a strong and consuming beginning to the album but a nagging doubt arises in thoughts during it too. The excellent caustic vocals of Michael “Thorr” Alexander unleash an impressive and enjoyable ferocious fury yet with a singularly inhospitable delivery which admittedly personal tastes wondered if they might fail to provide the diversity the album potentially would need. Hopes that there will be something to temper and contrast his imposing are swiftly realised by Under Paris with At War with Myself. Once again Alexander and the vicious side of the sound is a merciless single minded tempest but in no time finds itself bound in a spicy enterprise of guitar aligned to the excellent clean vocals of bassist Rylie Phillips. He has a warmth and catchiness in his tones which works perfectly with the expressive brutality of Alexander, the song musically matching their ferocious and melodic union in creative kind. The sinew swung beats of drummer Lucas Richards create a rugged yet understanding companion to both sides too as the band merges light and dark impressively, calm and violent textures bonding with captivating ease.

The album’s title track crawls with the senses next, Transitions an instant wall of bruising provocation but also soon veined by the magnetic voice of Phillips. The track grows into an ever twisting tempestuous exploit of emotion and sound, the guitars managing to flirt and scar ears with their invention whilst rhythmically the encounter reveals sheer brutal rapacity. Its hellacious but enthralling presence is matched by What’s the Big Deal About Alaska though the song lacks the incendiary spark of its predecessors. It does come dramatically alive though around midway when the band slips into an evocative and thoughtful passage of relative peace and intrigue away from the fierce bluster, though that subsequently returns in a bellow of greater infectiousness.

The very swift rage of Yoloswag#420 provides an inescapable contagion next, the viciousness coming with a virulent swing before descending into a corrosive bedlam of spite. Its brief assault is followed by the heavily engaging Midwest Winters. The song’s landscape is a turbulent terrain of heavily delivered rolling rhythms and sonic acidity, again under a murderous atmosphere cast by riffs, predatory basslines, and vocal fury. Across it though, fiery melodies and the clean tempting of Phillips, provide the light in the dark, for a union of extremes which need each other to work and in turn flourish impressively together.

Both Devil’s Trap and Too Far Gone hold ears and attention tightly, the first a web of jagged riffs, bass imagination, and tremendous crippling beats from Richards. As in all tracks unpredictability is given plenty of exposure but often elsewhere comes shadowed by the storm around and above it. Here though it is allowed the strongest clarity enhancing the drama and appeal of the experience. Its successor is simply a torrential ravaging of malevolence and emotive rancor aligned to a fascinating weave of sparkling melodies and harmonies, each an imposing magnificence whether presented alone or entwined.

A tantalising warm reprise of At War with Myself leads the listener into the explosively fearsome and seductive throes of closing track At Peace. Featuring The Color Morale vocalist Garret Rapp, the song brings all the impressive and flavoursome aspects of the album into one bewitching intrusive roar; contrasts and rigorous extremes embroiled in one emotionally fierce and sonically intensive fire. The best track on the album it ensures Under Paris end their confrontation with a gripping and lingering incitement.

Transitions is a thoroughly satisfying proposition. It does not always go as far in its imagination and boldness as it should and would be liked, meaning at times it fails to meet its potential but certainly the release shows Under Paris to be a band which should be locked into the radar and their album a regular proposal to embrace.

Transitions is available now via Imminence Records at most online stores and physically @ http://www.underparis.bigcartel.com

https://www.facebook.com/underparisband

RingMaster 01/04/2015

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/

Skeyes – Empty Mirrors

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Like with post-hardcore, for any emerging band to stand out in metalcore, even in its more progressive state, is a bit of a tall order. US band Skeyes is another coming up against that challenge but with debut EP Empty Mirrors, the band certainly makes a potent introduction and offers plenty of potential that they can rise up from the pack. The four track offering is a very likeable slice of metal voracity with a melodic invention which wakes up the imagination. Whether it has enough to push the band above the crowd time will tell but right now the release sparks the feeling that the Pennsylvanian band can ascend to that spotlight pushing height at some point.

Skeyes was formed in 2013 by Jesse Cease and Tyler Williams, and originally was intended as a studio project. Their first year saw many changes in line-up which led to the becoming a fully functioning band with vocalist Dale Brosious and guitarist Ryan Macaluso alongside guitarist/vocalist Cease. Drawing on inspirations from the likes of Erra, Mureau, Northlane, and For the Fallen Dreams, Skeyes have now arrived at the point of unleashing their presence on a broader landscape. Featuring guest vocals from Garret Rapp of The Color Morale and Jesse Cash of Erra, and released on Imminence Records to whom the band signed last October, Empty Mirrors is a more than solid and pleasing base for the band spring forth from.

Ethereal sets the ball rolling and instantly is a flame of clean vocals amidst a web of sonic enterprise, a coaxing punctuated by thumping rhythms which shows restraint in their attack but not their weight. With Garret Rapp bringing his strong guest tones to the song, it is soon a turbulent storm of an encounter, the caustic roars of Brosious an increasingly enjoyable squall against the warmer colours and harmonies of the song. The guitars also grab attention swiftly, tendrils of sonic imagination aligning with ragged riffs equipped with a djent seeded agitation. It is a strong song which satisfies with ease especially through the ever growing voracity of the rhythms, but elevates its stature with an excellent twist of melodic calm coloured by excellent vocals of Rapp.IR030

The following Myriad also needs a breath before unleashing its maelstrom of imagination and sonic tenacity. In some ways it is a less imposing and intrusive track yet still stirs up an intimidation and creative agitation which keeps expectations at bay. Even so there are plenty of recognisable things about the song, as the EP, but it would be amiss to not say it comes over as fresh and with a hungry passion as it roughs up and seduces the listener’s ears and thoughts. Strangely another thing in its favour and success is the briefness of its presence, at under three minutes the track is a dazzling quick jab to the senses with certainly as the old adage says, ‘leaves them wanting more’, just as the similarly swift offering of the EP’s title track which steps up next.

With Jesse Cash involved, Empty Mirrors is virtually a bedlamic swirl of venomous raw growls and melodic suggestiveness within a cage of aggressive riffery and belligerent rhythms. Holding magnetic calm at moments and unbridled energetic hostility in others, the song seduces with dramatic keys and impressive clean blazes of vocal expression. Easily the best thing on the release, the inventive bellow is as fascinating as it is exhausting and with more songs like this, Skeyes will definitely rise to join the cream of melodic metalcore.

The closing Ars Amatoria revels in the mellower side of the band’s sound and songwriting, initially at least anyway. The voice of we assume Cease shows its strongest and most impressive moments on the EP as the song brews up a tempest of sound and angst round him. It does not take long for Brosious to unleash his thick venom too as guitars paint a reflective sonic picture in the rabid frame of rhythms and riffs. The song is also brief, though this time it feels like an unfinished proposition once it departs, as if there was more to say but instead just walks away.

Empty Mirrors as suggested is a strong way to open up their entrance into the ears of the world. It is not going to shake the tree but certainly will do enough to ensure Skeyes and what comes next is given stronger attention, and if the band can really build on songs like the EPs title track, with equally potent rewards in return.

The Empty Mirrors EP is available now via Imminence Records @ http://imminencerecords.bandcamp.com/album/empty-mirrors

https://www.facebook.com/skeyesband

RingMaster 26/02/2015

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/

 

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

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

 

 

RVNT – Vulnerable

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Already the opening weeks of this New Year has seen some impressive and potential soaked debuts across the metal kingdom and another comes in the tasty shape of Vulnerable from US metalcore protagonists RVNT. Bringing seven tracks in direct and forceful contact with ears and imagination, it is a potent and attention grabbing entrance from the band whose name is pronounced as ‘revenant’. It is an encounter which does wane a little in strength and resourcefulness the deeper into its body you go, from a thumping and exhilarating start employing more formulaic and expectations feeding endeavours as songs show their individual propositions, but even that cannot prevent the release from leaving a lingering and highly agreeable impact.

RVNT was born from the ashes of Virginian metal bands such as Under City Skyline, Still I Rise, and Before Him, and swiftly used their experiences and new musical appetite in creating a sound which was soon stirring up the local scene. Last year the band signed with We Are Triumphant and unleashed a broader nudge in their direction through the single Vain which came out in December. Now their debut album is poised to awaken a whole new spotlight whilst simultaneously showing a richer potential inside them and their ferocious fiery sound, a promise destined to trouble even greater recognition and success ahead it is easy to suspect.

     Proving Ground is a forty second introduction providing an intriguing if not particularly dramatic lead into the release. It does have a certain raw charm and portentous fascination though which ensures ears wait patiently for the following Vain where the rewards are plentiful. The second track initially looms over the senses with controlled but intimidating beats and equally dark hearted riffs, their welcome wrapped in an imposing shadowed ambience which just as eagerly embraces the squalling roar of vocals from Ricky Gillis. A thick tangy groove soon infests the guitar enterprise too as rhythms begin a devilish march on already beleaguered ears. By now the track is a contagious predator, guitarists Cole Sweeney and Ryan Potter creating an enthralling web of aggressive and seductive enterprise which the bass of Matt Madariaga prowls with threatening tones and the swinging swipes of Jose Rodriguez-Qulles bring further intensity to. The mix of varied vocals impact as resourcefully and successfully as the tempestuous sounds around them, guttural growls and slightly lighter caustic tones uniting with impressive cleaner tones enjoyably as they help ignite the slamming stomp of a triumph.

The following Disconnect is similarly compelling and oppressive from its first breath, but again infusing an infectious and anthemic tendency which skilfully ignites and colours the storm. The gallery_23_2_160864track continues to rage, batter, and wind ears and satisfaction around its hostile fingers as again the vocal blend captivates as refreshingly as the rhythmic rumbling and ferocious sonic enterprise coating their lure. A brawling romance, the song leaves ears and appetite a little greedier again before the torrential and bruising raging of Leech takes over. Its theatre of aggression, which brings the track into startling view, relaxes a touch as vocals add their narratives marking the point where the album continues to impress but begins losing some of its striking impact. The song like those before certainly allows no wandering from ears and attention but the unpredictability of its enjoyable presence is less dramatic and lacking real surprises compared to those before.

The same applies to both More Than Words and Circles, though the carnivorous entrance of the first enslaves with consummate ease before boiling up a storm of savage voracity and melodic colouring. As the previous encounter, the track is bursting with climatic and feverish passion amidst an emotional turmoil which translates to the sounds and is emulated by its successor in its own potent design. The first of the two startles and thrills at times, just as the opening pair on the album consistently did, but still lacks their unique spark, though in replacement the suggested potential takes over to excite instead. The second of the two provides another furnace of vocal creativity and fire which only adds to the pleasure found in its cyclonic provocation.

Vulnerable closes with Buried Alive, a tapestry of angst fuelled creative fury veined with melodic heavy metal seeded enterprise and as now expected vocal imagination, the three prong thrust of the attack as impressive as when first heard on the opening song. More melodic metalcore than simply the neat malevolence of the core genre driving the band’s sound, song and album provides an explosive and thrilling first confrontation with RVNT. There is no doubt there is plenty more to come from the band in songwriting and sound as they evolve, a quite exciting prospect thanks to the thoroughly enjoyable abusing of Vulnerable.

Vulnerable is available now via We Are Triumphant Records on iTunes, Spotify, Amazon, and more.

https://www.facebook.com/RvntBand

RingMaster 28/01/2015

Copyright RingMaster: MyFreeCopyright

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

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Cry Excess – Ambition Is The Shit

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In your ears, in your face, and for a great many destined to be in the passions, the debut album from Italian metallers Cry Excess is an introduction demanding to be taken notice of. Ambition Is The Shit unleashes ten tracks which furiously roar with adventure and imagination, and all coming with a tapestry of flavours drawn from everything from metalcore to groove metal and industrial to mathcore. Ground-breaking it is arguably not but seriously captivating and contagiously invigorating Ambition Is The Shit is a bellowing success.

Hailing from Turin, the quintet has been turning up the heat at home and building a formidable reputation and following for themselves. Now Cry Excess is ready to infest the world with their ferocious sounds through Ambition Is The Shit and it is hard to see them not continuing their striking ascent, especially as tracks like album opener Ripshit (Hands Up For The Italians) and more so the following The Public Enemy invade ears and attention. The first song rides in on a gentle electronic breeze, little rumbles of tempestuous electro teases littering its haunting slightly portentous air. As soon as a heavy footed swipe of drums and short stubby riffs descends, everything intensifies and crowds around the initial rap metal seeded vocal delivery. The track continues to present an agitated character and presence, seemingly and intriguingly trying to find its feet and full height before its successor takes over. It is an imaginative and fascinating start straight away surpassed as the second song strides in on sonic predation and rhythmic antagonism; both lorded over by caustic vocal squalls. Like The Browning meets Bury Tomorrow clad in the exploration of Destrage, a band which comes to mind most across the whole album, the song blazes with contagion and enthralling enterprise.

Hustler comes next and as the first two opens with calmer waters, its electro shimmer aligned to constricted vocals and a magnetic coaxing. Whispers of nu-metal add to the flavouring as a sample sets the impending scene of hostile passion and savage confrontation. Its brief but potent two minutes makes a thick appetiser for the title track which follows with nostrils flared and riff loaded guns blazing. Keys bring a warm embrace to the turbulence whilst vocals show a great diversity and imagination, they continually one of the big draws of the album. Predominantly though, the song is a voracious beast of sound and intent, harassing and bruising the senses with skilled inventiveness and blustery passion.CRY EXCESS FRONT COVER

Both the melody rich tempest of What Keeps Us Alive and the dance revelry of You Hate Because You Can’t Compete keep things stomping and impressing nicely. The first may have a canvas of sonic and melodic charm but still confronts like a raging predator and protagonist of ears and appetite, revelling in its raw and at times unpolished but persistently virulent creative fervour. Vocals again provide clean and seducing anthemic bait from within the chaotic and delicious bedlam around them whilst the song’s successor saunters in on an electro swagger and proceeds to flirt and rigorously dance with an electronicore tenacity and devilry. There is great diversity to the album even though the maelstrom of sounds often offers a similar surface storm, and this song epitomises the depth as potently and openly as any.

Through the corrosive rabidity of Rebel, Forever and the anthemic march of Unto Death, band and album leave ears and appetite greedy whilst Neither Forgive Nor Forget kicks the thrills up another gear with its heavily shadowed and intimidating senses crowding cloud of sonic and vocal voracity. The rich blend and extremes of guttural roars and melodic coaxing from the band continues to spark within ears, providing a beacon in the tsunami of noise and hostility, as also does the great nintendocore twist just before an even greater and exhaustingly welcome abusing of the senses.

The album closes on the fierce drama and tumultuous intensity of I Never Liked Clowns, a bestial incitement of stabbing riffs and crippling rhythms swinging from stretched vocal exploration and volcanic sonic eruptions. The track sums up the whole of Ambition Is The Shit in many ways, a conquest of ears and passions which is not spinning a web of new invention but creating an irresistible and hellacious devilment to submit to. Expect big things from Cry Excess ahead and even greater furies of highly pleasurable incitements like this.

Ambition Is The Shit is available via Luxor Records from January 27th @ http://www.luxor-records.com/#!store/cfvg

https://www.facebook.com/cryexcess

RingMaster 27/01/2015

Copyright RingMaster: MyFreeCopyright

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

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