She Must Burn – Self Titled EP

SHEMUSTBURN_RingMaster Review

It is a ferociously voracious cauldron of intent, a ravenous tempest of corrosive intensity and imagination, and one of the most riveting and exciting debuts to be uncaged this year.

The release is the self-titled debut EP comes from UK metallers She Must Burn, a London sextet creating a bit of a forceful stir and it is easy to hear why with this raging encounter. Theirs is a furnace of sound and flavours woven into a metalcore seeded canvas infused with further ripe essences of symphonic and black metal with rich gothic overtones. It is a searing maelstrom laying siege to the senses which just as quickly impresses as the songwriting and craft behind it. From rabidly varied vocals to debilitating blast beats, right through to symphonic beauty, the band’s music is a vicious yet poetic kaleidoscope of contrasts and textures cast into fascinating and thrilling soundscapes fuelled by intimate malevolence. It is a startling encounter as proven by a release which just gets bigger and stronger as subsequent listens lure ears deeper into unpredictable and gripping layers of invention.

She Must Burn emerged in 2014, brought to life by guitarist/producer Terry Clarke to realise his musical vision. With a line-up completed by vocalist Joseph Louis Sinclair, keyboardist/vocalist Aimy Miller, guitarist James Threadwell, bassist Kyle Bird, and drummer Rhys Andrew Cooper, She Must Burn have already made a thick impact on the British metal scene live. Now it is the turn of broader stretches of national ears to feel their potency ahead of UK tours supporting Cradle of Filth this October and Heart Of A Coward across November with their first EP.

SMB - Cover Final_RingMaster Review     The encounter opens with the brief but technically and evocatively potent Ascension, its celestial melodies and ambience shadowed by a portentousness which erupts as the track evolves into the fearsome and equally enticing Possessed. From its first breath, guitars create a web of virulent hostility and enthralling enterprise upon which rhythms descend with bestial ferocity. Add the great raw and scarring vocal assault of Sinclair and hell has opened its doors, yet this is masterfully tempered and entwined with the flowing radiance of the keys and the equally alluring siren-esque voice of Miller. Across the song’s body dark and light, destruction and beauty unite, not in conflict but in a blackened and symphonic drama which has the imagination as enslaved as ears and appetite.

As shown again by the following The Misery, the She Must Burn sound is a creative and physical bedlam but one with ingenuity and control which makes everything seamless and complimentary in their collusion. In the hands of another it would most likely unravel into an incoherent stream of ideas but as the third track engulfs and trespasses in ears, there is nothing random and uncontrolled about the sonic adventures cast by She Must Burn. Predatory and seductive, the third song writhes and violently twists under the drive of the increasingly varied and impressive delivery of Sinclair but within the entrapping call of synths and their expressive dark elegance. The song constantly evolves though, never allowing thoughts to settle and expectations to get a glimpse as its infectiously busy and creative turbulence offers more rewards and layers with every trip into its maliciousness.

Into Light opens with a classic but again unique symphonic/gothic croon from the keys and voice of Miller, its warm caress prowled by brooding shadows which increase in intimidating agitation as the short song continues to shape the imagination with its melodic flame. That ruinous furnace finally erupts in Wish to Exist, its metalcore animus in full voice at the beginning but again merged into a subsequent compelling tapestry that snarls and tears at the senses whilst embracing ears in the most majestic of melody rich and emotive reflections.

The album is invigoratingly completed by the equally rabid and bewitching Eclipse, where dark and insidious rancor frees its vicious animus in perfect company with entrancing elegance and immersive beauty. It is at this point on the first listen, and only proven time and time again, that the success of the She Must Burn sound is realised to lie not so much in the corruptive or beauteous extremes, as skilful and important as they are, but how the heart of the song in rhythms and riffs for example, serve both the bases they blossom upon simultaneously and equally. It is a perfect fusion the band has honed which they then colour and shape to their imagination’s content.

After yet another fevered listen of their EP it is very easy to claim that She Must Burn are going to make a big impact on the metal scene.

The She Must Burn EP is out now via Ghost Music.

Pete RingMaster 06/10/2015

Copyright RingMaster: MyFreeCopyright

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ChuggaBoom – Zodiac Arrest

CB_Promo4_RingMaster Review

Chuggaboom is one of those bands which will always divide opinion; its attention grabbing creativity and bullying body breeding a minefield of irreverent assaults sure to blow up in the faces of the band for some and hit the sweet spot for just as many. Behind the character of the band and sound though is a craft and imagination which ensures however the lyrical prowess and content may work for you, musically the band is seriously formidable and to be taken only seriously; after all they in their own words are the “greatest metalcore band in the world”.

That statement of course is the first hue in the band’s satiric intent to spotlight the nonsense which colours, often fuels their chosen genre, the music scene generally, and indeed life. Music is a game which all involved have to play to some degree at some time, ChuggaBoom no exception, but as their debut album Zodiac Arrest shows, there is nothing stopping anyone taking pot shots, hefty swipes, and having merciless fun within that landscape. It is a devilment which drives the band’s sound and the collection of ravenous and inventive tracks within the album raising broad smiles in thoughts and imagination whilst exhausting the body with prime chunks of thickly satisfying metal.

The anonymous British five-piece uncage their new release through opener Raise the Roofie, the track immediately a bedlamic torrent of voices and sound which gets bolder and more ravenous as it intensifies, until eventually becoming a raging fury around a jagged riff and a violent rhythmic spine. Almost as quickly an impressive array of vocal styles and their delivery grabs ears, most expelled by the fine throat of Levi Taurus whilst guitarists John Virgo and Leo Carter sculpt a steely snarl and toxic grooving within their rousing and malevolent metalcore designs. Within its raucous belly though, the song has a perpetual line of inventive twists and spicy additives which ensures every minute is a fresh adventure within the core tempest, and a gripping persuasion which continues through the savage techno hued Unfriendly Operations Up On The Roof. The Browning comes to mind as the track courts ears and spills its animus; driving grooves leading thoughts and an ever increasing enjoyment further astray into a fluid and psychotic tapestry of sound and flavour.

cover_RingMaster Review   Mad Skills Brah! is next, wrapping sinister cinematic keys around a rabid storm of riffs and predatory rhythms brewed by bassist Avira Caprica and drummer xKRIOSx from the off. The vocals show similar unhinged intent and imagination throughout whilst the deceptive calm hanging around with the clean tones of Taurus and ambience spilling keys reinforces the always available unpredictability which veins every song within Zodiac Arrest, as testified by 14 Year Olds Have Sex More Than Me straight after. Arguably, a more merciful proposal with angst lined vocals an early tempting, it too flings hostile hues and erosive textures at the senses. It does not quite live up to the thrills and spills of its predecessors yet continues to linger and entice after departure even as A BBQ In Antarctica spreads its own toxic beauty and atmospheric spite amidst a sonic devouring complete with melodic tempting. Again as much as you can call ChuggaBoom metalcore, there is plenty more to their expansive sound which reaps slithers of anything from post-hardcore to alternative metal, punk to straight edge heavy metal.

Another brutal pinnacle arrives with the insidious maelstrom of Smoke Rings of Saturn, vocals a broad range of demonic potency as the guitars chew and seduce the battered senses in equal mouth-watering measure. It is stirring stuff, another inescapable anthem which will surely tap into the instincts of fans and doubters alike, just as its successor Fat Guy In A Little Coat. The next track is deceptively accessible, at times creating a form of metal pop which between the catchiest of warm choruses paces and crawls over the senses to rip the heart out of the psyche and ear drums. The song did take longer to fully convince but eventually and continually since, has revealed the thickest temptation, though it is always eclipsed by the outstanding #TBT That Time I Made Out With Your Sister and its carnivorous intent and bewitching creative venom. At times it plays like Fall Out Boy does metalcore and in other moments creates a sonic psychosis which is Hollywood Undead meets Hell Puppets like with a delicious dose of The Locust included.

Humorously Elongating The Title Of This Song grinds and growls in ears next, its vicious funk as rapacious as the carnal textures spun by guitars and bass whilst the brilliant Ohana Means Family (You Bastard) opens the curtains on a dark vaudeville entrance which sweeps over and swoops upon the imagination with My Chemical Romance drama, subsequently releasing the jaws of creative hell for another greedy hunger in the appetite sent the way of the album.

The songs majestic theatre and rancor makes the perfect end to the album but no ChuggaBoom have one more treat in store, unleashing a bonus and fun cover of The Lonely Island track I Just Had Sex which is not a patch on their own irreverence but fits perfectly and enjoyably into the texture of the album thanks to the distinctive ChuggaBoom violation given to it.

You may get the joke or not, but for thumping uncompromising metal to get seriously infected by, Zodiac Arrest is the dog’s doodahs; hairs, smells, and all.

The self-released Zodiac Arrest is out now via all online stores and @

Pete Ringmaster 29/09/2015

Copyright RingMaster: MyFreeCopyright

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Koshiro – Crown Of Venom

Koshiro Promo Picture_RingMaster Review

Starting off well and just getting creatively bigger and bolder over its six tempestuous tracks, the Crown Of Venom EP from metalcore quintet Koshiro, pretty much reflects the emergence of the British band. Making a good and potent impression with the first release, the band has continued to grow into a formidable proposition on the underground metal scene. Whether their new EP is enough to push them into the thicker glare of the broader metal scene time will tell, as it still suggests there is plenty more from the band to come in greater originality and ingenuity, but it will forcibly remind that the Bristol fury is around and getting stronger and more sonically vocal.

Formed in 2010, Koshiro quickly drew attention and loyal local support with their fierce yet melodically fiery sound. Their self-titled EP of 2012 and a handful of singles around and since it have nudged wider attention with plaudits increasing in turn, whilst live the band’s reputation has similarly only grown, shows with the likes of Feed the Rhino, TRC, Lower Than Atlantis, The Safety Fire, Blessthefall, Malefice, I, The Breather, and LIFERUINER part of their emergence over the years. Crown Of Venom though, is a new big step for the band; in songwriting and imagination it easily outshines all before and musically reveals the band as mentioned earlier, bigger, bolder, and creatively busier. In the words of vocalist Ben Errington, “These new songs are both the most chaotic and the most heartfelt we’ve ever put together. There are tracks on this record that I never thought we’d be capable of; we really wanted these songs to capture our live sound perfectly but take it to the next level, really expand upon our grand ideas which have progressed from our past singles ‘Malevolent’ and ‘Guts Guilt Greed”.

Koshiro Cover Artwork_RingMaster Review     The EP was recorded with long-time collaborator Kevin Peters and opens with the thickly atmospheric, slightly portentous air of Green and Gold. Strings seep elegance and melancholy in equal measure whilst the ever strong tones of Errington share the emotive heart of the track as haunting keys cup his expressive voice with cinematic resonance. It is a potent coaxing into the release and the following King Of Snakes, if a start which does not light any particular fires outside of intrigue despite the prowess of all. Its successor quickly provides a bigger temptation, its initial breath Tricore like with again Errington providing rich bait as around him the guitars of Ben Bone and Thomas Clark begin sculpting a provocative and spiky weave of riffs, grooves, and sonic confrontation. The expected storm does not materialise despite ire and aggression lining all aspects, with the swiping beats of Craig Rudman especially intimidating and again the song does not hold the spark to get the blood raging through veins but with inventive enterprise and fine fluidity to its subtle and bigger twists of gait and ferocity, the song keeps ears and appetite easily on side, especially with its rousing anthemic calls, before being eclipsed by Necromancer.

As suggested, the EP improves and gets more fascinating with each subsequent track, and so as the first pair pleased, Necromancer stirs the senses like a landslide. From a dying heartbeat, the song erupts in barbarous rhythms and crushing riffs but amongst them a delicious scythe of violin ignites air and imagination, its wonderful touch just the first of ingenious hues and ideation within the carnivorous beast posing as a song. It would be hard to say it brings major originality but remembering others mixing up recognisable flavours as cleverly and tenaciously as Koshiro do is hard. The track continues to snarl and brawl with creative zeal but equally aligns the hostility with a striking melodic and vocal croon. In a way Crown Of Venom and indeed Koshiro seem to come of age at this point, a maturity continuing to impress hereon in.

Sleeper Cell steps up next with a rhythmic shuffle from Rudman which resonates through bone as it bewitches with infectiousness whilst bassist Rich Miller lures the darkest predacious tone from his strings as the guitars cast a tapestry of rancor and sonic romance. The ever riveting strings continue to spark adventure too whilst vocally Errington is as compelling, whether with raw squalls or clean persuasion, as the volatile furnace of sound and the musically driven bellow of emotion. The track is a climatic storm of temptation, and as its predecessor also ripe with the shoots of real originality which are definitely blooming within the band’s sound now, Creation Theory swift confirmation as between two vocal samples, which sound like they are voiced by Michael Caine, it sculpts a hellacious emprise of sound as physically carnal as it is evocatively suggestive. Like a war cry in many ways, the track has body and thoughts enflamed and ready to unleash their emotive strengths, a powerful success from a gladiatorial merger of devouring intensity and incendiary invention.

It is the pinnacle of the release, only relenting in its animosity as it departs for closing track Catharsis to begin spreading its melodic warmth with a slightly mercurial and antagonistic underbelly. It was up against it to match the previous trio of songs but still leaves the EP on a high whilst relishing the chance to reveal more of the depth and new diversity in the band’s sound and composing.

Actually there is one more offering upon Crown Of Venom, the bonus of a cover of Sia’s Chandelier. Though Koshiro easily improve the song it does nothing for the EP and quickly found itself ignored in our numerous listens of one increasingly impressive and enjoyable release.

Koshiro are again proving themselves to have the potential to make a big impact on the UK and European metal frontline, even more so this time around. They are probably still a couple of rungs short but with more progress as shown here, watch out world here they come.

The Crown Of Venom is available from September 25th through all stores.

Pete Ringmaster 24/09/2015

Copyright RingMaster: MyFreeCopyright

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Being As An Ocean – Self Titled

BAAO2015_live_RingMaster Review

Unleashing the successor to their acclaimed album How We Both Wondrously Perish of 2014, US melodic hardcore band Being As An Ocean, easily reinforce their already potent reputation with a new self-titled proposition. Building on what fuelled the last release whilst pushing its boundaries and imagination that little bit more, the new album is a captivating and fiercely accomplished offering, and though it did not consistently set our ears ablaze, it is one of the most refreshing encounters heard this year which at its heights is seriously rousing and in its less dramatic moments simply thorough enjoyment.

Creating emotive and tempestuous incitements from a fusion of melodic hardcore, post-hardcore, and metalcore, to condense the veins of flavours running through their sound, the Californian bred Being As An Ocean swiftly engages attention and imagination with the opening to first track Little Richie. Mellow keys and vocals unite for the initial atmospheric coaxing though that tender lure is soon engulfed in crisp beats and caustic vocals aligned to more merciful flames of guitar. It is a striking proposal which evolves with every emerging passage of ideation, continually revealing fresh invention whilst remaining as imposing and provocative as possible.

The strong start is quickly eclipsed by the following Ain’t Nobody Perfect where the ear gripping vocals of Joel Quartuccio reveal strong emotive textures in a varied delivery, an emotional success matched by the powerful clean tones of Michael McGough. Personal tastes mean the latter’s cleaner range is the one which sparks the appetite most but there is no escaping the strength and quality of Quartuccio’s aggressive squalls and spoken expression, and the way he masterfully uses them. The guitars of Tyler Ross and McGough similarly abrase and seduce across this and each track, their raw base an inflammatory persuasion on ears and individual imagination at times a spellbinding emprise to anticipate and devour.

IMP006_RingMaster Review The Zealot’s Blindfold spills angst and ire with every turn in its thick emotive landscape, vocals the rigorous vehicle for their narrative. Their expulsions of emotional fire are tempered and inspired by the eventful lines from Ralph Sica’s bass whilst drummer Connor Denis muscularly punctuates every expression offered. The track is another slice of seriously resourceful songwriting with an interpretation which is barely anything less than venomous. With the guitars and McGough’s soaring melodic tones the biggest thrills, the impressing encounter makes way for the excellent Sleeping Sicarii which has ears and appetite hooked from its opening of an almost senses grinding torrent of repetitive grooves. It is a stirring start which slips a touch as a spoken delivery aligns to a more relaxed enticement, though the bass seizes another chance to throatily seduce at the same time. The song comes vivaciously alive again when intensity and virulence breaks out to raise the temperature and thrills, a potency matched by a tremendous flight of choral harmonies later in the song amidst McGough’s rich croon.

A similar template feeds the heart and ferocity of Judas, Our Brother next, again Being As An Ocean masterly moving through melodic and predacious scenery within constantly varying climates. The song also reinforces that each track needs close attention and time to reveal all the nooks and creative crannies within, greater rewards as thrillingly shown here and proven again by the fascinating Saint Peter always the result from immersing under the surface tempest. Melancholic yet elegant keys hug the spoken narrative of Quartuccio to open up the subsequent song, guitars a quickly joining enticing within a brooding atmospheric charm. In no time though, Being As An Ocean expels crescendos of creative theatre and emotional energy, again the lead vocalist a gripping unchained protagonist within a rich and expansive web of sound.

Though not quite sparking as consistently as its outstanding predecessor, the emotional fire that is Forgetting Is Forgiving The I still provides moments which simply bewitch whilst only arousing thick satisfaction whilst The World As A Stage merges a celestial melodic shimmer with the raw Quartuccio antagonism to create a compelling storm of heart driven reflection and turmoil. As much as it is forcibly abrasive and caustic, the song is melodically turbulent, once more an intensive tapestry crafted and unveiled by the band.

The closing pair of first Sins Of The Father and lastly …And Their Consequence bring the album to an enthralling close. Both tracks twist through fiercely voracious and emotionally subdued drama across their dynamic proposals, the first almost burning with passion and sonic anxiety whilst its successor is even more emotionally apprehensive and musically incendiary with it’s searing anthemic blaze led by Quartuccio in full passion backed just as potently by McGough’s impressive voice.

The tracks are again evolving adventures providing a great end to an impressive release. As suggested earlier personal tastes waned in some aspects of songs, certainly over initial listens, but the fact that a constant returning to the release and a lingering persuasion bred by individual songs is a persistent outcome from every listen, provides the evidence to the success of Being As An Ocean, band and album.

Being As An Ocean is released in Europe and the UK on 6th July via Impericon Records and available in the US now through InVogue Records

RingMaster 06/07/2015

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Call To Arms – Invictus EP

Call To Arms_RingMaster Review

If the members of Call To Arms are as young as photos of them suggest, then it is hard not to be gripped by intrigue and excitement as to how good this band could become given the impressiveness of debut EP Invictus. Made up of five voracious and inventive metal tempests, the release hits the listeners straight between the eyes with its raw hostility cast into imaginative and confrontational anthemic persuasion.

The band began in 2013, formed by vocalist Dean Donnelly alongside original bassist Jordan Conway. Quickly the line-up was completed by guitarists Daniel Tyrell and Niall Ennis, lead and rhythm respectively, and drummer Ben Deane. Concentrating on honing their sound for the first few months, it is fair to say that the Ballymun hailing Call To Arms quickly whipped keen vocal attention and support. Making their live debut at The Academy, Dublin as part of The Blastbeat: Battle of the Bands, the band has gone on to share stages with the likes of Avatar, Fozzy, and Chelsea Grin and personnel wise seen Alex Caffrey replace Conway and recently after the recording and release of Invictus, Deane leave the band.

Produced by Joe Cleere, Invictus as suggested earlier, is an imposing and striking entrance by the band, needing very little time to make a potent impression as opener Our Salvation gets to work on ears and appetite. Featuring guest vocals from Sam Gorman of Enshrined, the track builds a thumping invitation with rhythms and spicy grooves, its lure heavy metal bred but keeping in its creative pocket for now, the subsequent rage fuelling its presence. Soon hitting a thick stride though, vocals spill antagonism and combat in their raw tone and delivery, matched in kind by the bass as the guitars spin an infectious web of hooks and abrasing riffery. It is like a mix of Biohazard and Killswitch Engage in many ways, yet has a freshness which especially hits as band and song twist in unpredictable and gripping enterprise. As it evolves and expands its imagination, a psychotic influence hits the song’s compelling bassline and vocals, their moment to stalk the psyche only leading to another ferocious assault posing as the climax.

Cover_RingMaster Review     Bullet With Your Name steps up next bullying ears with vocals and ravenous sounds though yet again there is an infectious spine and adventure to the track which has you welcoming its vicious assault. As in its predecessor and songs to come, there is as much a punk/hardcore richness to the tempest as a thrash/metal breeding, though it is the latter spawning another magnetic persuasion of emerging imaginative twists and endeavour. The individual skills and resourcefulness of the band is also in open evidence as well as an eagerness to push ideas and textures with elements of discord and unpredictability.

The release continues to impress and reveal new aspect within the band’s songwriting and sound as Imprisoned Darkness unleashes its fury next. Opening with a mesh of acidic grooves which in turn spark a delicious hook which can only be described as Dead Kennedys like, the song rallies attention and emotions. Those initial lures continue to grip within a sonic and vocal abrasion unafraid to colour its animus with elements of classic metal and metalcore like hues. It is inescapable persuasion though soon outshone by the upstanding Mirrors, its opening military in rhythmic tempting and militant in attitude. Once more metal and hardcore unite in one hellacious and infectiously alluring examination veined by skilled and flavoursome grooves amidst rich sonic exploits. The track takes top honours within Invictus and if you want a teaser before braving the Call To Arms onslaught, it tells you all you need to know about band, sound, and their stirring potential.

The EP is closed by The Core, a final uncompromising anthem you just know will have venues throbbing with bodies and attitude. Thrash and punk bred, the track is an intense and incendiary end to a tremendous first look at and feel of the Call To Arms sound and presence. Invictus is pleasingly raw and shows the band still finding its unique feet but there is no doubting that we have one rather promising and exciting protagonist in our midst which can only get big, bolder, and more fearsome.

The Invictus EP is available now @

RingMaster 03/07/2015

Copyright RingMaster: MyFreeCopyright

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Islasorna – E.D.E.N

Islasorna Online Promo_Reputation Radio/RingMaster Review

Band and sound might be tagged as progressive metal, but the best description for both elements and the creative and technical fury of Scottish band Islasorna, is psychotic. The Edinburgh quintet’s debut EP E.D.E.N is a tempest of bedlamic ideation, a deranged onslaught of inventive noise which could be declared a sonic psychosis and should be acclaimed as one intoxicating slab of thrilling turmoil.

Formed at the beginning of 2014, Islasorna create the most unpredictable maelstrom of sound. It is indeed bred in from a progressive seeding, but from second to second comes infused with a diverse array of flavours and psyche twisting imagination. Inspirations for the band are drawn from the likes of The Devil Wears Prada, Northlane, Whitechapel, Sikth, The Dillinger Escape Plan, Animals as Leaders, and Metallica, varied spices adding to a striking proposition in sound matched by a live presence which has increasingly earned acclaim and attention as the band shared stages with bands such as Bleed From Within, Carcer City, Demoraliser, Martyr Defiled, and Continents over the past year or so. E.D.E.N is a fierce nudge on broader awareness and recognition, and though for some it might be a creative turbulence too far such the intensive nature of the EP, Islasorna will surely be a name on a much wider roar from hereon in.

The EP opens with Obliteration and a melodic twang of guitar which alone soaks the air in a sultry yet slightly portentous suggestiveness. It is a hint quickly realised by the forceful beats of Michael Devlin and the vocal roar of Justin Dilworth. At first their presence only brings a small element of imposing urgency with it, a slither of increased intensity but also a stronger and darker apocalyptic hue which toys with and ignites the imagination. At the song’s climax a voice skirts the senses and provokes thoughts, menacingly flirting from the shadows before the following Achluophobia emerges to bring its words to thicker destructive reality.

Islasorna cover_Reputation Radio/RingMaster ReviewThe second track instantly expels a djent spawned predation around a blaze of vocal scowling and sonic intimidation from the guitars of Dean Watson and Jamie McArthur. As the first track, it is more a prowling ravenous predator than a vicious onslaught yet the pathological agitation its title suggests is fuel to the attention gripping enterprise and imagination cast by the band. Simultaneously the track is savage and seductive, extremes entwining and in revolt against each other as the listener is dragged through a landscape of metalcore and grindcore to name two of the open essences sculpted in a progressive and experimental voracity.

Judas in comparison is a calmer incitement on ears and senses, and opens with a thoroughly engaging melodic caress of guitar courted by the darker lures of Mark Brunton’s bass. It is a fascinating start, the equally mellow tones of Dilworth adding to the tantalising proposal. The feeling that something is brewing is never far from the surface though and by midway the brief but potent offering has uncaged a caustic climate of sound and emotion though it is still with restraint as the band reveals more of their diversity in songwriting, sound, and individual prowess. Its magnetic bellow makes way for the harsher but no less inventive Choices. The song continues the melodic and dazzling progressive elements of its predecessor but cages them in a jagged confrontation of riffs and barbarous rhythms, both Devlin and Brunton as carnivorous in their attack as the guitars are melodically riveting. Arguably the encounter fits into the more expected template of progressive metal and the inspirations to the band mentioned earlier, yet it is a perpetual provider of unique twists and senses spearing sonic flirtation again setting the band apart from the crowd.

Creative mania returns in full lung bursting vocal and noise driven devilry next with 4-2-8, the track full warfare on the senses as Dilworth reveals his broadest vocal derangement yet and musically the band twists like a sonic and rhythmic dervish. The track is outstanding, not necessarily better than any other upon E.D.E.N but staking a favourite claim with increasing success over every listen. Its rigorous and rugged turbulence is instantly contrasted by the EP’s closing title track where once more Islasorna pull back the shades on another side of their imagination. An initial breeze of melodic beauty kisses ears and thoughts first, keys colouring a shadowed ambience with elegant charm before evolving into an electro rock seducing around militant rhythms and a union of harsh and harmonic vocals. Post hardcore, scream, post rock, they are all amongst the spices within the encounter, whispering hues within the enthralling finale going towards further proof of the band’s originality.

As outstanding as it is, E.D.E.N still feels like it is only the first big step of the band, one loaded with such promise that it suggests it is merely going to be the springboard for bigger, bolder exploits ahead. This only adds to the excitement of the emergence of potentially a new force in European metal.

The E.D.E.N EP is available from June 1st through all stores.

RingMaster 01/06/2015

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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

RingMaster 11/05/2015

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