Deference / Vanity – Condemned To Repeat EP

The Condemned To Repeat EP brings together two of the UK’s most promising, indeed already exciting metal prospects and across rousing ear gripping tracks shows why both are creating a real buzz.

The release sees South London metallers Deference and Southampton outfit Vanity provide two tracks each of their increasingly individual sounds. It is an encounter springing from the idea of a prospective collaboration between both bands which Deference members, vocalist Rob Lea and vocalist/guitarist Matt Dennison, offered forward late 2017. Vanity guitarist Luke Jervis explains, “We decided against creating a hybrid band between the two but wanted to focus more on the initial project of creating music as a collective.” The four tracks do see the vocalists of each band sharing vocal duties in each other’s offerings though to add to the open adventure of the release.

Deference provides the first pair of songs, starting things off with Sins. The band has seen their melodic metal constantly lure a host of new fans particularly from sharing stages with the likes of Bless The Fall, Miss May I, Fit For A King, Currents, Rolo Tomassi and Napoleon in recent times. Their first track initially coaxes ears with a suggestive melody, a calm but potent lure soon joined by the carnivorous textures of Dennison and Jonathan Prince’s guitars. Rhythms are less eager but resonate with every growl of Shaun Kirtland’s bass and the swinging attack of drummer Mike Hill, until it all boils over in a rousing roar. Even then there is a certain control to the eruption, a creative prowess which perfectly aligns to the growing vocal spread of enterprise. Drama soaks every note unveiled as too rich imagination, the track giving hints as to why the band has been compared to the likes of Architects and Northlane.

Their second track is just as compelling, Burial a voracious slab of discontent and creative fury strapped with hungry grooves and rapier thrusting rhythms. It is a sonic wrath tempered by an atmospheric sigh and turbulence interrupting melodic flames, a song never settling or allowing the listener to before its tempestuous roar and like its companion hits the spot right on but the second unleashes an especially inventive spleen impossible to resist.

It is the same with the two incitements from Vanity, a band which has already excited our appetites as many others through the Perspective//Dread and Perspective//Empathy EPs a couple of years or so back. They too have made their mark on the European live scene, playing with bands such as We Came As Romans, Chelsea Grin, Thy Art Is Murder, Black Tongue and I Killed The Prom Queen. Humane is first up from the quintet, emerging from an atmospheric mist with a rich wiring of grooves and a hellacious web of vocal ire. Swiftly the song expands its sonic lures and suggestive atmosphere, unpredictability joining volatility in the breath and heart of the increasingly enthralling trespass as all the while it preys on ears with growing dexterity, stalking the senses to share fear and pleasure.

Disillusioned is equally predatory as it completes the line-up, the track crawling over the listener with carnal intent whilst equally providing a magnetic blend of vocal adventure and melodic intimation. Again, the invasion never follows expectations, every second and breath bringing fresh challenge borne of real imagination to arouse and captivate.

Condemned To Repeat is an outstanding incursion from two bands which so far are only growing more striking and thrilling by the release and declaring UK metal is in exciting hands.

The Condemned To Repeat EP is available now.

https://www.facebook.com/WeAreDeference   https://www.facebook.com/VANITYUK/

Pete RingMaster 30/04/2019

Copyright RingMaster: MyFreeCopyright

Invoker – Cursed To Feel EP

As thick in emotional intensity as sonic ferocity, Cursed To Feel is the new EP from Swiss hardcore outfit Invoker. It is the successor to the band’s acclaimed debut album of 2017, Four Wall Nightmare, and a tempest taking the uncompromising intensity of the band’s previous offering as well as its sweeping post rock turbulence and soaking it in a whole new squall of heart and imagination. The result is a physical and emotive trespass which is unpredictable, impassioned, and mercilessly compelling.

Since emerging in 2012, the Lucerne quintet has increasingly made their mark and built a potent reputation with their release and hardcore/post hardcore fusion. As Cursed To Feel proves there is plenty other hues to a proposition which they honed and have evolved since their first release, the Loose Lips, Sink Ships EP of 2013. Similarly their hungry and rousingly intensive live presence has grown and flourished, Invoker sharing stages with the likes of Landscapes, Being As An Ocean, Counterparts, Napoleon, and Break Even amongst so many along the way. Through each release Invoker has pushed their songwriting and sound, it all leading to their new triumph.

Cursed To Feel stirs into life with a single guitar lure, a melodic string which barely has time to breathe before the storm inside Black and Blue violently erupts. The throat raw fury of David Lukas sears ears and air as a maelstrom of sonic animosity ignites around him, guitars nagging but equally inciting the senses as rhythms pounce with little restraint. It is a potent mix yet the track really blossoms as small but strong ebbs in the maelstrom intrude, that attention grabbing enterprise subsequently sparking further imagination bred twists and creative insertions drawing diversity in sound and voice.

The excellent start is surpassed by the emotion charnel house of Cursed though in no time the song aligns melodic elegance and infectious grooves to devouring angst bursting hostility. As all tracks, it swings through moments of unsettled calm and ferociously harsh expulsions of heart and noise to intrude and beguile before The Novel unveils its own collusion of raw and harmonic dexterity drenched in pain and corroded but certain hope.

With Cease To Exist a brief but ravenous and invasively captivating onslaught and End Me providing the EP’s darkest and for us its most poignant not forgetting emotionally relatable and quarrelsome moment, Cursed To Feel continues to expose scars and understanding within a pleasure  inspiring tempest.

Invoker already has a fervour driven fan base but it is simple to expect Cursed To Feel to spark its bold growth and thrust the band towards major recognition.

Cursed To Feel is out now via Grim Reality Records and available @ https://weareinvoker.bandcamp.com/

https://www.facebook.com/weareinvoker/

Pete RingMaster 20/10/2018

Copyright RingMaster: MyFreeCopyright

Fathoms – Counter Culture

Since the release of their first EP, Transitions back in 2012, the Fathoms sound has evolved as its line-up has equally changed and been revitalised. What has not changed is their ability to grab ears and attention and stir fresh new appetites for their inventive sound. New album Counter Culture is testament to that, its nine tracks a blazing roar and creative aggravation which captivates and gets the blood rushing through aggression pulsing veins.

The UK outfit soon sparked keen local attention with their melodic hardcore sound upon emerging in 2010 and quickly found themselves touring the UK and sharing stages with the likes of Legend, Set Your Goals, Polar, Dividing The Silence, Final Crisis, and Napoleon. Acclaim did not exactly hang around either especially once Transitions assaulted ears with their reputation taking another spurt with its successor Cold Youth in 2013. Both were bold and viciously imposing with a growing potential which blossomed within their Artery Recordings released debut album Lives Lived two years later. Hitting the USA, China, South Korea and Japan among regular jaunts across Britain and Europe, the Brighton hailing quintet has become a potent element in the UK hardcore scene.

Hindsight suggests the hints and clues were already there, certainly within the last album, but Fathoms’ sound has embraced greater metalcore traits over the past couple of years, the band straddling both styles with their punk metal furnace, and as Counter Culture reveals there is plenty more to that blend also. It opens up with Hate Preach, making a composed introduction as vocalist Max Campbell hits ears with his rap before the guitars of James Munn and Sam Rigden cast a persistent tide of abrasive riffs. It is a great start which only continues as the song merges nu and rap metal exploits with hardcore antagonism framed by the biting beats of drummer Lui Sarabia.

The potent starts quickly has ears keenly attentive, recent single Counter Culture stirring their appetites further with its metal bred imagination and punk infused quarrel. Melodic twists and clean vocal union with the rawer snarling tones of Campbell brings richer intrigue and captivation, the bass of Steve Cogden prowling it all with a brooding menace as the song grows an increasingly compelling web of flavours and imagination.

Latest video single B.E.L.I.E.V.E quickly follows; its body a heavier, dirtier, and more tempestuous proposal but just as content and skilled in contrasting its dark hues with melodic flames and harmonic enterprise. For personal tastes, it does not quite catch the imagination as its predecessor or other tracks within the album yet there is no denying its lures, especially its inescapably magnetic melodic.

Counter Culture is an album which seems to get bigger and bolder song by song, definitely each subsequent song made a greater thrilling impression on our appetites; the process continued at this point by the surly metal nurtured, ill-natured Fated. Its nu and rap metal dexterity gets right under the skin but equally its synth rock and punk spicing teases more impressed reactions before I’ve Been Trying To Leave exposes the band’s similarly adept progressive inclinations within its cantankerous character and imposing touch. It also has catchiness in its lighter side which is pop kissed but never more than a warm wash upon the instinctive ruggedness and spiky imagination of the band’s sound.

The calmer waters of Slip Away provides a new beguiling turn within the release, its presence like a more belligerent Silent Descent but with passages of pure melodic beauty around more volatile instincts and endeavour. It is just one more captivating moment within the album but soon eclipsed by the outstanding assault of The Spaces In Between. A trap of nu-metal design, the song twists and turns with dervish like mania and pugnacious attitude, the guitars dancing venomously on ears as the bass and vocals growl. In the midst of that inventive confrontation though, a spring of melodic and harmonic adventure flows, again Fathoms showing the new adventure in their sound and freshness in their imagination.

Next up No Compromise is an even moodier proposal; to be honest a truculent trespass of a song but one coloured with atmospheric grace as melodic suggestion weaves its bait for ears and imagination to embrace. With every passing second and unpredictable idea, the song grows in strength and impressiveness; pleasure joining the ascent until it departs to allow You Ain’t On What We On to bring things to a close.

The final track is a surge of punk dispute; an eye to eye combat which has the body bouncing and spirit raising its middle finger to the world. It is a fine end to an encounter which grows with every listen. Fathoms have maybe still to realise all that early potential but instead they have explored a whole new sphere of ideas and as Counter Culture proves, they are on a journey still easy to anticipate and enjoy.

Counter Culture is released December 1st.

https://www.facebook.com/fathomsuk/    https://www.instagram.com/fathomsuk/    https://twitter.com/fathomsuk

Pete RingMaster 30/11/2017

Deference – False Awakening

Increasingly compelling, False Awakening is the new EP from British metallers Deference. A maelstrom of ravenous textures and flavours caught in an equally imposing web of emotion, the release not only forcibly pleases ears but also suggests this is a band with the potential to be a big part of the UK metal scene.

Coming from Southampton, Deference weave in inspirations from the likes of Architects, Northlane, Periphery, and Oh Sleeper into their tapestry of melody rich metalcore with djent and progressive metal tendencies. The quintet has been climbing the ladder with a rapid ascent in recent times, the release of 2015 debut EP XXXVII and live successes alongside bands such as Rolo Tomassi, Napoleon, The Hell, and Shields as well as a European Tour with True Lie all increasing their reputation. False Awakening is a creative echo of an outfit ready to break into national recognition, the next unavoidable step for a band beginning to make their potent mark.

The release opens with Scavengers. A steely shimmer initially coaxes ears, senses strapping riffs soon following as rhythms and guitars grumble around the plaintive vocal roar of Rob Lea. That djent styled essence is equally as swift infecting song and satisfaction, the guitars of Matt Dennison and Jonathan Prince creating a spiky attitude and touch in their emerging weave of enterprise. Strapped to the muscular grouch of Shaun Kirtland’s bass and the animosity loaded swings of drummer Mike Hill, the track is a formidable introduction to the EP; not necessarily unique but relentlessly exhilarating.

The might start slips away to be replaced by the instantly ravenous Insomnia; its immediate wall of sonic trespass the bed for melodic and technical dexterity to blossom. It is an intriguing mixture which takes longer to ignite the imagination than its predecessor’s tempest but grows into a rich captivation especially as raw and aggression vocal contemplations are joined by an impressive clean delivery from Lea, Dennison adding his potent vocal backing throughout. Persistently turbulent across its vociferous landscape, a tempestuous climate equally as open in the track’s mellower melancholy thick yet stark moments, the song has the imagination as gripped as ears throughout.

New single Departure follows, growing from another solemn but engaging melody equipped peace with keys colouring its atmospheric questioning before again vocal and sonic volatility takes hold and seize the moment. As another maze of sound and invention descends, Deference reinforce the potency of their  presence and creative dexterity, the song shifting through numerous cycles all capturing the imagination if again with increasing persuasion rather than an immediate one though indeed its first listen or two leaves pleasure alive.

The EP’s title track has an almost carnal air and character as it ravages the senses straight away, an antipathy which rather than diminishes simply expands its scope as clean vocals and melodic endeavour gets involved in the volcanic explosion. The track is superb, unpredictable yet with plenty of familiar spices only adding to its impressive blaze of sound and emotive exploration. Rabid and composed, vicious and seductive, the track is a collision of extremes and imagination breeding a mighty storm again fusing varied metal bred hues in its cataclysmic squall.

The release closes with Become Death Part 2, an initially gentle melodic romancing of the senses around a vocal sample. As destructive elements fall upon the calm, the song is fallout of corroded beauty, an epochal epilogue to the EP’s themes looking at “a man-made apocalyptic world.”

The buzz is that Deference is ready to take their place to the fore of the UK metal scene; whether it is sooner or later it is expected success backed up by False Awakening and its striking contents.

The False Awakening EP is out now.

https://www.facebook.com/WeAreDeference/    https://twitter.com/DeferenceMusic   https://deference.bandcamp.com/releases

Pete RingMaster 05/04/2017

Copyright RingMaster: MyFreeCopyright

Athenas Word – Lasting Legacy

Athena's Word Promo Shot_RingMaster Review

It seems that across 2015, and indeed going back to last year, there has been a tide of highly enjoyable new post and melodic hardcore protagonists leaping on the senses with varying success. There have been some truly impressive debuts and some carrying the real potential of major things to grip attention. As we reflect whilst tapping keys though, few have been a truly lingering proposal with a sound easy to recall at a sniff of a memory, bands which have made a truly inescapable impact. Death Kindly Waits For Me is one band which definitely had that success and now we are eager to add Athenas Word. The Dutch band makes its introduction with the Lasting Legacy EP, a debut that musically captivates ears and imagination, if admittedly without dramatically reshaping the genre with major originality, yet. That alone makes the release a potent confrontation but aligned to a rousing vocal attack which is empowered by various strains of punk; it is a bruising and fiercely exhilarating tempest that just excites.

Athenas Word was officially formed in the Autumn of 2014, though the seeds and some songs in the band’s armoury went back to the previous year when bassist Tjerk Goselink and guitarists Dennis Sjoers and Jerry Klein initially began working on their vision of the project. Drawing on inspirations from the likes of While She Sleeps, Napoleon, Architects, and Heights, a few artists Athenas Word has also been compared too, the band’s full line-up was completed by early 2015 with the addition of vocalist Erik Voestermans last year and drummer Kasper Stap this. The band has been a potent roar on the Dutch live scene since, whilst taking time out to record and release the already well-received Lasting Legacy. Now the EP gets a reboot into broader attention and European markets, a nudge to be quickly supported by the band live as they become a more widely visible proposition.

Athena's Word Cover Artwork_RingMaster Review     It opens with Deserved Freedom, an instantly arousing sonic bellow which does take its time setting up the senses before launching a ravenous rhythmic assault within a web of guitar causticity and enterprise. It is an imposing assault which, even in its more even tempered moments, is a ravenous proposal driven by the excellent belligerent roars of Voestermans. Within the first blaze of melodic toxicity and bracing brutality, a contagious quality soaks the varied textures of imagination, some loud and vocal within the tempest and some a fascinating squirm in the belly of the hardcore fuelled storm. It is an outstanding start resonating in ears and thoughts after its departure and whipping up a hungry appetite to hear more in its wake.

Death From Above is the first to feed that fresh greed, its opening also a quickly thick enticement ensuring rich focus is a given. Vocals and rhythms are a carnivorous proposition but find themselves entwined in an acidic tendril of guitar which tempers and enhances the song’s venomous seduction simultaneously. Once more the vocals just hit the spot. They are not spectacular but in grasping an organic mix of punk and grizzly rock rapacity, provide something different and highly flavoursome to song and release. As its predecessor, the track comes to a great abrupt halt; its job done, nothing more to say attitude adding to the power of its drama and success.

The following Wolfpack makes a more ‘conventional’ entrance, melodies wrapping hostile intensity as vocals and rhythms badger. The more adventurous aspects come as the track merges relative emotive calms with the maelstrom of volatility driving the track, the anthemic latter admittedly, for personal tastes, where the song has its most potent elements. It is a rousing incitement making way for another in Honour The Fallen, a similarly structured and creatively shaped rabidity of emotions and sound. In contrast, it is the imaginative ebbs in the fury that impresses most, they coming in varying stages and designs with Athenas Word never getting indulgent or relinquishing its carnivorous and uncompromising intimidation. More of a grower than instant success compared to the first two songs, it blossoms into another rich persuasion to help the EP get emotions and anticipation of future endeavours excited.

Lasting Legacy is brought to a close by This Is How It Ends, another roar of rock ‘n’ roll and post hardcore intrusiveness that grows into its full temptation over numerous plays. It never quite matches its companions in strength, it missing a certain spark of imagination yet leaves satisfaction healthy and enjoyment for the whole sonic tempest of the EP full.

It is going to be interesting to see how Athenas Word develops, and no doubt be highly enjoyable at the same time, but they could not have got off to a stronger and more persuasive start than with Lasting Legacy.

The Lasting Legacy EP is out now @ http://athenasword.bigcartel.com/

https://www.facebook.com/AthenasWordhc  https://twitter.com/athenaswordhc

Pete Ringmaster 28/10/2015

Copyright RingMaster: MyFreeCopyright

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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 http://virtueinvain.bigcartel.com/

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

RingMaster 11/05/2015

Copyright RingMaster: MyFreeCopyright

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Arizona – The Hunter, The Gatherer

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As The Hunter, The Gatherer EP from UK post hardcore antagonists Arizona roars over and blisters the senses; it is hard not to be excited by the raw and potent potential raging through the band’s impressive debut. It swiftly suggests the prospects and future of the band is more than worth paying close attention to. The four track release brawls and seduces with tempestuous charm and skill, and though it does not make a startling alternative to the best of the genre, there are ear catching twists and an impressive inventiveness at the heart of songs putting the Essex quintet firmly on the radar.

Since forming in 2011, Arizona has been increasingly drawing interest and attention. Their early singles found good coverage with the likes of BC Introducing in Essex, whilst the band has consistently impressed and garnered praise live as they shared stages with the likes of Fathoms, Napoleon, and I Killed The Prom Queen. Now their debut release is unleashed to wake up stronger national awareness, and it is hard to see The Hunter, The Gatherer falling short on its aims. Recorded with Empress AD’s Alex Loring, the EP is according to the band just the beginning of a major assault and creative outpouring from Arizona, vocalist Jacob Scroggs-Parris saying on the eve of the new release, “the next year is hopefully going to be a busy one for us.”, continuing with “We are well into writing our full length debut, and I don’t think we will stop until that has been torn apart and meticulously analysed from every angle.

Opener Black Hart instantly launches at ears and senses with a formidable wall of bruising rhythms and voracious riffery. Within the imposing tempest though, a brooding bass tone alongside flavoursome spicy grooves twist and flirt EP ART FINAL pngwith the imagination. It is a thick and immediately enticing proposition which only accentuates its lure with the impressive vocal squalls of Scroggs-Parris, backed by the band. The track is a predator, an encounter which stalks and abrases with controlled energy and fearsome intensity yet is unafraid to spin a web of creative tenacity through the guitars of Brad Laurence and Benjamin Wyckes to fully intrigue and engage the imagination.

The outstanding start is followed by the similarly dramatic and corrosive form of The Hunted. Driven by the antagonistic beats of drummer George Southernwood and venomously throated tones of Jordan Swan’s bass, the track holds a similar structure and hostility to its predecessor but infuses it with a tantalising melodic elegance and a great display of vocal variety, nothing major but an expression drenched delivery which flows as aggressively and voraciously as the sounds around it. It is a thunderous and at times truly vicious provocation, and a skilled and gripping continuation of the release’s imposing entrance.

The Gathering comes next, merging tantalising melodic coaxing with a tempestuous storm of intensity and raw aggression. It is a threatening and demanding incitement on the senses, yet with acidic charm veining the melodies entwining the intimidation it is a bewitching if uncomfortable proposition. Though as it proceeds, the song lacks the spark of those before it, it flourishes with again great variety to the hostile toning of vocals and sonic imagination to the track’s impassioned landscape.

Closing with Preacher, another stalking of rhythmic and creative voracity, the EP leaves a heavily satisfied appetite and pleasure in its wake. The final track strides with a volatile air and ferocity, riffs and breakdowns as menacing and delicious, and temperament as adversarial as it gets on the EP for a striking and gripping finale to a fine encounter.

Though The Hunter, The Gatherer ultimately is not stretching boundaries for post hardcore, there is plenty within it which begs to differ and suggest that it is only a matter of time, if they realise their potential, before Arizona do make that truly dramatic statement. Right now with a rather excellent debut, they show themselves to be one of the biggest exciting bands to come forth this year.

The Hunter, The Gatherer EP is self-released 7:00 PM BST on October 20th as free download exclusively @ http://arizonauk.bandcamp.com/releases

https://www.facebook.com/ArizonaUK

RingMaster 20/10/2014

Copyright RingMaster: MyFreeCopyright

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