The Sherlocks – Escapade

The Sherlocks

Bursting with bulging rhythms and just as rigorously captivating sonic invention, new single Escapade reveals exactly what Sheffield has been shouting about for quite a while; that The Sherlocks is one rather exciting band.

The UK rockers is bred from family and friendship, emerging in 2010 after brothers Josh and Andy Davidson, guitar and bass respectively, moved in next to the grandparents of vocalist/guitarist Kiaran Crook and his drummer brother Brandon. The quartet were soon bonding over football and music, uniting over favourite artists such as Arctic Monkeys, The Beatles, Libertines, Oasis, and The Jam. This led to jamming sessions where they discovered, explored, and honed their sound, and subsequently gave birth to The Sherlocks. Since then the quartet has played over 500 gigs, sharing stages with the likes of The Enemy, Simple Minds, Scouting For Girls, Reverend and The Makers, The Buzzcocks, Twisted Wheel, Tom Hingley, and Steve Cradock thesherlocksescapadeartworkalong the way, and in 2013 released debut EP First Bite Of The Apple.

The well-received EP, as their following top 100 single Live For The Moment, set down a marker in sound and adventure which Escapade now runs with in fine anthemic style. From the first spicy breath of guitar, the song has ears and emotions leaping to attention, especially once potently jabbing beats and a flush of riffs add to the initial coaxing. The lure of the song then just gets stronger and more virulent as a gripping hook emerges from the start and swiftly binds imagination and emotions in its wine of a temptation. The strong vocals also add appealing expression and energy to the song, never imposing but just helping increase the catchiness of the track.

A great throaty bassline flirts across the song too, but it is the overall contagion of the encounter and its inventive dance which most enthrals and has feet and voice seriously involved in the creative commotion. Ground-breaking the song is not but certainly it is invigorating revelry of the irresistible kind and a reason alone to keep The Sherlocks under a tight spotlight.

Escapade is available now @ https://itunes.apple.com/gb/album/escapade-single/id952378243

The Sherlocks are touring the UK with remaining dates at…

20/02/15 Soundcontrol MANCHESTER

27/02/15 The Cookie LEICESTER

28/02/15 Talk Tea Rooms BIRMINGHAM

05/03/15 The Picture House HUDDERSFIELD

07/03/15 The Joiners SOUTHAMPTON

21/03/15 The Lemon Factory SWANSEA

10/04/15 Buskers DUNDEE

11/04/15 Stereo GLASGOW

18/04/15 Plug SHEFFIELD

25/04/15 Corner Flag SUNDERLAND

01/05/15 The Maze NOTTINGHAM

02/05/15 Club Academy MANCHESTER

16/05/15 Studio 2 LIVERPOOL

20/06/15 The Leadmill SHEFFIELD

http://thesherlocksmusic.co.uk/

RingMaster 17/02/2015

Copyright RingMaster: MyFreeCopyright

 

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The Delta Rhythm – Break The Surface EP

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It seems blues rock is alive and blushingly well in Birmingham, and that is down to UK band The Delta Rhythm. The proof comes with their new three-track EP Break The Surface, a release which provides a satisfaction and captivation which is as lingering as it is refreshing. Combining the rich essences of Americana, blues, indie, and hard rock into a sound which is not dramatically unique but still able to stand distinctly tall within any emerging crowd of bands, The Delta Rhythm is a proposition drenched in potential and skilled craft which it is hard not to anticipate even greater things from.

Formed in the first weeks of 2012 and taking inspirations from the likes of Canned Heat, Black Rebel Motorcycle Club, Oasis, Led Zeppelin, Metallica, The Sword, and Clutch, the band was soon supporting bands like Pint Shot Riot at Birmingham’s 02 Academy 3 and subsequently lighting up festivals like the Lightwoods Park May Day Festival in Birmingham which saw the band perform before a 10,000 strong crowd. Now consisting of vocalist/pianist Sami Cornick, guitarist Gregg Freeman, bassist Ben Adams, and drummer Martyn Todd, The Delta Rhythm’s new EP follows the well-received Rebels Redemption and The Rain Will Take Us All EPs, pushing the band to a new level which you would suspect leads to nationwide attention.

The release opens with Ticking Bomb, the song in turn starting with a singular gentle scrub of guitar before being joined by crisp Break The Surface EP Coverrhythms and soon after the throaty bass of Adams and the fine vocals of Cornick, her voice an instant draw. The song strolls keenly once established, guitars and rhythms an easy accessible bait upon which blues/country rock melodies and enterprise colours ears and imagination. The production has Cornick to the fore which depletes some of the potency of the music around her but such her obvious power and vocal talent it is hard to raise any real complaints. Across its body, the song continues to sway and twist with appealing guitar designs and excellent vocal harmonies, never erupting to the heights expected but worming deeper into the psyche and emotions to be just as potently effective.

The following Singing The Blues opens with a strum of guitar chords which is vintage rock ‘n’ roll, a moment which could fit any song from Eddie Cochran to Johnny Cash or Free to Jack White and sets the track off in fine style. There is a swing and swagger to the song which recruits feet and passions right away, an enslavement only strengthened by the undemanding melodies and anthemic rhythms. Once again though it is the vocals of Cornick which seal the deal and you sense she still has plenty in reserve if required. Her keys also bring a flavoursome hue and expression to the excellent song before it makes way for the similarly impressive Better Things, another easy blaze of blues rock but with a stoner caress and hard rock vivacity. As its predecessors, the song is pure infectiousness, not a song to inspire a riot but an encounter with plenty of seduction to get its way.

It is a strong and appealing conclusion to a similarly impressing release. Certainly the production is good but it does prioritise Cornick and inspires a slight niggle about the subservience of the music. You at times just wish it would catch fire, find a spark to give it more of a snarl. It is almost as if the music is laying a base for the excellent vocals rather than embracing them on mutual terms but this is a band in progress and you can easily feel this will all come good eventually. Even if not, when a proposition is this enjoyable it is impossible to be dissatisfied in any real size or form. Watch out for The Delta Rhythm, they have the wares and skills to make a big name for themselves.

The Break The Surface EP is available now from www.facebook.com/deltarhythm

www.twitter.com/thedeltarhythm

8/10

RingMaster 13/06/2014

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Gifted Kings – Lose What Makes You

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    It is hard to say that Lose What Makes You, the debut album from Scottish rockers Gifted Kings, ignited a fire in the passions for their accomplished and soulful sound, but certainly the 2012 formed band sparked an appetite and satisfaction with their enjoyable release which many emerging bands can only dream of. Consisting of eleven impressively crafted and expressive songs, the release makes a potent and promising introduction to a band we are sure to hear and enjoy a lot more of in the future.

    Hailing from Glasgow and consisting of two sets of brothers, Derek (guitar/vocals) and Andy Murray (lead guitar) alongside Gary (drums) and Paul Smith (bass), Gifted Kings build on the undeniable potential and presence of first single Dead End Road, which has just received its video release also, in fine attention grabbing style with the album. It is not unfair to say that the band’s sound has a rich familiarity to its presence right now, not of any specific band but in general which defuses some of its ability to surprise and stoke those emotional flames, but there is little else to raise a quizzical and disapproving eyebrow over. Recorded with producer Nick Brine (Oasis, The Darkness, Bruce Springsteen) at the same studio which housed the making of Oasis’ What’s the Story Morning Glory and Queen’s Bohemian Rhapsody, and mastered by Pete Maher (U2, Depeche Mode), the album proves its case with a stirring presence and potency which easily awakes positive reactions and attention to match that already brewing as far afield as Russia, Ukraine, Thailand, and India over the band. With their music already gracing several shows on Channel 4, S4C, ITV1, and Sky Sport as well as being adopted for advertising campaigns by Ripcurl and O’Neill Sports targeting the USA, Australia, and Asia, the quartet are on a rapid visible ascent which What Makes You Lose has all the qualities to accelerate.

     The album makes an instantly engaging and gripping start with Rains Will Come, its opening a sonic intrigue of guitar which expands with a rhythmic jabbing and fiery melodic glaze as company. It is not a startling entrance but one which secures full focus especially as the expressive vocals of Derek Murray joins the already pulsating lure of the song. Thoughts of Bristol band Mind Museum offer a suggestion whilst essences of Placebo also hint throughout the increasing emotive brewing of the track; all to a positive effect. The only strange thing about the song is that it never explodes, just simmers as if an intro to the album rather than a stand-alone proposition. Nevertheless it is a great start matched right away by The Last Time. A heavy throaty bass sound and imposing rhythms make the initial temptation as the guitar’s thoughts crowd around in a sonic breeze before making inviting weaves of melodic endeavour around the incoming vocals. Again there is something recognisable about the encounter, though it just makes it an easier ride to immerse within, which with its especially persuasive rhythmic enticement just infects.

     Both No One Knows and Drive keep the album bubbling in thoughts and emotions if missing the heights of the previous pair. The first is embraced by powerful emotive melodies and crescendo like rises in energy and passion as melodic veining arguably inspired by the previously mentioned Mancunians works away, whilst the second strolls with a reserved and enticing alternative rock weight and texture to draw in the imagination. Neither sets sparks to tease the passions into major action but definitely each provides a healthy offering for the appetite to chew over and enjoy, as equally does Dead End Road with its alluring and richly expressive narrative and sound. Though definitely not the best song on the album it is still easy to see why it has drawn such eager responses the band’s way since being released as the first single from the album.

     The following pair of Tell Me Something and Fortune In The City return the release to the commanding and contagious levels it started on, controlling rhythms and rich melodic fire rigorously and anthemically tempting the senses within the first whilst its successor explores another evocative climate with an inventively gripping groove and an infection clad chorus within an unpredictable exploratory landscape. Both tracks alone reveal the depth and potential of the band in sound and songwriting, reach easily lighting keen anticipation for future endeavours.

   From the pleasing and very decent creative exploits of Last Trace Of The Sun and the sonically colourful, not forgetting contagious Wait, the album’s best moment is brought with Neon, a song built on addictive nagging riffs and crisp rhythms which persist until full submission is given for their vivacious bait. Once more the band casts a virulent infection over the ears and imagination which is impossible not to find a lingering hunger for, it’s dramatic touches and blues kissed strikes quite irresistible. Alongside the closing and strong if underwhelming in comparison Written On The Wall, the pair bring Lose What Makes You to a thoroughly entertaining conclusion.

     Gifted Kings has laid the strongest base with their debut, the first of many potent and impressing encounters ahead you suspect.

http://www.giftedkings.com/

8/10

RingMaster 23/02/2014

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Sisteray – She Likes The Drama

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     Since forming in 2012, British rock band Sisteray has been building a rather potent fan base and appreciation through  their live performances and releases, an eagerly followed presence which their new EP She Likes The Drama gives plenty of evidence to the reason why. The four track release is an engaging proposition which from making an initially decent if unsure persuasion emerges as a magnetically appealing enjoyment. It is fair to say the EP does not quite reach in to ignite a flame in these particular passions but from the sure satisfaction definitely found you can easily see that it will be a different proposition for a great many others.

    Hailing from London and consisting of Niall Rowan (lead vocals/rhythm guitar), the Connolly brothers Daniel (lead guitar/vocals) and Ryan (drums), and Michael Hanrahan (bass), Sisteray take influences from the likes of The Kinks, The Beatles and The Who but equally from 70’s Mod Revival bands such as The Jam and Blues bands such as Dr. Feelgood, The Yardbirds, and The Rolling Stones. Those spices are open in the Sisteray sound as are also inspirations from more recent bands like The Stone Roses, The Arctic Monkeys, and Oasis. It is a striking mix which despite that rich soak of inciting flavours, does find a voice distinct to Sisteray as loudly evident on She Likes The Drama.

    The title track kicks things off, a single guitar tempting luring in attention and imagination before being joined by a nice dark 1536716_554607001299650_1249032493_nbassline and melodically sculpted riff strokes. It is a clean and precise persuasion of sixties blues kissed rock ‘n’ roll with a seventies garage rock breath and nineties indie endeavour. The song never explodes into the fire it hints at, especially around the chorus, but it is as infectious and compelling as you could wish for and undeniably makes a pleasing impact. The vocals of Rowan like the song are expressive with a strong buoyant tone whilst the prime hook of the song is irresistibly potent and with the other enticing elements of the song it all adds up to make the track an increasingly enticing offering over time.

      The following Rollin’ Over also offers a highly coaxing entrance into the song, a lone throaty and slowly parading bassline beckoning ears before the subsequent flame of melodic guitars and crisp rhythms joins the tempting. There is a stronger blues aroma to the song right away which the group vocals around the chorus accentuate into a quite inflammatory suasion. Again the band never erupts into the assumed and hoped to come unleashing of anthemic energy within the track, which does disappoint slightly, but there is plenty in the swagger and voice of the song to draw in appetite for and enjoyment in the encounter.

      I’m Free emerges on a fuzz ball of sonic intrigue increasing further the blues fire which smoulders and burns in each song, whilst a certain Oasis bred croon equally impacts on the ears. Not as tantalising and ultimately impressing as the other songs, it still captures the imagination especially with the constant almost brawling blaze of sonic scowling which cores the musical narrative. Providing the heaviest rock ‘n’ roll moment of She Likes The Drama, the track keeps momentum and strength of the release strong and engaging before making way for the closing Coming Up.

     The song ensures the release ends on the same high as it started, actually an even greater success with the track the best on the EP. It takes a mere second before the irresistible hook of the song steals the imagination, its call switching with a more sobering but inviting swipe of riffs. Into its stride the song is soon urging feet and emotions to partake in its revelry, its presence a mix of the mod power pop of Purple Hearts, the raw punk simplicity of The Fall, and the addictive nature of Arctic Monkeys. It is a masterful and wholly contagious thrill which alone confirms that Sisteray is definitely a choice emerging force in UK rock.

     As previously stated She Likes The Drama fails to spark up the strongest emotions in our personal reactions, well until the excellent final song anyway, but it is impossible not to hear the potential and already toxic strengths of the band which has captured so many hearts already, with plenty more to follow you can only suspect. A release if any of the previously mentioned comparisons take your fancy, to give a big slice of attention to.

http://www.sisteray.com/

7.5/10

RingMaster 15/02/2014

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Exit Calm – The Future Isn’t What It Used To Be

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After a relatively quiet couple of years since the release of their debut album in 2010, UK rock band Exit Calm returned earlier this year with the well-received single The Promise and now fully step into view with the new album The Future Isn’t What It Used To Be. The nine track release of soaring epic melodies and matching textures continues on where its predecessor left off though finding a stronger emotive and compelling depth to wrap the senses and lose the imagination within. It is a skilfully crafted and beautifully imagined collection of songs, and though a release which ultimately does not ignite any real sparks and fires inside, leaves the listener with a healthy appetite and easily provoked satisfaction.

The South Yorkshire quartet of vocalist Nicky Smith, guitarist Rob Marshall, bassist Simon Lindley, and drummer Scott Pemberton, certainly stoked up a strong wealth of acclaim and hunger for their previous album and live performances which has seen them play alongside the likes of Modest Mouse, Echo & The Bunnymen, The Boxer Rebellion, and Soulsavers as well as lighting up stages at the likes of the V Festival and Tokyo’s Liquid Rooms. Embroiled in the inspirations of the likes of the moodier guitar led bands of the nineties, the sound of Exit Calm has a calming yet provocative effect on the ear and the new album is primed with plenty of fire hot impacting sounds. It is probably not too harsh to say that there is not a wealth of moments and songs which linger in the memory past their company but within their embrace the listener is immersed in some striking and potently enterprising adventures emotionally and aurally.

The first single from the album The Rapture opens things up, guitars conspiring to raise tingles with their resonating voices and sonic ec_album_covercaresses. The throatier call of the bass brings welcome shadows whilst the melodic and sonic flames lick with restraint but potency at the ear awaiting the entrance of the excellent vocals of Smith. With a scorching breath to the climactic spires of melodic and passionate intent, the song swamps the senses in a pleasing and heated hold of imaginative narrative and impacting reflective sound. There is an early U2 whisper to the track especially vocally which does it no harm, and a feel of My Bloody Valentine to its body that makes for a satisfying and beckoning temptation.

Both Albion and Fiction continue the strong start, the first a reserved but heated flame of melodic textures and evocative hues and its successor a wash of jangling guitar teases and bass shadows around a vocal and melodic expression which pulls in the essences of Jesus and Mary Chain into the band’s own distinct poetic sound. Though neither song reach the heights of the first, both cast an absorbing and magnetic lure over ear and thoughts, the second of the two almost finding a presence which leaves a mark on the memory away from its caress.

New single When They Rise adds a little Oasis like confidence to its energetic yet reined in swagger and with an Inspiral Carpets gaited infectiousness makes an obvious lure into the album for newcomers even if the track is not the strongest on show, that honour belonging with ease to Holy War which follows the quietly contagious and slowly persuading Higher Bound. The simmering ballad is ripe with tender and descriptive melodies which outshine the vocals but against the pinnacle of the album The House Of Love toned song has a fight to stand out. Holy War instantly has a drama and imposing presence to its entrance and progress, a guitar scripted blaze and rhythmic mystique making a sirenesque plea to the passions whilst the band offers an invention and entrapment which dances and incites the imagination. The melodically colour strewn song stands head and shoulders above the rest of the album and is the one time the release repeatedly makes a suggestive and vibrant return away from the record.

The Promise slips in to a sixties wrapped elegant glaze upon a shoegaze wash, though one which is unafraid to add some muscular tempting especially through the drums. This brings a Birdland toned fire to the smouldering though without the scuzzier raw aspects they were renowned for. Glass Houses equally grabs attention with an intense heat to its sonic ceiling under which guitar and bass around the fine vocals paint an emotive picture, whilst the closing Open Your Sky provides a final nostalgic tease with its opening melodic gambit raising thoughts of The Walker Brothers to evolve into an Echo & The Bunnymen sounding embrace with psychedelic flames kissing the surface.

There is no doubting that The Future Isn’t What It Used To Be is a fine and impressively crafted as well as presented release, but apart for one maybe two moments it fails to grasp and find a memorable hold on thoughts and passions away from its body. In its arms though the album is a satisfying pleasure which confirms if not stretches the already impressive status of the band.

http://www.exitcalm.net/

8/10

RingMaster 22/09/2013

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City Reign: Another Step

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    Another Step the debut album from UK indie alternative rock band City Reign, is a release which leaves one mutually satisfied and dissatisfied. Consisting of eleven excellently crafted and presented slices of guitar driven passion the album has all the ingredients and invention needed to ignite the passions but lacks the fire and uniqueness to achieve that intention. The band from Manchester has the promise and craft to forge a formidable place in UK indie music, and has already for a great many people, but Another Step falls short of being the trigger.

The band was formed by songwriters and guitarists Chris Bull and Mike Grice, who met six years ago at a Ryan Adam concert at the Manchester Academy. The following years saw them writing and playing in bands together before starting up City Reign whose name the pair took from an Adams song, City Rain, City Streets. The past three years has seen the band release their debut single Making Plans on their own label Car Boot Records, the song gaining the support and enthusiasm of Steve Lamacq, and the Numbers For Street Names EP in 2011. As with following singles Out InThe Cold and Daybreak, the band received strong reviews and responses from online press and bloggers from their releases and soon embarked on their first UK tour and ventures in Europe.

With drummer Duncan Bolton and bassist Michael Glaze completing the line-up, the quartet recorded Another Step with producer Sam Jones (Band on the Wall, Alex Turner) in Salford’s Sacred Trinity Church, making full use of the building’s natural acoustics and not allowing being interrupted by a funeral the priest had double booked at the same time, to slow their creative momentum. Musically the band has a sound which to simplify things is an intriguing mix of Oasis and The Mighty Lemon Drops which possibly shapes the personal indecision towards its potency from a dislike of the former and love of the latter. Certainly from opening track Anchor through to the last rich note of the release the album enthrals and evokes with its honest impassioned voice. The first track opens with sturdy riffs and rapid rhythms around a sonic groove which plucks at the senses with infectious engagement. The vocals of Bull releases the heart of the track with strong expression and is ably aided by the good group harmonies across the chorus, whilst musically there is a slight Inspiral Carpets whisper to the pulsating track. It is a grower too, the initial encounter leaving mild content with evolved into strong admiration and pleasure, something which can be applied to the whole album.

Making Plans, Out In The Cold, and Sleep Easy follow to warm the ear with stylish melodic enticement and an overall raw honest energy. There is a familiarity to the songs which even with their individual moments of compelling invention means they do not leap out at the ear or rip attention from the world but all are accomplished and well- crafted companions.

After the slow melodic melancholy of The Line, a track which brings Doves and Mighty Lemon Drops to thoughts as well as seductive strings from Maya Kashif, Graham MacKenzie, and Ailsa Hoyle, the album truly hits its strides and moves into its strongest moments starting with Retaliate. The song opens with guitar caresses brought with a delicious kiss of discord and wraps its emotive arms around the listener with warmth and plaintive passion. Again Oasis is a predominate spice with the rich lush strings again elevating things to an absorbing grandeur to leave ear and thoughts engrossed from start to finish.

The excellent See What It’s Worth with its sinewy rhythms and bulging energy is the prime highlight of the album, the rock track bringing vibrant diversity to what is at times a singularly gaited release whilst musically the band show they can pump up the pulse rate as easily as they can tenderly coax it. The big boisterous beats of Daybreak introduce another pinnacle upon the album, the song a sculpted melodic brawl for the ear to devour. Contagious in every note and rhythmic persuasion, the track is a pleasing restrained riot of sound which like many other tracks shows the deep potential of the band.

With further songs like the first single from it, the sensitive Ahead of Ideas and closing track Anywhere, Anyway offering strong ideas, the album is a satisfying if at times underwhelming release which certainly deserves investigation. With a more distinct character to its songs and diversity to the vocals of Bull to break up the similarity which puts a glaze upon the album, Another Step would have convinced the passions much more but nevertheless it still sets City Reign firmly on the radar of bands to watch.

http://cityreign.net/

Another Step 6.5/10 The promise of City Reign 8.5

RingMaster 25/02/2013

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In Search Of Fire – Serotonin Storm

In a year of strong debuts UK rock band In Search Of Fire announce themselves to the world with another in the shape of the excellent Serotonin Storm EP. The six track release is an impressive introduction of fiery guitar driven songs and impassioned heart which captures the imagination and fires up the senses. The release is a tightly crafted and openly thoughtful collection of songs which either explode with adrenaline fuelled energy upon the ear or seduce with emotively charged sonic caresses, either way the band accomplished and impactful.

The promo for the release said for fans of Muse, Arctic Monkeys, Oasis, and Led Zeppelin, a list which did it no favours here to be honest. Some of those essences can be heard within Serotonin Storm as strong whispers, but for the main it offers something clearly different for a fresh invigorating new presence in UK rock.

Since forming, The Chatham quartet of vocalist and lead guitarist Andy Malet, rhythm guitarist Anthony Vandongen, bassist Connor O’Connell, and Rob Dowsett on drums have lit up stages across the southeast and breaking into London more than once or twice, with supports for The Wombats and Missing Andy under their belts. Recorded alongside Arthur Walwin, Serotonin Storm is their first big step to wider recognition and an attention receiving leap it will surely be.

Blood is pumping right from the off, opener Indie Rock n Roller storming through the ear with driving rhythms and a twisted groove to light the fires. Returning to comparisons one band did come to mind as the riot of a song blistered the air and grazed the senses wonderfully, Psychedelic Furs, well if they had evolved into a dirty punk n roll band. There is a similarity to the emotive breath created but again a whisper. The hook which permeates the song is as acute and delicious as any spawn by the Buzzcocks and the track itself is a bruising piece of punk rock brought with flair and invention. The slip into a piano touched respite is glorious and unexpected, just the first of many times the band impress similarly, before shifting back to the rampant charge of the song for its eager climax.

It is a brilliant start giving a tall order to follow for the following When In Rome and No Shit Sherlock. Though both arguably miss the target set it is by a mere hairs breath, the pair igniting further passions and enthusiasm for their creative and energy stoking sounds. The first explores the ear with caustic guitar flurries over rumbling drums from Dowsett, both Malet and Vandongen sending shards of flaming melodies and tight riffs across the ceiling of the song. It is an intensive piece of songwriting which has a stadium rock type energy, thus the Muse comparisons though it has to be said of any other band they are the ones which share the closest flavour at times. Ending with a slow reggae spiced climax which works well even if it feels like an added idea at the end, the track passes over to the fierce intent of No Shit Sherlock. Attitude soaks every word and note bringing spite to the song, further evidence of the inventive diversity within band and sound. As the track evolves you can only be in awe of the subtle way the band fit so much into their songs without disturbing their balance and natural flow, this song alone an evolving feast of imagination and melodic flare.

The potent Memory Loss lyrically and musically sends another charge of electrifying pleasure through the ear; its blues classic guitar sounds the spine for the bristling coarse kiss upon the ear whilst Dead Men’s Eyes just leaves one gasping within its scouring energy and burning might. The vocals of Malet, as everywhere just wring every passion and emotion out of the words to bring extra intensity to the tracks and none more so effectively as in the closing slow burner Moving On. A power ballad of sorts, the track initially did not find a connection, the opening razor like guitar jangles clashing with the vocals but given time the song spreads into another smart and well crafted piece of composing. It could not ignite the levels achieved elsewhere but it easily won over any doubts.

Serotonin Storm is an outstanding debut from a band which has all the credentials and talent to go a long way, watch this space.

www.facebook.com/insearchoffire

RingMaster 10/10/2012

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