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

UK post-hardcorers ‘CONDUIT’ have just unleashed new video single for the ‘Others’

Conduit Shot Online Promo_Reputation Radio/RingMaster Review

Born in the West Midlands in 2009, Conduit are comprised of Dave Boyle working on bass & guitar, Ian Harris dishing out the riffs, Steve Hodge providing rhythm guitar and Dave Roberts hammering at the drums. Far from possessing the typical CVs you’d associate with many of today’s up-and-coming melodic hardcorers, two of the band members helped create a floor that appeared in a James Bond film, another volunteered for work in Bosnia and Herzegovina, and their lead singer used to spend his days working in a giant freezer. There is certainly something oft-kilter about Conduit, and it makes the ascending quartet even more intriguing.

The four-piece have a strong bond and friendship, and this solidarity seeps from their music. The Midlanders have a clear philosophy and have grafted diligently for the past seven years on shaping their sound and spreading their manifesto. With influences ranging from Underoath, Haste The Day and Rise Against, Conduit have fashioned a brand of post-hardcore that will batter its way through your skull, tug at your heartstrings, and genuinely make you think. The foursome maintain an earnest approach to song-writing united with meaningful lyrical content, rhythmic refrains, and thoughtful arrangements.

The band have also clocked up the mileage on the road, and after a successful run of shows throughout the UK supporting everyone from War Of Ages, As Cities Burn, Listener, Continents, Heights, Oh Sleeper, Hacktivist, Through Solace, Max Raptor and Fathoms, to name a few, the foursome squirreled away, bracing themselves for a lengthy stint in the recording studio. They soon began work on their debut album, ‘Life On Repeat’, and emerged from the studio in 2015 with an absolute gem of a record.

‘Life On Repeat’ showcases the band at their best, casting a brilliant light on their shrewd ability to fuse and unify genres, despatching intoxicating songs that contort and wrap themselves around your ears. The rising combo have also just released new single ‘Others’; the video single highlights the foursome’s guile and astute use of dynamics to dramatic effect. Stay tuned to the band’s Facebook for further updates and show announcements.

WATCH ‘OTHERS’ NOW AT

https://www.youtube.com/watch?v=sY5bjtQPvvA&feature=youtu.be

https://www.facebook.com/thisisconduit https://twitter.com/ThisisConduit

Conduit – Life On Repeat

Conduit Shot Online Promo_Reputation Radio/RingMaster Review

‘All things come to he who waits’ they say and certainly that is the case for fans of UK band Conduit as they release debut album Life On Repeat six years since emerging upon the melodic hardcore scene. Since stepping forth in 2009, the West Midlands quintet has encouraged a rich and loyal fan base alongside earning a rich reputation for their live presence. Now national attention is under potent persuasion through Life On Repeat, and from someone having their first introduction to Conduit through the album, it is a fine quest bound for success.

The Coventry band consists of vocalist/bassist Dave Boyle, lead guitarist Ian Harris, rhythms guitarist Steve Hodge, and drummer Dave Roberts, a foursome taking inspirations from the likes of Underoath, Haste The Day, and Rise Against into their thick mix of sound within a post/melodic hardcore template. Lyrically there is a seeding in the band’s faith which never imposes yet has clarity within the bustling sounds around them. As mentioned, live Conduit has earned their spurs and rich praise, the sharing of stages with bands such as War Of Ages, As Cities Burn, Listener, Continents, Heights, Oh Sleeper, Hacktivist, Through Solace, Max Raptor, and Fathoms acclaimed moments on their CV. There is open energy and dynamism to Life On Repeat which can only echo the band’s stage vivacity, and though for personal tastes the release ebbs and flows in its demands on ears and emotions, from start to finish Conduit offer a thoroughly magnetic proposition.

Eyes Wide Shut sets things rolling, a blaze of guitar amidst a sonic wind an immediate coaxing soon evolving into a vivacious tempest of sound and vocal intensity. Boyle offers a duel attack, at times his delivery a raw squalling enticement and in others a strong clean roar. Riffs and hooks align to keep ears under intensive encouragement and hostility too, whilst rhythms demand attention as they frame the creative turbulence within. It is a striking start to the album continued with equal success by Sovereign. A sonic jangle awakens ears first, its lure quickly joined by eager rolling rhythms, and in turn another web of vocals. A lot of attention is given to the vocals by the band, not to the detriment of anything else but to provide a varied and just as energetic offering as the music. It is an on-going side to the album which works a treat with the melodic tones of Boyle the scene stealer against his coarser incitements. As the opener, the track bellows and entices with invention and craft, even if it uses existing genre templates rather than crafts its own.

Conduit cover_Reputation Radio/RingMaster Review    The lighter and warm infectiousness of The Road swiftly shows there is more to the songwriting and imagination of the band than vociferous intensity. An electro bubbling lies in the belly of the proposal, whilst the melodies cast spring emotion and warmth in song and ears. The harsh assaults of vocals are not as successful for personal tastes against the excellent clean delivery of Boyle and the flow of the encounter, but do not prevent ears and satisfaction being captivated before making way for the bands new single, Others. The song is a lively, emotive stroll of pop rock with dramatic shadows and a fiery enterprise leaving only satisfaction in its wake.

The reflective throaty melody bringing next up Pulled From The Water is a mouth-watering entrance backed up by leaner but no less enthralling lures of guitar and bass. The raw vocals again do not quite work with ears, at this point the realisation that the draw for us is definitely the cleaner side of Boyle’s vocal presence coming through, though once the song erupts within its balladry with a caustic climate the growling tones make a pleasing hue. The song smoulders for the main though, making stronger proposals with every listen as does Let Your Breath Become Your Sound, after the brief intro presence of Interlude leading into it. The song is a tempest of angst cured calm and volatile emotion drenched atmospheres, an unpredictable and gripping landscape of sound and creative tenacity.

Previous single Outstretched Arms makes a telling hook for the senses and appetite, its voracious flaming and contagious catchiness combining for an encounter which intimidates and seduces simultaneously. The prime groove and rhythms are addictive bait whilst melodies and vocals create anthemic potency even with agitated and unsettled emotion coating their every move. It is no surprise the song alone raised additional anticipation amongst newcomers to Conduit for the album, such its forceful but endearing tempest.

Endearing is a great description for the closing We Were Kings too, the song a masterful tapestry of all the key and potent essences of the Conduit songwriting and sound. Light and dark essences court each other’s strengths whilst aggression and warm radiance almost battle as they align within the outstanding end to the album. The best song on Life On Repeat brings it to an end and ensures the release is a lingering memory.

It is fair to say that the admittedly increasingly enjoyable Life On Repeat did not ignite a fire inside as often as we would have hoped but only down to personal wants than any real deficiencies found within what is a thoroughly enjoyable and appetite awakening release. We watch the next step of Conduit with keen interest, and if it is more of the same then there will still be few particularly disappointed.

Life On Repeat is available from June 1st through all stores.

https://www.facebook.com/thisisconduit    https://twitter.com/ThisisConduit

RingMaster 01/06/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

 

CONDUIT put ‘Life On Repeat’ from 1st June

Conduit Shot Online Promo Shot

Coventry post-hardcore crew ‘Conduit’ are set to break with their ear-shattering debut album ‘Life On Repeat’, which is out through all stores on Monday 1st June.

Born in the West Midlands in 2009, Conduit are comprised of Dave Boyle working on bass & guitar, Ian Harris dishing out the riffs, Steve Hodge providing rhythm guitar and Dave Roberts hammering at the drums. Far from possessing the typical CVs you’d associate with many of today’s up-and-coming melodic hardcorers, two of the band members helped create a floor that appeared in a James Bond film, another volunteered for work in Bosnia and Herzegovina, and their lead singer used to spend his days working in a giant freezer. There is certainly something oft-kilter about Conduit, and it makes the ascending quartet even more intriguing.

The four-piece have a strong bond and friendship, and this solidarity seeps from their music. The Midlanders have a clear philosophy and have grafted diligently for the past seven years on shaping their sound and spreading their manifesto. With influences ranging from Underoath, Haste The Day and Rise Against, Conduit have fashioned a brand of post-hardcore that will batter its way through your skull, tug at your heartstrings, and genuinely make you think. The foursome maintain an earnest approach to song-writing united with meaningful lyrical content, rhythmic refrains, and thoughtful arrangements.

The band have also clocked up the mileage on the road and after a successful run of shows throughout the UK supporting everyone from War Of Ages, As Cities Burn, Listener, Continents, Heights, Oh Sleeper, Hacktivist, Through Solace, Max Raptor and Fathoms, to name a few, the foursome squirreled away, bracing themselves for a lengthy stint in the recording studio. They soon began work on their debut album, ‘Life On Repeat’, and emerged from the studio in 2015 with an absolute gem of a record.

‘Life On Repeat’ showcases the band at their best, casting a brilliant light on their shrewd ability to fuse and unify genres, despatching intoxicating songs that contort and wrap themselves around your ears. Opener ‘Eyes Wide Shut’ blows the roof off with its hi-octane vigour and full frontal assault, while ‘The Road’ displays the combo’s deft knack for delivering a contagious hook that will bed down with you for a spell. Their forthcoming single, ‘Others’, again highlights the quartet’s guile and astute use of dynamics to dramatic effect. Their previous single ‘Outstretched Arms’ further cements the unit’s unbridled quality as the track draws you in with its powerful hook and explosive rhythms, leaving you craving for more.

-CONDUIT RELEASE ‘LIFE IN REPEAT’ ON MONDAY 1st JUNE FROM ALL STORES & OUTLETS-

Conduit cover

https://www.facebook.com/thisisconduit     https://twitter.com/ThisisConduit

New textures and explorations: talking Wovenwar with Josh Gilbert

Wovenwar 1

The background and events leading up to the creation and emergence of the San Diego quintet Wovenwar have been well publicised as since has also been the might and thrilling adventure of the band’s self-titled debut album which was unleashed by Metal Blade Records a few weeks back. It has been a busy time for the band but kindly bassist Josh Gilbert took time out to talk with us about all things Wovenwar including its first steps, the excellent new album, and responses from fans of their previous band.

Hi Josh and welcome to the site, thanks for sparing time to talk with us.

Before we talk about your new album but without going into the well-publicised controversy around your former band mate in As I Lay Dying, can we look at the beginnings of Wovenwar and the decision the rest of you had to make about your musical horizon thereafter? Was the continuing of the four of you from As I Lay Dying in some form a no brainer with only the decision in what direction to be made or was there a serious chance you all would have gone your separate ways?

About a month after Tim’s arrest, we all got together to discuss what our future would be. The decision was unanimous that the four of us wanted to continue on, specifically as a new band. Most of us joined our previous band directly out of high school, so it’s the only thing we know how to do…write music and tour!

How long did the talks and decision to form Wovenwar go on between you all?

It was a one day thing. We met at Phil’s place to hang out and talk about the future and the decision was made that day.

This was obviously an intensive and turbulently emotional time for all concerned, do you feel that has brought something extra to the songs and sound of Wovenwar in some way?

Maybe not the sound in particular, but I think the writing process for Wovenwar allowed us to take our minds off the present in a productive way. We didn’t have to dwell on the past, only look to the future.

Once you made the step and set about working on songs and your debut self-titled album, was there a sense of freedom in any way to starting afresh and making music different to your very Wovenwar2successful former guise?

I think the sense of freedom came from knowing our new project had no boundaries in terms of the places we could go musically. We didn’t have a singer yet, so the process began with the 4 of us writing music only for us, no vocalist in mind yet

Musically did you simply see where ideas took you with songs and their sound or did you have some thoughts and intent already waiting to be uncaged which would not have worked with As I Lay Dying?

I think a mixture of both. In the past, there were parts we’d have to shave off or cut out completely due to our previous singer’s style. With Wovenwar we were able to see those ideas through a little more clearly.

For us the band’s sound is very different throughout, though you can obviously find essences which are familiar from AILD just because of the four of you being a perfect fit with each other creatively and musically. Was there any deliberate effort to cast a completely unique proposition or has it all been an organic emergence?

I think the organic emergence came once Shane was in the picture. We had written about 5 songs musically and had given them to him to see what sort of ideas/songs he gravitated to more than others. Once we saw what was and wasn’t working, it gave us a better idea of the direction to head in that complimented both the music and vocals the most.

Some see Wovenwar’s sound as a continuation of the last AILD proposition but forging new territories; we feel it is a wider gulf between the bands than that. How do you see the differences aside from the obvious vocal one?

I think the biggest difference would be in the dynamics. With AILD, we pushed the envelope of speed every album. We were at 110% at all times in terms of tempo, and heaviness. In Wovenwar, we wrote for the song. We weren’t afraid to take the verse down to 50%, only to build up the chorus dramatically and make it feel huge. It definitely allows us to take the songs on more of a ride than we were previously known for.

How did the link-up with vocalist Shane Blay, formerly of Oh, Sleeper, come about and was he an immediate target to recruit?

Shane and Nick have known each other for 15 years, and played in a band together when they were younger. We hadn’t really officially approached anyone to sing when Nick brought up the idea of having Shane come out and jam with us. We sent him a couple of demos and he began writing to them. Once he was here and we heard his ideas we knew it was the perfect fit.

Wovenwar liveHis stunning tones are very much unique from those of Tim, has this made you look at or affected your songwriting in any different way, to help embrace and employ his great voice to full effect?

I think we just made sure that our music fit the spectrum of his abilities, and vice versa.

Give us some idea of the first times you all sat down to write and work on songs or their seeds. Did you take the determined opportunity to try new things and explore new styles/flavours or again was it just a see what comes out type scenario?

We really just sat down and let ideas flow. No preconceived idea of what we wanted, or to venture out specifically, we just let the music write itself and it flowed out pretty naturally.

How has the songwriting process emerged within the band?

Usually a single person brings a riff or collection of riffs to the band and from there, we decide which songs everyone seems to be interested in and we focus on those collectively. 4 separate members wrote songs on the record, which is a first for us.

What are the major inspirations behind the songs and their themes, and does some of it stem from the months between the two bands?

Well, Shane wrote most of the lyrics this time around, but they cover a variety of topics….personal redemption, unfaithfulness, being jaded by the music industry, etc. They cover a lot of ground.

Did you enter the recording of the album and the studio aspect generally any differently than your AILD releases previously?

Not really. Songs were about 95% there already, as we had demoed the entire album before Bill arrived. I guess the biggest difference would be in the sheer amount of time spent on clean vocals. They take longer, and far more effort and nuance to record as compared with screams.

How have AILD fans taken to the album generally?Wovenwar cover

It’s a mixed bag. Most are positive, and have been amazing throughout the transition. We couldn’t be more thankful to those who have stuck with us. There are a few who don’t know what to make of the vocal change, but we think we’ll win them over. They just have to realize that this isn’t AILD pt. 2, and that it’s a new band. With that perspective, I think a lot of them will be able to appreciate it for what it is, and not a ghost of our former band.

You recorded the album with producer Bill Stevenson who worked on the last AILD album too. Was this one of the easier decisions in regard to the album, bringing Bill on broad and what is it about his work and presence which stimulates you guys musically?

Bill was the only producer we approached, due to Awakened turning out so well. We love the fact that Bill cares more about the structure and how the song builds than the solos, riffs, etc. He helps us keep that in perspective. He also just a great person to work with and it keeps the mood light.

Not only us but seemingly across the board, the album has made a massive impact and reaped deserved acclaim. Has its initial success outpaced your own hopes for its welcome?

We honestly had no idea what to expect! What I can say is that the reaction definitely surpassed our expectations and we’re grateful for that. We know it’s time now to get out there on the road and earn it.

Once again a big thanks for taking time out to chat with us. Have you any last thoughts for the readers?

Thanks so much for checking out the record and we hope to see you crowd surfing at our next show in your town!

Read the review of Wovenwar’s debut album @ https://ringmasterreviewintroduces.wordpress.com/2014/08/08/wovenwar-self-titled/

http://wovenwar.com/

Pete RingMaster

The RingMaster Review

Copyright RingMaster: MyFreeCopyright

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

http://audioburger247.webs.com/

Wovenwar – Self Titled

MainGroupShot_02_byTyWatkins

Pic by Ty Watkins

The events around and causing the imprisonment of As I Lay Dying frontman Tim Lambesis is a well-publicised happening which does not need our commentary. It also left the rest of the band with a major decision. No strangers to success and acclaim, the remaining quartet of guitarists Nick Hipa and Phil Sgrosso, bassist Josh Gilbert, and drummer Jordan Mancino had to decide their next step and thankfully chose with music their life and calling, to strike forward with a new project and what a stunning proposition it has turned out to be. Recruiting lifelong friend and ex-lead guitarist/vocalist of Oh, Sleeper, Shane Blay, the quintet emerged as Wovenwar and has just unleashed a monster of a debut, in their fifteen track self-titled album. Exploring with muscular ferocity and passionate tenacity the melodic metal side of their imagination, the band has created a proposition as distinctly different yet equal in quality and temptation to anything their previous triumphs have unveiled.

Recorded with producer Bill Stevenson (Descendents, Rise Against, NOFX, Black Flag) and mixed by Colin Richardson (Slipknot, Machine Head, Trivium), the album also reaps with sinew driven voracity the rich essences of hard rock to create blazes of sound and enterprise which stand astride genres whilst offering recognisable flames within fresh adventures. On top of that there are the, at times breath-taking and always tantalising vocals of Blay, his clean tones which helped shape his previous band given full expansive rein here to excel and show the strength and weight of the man’s power and craft. It is a magnetic and persistently surprising mesh of sound and ideation which courses the album and immediately awakens attention and appetite through All Rise which follows the opening intro of Foreword. A drama instilled prelude to the creative emprise ahead, the opening track makes for a potent coaxing before the second track explodes with a thumping roll of rhythms, agitated riffs, and a sonic shaping of melodic intent. It is a busy entrance soon enhanced by Blay and the heavy throated predation of the bass. The track is swiftly as anthemic as it is technically bewitching, guitars and drums nimble footed yet leaving heavy impressions with their stormy endeavour.

Death to Rights erupts with similarly intensive and rugged energy and adventure next, jagged riffs and demanding rhythms evolving into scorching weaves of melodic passion and sonic intrigue, though that only hints at the fluid Covermovement and invention within the blistering encounter. As the album, every aspect of the song calls out with invigorated energy and refreshing ideation, raw and almost antagonistic power crowding in with sultry melodies and rapacious infectiousness. It is probably unfair to say the members of the band have found a new lease of life with Wovenwar but certainly there is a freedom and elation to the sound and passion behind it which is as magnetic as the songs themselves.

Through Tempest and The Mason, band and album continue to impress with no restraint. The first of the two finds a carnivorous tone to the bass which alone ignites the passions but also makes a shapely blend of that aggression with an elegant melodically tempering countenance to remind of a more ferocious Sick Puppies. The second of the pair digs into a more furious breath in sound and personality, though the rich tones of Blay never allows the primal intent and fury beneath his vocals to have complete reign with their glorious causticity. The same applies to Moving Up and Sight of Shore, though they are more even tempered naturally with easily pleasing and flawlessly accomplished if less imposingly striking presences compared to previous songs on the album. Each leave a greedy appetite well fed nevertheless before Father Son makes its claim for best track notoriety. The song is simply bewitching, its soothing melodic opening caress over a metronomic lure, irresistible coaxing which increases in temptation as soon as Blay opens up his deliciously mesmeric tones. With keys an evocative ambience over the picturesque narrative of the guitars, and both colourful scenery in a mountain range of epic rhythmic enticement, the track is pure poetry as it leads to its mouth-watering climactic crescendo of a finale.

Profane then thrusts ears into a tempestuous exploit with thunderous rhythms and scathing riffery, the track the rawest and anthemically volatile track on the album yet still holding a seduction which wraps around the aggression and vocal roars which Blay unveils within ever formidable delivery. It is a beast of a track which along with its predecessor puts the likes of Archers and Ruined Ends under pressure to deliver. Neither falls at the hurdle though, the first a voracious blaze of entwining sonic rages, passion drenched vocals, and flavour fuelled melodies whilst its successor is a deeply satisfying mix of abrasing textures and contagious designs ridden by earnest and heated vocal expression.

Things take a bit of a breather with Identity, its well sculpted and unquestionably impressive presence also lacking the spark of those leading up to its moment, though again to be fair there is nothing to leave disappointment a chance to breed. Matter of Time is in its own individual way the same, which offers the suggestion that maybe the album was a couple of songs or so too long but with its compact yet weighty intimidation and stormy air leaving senses and thoughts contented, you feel to omit it and other tracks would be to our real loss.

The album is completed by the acoustically opened Prophets, another spellbinding matching of Blay’s voice and melodic guitar enticing as group harmonies float engagingly over the poetic scenery which works into a climactic landscape of equally thrilling provocation, and lastly the cinematic instrumental Onward which gives the imagination one final flight to immerse in. It enjoyably concludes a scintillating proposition which proves that every cloud has…etc. Though its members are no newcomers to creating inspirational metal, Wovenwar has made a debut which definitely is startling and leaves anticipation for their next step afire, and the passions right now basking.

Wovenwar is available via Metal Blade Records now @ http://www.indiemerch.com/metalbladerecords/band/wovenwar

http://wovenwar.com/about

9/10

RingMaster 08/08/2014

Copyright RingMaster: MyFreeCopyright

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

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Dead Winter – Erasing Glaciers

 

Dead Winter Online Promo Shot

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

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

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

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

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

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

www.facebook.com/DeadWinterUK

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

9/10

RingMaster 02/02/2014

Copyright RingMaster: MyFreeCopyright

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

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