Escape The Justice – Abscond EP

Escape The Justice

We cannot claim that post hardcore band Escape The Justice is exposing yet anything startlingly new for the genre on their debut EP Abscond, there is something invigorating and fresh about the Manchester quintet which makes them stand out whilst entrenching a promise and expectation that they will evolve into something unique and intensely potent. The six track EP is a striking and passionate affair which captivates from start to finish as it explores the band’s creativity. It uses existing armoury for sure but strips it down and rebuilds it with a heart and aggression that slaps the listener strongly on the senses for a richly pleasing and dramatic confrontation.

The band was formed in January of this year by vocalist James Holman, guitarist Tom Crane, and drummer John ‘Jay Kay’ Kendrick, all three formerly in Our Innocence Lost. Bringing in bassist Abe Shimmin and guitarist Jonny Gill, the band took no time in attacking their passionate and aggressive intent with a sound which initially was suggested at in the latter part of the founding three’s last band but has now been expanded and taken to new boundaries. Recorded at Patron Sound and produced by Elliot Middleton (guitarist of I’ll Stay in Memphis) and then mastered by Joey Sturgis of Foundation Recording Studio, Connersville, Indiana, Abscond makes no pretence of its will and hunger and takes no time in engaging, seducing, and then ravaging thoughts and emotions.

The release opens with warm but senses alerting atmospheres as first track Ascension brews into view. Once settled in the ear 400726_474142499317563_1163921761_n keys and guitars gently place their narrative on the table as the mellow tones of Holman tenderly make their embrace. It is not long though before his tones turn to a rapacious squall within the still smouldering invitation, beats and bass adding melancholic resonance around him. Turning up their intensive heat the band unleash sinewy textures to provoke further emotion before simmering again into a magnetic melodic seduction. It is a strong start which it is hard to say if a full track or introduction; truly it is neither but a compelling beckoning somewhere in between.

The following Austerity is bred from a short sonic lancing before turning into a corrosive blaze of rhythmic tenderising from Kendrick and acidic guitar fire from Crane and Gill, both taking their bite at the senses with intrusive twisted riffs and flesh sculpting sonic searing. It is an imaginative and violent piece of inventive confrontation with the great blend of clean and scowling coarse vocals as enterprising and impacting as the maelstrom of sounds.

Aegis takes its turn on the senses next, the song a torrent of predatory vocal deliverance and malicious sonic artistry. Like its predecessors it is also a thoughtfully composed and deliciously delivered blend of melodic temptation and aggressive rabidity but takes things further in its inventive shifting and shuffling of ideas and directions. Unpredictable and continually riveting it is an outstanding track which alongside Austerity stands as best on the release whilst again sparking the expectation of even greater things ahead on the band’s horizon.

The next up Addicted also steals the march on most other genre released songs, certainly this year, with its esurient energy and hunger, not forgetting accomplished musicianship and craft. Though not a song which stands out on the release itself as much as others, it is a fluid and unrelenting grit fuelled fury with a djent tendency to its attack and ferocity to its passion.

From the short ambience soaked instrumental Abeyance, the Abscond EP ends with the brutal Anoesia, a track which tears at the senses and chews vigorously at thoughts from its opening seconds. Like the others though it is not one to settle in a single guise or stance and expands into an excellence tempest of outstanding varied vocals, barbed guttural scrubs, and melodic alchemy within caustic maliciousness. It is a scintillating finale to an impressively striking release.

You still feel there is a way to go before the band find their truly unique voice but Abscond suggests it is just a formality. For fans of the likes of Memphis May Fire, Heart of a Coward, and Of Mice and Men, Escape The Justice has all the potential and skills to become a major presence in UK rock, and with the Abscond EP being offered for free Download for just twenty four hours from 12 Noon on Saturday June 22^nd it would be stupid no to join their rise from its very first steps. Find out more at http://www.escapethejustice.com

https://www.facebook.com/escapethejustice

8.5/10

RingMaster 21/06/2013

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Chasing Dragons: Take Flight For A Firefight

Aug8

In already a year of immense debuts maybe the most impressive of all comes on August 13^th with the release of Take Flight For A Firefight from melodic metal/rock band Chasing Dragons. It is a release which quite simply leaves the heart afire with unbridled passion and enthusiasm , the UK rockers flooring expectations and the senses with their introduction to the world. If you had any doubt about the state and future of British rock music then Chasing Dragons easily lay it to rest.

Formed in 2011,the quintet from Leeds fuel passions with a riotous mix of metal and rock n roll. They bring the aggressive bite of The Distillers and snarling punk energy of Bikini Kill into a refreshing blend with classic metal flavours from say an Avenged Sevenfold and the melodic prowess of a Paramore. What emerges is something unique to Chasing Dragons laced with familiar spicery to make for an instantaneous pleasure and connection. The band has been picking up a very strong and rapidly growing following as through their stage performances which has seen them alongside the likes of Attack!Attack! (UK), The Headstart, Skarlett Riot, and Our Innocence Lost to name a few. Take Flight For A Firefight though will throw the band to much loftier plateaus once it rampages through the ears of metal and rock fans nationwide, the EP that impressive.

As soon as the first electrified riffs of opener Spawn Of The Succubus light up the ear one is immediately and fully drawn into the moment as if nothing else exists and as soon as the outstanding vocals of Tank spread their stunning tones throughout the song, the world is a distant memory. There is something extra in the character of her delivery and voice which demands and receives willing attention, whilst her control of melodies and intensity sets her apart from most other female vocalists anywhere. The song itself is a fury of scything scorched melodic play and inciting muscle bound riffs from guitarists Mitch Sadler and Zebs alongside the thumping explosive rhythms of bassist Ant Varenne and Tom Wheelwright on drums. The track has a gnarly core within the open infectiousness of the golden melodies and contagious hooks to give it a depth and hungry presence. It throughout is lighting up the senses with majestically enticing craft and imagination but all the time also chewing on them with an underlying greed.

The startling and captivating start is backed up by the following bristling harmonic glory of Mirror’s Edge. A softer yet no less riveting appeal to the ear, it is an evolving piece of invention fusing military rhythms to enchanting melodic caresses from music and vocals alike. It then turns the emerging brew in to a punchy storm of expressive and incendiary energy. Again as on every song the voice of Tank is something special, a wonderful piece in the arsenal of a band just as special itself. Even though it only two tracks in on their debut the promise of the band let alone what they lay before the ear is overwhelming.

Rivalling the opener for best song is the brilliant Seeds Of Tomorrow, a song which showers the listener with glittering melodies , golden harmonies, and sparking guitar play, like confetti. The song is full contagion brought with a potency of craft and songwriting which is staggering. It does not offer any restraint on their power either, the song a wondrous slice of metallic rock n roll.

The bulging release also offers up the excellence of the hypnotic City Of Steel to further have one licking their lips as well as a very impressive cover of the Alannah Myles track Black Velvet, which is no lie to say leaves the original in its wake. The EP is completed by remixed demo recordings of Into The Pit and Under The Earth which in their rawer form still show more promise and accomplishment from the band than can be found in other studio releases, plus two excellent live acoustic songs of again Into The Pit and Spawn Of The Succubus.

Take Flight For A Firefight is simply staggering and the cause of full excitement to what is sure to come in the future. Chasing Dragons is already on the verge of something special and we can only be the winners, so no point in waiting go and enjoy now.

http://www.chasingdragons.co.uk

RingMaster 08/08/2012

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The Inner Sanctum 22

Jul10

Persistently striving to find new heights and never settling on what is easy The Reputation Radio Show last week unleashed its first full episode of The Inner Sanctum. Never a show for the faint hearted but for all with a heart for the best new music this was an event which flew on full boosters and unbridled mischief.

Hosted by the unpredictable talent of Johnny Summers aided by the simply indecipherable Pete Ringmaster, The Inner Sanctum left scorch marks in its tracks with some of the finest new sounds and artists yet to be featured on Reputation Radio Show as a whole, which with their pedigree and impressive finds shows the quality of what was unveiled alongside favourite new and older independent classics.

The show also featured live a persistent offender musically and comically on the show in drummer extraordinaire Paul Holden and new victim rock guitarist Matthew Meadows. With two artists as unable to contain their enthused banter as the host of the show it was a car crash made in heaven and irresistible listening. What emerged from within the mayhem was an enthralling update firstly from Paul about where he was musically. With the demise of the band Nowhere Fast, the drummer unveiled the reasons for its end and where he was looking in regards to the direction of his musical career. He also talked about the cover band he plays in, The Djinn which knowing the thoughts and aversion to such things by half of the Reputation crew was a brave move, who said drummers had no sense of humour.

Matthew Meadows had no problems with bands though one feels he would in many ways like to at some point in a positive way. The show was let into the early life of Matthew as the man talked about his days as a ballet dancer, the move to being a guitarist, computer programming, and his sexual relations with R2D2 and his carnal knowledge of a dalek. Ok the last two might be more our imagination as due to mic problems his end he sounded occasionally like Robby the Robot on a washing machine so we are making assumptions of what he might have said. Seriously though it was enlightening to learn more about the man who perpetually confuses people before it dawns on them where he is coming from with his striking videos and eager to impress sounds.

On the music front the show was no less thrilling as it brought to its audience for the first time the simple mesmeric beauty and charm of the music of Holly Walker through her song Modern Life taken from her brand new EP Bedroom Bangers and the surging rock imaginations of The Secret City with a track from their new self titled album in the shape of A Call. Both went down a storm with requests to hear the tracks again on the same show which unfortunately time did not allow but Johnny and Pete had already decided such their own enjoyment and impressed responses to both songs there would be more airings on future shows.

The show also featured an exclusive play of the title track from the just released Eloquently Violent album from electro/industrial band Illustrial whose Baz Badrock joined the show in the chatroom as did the band and tour manager of another band to be featured especially on the show Our Innocence Lost. Taken from their latest album Like A Complete Unknown, it was the first time the song End of Time was played on the Reputation Radio Show and it also went down a storm with the audience. The play was also enhanced by the fact the band who were playing a gig that night were listening in through the wireless set up of Manager Rog in their tour van outside the venue whilst the event was going on. Such their enthusiasm to hear they hid from the venue staff until the very last minute just so they did not miss the song and then proceeded to blow the venue, audience, and the other bands away with the powerful performance of which they are renowned.

With additional great music from the likes of Tim Bennett, The Escape, Slam Cartel and The Shanklin Freak Show, to name just four of the multitude played, it all added up to a brilliant and enjoyable show. It was not as confrontational, dangerous, and in your face as before…no it was even more so and all the better for it. On every Friday from 9PM UK time, The Inner Sanctum looks like being one show which no one will want to miss and if they do they have the podcast of the show to greedily unleash their inner mischief with anyway.

Check out the podcast of the show @ http://www.spreaker.com/user/reputationmedia/innersanctum22 and tune in live each week @ http://www.reputationradioshow.com/

Find out more about the artists featured @…

https://www.facebook.com/hollywalkersongs

https://www.facebook.com/pages/The-Secret-City/270623946291067

https://www.facebook.com/ourinnocencelost?ref=ts

https://www.facebook.com/pages/Illustrial/104161896358

https://www.facebook.com/matthew.meadows

https://www.facebook.com/paul.holden1

RingMaster 09/07/2012

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Our Innocence Lost – Like A Complete Unknown

Mar9

From Manchester, UK rockers Our Innocence Lost is a band with a difference. They robustly incite and flare up the senses like many other quality bands but surrounding their heavy forceful riffs and direct and far reaching melodies there is a passion and personality to their sounds which few other bands can bring as readily and consummately as the North West quartet. The music comes from beyond the heart, the band putting their soul into the eagerly absorbing creations they produce. Their new and second album Like A Complete Unknown is the perfect proof of their natural and organic use of this heartfelt emotion. It is taken and blended into an infectious melodic rock sound that never stands still, forever provocative and always trying new diverse ideas.

Formed in 2006 Our Innocence Lost has taken the UK by storm up and down its length as well as venturing over into the United States to great effect. Critical acclaim surrounded the band with the release of their debut album Facts Called Fiction via Sideout Records of Japan in 2008, the country alerted to a fine emerging rock band which was emphasised and built upon by a 36 date UK tour with American band Darling Waste and sharing stages with the likes of Voodoo 6, Glamour Of The Kill, Jody Has A Hitlist, Dear Superstar, Reckless Love, My Passion and Kiros over the past two years. Written and recorded during 2011 at Patron Studios with producer Elliot Middleton, Our Innocence Lost has unleashed in Like A Complete Unknown, an album which takes you to its heart instantly. It is a strong successor to their debut and more importantly an impressive continuation of the bands maturity and songwriting ability.

The album offers a heady blend of songs spawn from the flavoursome mix of alternative rock and post hardcore sounds that have evolved over the past years. From the opening Worthless it attacks with a surety of a band confident in its path and skilled in its ability to get there. With sturdy riffs and attitude soaked vocals from James Holman the song plunders the ear with a defiance and strength which is impossible to resist. The guitar of Tom Crane is inventive as it leans on the senses with a striking melodic energy ably supported by the stirring bass of Steve Taylor and drummer Johnathan Kendrick, who constantly demands attention with his muscular beats.

One of the things that has grown within the band in the recent years is the harsher side of their sound, the post hardcore intensity raised to form a tight contrast and companion to the melodic prowess the band possesses. Holman growls and expresses a caustic malevolence at times which is an opposite extreme to his excellent clean vocals. It works impressively with the band using both spectrums seamlessly and always at the moments a song needs it. Shout It Out is a perfect example. It is a song which engages the ear through mesmeric melodies and calm emotion but then removes the safety net with harsh interventions that stir things up wonderfully, expressing the lyrical turmoil to great effect. The song has led many people in eager anticipation for this new album, finding repeated airplay with the likes of The Reputation Introduces Radio Show. The song also raised expectations for the future which have been answered and surpassed with Like A Complete Unknown.

The songs come thick and fast in power and emotive creativity. The likes of the excellent End Of Time with a glorious bass led mid section where the band unleash their ability to out rock any band metal or other, the impressively diverse monster How Soon We All Forget, a song which easily combines a towering intensity and hard riffs with caressing smooth melodies, and the metal guided hard rock glory of Thank You take the album to distinct heights. It is a thoroughly consistent album too, from the more urgent strikes from songs like Breathe Deep and Over And Over to the inventive and exploratory sounds of the power ballad like Damaged Goods and Last Goodbye, the album never fails to bring a deep satisfaction and pleasure.

It is hard to pick any holes in the release apart from maybe an initial similarity which runs seemingly across it. Close attention shows that it is not so and there is a deep wealth of sound and variety within its walls but that initial impression does deceive quite strongly. Like A Complete Unknown is an excellent album from one of the very best emerging rock bands in the UK, do yourself a favour by taking a listen.

http://www.ourinnocencelost.com

Ringmaster 09/03/2012

Decode

Jan24

UK rock band Decode begin 2012 in the same vein they graced the previous year, with a fine release in the shape of new single Before We Burn. To be released February with an excellent accompanying video, the track shows a band on a strong rise and one that crafts music with minute attention and passion. Previous EP Shaping Shadows from 2011 announced the band as ones to watch with its fascinating blend of big rock sounds, engaging melodies, unpredictable twists, and metal edges. The new single cements all previous thoughts whilst placing Decode as a band on the verge of greater heights.

The Sheffield quartet (a five piece live) have recently linked with Ambicon Records and one can only feel things are falling into place for a band already acclaimed for their music and vibrant live shows. Their sound is a heady creative mix that recalls the likes of Fightstar and Taking Back Sunday as well as Manchester band Our Innocence Lost and label mates Down The Machine. The guitars of Adam Mintram and vocalist Daniel Jeffery rampage through tracks whilst bringing stylish and often intricate melodies and variation. The band are not afraid to add swooping keys and haunting strings either to make each track an experience that holds something new no matter the amount of times you listen to it.

The single opens on an emotive guitar before harsh growls lay on top leading to excellent smooth vocals from Jeffrey. The frontman’s delivery is expressive and controlled, the song’s passion dripping from every word, and assisted by the equally strong vocals of bassist Lewis Wild their vocals are as compulsive as the sounds surrounding them. Before We Burn is littered with rock hooks alongside its metallic aggression and though these never slip into the obvious they are easily digestible and mesmeric.

The single is a natural progression from the Shaping Shadows EP, the track feeling an easy fit with the songs making up the previous release. This does not mean a lack of progression just the high quality of the band’s songwriting from day one. Released April 2011 the EP is a bustling and exciting collection of songs. From the opening title track the release unleashes everything the band possesses from power and aggression to creativity and melodic intricacy. With sing-a-long parts and teasing hooks the song is an instant invitation to the band and their stirring rock sounds. The bass of Wild is deep and taunting, playing with the senses whilst drummer Daniel Greasley wonderfully softens up the ear with deliberate and skilled abuse and the guitars unveil their musical twists and turns.

‘Your Country Is Ours’, ‘If Only (We Live To Tell The Tale)’, and ‘The Days After You’ carry on the great and attentive quality whilst the striking and excellent ‘Enemies’ punishes and pleasures with equal measure and intent. So far every song unveiled by Decode has the ability and desire to rile up the senses whilst treating them to soulful melodies and infectious excitable energy. This energy that floods from the recorded tracks gives eager thought and anticipation to the impressive live force they must be and the carnage they unleash.

One still feels there is much more to come from within Decode to really define their sound but they are already leaving many other bands in their wake and 2012 feels like the year they will become the focus of a great many more enthused ears.

For a free download of the Shaping Shadows EP go to www.soundcloud.com/decodeuk

RingMaster 24/01/2012