Animus – Fall of the Elite

Animus Online Promo Shot

    If you understandably missed the limited regional release of the Fall of the Elite EP last year, Scottish metallers Animus have provided another chance to immerse in its tempest with its deserved nationwide unleashing. Consisting of four savagely aggressive and rivetingly varied slabs of sonic provocation, the band’s introduction is a mouthwatering onslaught providing a well of satisfaction as deep as the promise also rampaging through its sinews. Its sound whips up an antagonistic fury from a brew of progressive death metal and djent with technical and groove metal, creating a predation which is equally recognisable and innovative. Fall of the Elite certainly suggests this is a band still evolving its presence but one with major expulsions ahead you easily feel.

     Hailing from Dundee, Animus was formed in 2010 by drummer Poul Thomassen and guitarist Sam Gilmour. It was not long before the pair was joined by second guitarist Graham Brown and Gavin Holloway on bass. The first couple of years saw the band playing around Scotland drawing strong support and responses but it was with the addition of vocalist Aaron Fawns in 2012 that it could be said a spark ignited within the band, the quintet finding that something bringing everything into focus and vital explosiveness. A further rampage of shows ensued, including sharing stages with the likes of Bleed From Within, To Kill Achilles, Here Lies A Warning, Heights, Silent Screams, Chronographs, Hero In Error, Our People Versus Yours, and I Divide, all only increasing the stature and reputation of the band. The final weeks of 2012 saw Animus enter the studio to sculpt their debut Fall Of The Elite, influences from the likes of After The Burial, Suicide Silence, Bring Me The Horizon, Whitechapel, and Tesseract spicing up their own distinct toxicity. After a well-received first unveiling, the EP is now poised to work on the rest of the UK with its ravenous and creative intensity.

    Drawing a single breath whilst a groan brews in the background, opener Damnation announces its presence with an intriguingAnimus - Front Cover air accentuated by sirens and an apocalyptic ambience. With the scene set, the track emerges from the anarchy with forcibly twisting grooves and percussive provocation speared by vicious rhythms skirted by predatory riffing. The vocals of Fawns snarl and growl with bile soaked animosity, his direct intent sharing enough variety to engage whilst musically the band lashes and entices the senses with a masterful and bold invention. The song is not the most malevolent and violent proposition but holds an intimidation and intensity which leaves knees buckled and ears scarred as its imagination captures that of its recipient with ease and enterprise.

   The following DB8666 follows suit but instantly uncages a lethal groove and commanding swagger which leaves its predecessor in the shade. The swinging contagion of the track is clad in a threatening musculature upon a djent inspired spine whilst it’s flailing sonic arms and acrid melodic adventure provides the most compelling hues to potently ignite the imagination. Every move and twist of the song is pure infectious bait, at times almost too involved in itself but never relinquishing the tightest entrapment of thoughts and emotions. As all the tracks upon the EP, there is plenty to discover with each subsequent encounter, certain underlying textures and touches unveiled within the increasingly persuasive tempestuous engagement after numerous excursions.

     The following Home(less) is a bestial display of maliciousness but one aligned to the most creative progressive enticement yet. The guitars sculpt simultaneously uncompromising and seductive endeavours whilst bass and drums carve out bruising lures which also only beckon and threaten. Once again the song is a cascade of innovative manipulations which flirt with indulgence and chaos but only to tease and taunt within its skilled and deliberately devious craft. That dramatic and alluring enterprise is pushed further with the closing title track, its bewitching opening progressive design of melody caressing keys wrapping the ears in a transfixing coaxing before being joined by staccato riffs and splintering rhythms within a brawling cast of sonic causticity. Carnivorous in its stalking and guitar endeavour whilst magnetic in its continually evolving melody induced progressive searing of the air, the track is a smouldering rampancy which seizes an instant lingering submission for its ruinous nature and assault yet slowly burns an even greater seduction in the passions over time and multiple unions.

   The outstanding climax brings a similarly impressive release to a close leaving anticipation and appetite for Animus a greedy hunger. Certainly the release shows that the band is yet to find its truly unique presence but that is only a matter of time with, on the evidence of Fall of the Elite, stronger dramatic triumphs destined to follow. This is an immense exciting start and base for their horizons and the open doorway to eager recognition countrywide.

www.facebook.com/AnimusUK

9/10

RingMaster 03/03/2014

 Copyright RingMaster: MyFreeCopyright

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

http://www.audioburger.com

ANIMUS declare the ‘Fall Of The Elite’, on 3rd March‏

Animus Online Promo Shot

DUNDEE PROGRESSIVE METAL CREW ANIMUS REBOOT THEIR EAR SHATTERING DEBUT EP THIS SPRING!

Drawing musical influence from a host of sources stemming from After The Burial, Suicide Silence, Bring Me The Horizon, Whitechapel and Tesseract, Scotland death metal progsters ‘Animus’ are primed to take the UK by storm with their cutting blend of crossover metal. The rising five piece release ‘Fall Of The Elite’ on Monday 3rd March through all stores.

Animus began life in 2010, with beatmaster Poul Thomassen on drums and Sam Gilmour handling the guitar. The duo soon enlisted Sam’s old college buddy Graham Brown on second guitar and new friend Gavin Holloway on bass. For the next two years, the band played throughout Scotland, wrestling to hold down a permanent and reliable vocalist. However, all of this changed in the Summer of 2012 when the four-piece hooked up with Aaron Fawns, and everything just clicked into place. Aaron immediately joined the band as full-time vocalist and the revitalised noiseniks soon picked up the pace with a flurry of explosive shows throughout the northern territory supporting the likes of Bleed From Within, To Kill Achilles, Here Lies A Warning, Heights, Silent Screams, Chronographs, Hero In Error, Our People Versus Yours and I Divide.

The five-some closed 2012 by heading into the studio to lay down their official release in the shape of their “Fall Of The Elite” EP. Because the EP only received a regional and limited release during the early part of 2013, the band have decided to unleash the record with a full national release and extensive touring for Spring 2014. And rightly so, as the record deserves to be thrust into the limelight. From the full bloodied fury of the opener track ‘Damnation’ to the death prog beatings of the EP’s namesake ‘Fall Of The Elite’, the record showcases a band that will be a prominent force in the UK metal scene for many years to come.

=ANIMUS RELEASE ‘FALL OF THE ELITE” ON MONDAY 3rd MARCH 2014 THROUGH ALL DIGITAL STORES=

Animus - Front Cover

 

 

I, The Writer – The Prisoner’s Dilemma

Sitting EDIT

    The Prisoner’s Dilemma is one of those releases which you can debate the originality of its contents and how easy it is to place side by side with many other same genre bred bands, but there is something about I, The Writer and their form of melodic metalcore which certainly engages deeper and longer than most. Hailing from London, the sextet with their debut full-length release shows a craft and imagination which leads thoughts and feelings to suggest that there is a real promise and presence within their grasps, an assumption that eventually we will see them forging their own identity. If it does not came to bear, on the evidence of their first album it will still be a pleasing and solidly appetising ride with the band anyway.

Taking wide influences from the likes of Memphis May Fire, August Burns Red, Killswitch Engage, and Linkin Park into their own ideas and invention, I, The Writer made their presence noticed back in the autumn of 2011 with debut EP The Narrow Minded coming the following year. Extremely positively received in the UK and beyond, the release and stature of the band was supported and elevated by performances alongside the likes of Being as an Ocean, With One Last Breath, Napoleon,  Against The Flood, Our People Versus Yours and many more. Signing with Self Made Records earlier this year, the band now make their biggest statement of intent with The Prisoner’s Dilemma and though it does not flatten down existing boundaries for metalcore it undoubtedly tantalises and awakens a strong appetite for their sound.

The album opens up with the decent enough instrumental Forever…, a brief scenery painting which leads into …Falling To Pieces, a itw_albmCVRtrack which seizes its moment and savagely chews on the senses with djent pilfered strikes and voracious rhythmic antagonism whilst melodic atmospheres weave a fire within the intensive engagement. The strong dual vocal attack of John Dudley and Mitch Richards with their corrosive and clean deliveries, though from the promo it is unclear who provides which aspect, makes a potent focal point within the abrasive tempest and as mentioned though the track does not startle against other bands there is an underlying, whispering persuasion that leaves a long term and tempting touch.

Both the following To Be A Man and Chin Up impose their strengths in the strong start of the album, the first an immediate abrasive lure with the guitars of Dan Cuaces and Nejib Kthiri stirring up the air and senses with entangled sonic twisting and evocative play within another confrontational badgering whilst its successor snarls and scuffs up the ear vocally and musically from the off to provide a charge of sonic teeth within a carnivorous jaw that is exceptional. The drum work of Kaine Levy never relents in threatening and challenging the listener whilst the bass of Josh Levy skirts the senses like a rabid beast preying on the victims of the ever scarring riffs and guitar enterprise. The merger of clean and melodic elements to the ravaging breath of the song is impressive though for once such the intensive pleasure gained from the untamed assault it outshone the mellower casts.

The likes of Faith You Breathe and Taken From The Teeth, which features Ricky Armellino of This or the Apocalypse, skilfully reinforce the impact of the album if without reaching the heights of the songs before, whilst This Night Will End tempts and barracks the ear with jagged guitar taunts and a vocal narrative that continually shuffles up its approach to match the simultaneously shifting thought and sound of the song. It is probably fair to say that some tracks on the album hold too much of at least a surface similarity though delving deeper does bring a distinction which cannot be dismissed, something Until The Pendulum Learns To Walk does its inventive best to prove. A resourceful and passion drenched song it makes an unpredictable break in the scheme of things whilst still being firmly aligned to all around, and emerges if not the most explosive track the most inventive on the album.

The release is completed by the more than decent Past The Void and Standing Brave, two once again well designed and defined songs but a pair wrapped in an already established wash on the release. They do emphasise the rich promise and existing craft of I, The Writer with ease and like The Prisoner’s Dilemma as a whole, suggests there is a great band emerging from this strong and satisfying base.

https://www.facebook.com/ithewriterband

8/10

RingMaster 19/08/2013

Copyright RingMaster: MyFreeCopyright

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

http://www.audioburger.com

Anchored By Avarice: Axillion EP

aba

     Encapsulating the listener in a sonic furnace of heat, intensity, and passion, the Axillion EP from UK metallers Anchored By Avarice is a corrosive invigorating fire which extinguishes the air from lungs and replaces it with incendiary promise and awe. To be honest the release is so accomplished and captivating that it is a finished confrontation in its own right but you still feel there is much more to come from the band in imagination and craft, let alone further uniqueness.

The quintet from Wakefield formed in June 2011 and set about creating a tempest of invention and melodic destruction. Primarily you can declare the band a metalcore onslaught but with scorching flames of djent, hardcore, and melodic death metal to their confrontation, it is a sound which has a distinction and imagination which sets the passions ablaze and marks the band as a rising target for attention and acclaim. Already having unleashed live scourges upon stages alongside the likes of Villa Rise, Silent Screams, Our People Versus Yours, The Omega Particle, Carving a Giant and The Colour Line, the band is currently in the midst of a UK tour, dates to be found on their Facebook profile, and on the evidence of Axillion this is one band not to be missed if threatening your town.

Opening track Endless Corruption sidles up to the ear with seductive sonics and mesmeric keys filling a subdued ambience with 1600x1600coverslight agitation and compelling beckoning. It is a brief invitation before a surge of senses buffeting riffs and crisp unforgiving rhythms stretch and ignite their muscles, the initial elegant caress still in place but with a stronger acidic and cutting breath. The vocal squalls of Tom Bellamy immediately grab attention, their almost accusing forceful brawling tone a step above most and with a clarity which ensures the lyrical passion has full reign to impact on the listener. Into its full stride now the djent manipulating riffs from Danny Widdowson and Andy Parkinson ravage the senses whilst their adjacent sonic guitar whispers are loud and compelling throughout the track to perpetually whisk thoughts away from the unrelenting ferocity into evocative climes. It is a song which has little restraint in any aspect but a craft and composure to its creation which balances everything perfectly for an enthralling and unpredictable experience, something which applies to the whole release.

The following Furies of Charbydis instantly bewitches the senses with sonic mastery and sparks whilst chewing the synapses with ravenous raptorial riffs and punishing rhythms, the bass of Jack Bhogal mauling with a rabid hunger and intent whilst the drum beats of Blue Thorn resonate in ear and bone with a resonance and spite which is immeasurable. The song is a stirring blend of melodic persuasion and sinew stretching intimidation woven together with immense thought and skill so that each facet and extreme seamlessly and instinctively flows alongside and within each other. Admittedly whether, like in all songs, there is enough which lingers in the memory after the song has fled the scene is debatable but this is a band still evolving and the remembrance of how impressive tracks and the EP were as they burnt savagely upon the person is in no degree debatable.

Substance For Slumber is a stunning beast of fury and passion with a sonic and melodic embrace that explodes and entices like a siren. Arguably the song has less open temptation than the first pair but replaces it with more drama and emotive intensity to provoke and inspire an equal depth of satisfaction and ardour for its expressive and innovative storm. Because of its continually shifting gait amidst the torrent of breakdowns, crippling rhythms, and melodic intrigue, the song is one track which leaves a longer lasting voice behind, the expanse of ideas and emotion an inciting yet spellbinding brutal tide.

The title track is the fullest triumph of the release, its highest pinnacle. From its math/technical metal beginning hex, the track explores with riveting erosive breath and an equally captivating quarrel through consistently testing and teasing switches of position and sound entwined into one galvanic bruising treat. As elsewhere the vocals leave their stinging mark with quality and belligerence whilst the guitars perform a sonic alchemy to compliment the barrage of lethal richly defined rhythms from bass and drums.

The closing Resentment simply confirms the quality and strength of Anchored By Avarice and the release, its tight and explosive stance a final rousing instigator upon the by now lustful passions. The Axillion EP is an exceptional release which makes a towering declaration of how exciting and creatively powerful the band is and excitingly will be.

www.facebook.com/anchoredbyavaricewakefield

9/10

RingMaster 02/03/2013

Copyright RingMaster: MyFreeCopyright

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

www.audioburger.com

Held By Horses: In History

Held By Horses is a quintet from Chelmsford in the UK which is starting to turn heads their way with strong and impressively delivered rock music. The Essex female fronted band now builds on their already rising stock with the release of their new EP In History. Consisting of five songs which grab attention and feed the desire for vibrant and well crafted songs, the EP without arguably bringing new startling detours in the direction of rock music, leaves one fully satisfied and looking forward to watching and hearing the future of this promising band.

Forming in the opening weeks of 2011, the band soon had their debut EP rampaging in ears and since have lit up stages alongside the likes of Mallory Knox, Mystery Jets, Johnny Get The Gun, and Our People Versus Yours. Produced by Dan Lancaster (Lower Than Atlantis, Mallory Knox), In History is their next impressive step in a steady rise as the band works their way to the fore of national recognition.

To swiftly get the obvious comment out of the way when listening to the EP, it has to be said the surface sound of the band though impressive is not groundbreaking. With other great emerging bands such as Leopards, Never The Last Breath, and Hitchcock Blonde to name just three treading the same field of sound, there is a familiar feel across them all. This makes initial impressions less dramatic then maybe is deserved and only with a closer inspection does the craft and skill of the individual come out as with Held By Horses. The trouble for bands is how many have that intent and patience? Saying that though, the band does have an emerging style which is maybe more suggested right now but it is there and destined to evolve ahead.

The release opens with You Win Some, You Lose Some. It is a song which initially under whelms with the main reason being that the vocals of Harriet Reynolds are lost within the mass of the music. It is like she is veiled but thankfully as the rest of the EP explodes in the ear her great voice and delivery is allowed the clarity to shine and hit home with vigour and passion. The song itself is a pleasing if not adventurous companion and certainly keeps one happy to check out the rest of the release.

The following Little Water is soon putting the opener in the shade. Immediately the vocal harmonies sweep one up in their charms and the incisive groove which follows has one eagerly ready to feast upon the song. The early sonic grip leads into energetic guitar play from Kyle Ginn and Will Smith which switches from a more expansive wash back to the tighter acidic groove and back throughout. Lively and persistent the song is sure to be an explosive live favourite and sets the release on track to ignite deeper pleasures.

As great as the previous track is the best song on the release steps up next in the fiery shape of The Last Word. Featuring the vocals of Renz Byrne from Never Means Maybe alongside Reynolds, the track is a feisty rampage of dusty melodics speared by thumping rhythms from drummer Scott Dillon. The muscular bass lines of Charlie O’Halloran under pin the smouldering guitar melodics and hooks perfectly to give a depth to the stirring breath of the song but it is midway when Byrne joins Reynold that glorious sparks fly, their union dazzling and impossible not to be enamoured by. The song is mighty in power and emotion, and of all the songs shows the depth of promise within the band and their writing.

     Down And Out has the envious job of following and does a fine job, the song a thumping treat of energies, air scorching melodics, and captivating vocals. It leads one keenly into the closing Virtues, another song which only has good thoughts going its way. Lively with a Paramore pop rock kiss to its attack, the song ticks all the boxes to leave one smiling. Inventive and impressively delivered it makes a strong end to a more than decent release.

In History is a strong and pleasing release showing a band finding impressive form and promise. Yes the release does not really standout on its own amongst many other similarly fuelled bands but one senses that will come. Held By Horses ensures the company of the EP is gratifying and enjoyable, really all that ever matters surely.

www.facebook.com/heldbyhorses

RingMaster 15/09/2012

Copyright RingMaster: MyFreeCopyright

The best and easiest way to get your music on iTunes, Amazon and lots more. Click below for details.

The Villa Rise Interview

Making the long journey from Sydney Australia to relocate in England, hardcore/punk band Villa Rise has immediately marked their arrival with the release of their mighty and impressive debut EP Wastelands. It is a  release consisting of songs that burst with aggressive intensity, dark bulging riffs, thoughtfully crafted melodies. It also shows a band with a full confidence in their sound and skilled in bringing forth a varied and flavoursome array of ideas and sounds. We had the fortunate chance to talk to the band to find out more about Villa Rise, their EP, and reasons for moving thousands of miles?

Hi and welcome to The Ringmaster Review. Thank you for talking with us.

No worries!

Firstly would you introduce the members of the band?

Yeah, we have Jarrod Martin on Vocals, Kyle Usher on Bass, Alex Wood on Drums, Ben Clink and Brendon Fameli of Guitar.

 How did you all meet and what inspired you to start the band?

We all grew up in the same town, and knew each other from school or gigs. Basically we started the band out necessity really, we just knew we wanted to play music.

You recently moved to the UK, a bold and some would say brave move, what was the reasoning for this?

We basically just all came to a point in our lives where we wanted to experience new things and see the world. We were really lucky that all of us wanted to do this sort of thing at the same time, and so naturally the band continued and we were able to bring it with us.

Does the move reflect or say anything about the state of metal back in Australia for new bands?

Well, I guess you can interpret it that way and we’re sure a few people have, but the Australian music scene was really great to us and there are a lot of really talented bands and people doing great things. Being so isolated and so large are unique problems for Australian bands, but we wouldn’t say that that was the real motivation for moving, even if it did play a part.

What were your expectations or hopes before hitting our soil?

Nothing really, we expect a lot from ourselves and we have a pretty high standard of how we try to go about things, but whenever someone says they dig what we do, or whenever we get great opportunities like touring with Silent Screams or playing Ghostfest , it always comes as a bit of a surprise to us, we’re very grateful.

How do you think being here will help or inspire your music?

Well living together and having the freedom to write music at all hours has definitely made an impact, and being here has pretty much changed our lives, so naturally our perspectives on certain things have changed a little too. Hopefully for the best!

Do you fear losing your Australian fans by making the move?

No, we’ve had a tonne of support from back home since being here, we’re more focused on anyone appreciating what we are trying to do moving forward, whether they’re British, Australian, Chinese, whatever.

So far what has been the surprising positives being here and the negatives you were not expecting either musically or personally?

As we said before we never would have imagined we’d be playing such great shows so quickly, and we really have to thank Tom from Kings Agency for that. As far as negatives are concerned; sausages here are terrible, vegetables are expensive, and it’s hard to earn money to afford to buy any nice food at all.

You are just about to release your excellent debut EP Wastelands, so it must be an exciting but equally busy time for you guys right now?

Absolutely, we’re really looking forward to getting the EP out on this side of the world and seeing how it goes down. We’ve been working really hard to put our lives back together, and now that we’re about to really start playing some great shows it seems like it is about to pay off a little.

 You are releasing it as a free download, what is the thinking behind that?

We just want people to hear it, as many people as possible. If 1 out of every 10 people who download it for free like it and come to a show, it will probably be more than if we were trying to sell an EP to an audience who have never heard of us. We don’t have much money to buy music these days, so bands that release music for free feature pretty heavily on our iPods.

Tell us about the concept/theme that runs through the release.

It is pretty loose based really, and it all comes down to the idea that there can be happiness in everyone’s life if they are able to see it and appreciate it. Obviously some people have problems with that and depression is a serious issue, and that’s not really something that we’re trying to comment on as such. But for the greater part we believe that happiness is a state of mind, and it can be within your control. Wastelands is pretty a story about a guy trying, and failing to come to terms with that.

For a first release it is quite an intensive project what inspired the idea and how much work went into planning how it would work?

We’d spent a really long time writing this, and the idea had developed over a long period of time. Concept records and bands like Defeater and Coheed & Cambria and blown us away, so some sort of concept wasn’t a conscious decision as such, it was just seemed appropriate at the time. We were writing those songs from a pretty frustrated place, and that’s where a lot of the abrasion in the sound comes from, but the idea itself isn’t meant to be a negative or angry thing at all. We also spent a long time producing this record at Def Wolf in Sydney and that gave us a  bit of freedom to develop the sound.

 You have written the songs to the theme or they were already existing  songs which just naturally fitted the idea?

The songs and the theme pretty much grew together. We had a few instrumental tracks written before we really started working out the details of the lyrical content, but we had a pretty solid idea of where we were heading when writing it all.

The release and your music is a varied animal with many distinct flavours, what are the main influences that have inspired you?

Our main influences as a band are groups like Defeater, Comeback Kid, Alexisonfire and mewithoutYOU, but at the time of writing this record we were still interested in big sounds that band like Underoath do really well, and I think that comes across too.

Your bio labels you as a hardcore band but is that not too limiting a tag for your sound?

We don’t really try to get involved with genre tagging much, we’ve written 10 songs for an album later this year and they are very different songs to the ones on Wasteland. We write music that represents our state of mind at the time – and this varies, so Hardcore seems like an appropriately broad tag.

How does the songwriting work within the band?

We spend a lot of time writing music and doing a lot of preliminary demos so that we can go back and adjust things over time. The songs grow with us that way, and we think that it is the most honest way that we can write music, as opposed to trying to pick something in advanced that will unify any songs that we write for any particular release. We all get involved in writing as much as possible.

You have some big gigs coming up I believe?

Yeah, we’re about to head out on tour with Silent Screams & Our People Versus Yours for our first proper UK hit out, we’re so stoked for this. Then we have some other tours in the works, and of course Ghostfest at the beginning of July is something that we still can’t quite believe we’re lucky enough to be a part of.

What is next for Villa Rise?

We’re working on an Album for later this year, so hopefully all goes well and we can get it out and play some rad shows off of it.

Again many thanks for sparing time to talk with us.

Thanks for having us!

Would you like to say something to your new fans in the UK?

Thanks for showing us any support so far! We look forward to getting out there and having a rad time at a gig with you all.

And lastly we have to ask what are you missing most about Australia other than family and friends?

Sausages. Haha. Kyle and Jarrod miss tofu and watermelon, they don’t eat meat.

Read the Wastelands EP review @ https://ringmasterreviewintroduces.wordpress.com/2012/04/23/villa-rise-wastelands/

The Ringmaster Review 05/05/2012

MyFreeCopyright.com Registered & Protected

The best and easiest way to get your music on iTunes, Amazon and lots more. Click below for details.