Unimagined – Friendless

Something wicked this way comes and it goes by the name of Friendless, the debut EP from US rockers Unimagined. Offering five rousing slices of the band’s “theatrical metal”, the release swiftly and increasingly had ears and imagination in the palms of its creative hands as it introduced a proposition we found rather easy to devour.

Hailing from St. Louis, Unimagined emerged in 2017 and soon earned a potent reputation and support across their local scene. Their sound is an animated mix of post hardcore and alternative metal; something akin to a n animated fusion of Pierce The Veil, My Chemical Romance, and At the Drive-In. It is a carnival of flavour and imagination honed into one melodically rousing and tempestuously seductive proposition which across Friendless never leaves a moment void of bold adventure and creative drama.

Too Dead To Dance sets the EP off and alone convinced there was something special going in within ears, its declaration subsequently echoed across its companions. The outstanding opener instantly had its hooks under the skin as the rich clean vocals of guitarist Caleb Freihaut align with the rapier swings of drummer Kai. The guitars of Jake Morgan and Nathan Simpson add to the emerging theatre with the waiting throat scathing roars of fellow vocalist Jarett Clark poised to erupt upon the already alluring mix. With every passing second the track simply escalated its captivation, the grumbling swing of Patrick Reuben’s bass adding further threat within the melodic enterprise embracing Freihaut‘s expressive dexterity.

It proved enthralling stuff and was soon matched by the imagination fuelling next up Something Borrowed, Something Blue. Its entrance is maybe less dramatic than its predecessor’s but with boisterous energy to its stroll and the crystalline caress of keys the song had little difficulty enticing attention, undisturbed focus rewarded with a tempest of aural drama and fiery invention brought with craft and imagination. The contrast of the lead vocalists works a treat in the creative maelstrom, the tenacity of the sounds crowding their magnetism simply rousing and as with all tracks every second, note, and syllable brings compelling persuasion.

The EP’s title track follows, Friendless. strolling in with a certain swagger as its theatre of sound and intimation quickly casts its narrative. Raw vocal prowess provides a scathing trespass within the swiftly thick theatre of enticement, the song almost bullying with its melodic wiring and muscular manipulation. Eventually its pressure becomes a senses harrying assault but one tempered by the melodic elegance of keys.

The final pair of She Was Scared Of Storms and Lemons & Sodomy simply escalated the bountiful character and prowess of the EP. The first of the pair is a serenade with fire in its belly, a pyre of creative animation and endeavour which had the body bouncing and appetite lusting while the second from its inescapably seductive melodic teasing erupts in a kaleidoscope of inflamed passion and resourcefulness ; both fascinating stages for the fertile craft and imagination of Unimagined.

As Friendless reaches new borders it is easy to expect and assume Unimagined will be launched into keener spotlights. The EP is a thrilling beginning to a proposition with still so much more to discover within their depths and imagination; something else to be eagerly excited over.

Friendless is out now via Standby Records; available @ https://standbyrecords.merchnow.com

https://www.facebook.com/UNimaginedBand/   http://unimagined.standbyrecords.com

Pete RingMaster 21/06/2019

Copyright RingMaster: MyFreeCopyright

The Oversight – Far From Gone

The Oversight-52

   The Oversight hails from Boston and through the release of a couple of singles has been gaining quite a bit of attention it seems. They now release debut EP Far From Gone and having been quite captivated by its accomplished sound and skilled mesh of alternative rock and pop punk, it is not too hard to see why people are drawn to the band.

The band consists of vocalist/bassist Lucas Edwards, guitarist/vocalist Ryan Watanabe, lead guitarist Maggie Fraser, and drummer Josh Parra, a group of students at Berklee College of Music. Taking inspirations from the likes of Mayday Parade, You Me At Six, Go Radio, Angels & Airwaves, Brand New, The Wonder Years, and Paradise Fears into their compositions, The Oversight has had references to bands such as The Gaslight Anthem and Pierce The Veil, another influence, cast over them. A pair of singles earlier in the year in the shape of When 5 AM Turns and Far From Gone made potent teasers and attention grabbing lures to the new EP. Its quintet of tracks, which includes those two songs, carries on the strong emergence of the band, all soaked in a promise and craft which suggests bright horizons ahead for the Massachusetts quartet.

The track Collective starts things off, the relatively short song an introduction to the emotional intent of the release. With a spoken narrative over a melodic weave which increases in intensity and passion, it is a decent start to the DIGITIAL theoversight_farfromgone_cover_finalencounter if not fully convincing. That reservation is soon lost with the entry of Black & White. A lone guitar and the potent voice of Edwards make the first coaxing before the song opens out with bold rhythms and a wash of melodic enterprise which lures in even closer attention. The track does not explode in action at any point but ebbs and flows in energy and intensity with a skilled touch. It continues to stroll engagingly, providing a firmer rock invention entwined with an infectious pop punk relish which never breaks free of its rein but tempts throughout the highly enjoyable song.

The following Love Is A Fiction similarly makes a low key entrance, a guitar stroking ears with a jangling persuasion as keys add their respectful reflection to the growing presence of the track. Vocally Edwards again impresses, strongly backed by the tones of Watanabe, whilst the imaginative weave of melodies and understated hooks make for a compelling enticement. As its predecessor, the song does not exactly light a flame in ears or passions but certainly has them enthralled by its intelligent design and skilful presentation, increasingly more so as it grows and impresses the more you share time with its open qualities.

When 5 AM Turns soon shows why it made a great impression with its release earlier in the year. Once more there is a slow coaxing to start things off, something the band seems to like employing, before the track erupts into an exciting stomp of crisp and muscular rhythms against stirring riffs and melodically sculpted hooks. That alone wakes up a real appetite for the encounter, a hunger enthused further by the sweep of strings which add provocative texture and adventure to the proposition. There is an invention to the song too which, less open on its predecessors, just lifts ears and satisfaction up in its persuasive arms.

The title track brings the release to a close, and yes it makes a gentle first beckoning before a rhythmic teasing leads into a blaze of raw riffs and a melody fuelled maze of enterprise. Featuring guest vocals from AJ Perdomo of The Dangerous Summer, the track virtually dances on ears; it’s at times skittish gait and thrust of passionate intensity adding to the drama and lure of the song. Though not quite matching the previous track, it shows more of the strengths of the band in songwriting and their undeniable potential to help ensure a healthy anticipation of their adventures ahead is left behind.

For pop punk with a fresh rock and emotional instinct, The Oversight is a band to watch and their first offering something worthy of spending plenty of time with. There will be good times ahead with the band you suspect.

The self-released Far From Gone EP is available now @ http://www.theoversight.bandcamp.com/

http://www.facebook.com/TheOversightBand

7.5/10

RingMaster 22/07/2014

Copyright RingMaster: MyFreeCopyright

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