Sonic Tides: talking Oceans with guitarist Tom Hollands

The release of a new EP suggests 2018 is set to be a potent and busy year for Brighton, UK based Oceans. It is a multi-flavoured, ear grabbing incitement of the band’s post hardcore and alternative rock blended sound building on their previous encounters whilst venturing into new imagination. We recently had the pleasure to dive into Oceans and their new offering with guitarist Tom Hollands, exploring their beginnings, fresh endeavour and more….

Can you first introduce the band and give us some background to how it all started?

Much like the actual Oceans, we are a band made up of 5 mostly water based entities: Zach Silver – vocals, Conor Hyde & Tom Hollands – guitars, Jack Warren – bass and James Gillingham – drums. We all either lived, partied or performed alongside each other before the current line-up was formed, that and our shared desire to create made Oceans happen!

Have you been involved in other bands before? If so has that had any impact on what you are doing now, in maybe inspiring a change of style or direction?

Collectively we’ve all played in bands or made music of many different genres. Perhaps without being fully aware of it we draw on this when writing – We’re all quite different as musicians too so I think we’re bound to end up with quite an eclectic sound.

What inspired the band name?

We came to Brighton and based it on things we saw – So it was either something to do with seagulls, falafel (love it), or the ocean… No unfortunately that’s not true; our guitarist Conor got it from a Mallory Knox song!

Was there any specific idea behind the forming of the band and also in what you wanted it and your sound to offer?

The idea has always been to try to make music that we love and hopefully others do too, and to do this as a career – We always strive to be somewhat original yet familiar enough to still fit into a scene.

Do the same things still drive the band when it was fresh-faced or have they evolved over time?

Most of us didn’t have any real direction until we decided to pursue music. We also love playing live and like most bands can’t wait to hopefully play to bigger crowds and do more tours!

Since your early days, how would you say your sound has evolved?

We’re evermore critical with our songwriting and I’d say we’re starting to really refine our sound – The music has grown darker sonically and thematically and we’ve tried to strike a balance between more poppy hooks and heavier riffs.

This has been more of an organic movement of sound or more the band deliberately trying new things?

Although it’s felt like a natural progression, we’re actively trying to make the best songs we can and sometimes that means tearing apart or scrapping ideas we’ve worked on for ages and doing something completely new instead.

Presumably across the band there is a wide range of inspirations; are there any in particular which have impacted not only on the band’s music but your personal approach and ideas to creating and playing music?

We all have rather different tastes in music; artists that have had a considerable impact on us are Incubus, Don Broco, Black Peaks, Deftones, Marmozets… There’s so many. We’ve heard of some bands that will try dozens of different melodies or ideas before settling so we’re just trying to be as critical as possible!

Is there a regular process to the band’s songwriting?

We don’t have a set method, however it usually starts with guitar riffs written at home and then built upon bit by bit in rehearsals. We all have a say in every part of the process so it really is a collective effort. Now we do demos and backing tracks to try out synths and things like that.

Where, more often than not, do inspirations to the lyrical side of your songs come from?

Our singer Zach writes the lyrics – Subject matter is usually based on personal struggles or stories relative to what’s happening in our lives (get over ourselves, right?) – We try to leave things open to interpretation, we want our audience to be able to relate.

Could you give us some background to your latest release?

Our new EP, Far From Composure dropped on March 13th. It’s available on practically all platforms and we see it as a big milestone for Oceans.

How about some insight into the themes and premise behind it and its songs?

Thematically the EP spans elements of coping with mental instability and it’s causation due to physical condition, relationships with yourself/others, escapism… The premise of this EP was to really capture our progression as a band from previous works and most importantly create something very emotive that connects with listeners. We also wanted to write big riffs, hit stuff and make loud noises.

Are you a band which goes into the studio with songs pretty much in their final state or prefer to develop them as you record?

Our intention has always been to enter the studio with finished songs, however we always end up adding bits and pieces and coming up with extra ideas – We actually recorded a whole extra song last time!

Tell us about the live side to the band?

We play with a lot of energy and really like to throw ourselves about, I’d like to think if you don’t enjoy our recorded music at first our live set would… Captivate you… (Pun FFO Marmozets…)

It is not easy for any new band to make an impact regionally let alone nationally and further afield. How have you found it your neck of the woods? Are there the opportunities to make a mark if the drive is there for new bands?

It can be tough for any new band to branch out from their hometown and it certainly hasn’t been any different for us. It helps being driven for sure – We lost count long ago of the amount of gigs we’ve played around trying to make a name for ourselves. We’ve had our fair share of bad luck but we’ve found that the harder you work the more chance of creating positive opportunities you have – Though there are many other factors to consider!

How has the internet and social media impacted on the band to date? Do you see it as something destined to become a negative from a positive as the band grows and hopefully gets increasing success or is it more that bands struggling with it are lacking the knowledge and desire to keep it working to their advantage?

Social media has played a big part in enabling us to reach people we otherwise wouldn’t have been able to. However, working round changing algorithms and the like can be difficult when trying to connect with fans (Or gain new ones). It’s a big discussion, though now it’s pretty much a necessity for new artists to engage in social media. Like with anything, it’s really about figuring out how to utilize it most effectively for your band, we’re definitely still learning! I’d say do what you can without losing sight of what’s important, the rock and/ or roll (or whatever genre you play). Cliché I know…

For further dips into Oceans check them out @

https://www.facebook.com/pg/oceansukband   https://twitter.com/oceansukband     http://instagram.com/oceansukband   http://oceansuk.bandcamp.com

Pete RingMaster 13/04/2018

Copyright RingMaster: MyFreeCopyright

One Last Daybreak – A Thousand Thoughts

Creating a plaintive post hardcore roar with an emo tinged heart, British outfit One Last Daybreak release their debut EP this April. Offering up five ear luring tracks, A Thousand Thoughts is a potent introduction with a strong ability to grab attention while revealing the potent potential within its creators along the way.

Essex hailing, One Last Daybreak is as fresh as they come, emerging this past January. Whether they have taken time before then honing their style and sound we cannot say though it would not surprise such the accomplished nature of their first release. It has the great rawness which comes with a first endeavour from a newly uncaged proposition but equally a sure touch and imagination which suggests bigger things ahead even at this early stage. With inspirations including the likes of My Chemical Romance, Architects, and Underoath, One Last Daybreak quickly make a persuasive statement which to be fair becomes even more compelling by the listen.

A Thousand Thoughts opens with its first single According to Pleasure, I Was Low on the Food Chain. A lone guitar makes a keen melodic invitation and is quickly joined by bold rhythms amidst a colluding sonic jangle. Vocalist Connor Catchpole is soon in the midst of the lure with his melodic, angst lined proposal; his strong delivery just as potently backed by that of guitarist Jack Smith to create a fiery and enticing union. Quickly the song has the body bouncing as familiar strains meets fresh endeavour, the strings of Smith and lead guitarist Matt Pike creating a captivating weave over the darker moody hues of James Hicks’ bass. It is a strong start to the release enticing ears and intrigue with ease if offering elements of predictability but for personal tastes is soon outshone by the following track.

The Sand In The Hourglass, The Life In My Lungs instantly makes for a compelling affair, the resonance of drummer James Hart’s first swings ringing around the enticement of guitar before driving the blossoming track with boisterous energy as vocals and sonic imagination brew their winning persuasions. Swiftly there is a freshness and spark to the song less noticeable in its predecessor, its character and imagination bold with a fire in its belly which erupts with lava-esque intensity. Short and voracious, the song grabs and firmly retains best track honours though the EP’s title track soon makes for an eager rival with its infectious nature. Though it misses the keen creative invention of the last track it makes up for it with its rich catchiness and eager energy aligned to that natural flair in sound the band seems to have.

The release is brought to a close by firstly In The Movies, a blaze of sonic causticity and temptation further fired up by vocal ferocity and melodic infection, and finally A Coffin For Two. It is an assault of wiry grooves and voracious riffs backed by rhythms with the intent to split bone and a major rival to that top track title. With metal, punk, and rock essences all become embroiled in its physical and emotive furnace; the song is an irresistible predator which alone sparks a real appetite for more.

As suggested, A Thousand Thoughts only gets more enjoyable with every play as too anticipation for the potential it reveals. It is a great sign that the band’s strongest and most striking moments is when they replace familiarity with bold adventure and an edge of unpredictability and though too early to declare One Last Daybreak as the future of something or other, the ingredients to make a mark are brewing nicely.

A Thousand Thoughts is released April 7th.

https://www.facebook.com/onelastdaybreak    https://twitter.com/OneLastDaybreak

Pete RingMaster 04/04/2018

Copyright RingMaster: MyFreeCopyright

Saint Apache – Wolf Machine

The suggestion of a bold new roar within the British alternative rock scene came with a self-titled debut EP last year, now Eastbourne hailing quartet Saint Apache confirm their potent emergence with its ear grabbing, spirit sparking successor. Wolf Machine is a blaze of muscular and tenacious multi-flavoured rock ‘n’ roll, a proposition often as bruising as it is rousing taking the potential of their first encounter to new creatively accomplished and energetically hungry heights.

Formed in 2015, Saint Apache weave their blaze of sound with an array of influences said to include the likes of Every Time I Die, Buckcherry, and Rage Against The Machine. It is a fiery mix with a volatility of thought and intensity which catches the imagination with ease within Wolf Machine. As mentioned, their debut EP was a potent opening encounter with the band; a promise fuelled introduction swiftly pushed and eclipsed by the rapacious presence of their new creative challenge.

The release opens up with a richly enticing hook; You’re Not A Slave instantly laying down a rich scuzzy lure quickly joined by imposing riffs and thumping rhythms. The equally compelling tones of vocalist Thom Meredith soon roar from within the magnetic nagging tide of sound, Saint Apache stirring up the senses and spirit with persistent and boisterous enterprise. Familiar and fresh hues collude within the fire, unpredictability brewing and grabbing its moment as the track slips into a restrained passage with post punk and invention nurtured twists dancing on the ears. The guitar of Leo casts a tapestry of endeavour and imagination, every second a web of hooks, grooves, and spikiness matched by vocals and the rhythmic predation of drummer Adam Oarton and bassist Luis T.

It is a tremendous start to the release, stoner and heavy rock mixing with punkier intentions and continuing to unite their elements within the following exploits of The Story Doesn’t End Here. The wiry tendrils and fuzzy breath of the guitar brings in a psych/stoner-esque smog, grooves shooting from its midst with again a recognisable yet invigorating character. The growling tone of the bass is a physical addiction all on its own, with an irritable presence just as enticing within Meredith’s vocals and snarling lyrical expression. Rage Against The Machine essences within the first song are a thick spice within the second, giving its swagger thicker liquor to intoxicate the listener with.

Halfway Dead similarly weaves a trap of closely acquainted grooves and hooks for the appetite but again with a tenacity and enterprise which has ears and bodies greedy and bouncing. As with all tracks, it is hard to say that originality is an overpowering essence yet in the bold and craft sharing hands of the band, everything comes in an unworn design and with unique nature. Previously mentioned inspirations again can be grabbed from the track but equally there is something of bands like Damn Vandals and Turbonegro to the raw and virulent attack.

The EP’s title track brings things to a close offering a drama coated, intensity loaded temptation from its first breath which may lose some of its threat as things ‘calm’ a touch and vocals become entangled in spicily wiry grooves but never loses its intrusive touch or creative appetite within its thrilling attitude loaded incitement. It is a gripping end to a continually galvanic proposition hard to find anything other than real pleasure with.

The Wolf Machine EP is audacious and impulsive in character and sound if admittedly not so much in major originality but even there the seeds are openly being sown and bred within its four songs for blossoming further down the line. Saint Apache is ready to make their mark and if Wolf Machine is a hint to the things to come, bring it on.

Wolf Machine is out now across most stores.

https://www.facebook.com/saintapache  https://www.instagram.com/saintapache   https://www.twitter.com/saintapache

Pete RingMaster 25/07/2017

Copyright RingMaster: MyFreeCopyright

Jack The Envious – In Your Own Way

Having already grabbed attention with their debut EP last year, UK outfit Jack The Envious have bigger things in their sights with the release of its successor In Your Own Way. It is a more creatively adventurous affair swiftly revealing a new confidence and bolder exploits from within the band which only increasing experience and expanding imagination can bring.

Formed in 2012 by vocalist Nir Perlman and guitarist Guy Avnon with bassist Guy Checkarov subsequently  linking up, all this going on during their military service, London based Jack The Envious took their time honing their sound and live craft as national service absorbed their time. Debut EP, Pull You Down, made a solid impact with its release last year, its post hardcore nurtured sound a potent introduction to the band. Its first steps though have now been strikingly eclipsed by In Your Own Way, the Jack The Envious sound having evolved with those new previously mentioned attributes and a maturity they can only breed. With its line-up completed by drummer James MacPherson, the quartet has moved from being another promising post hardcore proposition into an imagination grabbing and openly distinct incitement looking back on a lagging behind genre crowd.

In Your Own Way opens up with Shut Me Off, intriguing ears and thoughts with its darkly toned atmosphere and pulse veined by a melodic tingle. Soon guitars and rhythms are crowding around the senses though, subsequently uniting in a tenacious and lively stroll blessed with a delicious bass sound and the wiry exploits of the guitar. With Perlman’s vocals equally as distinct and enticing, punk and indie rock lining the track’s post hardcore breeding, it erupts in a magnetically eventful blaze with numerous increasingly gripping twists and turns. The track is superb, quickly stamping a new creative authority and adventure upon the band’s writing and its portrayal.

The pop punk entrance of Begging For More belies the forceful tide of sound in close pursuit and remains an enterprising texture within the mercurial landscape of the song. Fiercely infectious with a matching strength of aggression and imagination, the track is a fascinating tapestry of styles and invention keeping the listener busily captivated before the band’s new single Guilty takes over. Its gentle melancholy scented opening similarly draws a wall of intensity and trespassing sound without losing  the poetic integrity within the blossoming heart and guitar weaving scenery of the song. Imposing drama also brews within the song, laying out its temptation as Avnon conjures and rhythms challenge alongside the ever enticing vocals.

Mrs. Grim swings into view on a trapeze of guitar woven tendrils straight after, the track embracing a host of indie, punk, and hardcore spawned flavours in its appetite stoking invention. The most imaginative and creatively bold encounter within the EP it is also one of its most inescapably catchy making, as most songs here, a riveting gateway into the world of Jack The Envious whilst challenging the first as the best song within In Your Own Way.

The EP ends with Never Look Down, the calmest proposition within the release but brewing its own keen to erupt blaze of energy and sonic fire within the song’s melodic hug. Though not quite lighting ears up as those before it, the track is a fine end to quite simply one exciting release. With their first EP Jack The Envious said here we are, with their second they have declared themselves ready to make a leading role in shaping the future of British post hardcore/ melodic punk.

In Your Own Way is out now as a free digital download @ https://jacktheenvious.bandcamp.com/

https://www.facebook.com/JackTheEnvious/

Pete RingMaster 19/07/2017

Copyright RingMaster: MyFreeCopyrigh

Cauls – Recherché

It has been five years since UK alternative/progressive rockers Cauls delighted and impressed with their EP simply called 2. It turns out it has been a time which almost saw the band call it a day just as it was beginning to make a major impact on the UK music scene. Thankfully they pulled out of the nose dive and after a line-up change found the energy and inspiration to go again. That thankfulness even more pronounced now with the release of their debut album Recherché.

An atmospheric, provocative, and continually rousing blend of alternative/progressive and post rock with earthier post hardcore intensity, the band’s sound and release has evolved into a fire of imagination and enterprise. You would expect and hope each release outshines the last and pushes things on again, something which does not always happen as we all know, but Cauls have taken a big leap in building on the success of that last EP. Recherché is a compelling web of sound and suggestion fuelled by melodic and harmonic elegance and driven by a climate of rousing and often aggressive atmospheric imagination.

From the short instrumental flight of opener De Novo Quincunx, the quintet of Michael Marwood, Chris McManus, Graham Morris, Douglas Redfern, and Kye Walker entice and involve ears and imagination with increasing creative drama. That first piece is a slow developing mist of sonic calm and darker intrigue, guitars gently entangling as darker hues occasionally moan; it all leading to the instantly kinetic presence of Peace Paean. Around the ever impressing vocals of Marwood, a relative calm while engaging guitar woven tendrils smoulders and builds into a more boisterous roar. Descriptive melodies continue to entice and flame in the rousing breakouts, adding to the bolder fire of the song and its captivating Mars Volta meets Muse like landscape.

The track is pure captivation, sparking a keen intrigue and appetite for what is to follow; that adventure soon in full flight through firstly Radio Johanne / Said Molineux. From its initial low key peace with an alluring tingle of melody, the track also simmers and grows in presence and intensity, building into an unpredictable web of sonic and melodic imagination punctured by the adventurous jabs of McManus’ beats. With at times a resemblance to the raw tenacity of At the Drive In, the song consumes ears with fiery charm and rousing energy before the first part of the three-track Wide Opus Abyss awakens in ears.

Amusia is a secret smog full of suggestive essences and evocative sounds as it blossoms into the corporeal body of Vapours. Rhythms quickly provide a bold spine for its harmonic and sonic flames to erupt and unite around the striking draw of Marwood’s voice and the combined prowess of Redfern and Walker alongside the poetic finesse of Morris’ guitar. It is a resourceful blaze which eventually becomes Tide and Bye, an even more agitated yet controlled melodic clamour sharing Radiohead/ Far like spices in its eventful recipe.

The technical sprightliness of COQ8 dances eagerly in ears before mellowing into a reflective serenade. It is a plaintive cry though carrying its own instinctive tempest, a highly strung excitement bringing fiery exchanges of textures and band around the thoughtful vocal led calms. Its second part, Retentive Anamnesis adds greater volatility to that scorching heart, providing a fibrous sonic weave to its wired atmosphere and pleasure for ears and thoughts.

Épée brings things to a close, strolling in with bass and guitars merging dark and surf rock like hues in its tranquil swing before things bubble and boil around ear captivating vocals. Jazzy and sultry yet melancholic, romancing and seducing with a boldness exploring a diversity of rigour, the track is just mesmeric and another fresh detour in the album’s diverse soundscape.

Cauls are back with a whole new heart to create and a sound which grabs that intent with adventure and beauty, Recherché offering surprises and provocative enticements at every turn. We can only sigh with relief that the band did not buckle to that feeling of bringing things to an end.

Recherché is out now @ https://cauls.bandcamp.com/

https://www.facebook.com/Caulsband/

Pete RingMaster 09/05/2017

Copyright RingMaster: MyFreeCopyright

Show Of Bedlam –Transfiguration

They may not be the most prolific of bands recording wise but without doubt when Canadians doomsters Show Of Bedlam uncage their creative imaginations and sonic dexterity it results in something truly irresistible and memorable. That claim is richly confirmed yet again with the band’s new seven track EP/mini album, the quite stunning and unnerving Transfiguration.

The Show Of Bedlam sound has never been solely confined by that doom tagging, their fusion of sludge, post hardcore and punk, and atmospheric malevolence a cauldron of raw and transfixing invention and suggestion but never has it been so mesmeric, bone-chilling, and psychotically arcane as within Transfiguration. The release is a furnace of raw emotion and intensity soaked in a suffocating beauty; the band creating an evocation of macabre intrigue and corrosive psychosis which if the Witchfinder General was still a figure of ‘responsibility’ would have Show Of Bedlam burning at the stake.

From their debut release as one half of the split Autocannibalist with Jucifer in 2009 to first album Roont in 2012 and now Transfiguration, Montréal hailing Show Of Bedlam has kept ears and fears waiting and richly rewarded. The time between releases has seen the band continue to nurture and hone, push and experiment with a sound which is instinctively unique and dramatically imposing. For all their previous successes, Transfiguration is easily the band’s finest moment to date and the moment they surely blossom from a widely known secret to a fully-fledged inspiration within the metal scene.

Twelve minute opener Blue Lotus immediately engulfs the senses with its sonic smog of intrigue and melodic discord; enticing and intimidating in equal measure as it crowds the listener ready for the equally haunting and inescapable prowess of Paulina Richards’ presence and voice. There is virulence to all the dark thoughts and visceral imagery escaping the stifling atmospheric density; infectiousness as easily trespassing body and thoughts as the psychosis of sound carrying it. With a gothic wash equally blossoming and recalling Xmal Deutschland at times, the glorious predator of a track swallows the listener with its tapestry of creative spite and despair simultaneously disturbing and invigorating with its oppressive magnificence and intimate examination of the senses.

Latest single Taelus swiftly follows, teasing ears with its melodic beckoning as beats wait to lay an occasionally anthemic hand on an already eager appetite. As a sample lurks, the song simmers and bubbles, bursting from its confines as vocals and guitars entwine in another caustic wash of sonic tempting stalked by the hungry rumblings of bass. As its predecessor, the similarly deceitfully catchy track is as descriptive sonically as it is vocally, every fresh wave and adventure of intensity and cunning a new twist in the nightmarish landscape painted note by note, syllable by syllable.

At two minutes plus, the album’s title track is a short and powerful insight into a blossoming defiance and turning of the worm within a rhythmically entrancing and gripping affair, inciting the senses physically and  emotionally before Hall of Mirrors rises from its slumber with carnivorous breath and intent. It crawls over the listener, dragging its sludgy weight and doomy intensity with rapacious relentlessness as Richards roars with unbridled emotive intensity and persuasion. It too ebbs and flows with energy and greater volcanic urgency, consuming the senses with lava-esque ferocity lined with more of the band’s contagious groove spited toxicity; it all leading to a climax which simply consumes all before it.

Lamentation offers a respite of sorts, its twenty odd seconds a detour into a fresh fly infested charnel house from which the oppressive elegance and invasive almost cancerous  tempest of Easter Water broods and escapes. With every passing second it looms up and imposes its weight and immersive embrace, bullying whilst igniting ears and imagination. Subsequent slips into less intensive though no less spine-chilling and fearsome pastures as well as the darkest corners only adds to the theatre of sound and its realm of the portentously obscure, and to the imagery festering and conjuring in the imagination.

Closed by the brief sonic ruin of L’Appel Du Vide, quite simply Transfiguration is glorious; daunting and alarming for sure but a sonically and emotionally distressed alchemy of sound and invention which leaves the majority of releases this year so far and easy to suspect to come, looking bland and uneventful. As the world falls further into disaster and decay, so Show Of Bedlam rises, their sound and new offering the perfect soundtrack and antidote.

Transfiguration is released May 12th through PRC Music and Sentient Ruin Laboratories with pre-ordering available now @ http://www.prcmusic.com/store/index.php?route=product/product&product_id=1447 and https://sentientruin.bandcamp.com/album/transfiguration

https://www.facebook.com/Show-of-Bedlam-231634652456

Pete RingMaster 18/04/2017

Copyright RingMaster: MyFreeCopyright

Everyday Sidekicks – Hope

It has been around eighteen months since British post hardcore outfit Everyday Sidekicks caught ears and appetite with their debut EP, The Things I’ve Seen. It was a release which suggested this was a band with real potential. Now the Bristol quartet uncages its successor, a collection of songs which not only realise much of that promise but show a big leap in fresh adventure and maturity, as well as identity in their sound. Hope is a stirring encounter, a warm and spirit inspiring proposal equally showing a new rousing aggression and raw energy in band and music.

The time between releases has obviously seen Everyday Sidekicks concentrate on honing their sound and writing. There is boldness and a far keener character distinct to the band in the songs roaring from within Hope. According to the band, some of the new qualities revealed have been pushed and nurtured by the EP’s producer Tom Manning, the band stating that, “He pushed us to play better and really put in the effort, so that we feel now that a big part of our sound has actually come from working with him. He likes to make things a lot less over produced and more stripped back and raw, which we are really starting to dig in our sound.” What and wherever the seeds, Everyday Sidekicks have hit a new plateau with their EP, yet still a mere but potent step in expected greater evolution ahead.

Glass House starts things off, the song an immediate bluster of sound and impassioned vocals with frontman Archie Hatfield, a blaze of emotion and word under the mesh of melodic enterprise cast by Tim Brown’s guitars. A raw edge is swiftly apparent but equally too an infectious tone as the song blazes away in ears and imagination. In many ways, it is not overly unique as a post hardcore proposal yet has a fresh breath and nature to its roar urged on by the muscular tenacity of drummer Mat Capper and the brooding catchiness of bassist Sam Hughes.

Its strong presence and persuasion is followed by that of Bury Your Friends, the song from a melancholically melodic start erupting into a metal coaxed rock ‘n’ roll tempest. Its body and tone is irritable, its swing ultimately infectious but constantly feeling like it could turn on the listener at any time even in its calmer and fierce pop scented passages. It is a striking track, a bigger outburst of the band’s new creative prowess matched in power and thrills by recent single Fracture. Riffs and grooves lead with antagonism, rhythms barely taking an ounce of venom from their punch as melodies and vocal harmonies subsequently escape from a brooding storm never far away. Richly enjoyable when first unveiled last August, it seems to have just grown in temptation and stature; blazing superbly from within Hope with greater attributes being found with every outing.

The poetic melancholy of Lacuna takes the imagination away next, the brief instrumental a solemnly suggestive detour before the EPs best track launches its mouth-watering squall upon the senses. As much as their sound is hardcore/punk bred, Business Secrets Of The Pharaohs is equally a proposal of carnivorous metal intent; a snarling, intrusive treat fluidly merging with melodic and post hardcore spawned endeavour. From vocals to sound, writing to cantankerous air, the song is superb and if a sign of things to come, maybe the first step in truly big things for Everyday Sidekicks.

The band themselves admit hints of inspirations from bands such as A Day To Remember and Beartooth can be heard in their music but as the excellent Hope shows, and especially its closing gem, all are becoming passing whispers in something warranting, as good as demanding attention.

The Hope EP is released March 31st and available @ https://everydaysidekicks.bandcamp.com/album/hope

Upcoming live Dates:

4th April – France, Dunkerque – Bobble Café

5th April – France, Angers – T’es Rock Coco

6th April – Belgium, Namur – Le Temple

7th April – Switzerland, Zurich – Wallstreet Bar

https://www.facebook.com/everydaysidekicks   https://twitter.com/EDSKOfficial

Pete RingMaster 31/03/2017

Copyright RingMaster: MyFreeCopyright