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

Hunter Kill Hunter – II

hkh_RingMasterReview

Building on its well-received predecessor of 2015, the new EP from British alternative rock quintet Hunter Kill Hunter is a striking affair. II is evidence of a band settling into their creative skin if yet to lure out the truly unique aspects of their sound though from start to finish the release captures ear and imagination alike. It is a bold and creatively tenacious affair which leaves a definite appetite for more from this emerging outfit.

Formed in 2015, the London five-piece soon drew attention with their live presence, which has gone on to see the band play with the likes of Jonah Matranga and The Red Jumpsuit Apparatus, and find their debut EP Find A Way Home well received. Merging post hardcore roars with infectious alternative rock bred enterprise, Hunter Kill Hunter offer an emotionally charged, tempestuously intense affair which has found a new strength and maturity to fuel its visceral yet openly catchy tempting in the new EP.

Opening with the harmonically coloured enticing of Intro, band and release soon up the ante physically and emotionally with Too Much To Take. Instantly a snarling air grips ears and the textures of the song but equally catchiness is abound as vocalist Justin Jackson, revealing both his raw and melodic side, uncages the song’s heart backed by the similarly potent tones of Stuart May and his and fellow guitarist Kieran Harper’s adventurous enterprise.  It is a trait which infests the whole of the song, its twists and turns often seemingly familiar yet driven by a fresh imagination which ensures there is nothing predictable about the fine encounter.

hunter-kill-hunter-ii-cover_RingMasterReviewSinking From Within swiftly uncages a rhythmic proposal which demands attention next, the growling air of Rhys Kirby’s bass in league with the eagerly swung beats of Joe Lanigan. It is a formidable enticing as inviting as it is predacious and the lead into another potent blend of rapacious intensity and melody honed angst. There is a touch of Billy Talent to the song at times mixing in with further unexpected moments of Hunter Kill Hunter invention as once more expectations are evaded by the excellent track.

The reflection bred embrace of The Hunted is a mellower encounter but too equipped with an instinctive almost tempestuous edge which erupts in sonic crescendos between the plaintive warmth of the vocals. More of a grower against the more quickly impacting prowess of its predecessors, the song grows into another truly engaging affair with a lingering infectiousness before They’ve Traded Us For Gold finds an even calmer landscape for its resourceful proposition. As with the last song, its calm is interrupted with fiery expulsions of sound and energy, each outburst escalating an impressive hug of melodic and harmonic enterprise.

The imposing intensity and volatile climates of earlier tracks is enjoyably exposed again in the outstanding We Are The Blame, its eventful drama stirring ears and spirit in swift time while closing track Neverlasting Light is the darkest, arguably most intense moment within II as heart and sound expose their rawest qualities and honesty in a turbulent and pleasingly imposing tempest.

Another track growing to its full height with subsequent listens, it provides a thickly satisfying end to a highly enjoyable encounter with Hunter Kill Hunter. As suggested earlier, there are many familiar aspects to the EP yet it would not be wrong to say each is twisted or employed in something building towards a character of sound distinct to the band, and something rather easy to want more of.

II is out now @ https://hunterkillhunter.bandcamp.com/album/ii-2

http://www.hunterkillhunter.com/   https://www.facebook.com/hunterkillhunter/   https://twitter.com/hkhband

Pete RingMaster 17/01/2017

Copyright RingMaster: MyFreeCopyright

Hypophora – Youth / Caught

hypophora-temp-promo-shot_RingMasterReview

Hailing from the beautiful Cornish county town of Truro, Hypophora has been picking up attention and praise since emerging in 2012 and especially over the past couple of years as they earned a reputation for being one dynamic live proposition. Now the British quartet is tapping on national awareness with their new double A-sided single Youth / Caught.

Taking inspiration from various Seattle grunge/early 2000s post-hardcore bands, Hypophora create a punk infused alternative rock roar just as ripe with melodic invention and funk bred infection. As suggested its anthemic potency has helped see the band a notable prospect and export from the UK’s south western tip. Live the band has shared stages with the likes of LTNT, Allusondrugs, The Hyena Kill, and Narcs among many. Ahead of a UK tour, Hypophora are laying down a strong invitation with their new Easy Action Records released single, a proposal which reveals a potential which demands it is taken notice of.

hypophora-cover-artwork_RingMasterReviewYouth instantly engages with hardy beats and a senses grasping web of grooves. Cast by Karum Cooper, they wind around ears with melodic suggestiveness growing a funky nature as the growling bassline of Lewis Pilcher and the swinging rhythms of drummer Jim Richardson collude with the vocals of Katie McConnell. She has an expressiveness and emotion to her voice, backed in strength by Cooper, which pulls you into the song where the band shows their imaginative enterprise. The track does not exactly leap out from the speakers but rather creeps up on the appetite for a lingering tempting that incites a need for closer involvement.

The same applies to Caught, a similarly restrained roar which rumbles and blossoms with a tempestuousness which unites perfectly with the evocative melodies and vocal passion shaping the magnetic encounter. It continues to ebb and flow with intensity throughout, darker rhythmic hues flirting with ears and the catchy character of an increasingly captivating track.

The single is the introduction of Hypophora to a wider audience which may not explode into view but creates an intrigue which only leads to a want to further explore the inescapable promise and swiftly enjoyable sound of the rising four-piece.

Youth / Caught is released November 11th via Easy Action Records.

https://www.facebook.com/hypophora   https://www.instagram.com/hypophoramusic/  https://twitter.com/hypophoramusic

Pete RingMaster 08/11/2016

Copyright RingMaster: MyFreeCopyright

Light The Skies – Human

light-the-skies-promo-shot_RingMasterReview

It seems that there is a sudden swell of excitement around British quartet Light The Skies primarily because of their new EP, Human. Creating an attention luring sound built on a fusion of post hardcore with melodic metal influences, it maybe that the band has been on the radar of a great many before now but it is with their potential fuelled new release that the rest of us might just be catching on.

It is hard to say there are many major surprises within the six songs making up the EP but each is an accomplished and imagination built proposal easily enticing ears. Since forming during their college days in 2013, the Birmingham band has grown into a potent live force, sharing stages with the likes of Ghost Town, Palisades, Boy Jumps Ship, Alverez Kings, Scream Blue Murder, Lock & Key, Beyond Recall, and Templeton Pek along the way. The Human EP is a new step up in their ascent, a release sure to be nudging national awareness of the band’s dynamic sound.

The EP opens up with Animals, a track which promises much but does not always deliver yet leaves a definite intrigue to hear more. Its muscular opening with the probing beats of drummer Sam Hemus make a potent coaxing, escalating as just as intensive riffs and grooves from the guitars of Will Douglas and Charlie Elliott grip the senses. With the heavy tones of Conor Browne’s bass seducing it is a formidable start capped by the raw throated cries of Douglas. A sudden slip into mellow climes with clean vocals is a less potent move for personal tastes though redeemed by the great band harmonies which lead back into the tempestuous roar of the song.

light-the-skies-cover-artwork_RingMasterReviewContinuing to switch between its increasingly imaginative stages the song is ultimately a powerful and pleasing start to the release and soon matched by Distractions. Its gentler melodic opening paves the way for a tantalising mix of Douglas’ clean vocals and a web of guitar enterprise speared by the shadowy yet flirtatious nature of the bass. With a lighter climate throughout compared to the tempestuous air of its predecessor, the song is a radiant tempting with keys and melodies as suggestive as the emotion lining the eventful song.

Acclimate uncages its own irritable storm of sound and intensity straight after, a challenge nicely tempered by warmer vocals and melodic endeavour as rhythms intrude upon the senses. It many ways it is as poppy as it is aggressively raw, veering more towards the latter the further into its creative and emotional turbulence it ventures though still it makes room for more welcoming ideas.

Looking Back unites the same kind of contrasts in an infectious stroll with a forcibly anthemic chorus and heavier textures which prowl its body throughout while its successor Ourselves is an acoustic caress with Douglas showing the strength of his harmonic tones. The first of the pair is a certain highlight of the EP with the second increasingly beguiling, their individual qualities combined by the closing drama of Distance. As its start, Human ends with a song which fully satisfies if without finding all the ingredients which ignite other tracks but each nurtures an appetite to hear more from Light The Skies; a success in anyone’s book.

Human is out now via Snowhill Records @ https://itunes.apple.com/gb/album/human-ep/id1154785404

http://www.lighttheskiesuk.com/   https://twitter.com/LightTheSkiesUK   https://www.facebook.com/LightTheSkiesUk

Pete RingMaster 04/11/2016

Copyright RingMaster: MyFreeCopyright

Greyhaven – State Of Mind

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Finding an inventive and commanding middle ground between the raw intensity of metal and the anthemic infectiousness of alternative rock with a firm dash of post hardcore involved, British quintet Greyhaven recently uncaged their new EP State Of Mind. It is an encounter which roars and serenades ears and imagination in equal measure; bullying and seducing the senses with seven explosive and imposingly compelling proposals.

London based, Greyhaven formed early 2015 and soon earned a potent reputation for a live presence which has seen the band play alongside the likes of Create To Inspire, Idols Of Apathy, Vera Grace, and The Afterparty. Their first year also the release of debut EP The Flood, a well-received introduction which solidly set the band out as one to watch. State Of Mind suggests much more as it reveals Greyhaven taking new strides in songwriting and sound with riveting results.

Recorded with Dan Kerr (Shields, Create To Inspire, Despite my Deepest Fear), State Of Mind is a tempest of anthemic intensity and sound aligned to mellower moments of melodic intimacy. From opening suggestive instrumental Sinners a sense of creative and emotive drama blossoms in ears, the track growing in predacious shadows and poetic charm before it eventually drifts into the waiting jaws and rousing tempestuousness of Hexes. As guitarists Alex Hills and Jim White weave a tapestry of descriptive riffs and melodic tendrils in tandem with similarly potent keys, the raw throated growl of bassist Edd Kerton explodes to be subsequently replaced by the impressive clean and emotive tones of vocalist Sam Paterson. Tapestry is the best word for the song, so many elements across the band bred with imagination and interwoven in a proposal which never stops revealing new essences and shades of tone in every listen.

greyhaven_cover_artworkCopyright RingMaster: MyFreeCopyrightIt is a craft and prowess which applies to all songs within the release to be fair, the following Darkest Hour swift confirmation as a great growling bassline from Kerton and the merciless swings of drummer Connor Tate link up with the harmonious delivery of Paterson and the emotive melodies which embrace ears. A fiery solo only adds to the imposing yet captivating drama shaping the song, again each minute a cauldron of enterprise breeding new adventures with every encounter.

There are familiar elements to the Greyhaven sound which suggest inspirations from the likes of Architects and Alexisonfire, and maybe are most openly apparent within the excellent On & On, though they are spices quickly engulfed in the band’s own eager imagination. The source of the band’s new video, the track leaps around and burns like a sonic fire, the guitars licking at the senses with melodic heat as rhythms crackle at the core amidst vocally coloured flames.

From one powerful persuasion to another as the highly infectious Our Stand steps forward next, its proposal bruising and magnetic as Paterson shines within another storm of metallic predation and emotionally inflamed contagion as savage as it is rousing as it is pop lined infectious. That lighter air also frequents successor Brother, though again Greyhaven infuse it into a creative and musical ferocity which almost venomously snarls. The song adds another shade to the sound and songwriting of the band, its catchiness an inescapable lure perfectly courted by a barbarous intent headed by Kerton’s toxically grouchy growls.

Closed by a thoroughly enjoyable acoustic version of The Flood, the title track of that first EP, State Of Mind proves and further suggests that Greyhaven is heading towards becoming a potent part of the British heavy rock scene. Already that have provided two releases no one should ignore.

State Of Mind is out now via Outsider Records across most online stores.

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

Pete RingMaster 08/09/2016

Copyright RingMaster: MyFreeCopyright

Furian – What’s Up

Photo by Megan Geddes Photography

Photo by Megan Geddes Photography

Furian is one of the emerging bands being highly spoken of within the UK rock scene and they certainly do their growing reputation no harm with new single/video What’s Up. The track is a powerful slice of the band’s post hardcore flavoured rock ’n’ roll, a fierce and imaginative encounter which suggests this is a band worth checking out further.

Formed in 2014, Furian quickly lit up the Liverpool music scene with their live presence and debut single/video Now I Know. Since then, the quartet of vocalist/guitarist Dan Martin Hall, guitarist Joe Strode, bassist Abhi Tee, and drummer Damien Campbell have released a well-received EP, undertaken a UK tour and shared stages with the likes of They Say Fall and Vanity Draws art_RingMasterReviewBlood. What’s Up is Furian’s next step in their rise, a proposition fuelled by potential hard to ignore.

The song instantly descends on the senses with a wall of hefty rhythms and ear entangling sonic confrontation driven by the raw vocal attack of Hall. It is ferocity though with an underlying infectiousness and melodic intrigue which blossoms as clean vocals and harmonies float with warm melodic enterprise. The band continues to combine both extremes across the song, increasingly venturing into the mellower invention of their imagination with guitars and voice a mesmeric proposal perfectly contrasted by the harsher expulsions of sound and emotion.

There is an essence of Deftones to the ‘milder’ side of the track and Hall’s calmer vocals and a fierceness ventured into by vocalist and song which hints at the likes of Underoath and Hopesfall, yet combined it emerges with a freshness all of the Furian making.

What’s Up is maybe not a game changer for Furian but it certainly adds to their rising stock and reputation while hinting of greater things to come.

What’s Up is out now via PYAR Records.

https://www.facebook.com/furianmusic       https://twitter.com/furianuk

Pete RingMaster 05/08/2016

Copyright RingMaster: MyFreeCopyright