Giving In To Ghosts – Chasing Waves

Giving Into Ghosts Press Shots 22/10/13

Bursting out from South Wales, post hardcore band Giving In To Ghosts have given a very solid promise drenched introduction to themselves with their Chasing Waves EP. The band’s debut is a vibrant and engaging, as well as pleasingly aggressive, entrance by the Cardiff quartet. It is an accomplished and imaginative proposition which without the spark to really light up the passions certainly leaves a hungry appetite in place for the band ahead. Its sound and the band’s presence is not as unique amongst other similarly fuelled bands as you feel both will become in the future, but again still feeds an intrigue and attention for the foursome which cannot be underestimated.

Formed only last year, Giving In To Ghosts have taken little time to trigger a keen and passionate fanbase around their region which is now starting to spread further afield with equal success. Pulling in inspirations from the likes of Funeral For A Friend, Architects, and Reuben their sound certainly has a wide appeal as proven by their successful support slots to bands such as Continents, The Browning, Acoda, and Beneath My Feet. Recorded at Not In Pill Studios in Wales with Martyn ‘Ginge’ Ford and Matt Bond (Slipknot, Trivium, Bullet For My Valentine), Chasing Waves is a potent first persuasion to hit the whole of the country, as said a tremendously solid attention grabbing declaration revealing the open potential within the band.

Rapture starts things off and immediately has ears under the cosh of the raw squalling tones of bassist James Hardiman, his vocals Giving In To Ghost Cover Artworkabrasing the senses and lyrical intent within firm rhythms and a sonic coaxing from the guitars. It is not a dramatic explosion but one with strong grooves and melodic designs from lead guitarist Julian Thomas alongside the equally welcoming riffs of Michael Thomas making an appealing start. The clean vocals of Michael Thomas equally impress; his delivery gentle and a good temper to the gruffness of Hardiman though you feel placing them side by side rather than alternatively could work better. The punchy beats of drummer Alex Bargh and solo casting of Julian complete the expressive forceful colour of the song and arguably stand out on the track most but all aspects skilfully unite for a strong first strike from the release.

The following Sirens makes a less forceful appearance but certainly is as fiery as its predecessor, going on to build a magnetic canvas for the switching extremes of vocals to unleash their narratives. The bass offers a mean growl to the rapacious riffs and antagonistic rhythms as do his scowls, but there is a less potent element to the song against the last which means the track fully satisfies but does not linger. Nevertheless with a pleasing sonic temptation and a belligerent intensity the song proves its worth and reinforces the potency of the band.

The title track opens with a riveting melodic caress instantly joined by the equally warm clean vocals. The bass adds tempering shadows to this embrace to expand the depth and pull of the initial coaxing before the sinews and passionate bruising within the song makes a loud shout. Evolving through both sceneries the best song on the EP provides an evocative adventure which reveals much more about the strength and depth of the band’s songwriting and sound whilst stretching the quality of the encounter. Employing emotively powered keys and a mesmeric spiral of sonic enterprise within a growing snarling dark side, the song is a formidable indication of the creative heart within the band and again its undeniable promise.

Final song To The Sun veers into the more brutal side of the band certainly compared to the reflective warmth of the previous song, it ravishing the senses with grouchy rhythms and caustic vocal spite whilst still drawing on the melodic craft and expression of the band. It is an intimidating and highly alluring end to a very satisfying release, one which maybe suggests more than it delivers but only in the quality you feel is there in the band waiting to evolve. Chasing Waves does not make claims as the new best thing in post hardcore but it certainly provides more than enough to suggest Giving In To Ghosts has the ability and sound to be a loud voice in the UK scene.


RingMaster 29/03/2014

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When Icarus Falls – Circles EP


  Circles cover

     Having been as equally overwhelmed as we were smitten by their debut album Aegean, there was definitely a strong breath of anticipation for When Icarus Falls’ new EP, Circles when it came through. Consisting of three new tracks and a remix of a previously released song, the new encounter takes the strengths of its predecessor on another intensive and extensive journey of dramatically testing adventure. With swooping atmospheres and imposing textures a constantly evolving obstacle and seduction, the Swiss post hardcore band never offers anything less than full and fluid immersions for the senses and emotions, a consuming potency that Circles does not refrain from either. It is powerful uncompromising proposition which depletes and rewards ears and energies whilst imagination again is taken on incendiary flights across riveting soundscapes.

    Hailing from Lausanne, When Icarus Falls began in 2007 making their first attention grabbing mark beyond local appetites with the Over The Frozen Seas EP via Get a Life! Records in 2009. Shows with the likes of Red Sparowes, Zatokrev, and Impure Wilhelmina only enhanced their emergence but it was Aegean two years ago which nudged a wider recognition their way. Themed by the work of Elisabeth Kübler-Ross, a famous psychiatrist who described the five stages of dying: denial, anger, bargaining, depression and acceptance; as inspiration, the Headstrong Music released album showed little restraint in enveloping the world in burdensome atmospheres and ravenous melodic fires, a portentous assault which Circles readily continues.

    Recorded by Raphael Bovey at Blend Studio, the self-released exploration opens with Erechtheion. It opens with a soaring a sonic sightseeing of expansive and welcoming yet almost ominous scenery to provide an instant rich lure for thoughts and imagery. The initial embracing flow of acidic melodies and adventurous riffery, both aspects strikingly crafted by guitarists Yann Cottier and Luis Cordeiro, is a resourceful evocation but one also brewing up darker intensity as the raw vocals of Diego Mediano squall across the soundscape. His distinct abrasing tones are ones you take to or not and like the sounds having little time for mercy or restraint in their full on passion, but as another coarse texture to the multi-layered deeply almost cavernous songs Mediano’s tones only add to the danger and intimidation. As the song traverses its narrative and adventure, the rhythmic seduction from drummer Xavier Gigandet aligned to the bass stalking of Claude Humbert-Droz is as impressive and compelling as anything else with every member adding a unique aspect to the nature and intent of the songs. The opener employs all their skills and invention to create an unrelentingly inciting and contagious intoxication which immediately sets the release on a new plateau for the band.

     The Great North follows and immediately lies threateningly against ears with slowly prowling rhythms and the rasping vocals of Mediano. It is a brief stand –off before the guitars and keys, also provided by Gigandet, weave an evolving canvas from gripping sonic endeavour and melodic enterprise. There is a hazy, almost sultry air to the emerging climate of the song, one which is patient in its spreading across senses and song. The carnivorous throat of the bass though ensures the opening warm hues of the song are skirted by danger and reserved malevolence, providing a predatory edge to the expanding ambience which at times reminds of The Cure around their second and third albums. Maybe not quite as majestic as its predecessor, the track still leaves the listener basking, even lost at times, in its expressively emotional and epic landscape, all the time challenging and rewarding ears and thoughts.

     Of the three new tracks, Celestial Bodies is the less demanding in its opening coaxing though still vocals and to a lesser extent the bass tempers the peace and grace of the keys and guitar built sonic scenery. The drums also add a sinew and rapaciousness to proceedings, the darker hearts of the three lurking in the corners and shadows of the sweeping melodic flight. Every twist and aspect of the towering complex construction of the song’s premise though is soaked in a danger and menace so there is never a moment upon Circles where you feel safe or relaxed. The song again is a masterful confrontation which is matched by the remix of Nyx, a track which was previously released as part of the Falling Down II compilation of 2010. The concluding song is a pestilential persuasion, demonic  sounds and elements scurrying around the black ambience like a plague of spite before the song takes a deep breath and heaves its own heavily intensive weight of sound and emotion upon the senses. The most destructive and venomous track on the release, the track makes for an absorbing end to another fine release from When Icarus Falls.

    The Circles EP like the band’s sound as a whole is not looking to make fleeting relationships with mind and emotions nor make it wastefully easy for the listener to initially engage in its exhaustive, scintillating, and ruinous explorations but the rewards for the bravery and patience needed are unique and exceptional. Not a release for everyone certainly but it and When Icarus Falls should be definitely attempted by all.


RingMaster 10/03/2014

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GIVING IN TO GHOSTS to unveil ‘Chasing Waves’, on 31st March‏

Giving Into Ghosts Press Shots 22/10/13
South Wales Post-Hardcore outfit Giving In To Ghosts drop their ball-busting debut EP Chasing Waves on Monday 31st March through all stores.
Blending emotive drive with defiant belligerence, Giving In To Ghosts wear their hearts on their sleeves, producing a sound that deftly merges genres. By extracting influence from everyone from fellow South-Wales icons Funeral For A Friend, to Brit bruisers Architects and cult heroes Reuben, the band’s reach and output is notably diverse.
Since their inception in 2013, Cardiff hardcore beasts ‘Giving In To Ghosts’ have already destroyed a host of fleapit venues throughout Wales and England with their boundless energy and impassionate blend of melodic hardcore. Now, after supports with Continents, The Browning, Acoda and Beneath My Feet, ‘Giving In To Ghosts’ are primed to step up with the national release of their explosive debut EP ‘Chasing Waves’.
To record ‘Chasing Waves’, the ascending four piece laid siege at Not In Pill Studios in Wales with Martyn ‘Ginge’ Ford and Matt Bond (who’s past credits include Slipknot, Trivium and Bullet For My Valentine) behind the desk. The record was completed by the end of 2013 and the result is highly impressive.
‘Chasing Waves’ is loaded with slamming guitar parts, colossal drumming, and engrossing dual vocal lines that twist and contort. The opening track on the EP ‘Rapture’ is quite simply massive and an ideal sampler for the shape of things to come. ‘Sirens’ bursts with unbridled vigour and a soaring refrain, while the record’s namesake ‘Chasing Waves’ displays the quartet’s cunning knack for stripping back the elements to deliver an engaging cut that will lodge itself in your brain for ages. As ‘To The Sun’ rounds off their striking debut with its edgy riffs and brutal drive, its clear that this record is sure to elevate the fiery tune chiefs to a national level.
 Giving In To Ghost Cover Artwork


Dead Winter – Erasing Glaciers


Dead Winter Online Promo Shot

   Formed in 2011, UK post hardcore band Dead Winter has bred an eagerly growing buzz around their emergence, an attention which especially over the past year has found a real potency which the Blackpool sextet hope to reap greater success from with the re-release of their debut EP Erasing Glaciers. A reboot of their first introduction, the six track fury of melodic metal and hardcore ferocity is a resourceful and magnetic beast of an encounter and the highly suggestive evidence that the band’s time is about to explode into wide recognition.

    Pulling inspirations from bands such as Bring Me The Horizon, Underoath, Oh, Sleeper, and Parkway Drive into their sound, Dead Winter were soon gripping attention locally and further afield from their early days. Comparisons to the likes of Memphis May Fire, A Day To Remember, and Parkway Drive were lofted on to their inventive sound as the band impressed on stage and with their Romesh Dodangoda produced debut release. Still missed by many at the time of its unleashing though, the record has a second refuelled chance to make the mark it deserves and it is hard not to see EP and band reaching into the passions of a great many more this time around.

    Consisting of guitarists Jamie Townsend and Martin Worsnip, bassist Adam Roberts, and drummer Danny Dawkins alongside Dead Winter Cover Artworkthe fiery screams of Laura Russell and the clean melodic tones of Ant Jones, Dead Winter take little time in gripping attention with EP opener Bribe For The Ferryman. A strong blaze of guitar and rolling rhythms enclose the ears initially before the rhythmic tempting strengthens its grip for the appearance of the throat raw squalls of Russell. It all combines for a dramatic and intriguing enticement which only deepens its bait with breaking muscular stabs of riffery and carnivorous aggression. Into its stride the now in place blend of clean and voracious vocals make a potent and alluring draw within a well-crafted and imaginative tempest of sound. The previously mentioned comparisons do come to mind as the song twists and ripples with inventive spite and enterprise but equally there is an individualistic essence to the provocation setting the band aside of other similar like-minded and sounding bands.

     The intense and strong start is not maintained by the following Snakebites & Streetfights as immediately the clean vocals of Jones feel out of kilter to the rapacious sounds around him and at times his own notes. Elsewhere on the EP he is masterful and impressive but for some reason the clean aspect does not feel right in what otherwise is a pretty decent adventure. There is still plenty in the track to convince that this is a rare aberration in the creative puissance of the band, the proof coming right after as the release rises up in gear and levels starting with Every Silver Lining Has A Cloud. A gentle guitar coaxing is soon exposed to a vitriolic vocal causticity and senses splitting intensity driven by equally predacious rhythmic provocation. It is an exciting assault which merges merciless savagery with a melodic soaking led by the back on form vocals of Jones. An unpredictable and exhausting maelstrom of energy and impressive individual endeavour uniting in a superbly sculpted and absorbing invention, the song is quite simply a barbarous incitement for imagination and passions.

     The title track comes next and unleashes a similarly brutal breath and body as its predecessor from its opening second. The riffs come armed with senses tearing teeth and rhythms with an armoury of sinews which bruise and ignite the ears, but it is the excellent mix of vocals from Jones and Russell which steer the impressive and ruthlessly intensive ship to another richly thrilling and irresistible triumph. With the previous song, the two tracks alone make Dead Winter a proposition to feel confidence and anticipation for their future but as You’re Not The Only One shows they are not alone in offering the fullest persuasion of this being a band with a blazing horizon ahead of them. This time taking an almost tempered approach to the listener at first, the song is soon storming within the ears with vocals impressing once more within inventive but unfussy guitar craft from Townsend and Worsnip whilst the rhythmic impact of the band again seizes a full hunger for their impact. With pleasing additives of keys to the masterful display, the song provides another lingering memorable suasion, which is not always something you can say about many other same genre bands and efforts over recent times.

    The closing Survival, like You’re Not The Only One, is a new song on the release from its original appearance at the tail end of 2012, and again with the other newcomer shows the band is evolving and growing in a potent and riveting direction. Soaked in a greater voracity and antagonism than elsewhere on the EP, the track also explores a stronger contagious depth to its body. It is a tremendous conclusion to an outstanding release, one which hopefully should take Dead Winter into a spotlight befitting their rewarding and tasty sound. British post hardcore has a new furnace of creative severity in its midst, an inventive scourge which only leaves unbridled pleasure.


RingMaster 02/02/2014

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Cold Summer – UK Tour


Post hardcore band Cold Summer have annouced the dates to their upcoming UK tour in support of their debut self-titled album released last year.

Cold Summer are fast becoming a critically acclaimed Rock/Post-Hardcore band, reaping the rewards for some fine releases which started with the self release of two EP’s, ‘Transitions’ and ‘Wake’ during 2012, before the Yorkshire band’s
release of their acclaimed debut album album in 2013.
To promote the release the band are heading out on a week long tour of the UK in February 2014. Building on a large and growing fan base across the North of England garnered as Cold Summer played sold out shows alongside well respected bands such as Funeral For A Friend(Distiller Records), Polar (In At The Deep End) Lemuria (Bridge Nine Records), End Of A Year/Self Defense Family (Deathwish Records), Margate (Cybertracks), Blitz Kids (Redbull), Scholars (Banquet), and Aficionado (No Sleep Records) since forming.
Now is the time for more of the country to catch one of the most promising Britsh bands live and with their still passions impressing album.
The dates for the 2014 Cold Summer UK Tour in February:
Saturday 15th – Lounge 41 – Workington
Sunday 16th – The Zombie Hut – Corby
Monday 17th – The Vault Inn – Stockton On-Tees
Tuesday 18th – The Ship Inn – Preston
Wednesday 19th – The Old Blue Last – London 
Thursday 20th – The Hobgoblin – Bath
Friday 21st – Frog & Nightgown – Worksop

Depths. – We Love, We Lose, We Break


Emotionally potent and unmistakeably passionate We Love, We Lose, We Break the new single from Belgian post hardcore band Depths. is an encounter which easily suggests that this is a band to keep a close eye on. Their chosen genre is a proposition which to be truthful can leave the emotions lukewarm just as often as it ignites them, bands often seemingly reworking a formula and presence well established. Depths. skilfully sculpts the latter reactions with their two track offering. Certainly they are not the finished article but with two songs drenched in open craft, a variation of flavours, and deep promise the single makes an enjoyable declaration that they are on the right path.

      Formed in 2010 by two members of Carrying My Burdens which had just spilt up, Depths. were soon writing songs whilst bringing a full line-up together. Hailing from Eeklo, the band went through a slight personnel change before releasing debut EP Past/Present in 2011. Well received it was a potent first step which the new Flood Hardcore released single reinforces and extends. The pair of songs on the single are emotionally turbulent lyrically but wrapped in a sound which though doused in melancholic atmosphere raises hope and passion clad beauty within the situation. It is a thoughtful and provocative mix, occasionally clashing maybe but persistently enthralling and pleasingly enterprising.

     We Love, We Lose, We Break opens things up with a delicious solo guitar coaxing. It provides one of those riveting and cover_front_1000pxaddictive temptations which cannot fail to make strong bait, its lean melody beckoning ears and imagination with an almost poetic lure. The persistent call is soon joined by brief rallies of rhythms from drummer Ebert with the second guitar of Thomas joining Stijn in that initial irresistible temptation. It is an emotive wash with the darker tones of Frederic’s bass especially potent. Vocalist Olivier next steps forward to unleash his angst driven almost exhaustive tones, his initial contact at odds with the softer sounds but the great incitement to their own raising of intensity and energy. The fiery crescendo makes way for melodic hues to again paint their reflective thoughts before returning for a heated powerful climax. It is an impressive slice of drama which gets better and stronger with every listen, proving irrefutable evidence that the band has an indefinable something many other post hardcore provocateurs lack.

     Second song Alone and Forsaken also makes a commanding compelling entrance, a controlled bass groan and roaming rhythms immediately seizing attention and sparking the appetite. Their suasion continues as melodies wash warmly over the ears as the caustic delivery of Olivier riles the air and uncages the strongest emotions and abrasive textures. The guitars paint their own earnest and sinew driven inventive narrative upon the hypnotic rhythmic canvas to support and stand distinctly at angles to the vocals raging with lyrical sorrow and emotional struggle above them. Though not as open as its predecessor the track equally provides unchallenged satisfaction over numerous encounters and completes an accomplished and potential clad release.

     There is little to raise up against We Love, We Lose, We Break in negativity though a slight variation in the vocal delivery would be a suggestion as at times especially in the title track, Olivier’s fine but abrasive delivery clashed with the thrilling melodic textures and emotional elegance of the music. Also there were moments where it seemed like the band held back on their invention so as not to threaten the balance of the songs and that adventure would be pleasing to see stretched further. Nevertheless the single is a clear and powerful musical statement from a band which has an impressive future waiting if they wish.


RingMaster 10/01/2014

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DEAD WINTER to unleash new EP, ‘Erasing Glaciers’ on 3rd February‏

Dead Winter Online Promo Shot
Unstoppable North-west sextet ‘Dead Winter’ drop their enticing ‘Erasing Glaciers’ EP through national outlets on Monday 3rd February.
Igniting glowing comparisons to Memphis May Fire, A Day To Remember and Parkway Drive, Dead Winter come at you with powerful guitars, gargantuan choruses and earnest purpose. Dead Winter are quickly picking up the pace and the ascending metallers are poised to be one of the breakthrough bands of 2014.
Formed in 2011 in Blackpool, and featuring Ant Jones (Clean vocals), Laura Russell (Scream vocals), Jamie Townsend (Lead guitars), Martin Worsnip (Rhythm guitars), Danny Dawkins (Drums) and Adam Roberts (Bass), Dead Winter are rapidly taking flight and creating a stir. Soon after their formation, the youthful six-some began work on inking new tunes for their much anticipated debut record. To help make their mark on the scene, the post-hardcore crew honed their sound by notching up shows throughout the north and gaining hearty support in the process.
The Blackpool bruisers are now set to push open the envelope with a reboot of their stunning debut EP ‘Erasing Glaciers’. Serving up six meaty cuts of hardcore amalgamated metal and taking influence from Bring Me The Horizon, Underoath, Oh, Sleeper, and Parkway Drive, Dead Winter produce an explosive record bursting with invention and buoyant intensity, and with esteemed producer Romesh Dodangoda at the helm, you know the production will be top draw. ‘Erasing Glaciers’ kicks off in barbarous fashion with the hammering beatings of ‘Bribe For The Ferryman’ before it rolls into ‘Every Silver Lining’, which deftly highlights the band’s agile use of devastating dynamics. The record’s namesake, ‘Erasing Glaciers’, further drives the six piece’s message home to great effect; Dead Winter are set to rise—catch the UK noise chiefs on tour as they plan a massive onslaught for the early part of 2014.
Dead Winter Cover Artwork

Baby Godzilla – Knockout Machine EP


Thrashing the senses from pillar to post, UK noise activists Baby Godzilla build upon and thrust further forward their already rampant reputation with new release the Knockout Machine EP. Five tracks of raucous and lethal post hardcore /noise rock with voracious punk causticity recorded for the band’s legendary Black Heart Residency shows which they played in Camden, London this past summer, the EP has just been released for the first time and for free via the band’s Bandcamp profile. It is a mighty confrontation which is like being locked in a sonic spin dryer for thirteen odd minutes of pure imaginative ferocious, the release providing exactly what its title suggests.

The Nottingham quartet of Paul Shelley, Jonny Hall, Matt Reynolds, and Tom Marsh has garnered a massive reputation for their explosive live show, their stage presence being described as “death-defyingly brilliant”. Previous releases NPAG and Oche of 2010 and 2012 respectively have done them no harm either but it is easy to say that the Knockout Machine takes a deeper potent grip. With a sound bringing thoughts of Every Time I Die, Cancer Bats, and The Dillinger Escape Plan into play at times; the release one suspects provides a very powerful indication of what the band feels and sounds like live whilst treating the listener to an intrusive experience which juggles with senses, imagination, and ultimately the passions.

Opener A Good Idea Realised launches itself off of a lone abrasive stroke of guitar and an instantly biting sonic wind into a a1205978287_2maelstrom of manipulative rhythms and ravenous riffing. With caustically squalling vocals equally scarring the air as the riotous sounds, the track pounces on and dances with the senses like an aural raptor, searing flesh and igniting the passions simultaneously. With a virulently rhythmic core and addictive toxicity to its carnivorous sonic hunger, the song and band ferociously ravages with the mischief of the devil and the enterprise of a bedlam bred imagination.

The first brief tirade upon the ear is followed by an even swifter assault from the torrential scourge that is Trogloraptor. The track may be shorter than the patience of a bear awoken from hibernation and just as powerfully irritable, but with a deluge of barbarous addictive hooks and a just as infectious riffing under another tsunami of vocal spite it is an incredibly compelling and consuming treat which is soon matched by the weightier Whorepaedo. Finding a throatier predation to its sound, especially the bass, and a more intensive rabidity to its hunger and energy, the track twists and flexes a sonic invention and rhythmic muscle which is soaked in creative intrigue and devoid of all predictability, something applying to the whole release.

The senses stamping presence of A Great Idea Bastardised bruises and preys on the senses next; rhythms again a thunderous tsunami of intent and provocation goaded by acidic guitar sculpting and vocal scathing. Employing a dance of discord bred and disjointedly boned revelry which secures the strongest submission to its fury and invention, the track is a blistering rampage of primal fingering amidst a destructive sonic tapestry and sheer exhaustive pleasure.

The EP closes with In The Name Of Science And Progress, a scurrilous and feverish sonic pestilence spawned from the cutest annihilatory genius posing as a band. Lashing and slashing the ears like a single minded executioner within an avalanche of aural malevolence and acidic ingenuity, the concluding torment forges a storm of unbridled rabidly delivered animosity with an alternative lumbering oppressiveness to enslave and evoke the senses yet again. It is a masterful punishment to end a similarly vicious and triumphant release.

Giving extreme music and sonic animosity a new exultant breath, Baby Godzilla is poised to sculpt the future of noise and psyche rock, the beast to take extreme realms to unexplored depths and viciousness with the Knockout Machine EP holding all the potential and proof to support that anticipation. It is easily one of the best releases this year and a turbulent aural transgression to welcome and devour with greed.

Get Knockout Machine as a buy now name your price release @


RingMaster 18/12/2013

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The Rott Childs – Alleluia: A Brit Milah In G Melodic Minor

Masks / pic by Fia Cielen

Masks / pic by Fia Cielen

Undoubtedly a musical union from the loins of the Devil, Belgian noise manipulators The Rott Childs are poised to take over the world’s psyche with the unleashing of their second album Alleluia: A Brit Milah In G Melodic Minor. Consisting of ten tracks sculpted with schizophrenic invention and bedlamic imagination, the sonic alchemy uncaged is a breath-taking, fertile tempest of post hardcore and mathcore ingenuity aligned to an aggressive progressive intent which warns not to confirm those best of year album choices just yet.

The Rott Childs made their entrance with the well-received debut album Riches Will Come Thy Way, A Musical in 2009. It was a release which like for a great many outside of their homeland we suspect, evaded our attention but soon received a retrospective investigation once its successor had dug in its staggering sonic claws. Alleluia: A Brit Milah In G Melodic Minor follows on from the endeavour forged on the band’s first release taking it to a maturer and greater incendiary plateau of inspiring confrontation. The quartet of guitarists Christophe Dexters and Jethro Volders, drummer Wim Coppers, and bassist Florent Peevee who also fronts the brilliant Kabul Golf Club, are not content in just engaging the senses and imagination, they want and do take them on a journey through ravenous creative ‘mayhem’ which just enflames the passions.

The opening Prelude offers an intrigue but no real hint of what is to come, its melodic caress and rhythmic shuffling a lure soon 51-QuGgW9vL._SL500_AA280_left behind by the intensive fire of Caloric. Guitars are soon searing the air and teasing the ears whilst the excellent vocals offer a distinct acidic inventiveness too. A scorching sonic bedlam sounding like the deviant cousin to a merger between Blood Brothers and At The Drive In, the track whips up a frenzy of exhausting beauty and predacious energy courted by a crazed craft and mouth-watering invention. Bass and drums sculpt a web upon it which just seduces the passions whilst the guitars weave a ridiculously easy to be addicted to expanse of aural narrative which the excellent vocals and harmonies dance impressively along.

The following Pass Out the Charm parades an even darker psychotic swagger to its adventure, bass lures and sonically hued hooks as with its predecessor virulent tempters spearing the acidically spiced melodic net which just twists and evolves with every passing second. It is a riveting explosion of genius, a feisty torrent of inventiveness which moves its boundaries as it seamlessly flows into a noir clad shadow soaked finale. The song is another masterful pinnacle on an album which gets better song by song, as proven by the fire bred Pretty Diamond. Noise and radiance are easy bedfellows within the rhythmically challenging snarl of a track, a caustic essence of The Fall Of Troy and maniacal breath of The Mae Shi offering their references to the wonderful turmoil being played out.

The next up sinew veined Suitcase Full of Stupid has a Kabul Golf Club toxicity and antagonism to it but within another transfixing melodic meshugah which persists and niggles thoughts and emotions into submission whilst Stumble bursts in straight after with a certifiable rhythmic stomp and sonic rapaciousness, the track virtually stalking and teasing the synapses and emotions into lustful engagement. It is startling and incredibly impressive stuff from song and album, The Rott Childs bringing provocations and spices from all those bands mentioned, to which you have to add Mars Volta at times too, into something loudly distinct and dramatically innovative.

The triumph does not slow down or stop there though as the exceptional sonic storm that is Stutter, the track finding a carnivorous depth which the bass especially feeds off of, and the dark haunting Children’s Life Size Gorgeous Luxury Play House shows. The second of the two is haunting as in an Insidious way, sounds and emotively drenched sonic incitements leaping from the walls and heart of the song to seduce and disturb before ending on a sonic lancing of the ear which leads into another glorious mind challenging provocation. Marching Band is a warped festival of imagination and ingenuity, a technically exceptional, as the album, riot of loose limbed rhythms which simply leave the senses punch drunk and a sonic flaming that corrodes and ignites thoughts.

The closing Gold Crumbs leaves the release on the same persistently consistent high it started upon and maintained. A bewitching and disorientating brawl of never able to settle sound and creativity, the track is a romping puppeteer for lustful passions, a violent and merciless one but one with a wanton seduction it has to share. Not for the first time on the album the bass has a Gang Of Four growl to it presence as the guitars flay ears and air like sonic dervishes, It is a presence which is sheer contagious devilry proving again that quite simply Alleluia: A Brit Milah In G Melodic Minor is unhinged sonic poetry and The Rott Childs the authors of one of the very best albums this year.


RingMaster 19/11/2013

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We Are Fiction – One For Sorrow

WAF_Promo It is not stretching things to say there has been a fair amount of anticipation for the debut album from UK melodic hardcore band We Are Fiction, an eager appetite spawned by the band’s singles and impressive live performances.  Consisting of eleven vibrant and skilfully crafted confrontations, One For Sorrow does not let hopes down even if maybe it does not ignite as many fires in the passions as expected. It certainly expands on all the promise laid down before, spawning even greater potency for future horizons whilst unleashing a few special moments for the now.

Since forming in 2007, the Peterborough quintet has undoubtedly earned that reputation as one of the most energetic and passionate live bands to emerge over recent years, their honest and impacting mix of post and melodic hardcore raging like a new yet familiar provocateur, something which also easily applies to their album. The Destroy Everything Records released riot has a presence and intent which does not exactly surprise, especially if aware of earlier releases, but comes with a fresh and compelling intent which never relinquishes its lure on the imagination and emotions. Some songs raise a greater reaction that others but all leave a satisfaction and enjoyment which makes the album a release well worth exploring.

The album simply explodes into action with opener Mansion House, guitars and drums filling the ears with vibrant and eager riffs and rhythms. With inviting flames of melodic invention offering their persuasion the song has the listener immediately engaged and ready for the fine vocals of Phil Barker backed by the harsher tones of guitarist Marc Kucharski  who bring further passion and enterprise to proceedings. There is nothing openly ground-breaking about the song but with a great blend of raw and seductive elements uniting for an energetic expressive storm the track is an imagination stroking entrance.

The following Bright Lights provides a mellower yet still feisty encounter which is infused by infectious anthemic qualities via riffs and vocals. Once again the guitars of Kucharski and Andi Scott Shaw create a weave of skilled and inventive temptation which veins the firm if restrained attack from drummer Tom Calton and bassist Ryan Chambers. The song keeps attention tightly in the band’s hands as does next up My Dreams Are Haunted, a melodically enchanting and evocative embrace. With all of its rawer and angry essences coming within the varied vocal attack the track is an intriguing venture which is unafraid to wear its heart on its sleeve and shuffle its gait up to keep things unpredictable. Like its predecessor the song fails to maintain the high level of the starting track but still strongly persuades with an intelligent and inventive sculpting to its body.

Both Old Wounds and Sail On make a potent persuasion without igniting fires, the first a blaze of generous melodies and sonic endeavour wrapped around a sinewy core; the rich songwriting of We Are Fiction again proven to be hard to fault at any point across One For Sorrow. Its successor brings a harsher angst fuelled essence into the melodic arms of the song for another inventive and attractive confrontation which is as passionate as it is impressively crafted. Neither track, like quite a few upon the album, linger in the memory or spark off a real fire inside and that is the main or only issue with the album. In its presence it impresses and does get stronger with each encounter, but away from its touch thoughts and emotions struggle to recall what was on offer more often than not. There are exceptions though as with the next up A Thousand Places to Sleep, the opening rhythmic contagion carved by Calton and Chambers simply irresistible and easily matched by the sonic tempting conjured by the guitars. A punk fury fuels the vocals and riffs whilst the drums are a persistent and inciting provocateur. Its virulent lure lessens a little with the cleaner vocals though, as if the aggression is making space though it soon returns to prowl and snarl impressively through the outstanding track. It is one of the major highlights of the release and one which does remain in the memory past its departure.

Building on this high Tilt finds a caustic and rapacious edge to sound and presence which takes top honours on the release. There is a delicious heavy rock weight to the song which merges perfectly with the hardcore thrust of the narrative and intensity, and with a scintillating adventure to the vocals employing rap and noise rock magnetism, the track easily stands above the rest, the unexpected and startling elements a seamless and inventively convincing triumph.

The Worst Of It, the latest single from the album is another exciting incitement, its pop punk/melodic hardcore blend contagious anthemic bait mixing a kind of Blink 182, Hundred Reasons, and Mallory Knox brew which makes a very efficient invitation for band and release.

The final trio of songs starting with the highly emotive Wladyslaw continue to please ears and imagination if paling against what just came before. A drama lit melodic and sonic craft scorches the air within the blues kissed song before the stocky charm and intensity of Earth Machine and the emotionally anthemic Forget About Me take over to conclude the album. Both tracks are impressively built and textured and it is hard to lay any faults before their offerings, except that again not a great deal hooks in the memory once they take their leave. Whether that is actually a major fault is debatable as listening to One For Sorrow only makes for one richly fulfilling hour or so.

We Are Fiction is a band yet to push boundaries but as evidenced by One For Sorrow also one who have a skill and instinctiveness to worry it and more importantly make a potently imaginative and satisfying companion within whom you still sense there is much more yet to come…


RingMaster 18/11/2013

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