DEBUT EP DROPS THIS SPRING!
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 GHOSTS RELEASE ‘CHASING WAVES’ ON MONDAY 31st MARCH THROUGH ALL OUTLETS =
the 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.
addictive 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.
maelstrom 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.
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.
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.
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.
impossible to pin down with a label. How do you as its creators answer questions of what does it sounds like?
The mixing and production of the album is so important to realise all the nuances and facets of your sound, who handled that part of the recording and what made him the right choice to realise your ideas?
with 25/9/11, an evocative instrumental immersing the ear in resourceful strings, provocative keys, and swirling voices within a musty and slightly oppressive ambience. A warm beauty emerges from the soak as the guitar casts a reflective presence upon the senses drawing the weave around it to brew up a fuller intensity too. It is a tempting piece which in many ways gives little descript of what is too come but fluidly and perfectly leads into the following Conversations. The second track instantly grazes the ear with feisty swipes of guitar and commanding rhythms from Davies. From this striking start a breath is taken before the band forges all the brewing aspects of the song into a provocative and challenging pleasure with the vocals of Bruce backed just as strongly by those of James Hill. Abrasive and simultaneously deeply tempting, the track is a blaze of invention and skill, its sound caustic yet seductive from songwriting that is accomplished and imaginative, with the constant additives and unpredictable twists the biggest joy in the enthralling thumping storm.