Ghosts Again – The Closest Thing To Closure

Ghosts Again_RingMasterReview

Based out of North Carolina, Ghosts Again is a post hardcore trio releasing a new EP, The Closest Thing To Closure this month. Having missed their earlier efforts, the new five track encounter is the first time we have had to check out a band many are suggesting is loaded with promise. From a strong but initially underwhelming start, it is fair to say that The Closest Thing To Closure suggests that Ghosts Again is indeed a potential equipped band well worth paying attention to.

Rising from the ashes of its member’s previous projects, Close Up on the Quiet Ones and Messenger Down, Ghosts Again picked up highly positive attention in 2015 with the release of the single, Business as Usual. It and their sound lured understandable comparisons to bands like Underoath and The Amity Affliction, suggestions easy to see happening again with The Closest Thing To Closure EP, though what ultimately emerges is an imagination and boldness in song which suggests Ghosts Again are shaping something heading towards being distinctly theirs.

GA4(Art_RingMasterReviewThe EP opens with Skeleton Boy which quickly shows the vocal and melodic prowess of vocalist/guitarist Alex Cortright. As the darker hues of Brandon Washington’s bass unites with the swinging beats of drummer Arun Bose, a great blend of brooding and lighter sonic hooks ensnare ears as Cortright’s roars continue to flame and impress. There are elements which really grab attention but equally from sound and the raw side of the vocals things are a touch too formula; failing to ignite personal tastes beyond being contented and firmly intrigued.

Pant’s Division (The End is Silence) makes a similarly expected and appealing start with heftily swung beats within sonic smog of suggestiveness around the band’s vocal variety. As the first, the song is skilfully woven with each moment involved yet a fluid web of sound and emotion; not openly striking but potently persuasive. It is the emerging element of discord and in turn melodic elegance which lifts the song to another alluring level though. It brings greater drama to the temptation and a richer element of unpredictability which really grabs the spotlight in the following and outstanding Les Enfants Terribles. From the start, grooves wind their charms around ears, the imagination just as easily bitten by the web of melodic enterprise and vocal dexterity which blossoms as the song broadens its adventure. There is a touch of My Chemical Romance to the track at times which enjoyably lines the more volatile and metal bred dexterity as well as the thickly emotive calms within the persistently evolving song.

That new level of invention continues in Relive Revive; its emotional and sonic blaze colouring an equally fascinating tapestry of guitar craft and rhythmic theatre. As with all songs on the EP, there are plenty of textures and moments of creativity to recognise or certainly compare to other bands within the post hardcore scene but tinted with a freshness of thought and skill which stops it becoming too indistinct or dull.

Ending with the increasingly compelling Eleven, a song fusing symphonic hues in its boisterous and bracing tempest of heart and sound, The Closest Thing To Closure leaves a healthy, and growing with every listen, appetite to indulge in the highly enjoyable Ghosts Again challenge and reward proposal. It is a band showing that earlier mentioned potential at every turn of an EP which is not ground-breaking but offering plenty to please ears with vigour and style.

The Closest Thing To Closure EP is out now on iTunes.

https://www.facebook.com/ghostsagainband   https://twitter.com/GhostsAgainBand

Pete RingMaster 25/04/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com

Dead Winter – My Only Home

Dead Winter_RingMasterReview

The early weeks of 2014, saw UK post hardcore band Dead Winter make a rather potent introduction to themselves with debut EP Erasing Glaciers. It was a magnetic six track fury of melodic metal and hardcore ferocity soaked with open potential which had already aroused attention with its first outing a few months earlier. Its re-release four years ago though, sparked a more national awareness which the band fed with their impressive live presence. The past couple of years or so have seen the band seemingly quiet. Things were happening though with ideas and directions breeding line-up changes as the band headed into their next steps now marked by new single My Only Home.

Formed in 2011, the Blackpool hailing band soon lured loyal support and ears with their sound and in turn the successful Romesh Dodangoda (Funeral for A Friend, Twin Atlantic) produced Erasing Glaciers. Weaving inspirations from bands such as Bury Tomorrow, Bring Me The Horizon, and A Day To Remember into their sound, Dead Winter and EP were soon drawing acclaim from the likes of Rock Sound, Powerplay, and Big Cheese Magazine. That regrouping and defining of direction and intent followed but now, and ahead of their first album also called My Only Home, set for release this summer, Dead Winter ‘return’ with a bang in the shape of its title track and an equally gripping video.

With Dodangoda at the helm of album and single again, My Only Home swiftly descends on ears with rapier like rhythms and badgering riffs which soon reveal their own predacious intent and snarl. There is a great metalcore edge to the trespass but a hue soon matched by the melodic enterprise and warmth increasingly aflame in the song. In the first minute alone, the band shows themselves to have tapped into a new contagious and virulent quality in their music without defusing the emotive intensity and fire that marked out their earlier exploits.

As pop punk in many ways as it is melodic metal and post hardcore crafted, the song continues to stir up appetite and pleasure, It provides a compelling and at times almost hostile anthemic proposal further shaped by the guitar craft of Jamie Townsend and Adam Roberts whilst driven by Danny Dawkins’s addictive beats and led by Ant Jones’ outstanding clean and melodic tones. There is a real maturity to the song which hopefully is a big teaser to the heart of the album to come, and a bold adventure which simply whips up attention.

My Only Home, single, video, and album looks like the moment when Dead Winter reassert themselves as one of Britain’s most exciting and seriously promising propositions.

The single, My Only Home is out April 15th. Check out the video on our Video Selector page.

https://www.facebook.com/DeadWinterUK

Pete RingMaster 15/04/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

Victorian Whore Dogs – Afternoonified

VWD_RingMasterReview

From the voracious trespass of Afternoonified there is no hiding place for the body and emotions, no safe haven within a sludge/doom metal bred consumption of the senses from a band ready to devour far broader attention than already incited by previous releases. Afternoonified is the eagerly awaited debut album from UK quartet Victorian Whore Dogs and the next punishingly irritable and rousing exposure to the band’s self-named “Sexy Hobo Trampcore.”

The Guildford hailing and 2010 formed Victorian Whore Dogs have already whipped up potent attention and keenly offered praise through their first pair of EPs, starting with the three track rabid assault of Fetch in 2013. Fair to say, Hobo Chic two years later stirred up even greater awareness and support for the band whilst pushing their stripped back and hungrily abrasive sludge metal cored sound on again which Afternoonified now continues. The album’s eleven corrosive roars are as unashamedly raw and boldly cantankerous as ever but equally show a new creative imagination and greater resourceful design to their ravenous and invasive ferocity. It is a wake-up call to those still blind to their sonic antagonism and gripping humour lined devilry, and sure to enhance a formidable reputation already earned by the band’s live presence which has already seen them crush venues alongside the likes of Conan, Ortega, We are Knuckle Dragger, Lord Misery, and Burden of the Noose as well as the New Blood Stage at Bloodstock in 2015.

Afternoonified opens with Mutton Shunter where an initial sonic lancing quickly invites inescapably anthemic beats and caustic stabs of guitar. Their union becomes more abrasive and compelling as psyche infesting grooves from Adam Crawley seduce as they wander through ears. The-hardcore/noise seeded side of the band’s animosity soon emerges too as vocalist Danny Page uncages his throated shredding roars matched in forceful kind by the vocal squalls of bassist Andy Nuttall. The track is superb, quickly in control of attention and an eager appetite whilst being purposefully guided by the rhythms of drummer Stephen More.

Front_Cover_RingMasterReviewIts creative animus is followed and matched by that cast by Captain Kirk Was My Favourite Stormtrooper. Straight away a web of spicy grooves and rapacious riffs unite beneath a mercurial atmosphere ablaze with the jaundiced vocal ire of Page. Like a psychotic mix of Neurosis and William English, band and track create a thick and swinging incursion of the senses finally making way for the even more antipathy toned challenge of I Have Become. The next track immediately shows an even darker and heavier gait which only becomes more intense and atmospherically tar thick as it insistently lumbers through ears on the way to spreading its cancerous hues to Murder Boner which breeds a whole new inhospitable sonic malignancy from them. Again the merciless aspects are offset by infectiously demanding rhythms and fearsome yet engagingly waspish grooves and piercing hooks; a combination resulting in a highly alluring landscape around more vocal enmity.

Both tracks commandingly stir up again the hungry focus and emotional involvement already in motion though the pair soon finds themselves eclipsed by the calmer invasive flirtation of Barrington Monroe. It’s droning elegance and fiery ambience smothers the senses whilst simultaneously invigorating them with a dark almost nagging touch and charm crawled over by the fiercely rasping vocal delivery of Page. The track beguiles as it scars, a quality found again in the far more predacious and equally enthralling (I Can’t Believe It’s) Nutbutter which stalks ears from its start before breaking into a repetitive and addictive groove veined grind/sludge metal woven grudge.

An infectious persistence of grooves and predatory rhythms shape the similarly captivating Agœcia next, the track another which seems to instinctively incite the primal wants of any slab of galvanic aural barbarism. It is admittedly, a quality gracing the whole of Afternoonified which will keenly entice those with an emotionally and sonically dissonant tooth, and repeats its success in the likes of the melodically and emotively rancorous Snatch Files and in turn the rhythmically enslaving Nååñshååg. The first of the two expels a coarsely bracing blaze whilst its successor creates a tapestry of rhythmic incitement before soaking its frame in doom fuelled sonic and vocal venom. It is another which infests the psyche and passions with little resistance whilst showing a strain of diversity which maybe not all songs as openly show but for the main hold.

The album comes to a close through the virulent feud of Southern Fried Homicide and the crawling aural malice of Sebastian Tenderhoof, another duo pushing the blend of textures and flavours to greater variety within their individual conflicts of sound and intent. Together they make for a heavily pleasing end to a thoroughly gripping and enjoyable invasion of body and spirit.

Though Afternoonified will impress those with an appetite for sludge, doom, and debilitating metal swiftly it is over numerous plays that it truly comes into its own and reveals its depth of invention and character. Victorian Whore Dogs is a band on the prowl with its finest vindictive growl about to be let off the leash.

Afternoonified is released April 1st via Hibernacula Records @ http://victorianwhoredogs.bandcamp.com/ and http://www.hibernacularecords.com/product/afternoonified-by-victorian-whore-dogs

https://www.facebook.com/VWDBAND

Dates for the Victorian Whore Dogs UK Tour:

01/04 – Reading, Facebar*

02/04 – Southampton, Firehouse *

03/04 – Portsmouth, Edge of the Wedge

07/04 – Worcester, The Pig & Drum *

08/04 – Leicester, The Firebug *

09/04 – Leeds, Bad Apples*

10/04 – Nottingham, The Running Horse *

14/04 – Bristol, Stag & Hounds +

15/04 – Cardiff, Fuel +

16/04 – London, The Black Heart +

17/04 – Brighton, The Prince Albert *

22/04 – Worthing, Bar 42

*With Morass of Molasses

+With Greenhorn and Tides of Sulfer

tour_RingMasterReview

Pete Ringmaster 31/03/201

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

Lody Kong – Dreams and Visions

Photo-Joey Nugent

Photo-Joey Nugent

Let us get the most publicised aspect about Lody Kong out of the way first. The Arizona based band is the creation of Zyon and Igor Cavalera, the sons of Sepultura/Soulfly/Cavalera Conspiracy famed Max Cavalera and brother of Incite frontman Richie Cavalera.

Now to the important bit; the release of the band’s blistering and increasingly impressing debut album Dreams and Visions. It is a ten track infestation of the senses as debilitating as it is invigorating as it uncages ravenous tempests forged in sludge thick, raw metal toned raging infused with punk belligerence and fuelled by post and hardcore causticity. Band and album challenges ears and incite the imagination at every turn with an array of invasive textures and flavours uniting in rabid exploits which generalising as psychotic punk ‘n’ roll would not be to deceptive.

Formed in 2011, the Phoenix hailing Lody Kong soon made a potent mark the following year with debut EP, No Rules. It was an introduction to the quartet of guitarist John Bauer, bassist Shanks, vocalist/guitarist Igor, and drummer Zyon reinforced and more by the band’s part in the 2013 US/Canada/European Maximum Cavalera tour and more recently last year’s Cavalera Conspiracy US tour. Now it is the turn of their eagerly awaited debut album to stoke up broad attention and for the major reasons of sound and fierce invention rather than band personnel.

The album opens with the outstanding Chillin’, Killin’; a venomous assault of a track offering searing bait from its first breath. That sonic intrusion soon erupts into an antagonistic rumble of raw riffs and hostile rhythms urged on by the emotive scowls of Igor. Piercing repetitive grooves only add to the compelling and exhaustive incitement, shifts in the predatory state of the track’s gait and character increasing its irresistible lure with a full throttle thrash kissed charge simply icing on the scintillating cake.

art_RingMasterReviewThe album’s title track keeps the grip on pleasure and appetite just as tight, its bruising weight and cantankerous intensity carrying an air of Pigs and Discharge to its irritable storm. It too is a song which twists through a host of inventive changes and detours, leaving a lingering psyche infesting dark presence and tempting which carries on into the likes of the emotively and sonically cancerous Kreative Center and the stalking animus of Pig In The Pen. The first of the two chews the senses with its nagging riffs whilst hooks and wiry grooves vein the scything swings of Zyon which cross another bestially toned bass trespass by Shanks. It is an unrelenting pressure of sound matched in its individual way by its successor whose initial doomy prowl soon expands into tar like sludge voracity interspersed with frenzied canters of energetic animosity.

Both tracks are spiteful punk rock with the virulence of numerous styles involved, much like the body of the bad-blooded Rumsfield where again band and sound enjoyably crush the senses with their creative and emotive jaundice. As across the album, there are moments of familiar hues and textures running headlong into ears yet each and every time their appearance is woven into something fresh, inventively damaging, and individual to Lody Kong.

Smashed and Blasted is proof as it presents its own hellacious and intensely imposing proposal next. The track is arguably the heaviest and most merciless on the release yet one with a host of imaginative hooks and sonic enterprise which hints as much at post punk and noise rock as it embraces extreme metal and post hardcore ferocity. Its thick enticement is followed and eclipsed by the predacious crawl of Some Pulp. There is liveliness to the song’s attack though it clambers over the senses rather than charges them, vocals and citric grooves the lead bait in its animalistic stalking with again numerous unexpected and incendiary twists.

Through the excellent old school punk/grunge feud of The Dangerous Quest and the dirty and schizophrenic Pistols-esque rock ‘n’ roll of Topaz, the album adds more aspects to its increasingly adventurous character. There are no major deviations from the heart of the songs before, but each explores another inventive hue and discord nurtured variation which continues with the closing sludge ’n’ roll consumption of the senses cast by Venomous Kool-Aid. It is a suffocating weave of thrash and doom metal with classic and hard rock strands, the guitars of John and Igor almost flirting with their bitterness laced craft around the latter’s rasping tones.

Though for personal tastes the loftiest highlights are found in the first two thirds of the album, Dreams and Visions is an unrelenting rousing of body and spirit, and indeed the debilitating devourer of both, which simply leaves a want for more from start to finish.

Dreams and Visions is out now via Mascot Label Group @ http://www.mascotlabelgroup.com/lody-kong-dreams-and-visions-cd.html

https://www.facebook.com/lodykong7   https://twitter.com/lodykong

Pete RingMaster 30/03/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

SPInnERS – Ghost

cover_RingMasterReview

SPInnERS are no strangers to the Greek underground scene but probably, as for us, an unknown quantity and indeed name further afield. With a push and an introduction here and there, that might change in the near future especially as more and more catch on to the band’s new album, Ghost. The nine track proposition is a ripe tapestry of flavours; from punk to grunge, post punk to indie rock, and plenty more, it is all infused into a raw and compelling, uncompromising and fascinating trespass on ears and imagination.

The Athens based band actually started back in 2008, making a swift impact with only their third live show coming as support to Dinosaur Jr in their home city. A three year hiatus swiftly followed though, before they returned and released debut album Everybody needs a lie in 2011. A self-titled successor lured greater attention with its release two years later, leading to a mini Balkan tour across Greece, Serbia, and the Macedonian city of Skopje. Now with the recently released Ghost sparking broader attention, the trio of vocalist/guitarist Panos, drummer Chris, and bassist Tommy O who joined the band following the departure of Vad who played on the latest album, are poised to become an eagerly talked of name on a broader expanse of lips.

First track upon Ghost is Unspoken Words and fair to say that within seconds its twisted lure of hooks and spiky grooves has ears attentive as tenacious rhythms drop agitated yet anthemic bait around them. With the plaintive nature of the vocals and indeed the melodic acidity which veins the encounter on top, the track quickly grows into a heftily alluring slice of sonic and emotive discord. It is bracing, leaning on the side of concussive and virulently gripping stuff sparking the album to a great start.

The following Same keeps ears and emotions similarly enthused; its abrasive but inviting body again speared by a potent line in imposing beats around a grouchily magnetic bassline. The vocals of Panos emotively and harmonically match the tempestuous sounds around it, flavours which unite in a post hardcore meets noise infused punk rock exploration of the senses.

The album’s title track steps forward next, its dissonant bellow carrying a more heavy rock/ grunge essence to its character whilst colluding with post punk/noise rock imagination. In many ways there is a great feel of seventies bands like Artery and The Membranes to the track, magnetic essences which continue to emerge as the likes of My dreams are dead and Mental Detox crawl over the senses. The first, from a yawning scraping of guitar string, slips into captivating sonic smog of thorny aggravation littered with addictive hooks and an almost barbarously persuasive swing whilst the second colours its matching rapacity in sound and attitude with warmer flowing melodies and group vocal roars. It too, is a song that is more an aggressor than seducer but the latter is what it emerges as for ears with its web of spicy grooves, throatily coaxing basslines, and fiercely involving rhythms.

Ghost hits its pinnacle over the next pair of songs, starting with Sick of You. A blend of old school punk and garage/noise rock, the track is irresistible as it plunders the passions with jangling lures and searing hooks, not forgetting more impossible to resist rhythmic tempting. Its triumph is emulated in Additional Expectations, another seemingly inspired by the post punk imagination of a Joy Division or Clock DVA but, as its predecessor, also sharing the infectious prowess of bands like fellow Greeks, Three Way Plane.

(The Apparition) provides a haunting breeze of melancholic sound around a poem performed by Julian Glover next, a track wrong-footing the listener but enticing the imagination before Wish me Well brings the album to a potent close with its thick tapestry of numerous styles and flavours previously mentioned in its own fresh and pleasing narrative. Arguably the most involved and unpredictable track on Ghost, and all songs defy the satisfying of expectations, the Bauhaus-esque song leaves a lingering impression and rich enjoyment as well as a want to explore the album all over again.

SPInnERS are nudging on greater and increasing attention outside of their homeland; a success if not now they will surely earn at some point with offerings like Ghost.

For more info on SPInnERS and Ghost check out https://www.facebook.com/SPInnERS-athensgr-180374258675694 and  https://spinnersathens.bandcamp.com/

SPInnERS Ghost Tour Dates;

Friday 18/3 Salonica (ypogeio) GREECE

Saturday 19/3 Kumanovo (cafe agora) F.Y.R.O.M

Sunday 20/3 Kraljevo SERBIA

Tuesday 22/3 Smederevska Palanka (Balkan rock club) SERBIA

Wednesday 23/3 Niksic (nk club) MONTENEGRO

Thursday 24/3 Podgorica (Montenegro pub) MONTENEGRO

Friday 25/3 Kosovska Mitrovica (Soho)

Saturday 26/3 Krusevac (club zamajac) SERBIA

Pete RingMaster 08/03/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

Filth In My Garage – Songs From The Lowest Floor

FIMG_RingMasterReview

Dripping melancholic animosity as physical and emotional dissonance invades ears and the imagination at every turn, Songs From The Lowest Floor makes a potent excuse for keeping creators, Filth In My Garage under close attention. The band’s debut album is an invasive slice of post hardcore driven incitement which is going to be hard to ignore, no matter to what degree its bracing and abrasive enterprise persuades individual tastes. With the unpredictability of noise and punk rock adding to its increasingly fascinating character, Songs From The Lowest Floor is certainly a striking ravishment, with a further potent line in hooks and daring inventiveness sure to grab plenty of eager appetites.

Filth In My Garage was formed in 2007, founded by guitarist Matteo, vocalist Stefano, and drummer Luca. As their sound grew and was honed, the band found it developing a post hardcore heart which went to subsequently flavour a trio of EPs, all catching local support which itself expanded with each encounter. Now with drummer Mauro, guitarist Jack, and bassist Simone alongside Matteo and Stefano, the Bergamo quintet looks ready to lure bigger spotlights their way with Songs From The Lowest Floor.

Released via Argonauta Records, the album opens up with Stampede and immediately ears feel like they are facing a gunslinger within a sultry western set sky. The instrumental slowly rises to its full height as sonic tendrils offer a smouldering tempting against portentous shadows which court the emotionally thick character of the opening. A spark for ears and imagination, the track slips seamlessly into the bruising rock ‘n’ roll of Black and Blue. It is a quickly persuasive incitement cantering along with an infectious gait and energy as Stefano’s hardcore seeded squalls uncage lyrical and emotional ire. As the song expands its sonic volatility, a veining of expressive melodies emerges to blend with a harmonic caress of vocals. It is a recurring moment in the tempest of the track, never hanging round but seeming to spark new adventure to the maelstrom of intensity around it.

FIMG_COVER_RingMasterReviewDevil’s Shape is as antagonistic and predacious at its start as the last was by its close, though it quickly shows, even if at times with subtlety, imaginative twists and turns within the tide of riffs and sonic discord. Rhythmically the track is an anthemic protagonist, stirring up eager attention even as things slow a touch as hostility rises. A calmer passage provides an oasis in the storm, it’s emotionally charged melodic calm drifting over the senses to beguile thoughts midway before its surroundings begin to bristle again and crowd in on the lure of clean vocals and warm melodies.

Grouchy riffs and gripping bass hues line the emergence of the following instrumental Greenwitch, though its air and charm is seeded in the album’s opening track. That predacious coaxing soon steers the piece through a mercurial landscape of sonic antipathy persistently skirted by the anthemic enticement of drums and bestially toned bass. As mentioned previously, the band’s sound is post hardcore spawned yet this song alone shows the great variety and weave of flavours the band skilfully employs and takes tenaciously into the prickly attitude of the invasively enveloping The Awful Path. The track is compelling stuff, impressing most, as does the album, when it without hint but coherently slips into seemingly unconnected detours of imagination and gripping adventurous sound; something personal tastes hope the band boldly explores more in the future.

Red Door is another swaying and slipping into the psyche with a spaghetti western scented melodic climate. Its sweltering air is more inviting than oppressive, and a rich embracing of ears and thoughts which paves the way for, in this case, a bullying of vocals and raw intensity. The track keeps its reins on its animus though, even as Stefano spills the lyrical discontent from within the magnetic endeavours of Matteo and Jack. Of course in time, the track frees itself into a fierce blaze but still retains rock ‘n roll contagiousness to its irritated animosity. Understandably references to bands like Poison The Well and Norma Jean come up around Filth In My Garage but here alone, you can find great reasons to mention the likes of Coilguns or Sofy Major as further clues to that moment in time.

The forceful and enthralling adventure is completed by firstly the truculent and increasingly addictive escapade of The Lowest Floor and finally the riveting drama of Owl Feather Band. The first bounds through ears leaving bruises and concussive residues in its wake; though it too has plenty of great contrasts through unexpected moments whilst its successor is a journey through a tapestry of textures and flavours within an equally evolving wind of intensity and aggression. Arguably the most imaginative and exploratory song on the album, it provides a fine end to an impressive first look, for us, at Filth In My Garage.

No album should be assessed fully on one or two listens and that certainly applies to Songs From The Lowest Floor. It is over time that it reveals an imagination and adventure which allows the band to intrigue and grab keen interest right now but will ensure, as it develops, they stand right out in a crowded post hardcore landscape ahead. Filth In My Garage is a band, as suggested earlier, it is going to be hard to ignore.

Songs from the Lowest Floor is out now via Argonauta Records and @ http://filthinmygarage.bandcamp.com

https://www.facebook.com/filthinmygarage

Pete RingMaster 08/03/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

Story – Hopeless But Hoping

Story_RingMasterReview

With a sound living up to their name; music and songs which tell a tale for ears and imagination to get wrapped up in, UK band Story release their second EP, Hopeless But Hoping this month. Carrying six tracks fusing melodic metalcore with post hardcore amidst rock scented infectiousness, the release is a captivating and accomplished encounter which is as much at ease brawling with the senses as caressing them with suggestive melodies.

Formed in 2014, the Sheffield hailing band seeded their sound in the inspirations of bands such as Memphis May Fire, Of Mice & Men, Mallory Knox, and Young Guns. They quickly earned a potent reputation for their live show, sharing stages with the likes of Tek-One, Qemists, ACODA, Shields, Silent Screams, The Call Back Academy, and Summerlin over time whilst the release of their first EP and debut single Father Forgotten, nudged a broader attention. Now they are unveiling Hopeless But Hoping to stir things up again and to greater heights, a success not too difficult to contemplate.

Produced from within the band, Hopeless But Hoping opens with Story’s new single/video Article 10. It lays a gentle melodic touch upon ears initially, evocative guitar charm stroking ears and imagination before a bigger rumble brews and escapes the band. It soon relaxes as the impressive vocals of Bill Hobson step forward with the narrative, the guitars of Liam Gratton and Matt Baxter almost dancing around him with their enterprise. Equally, between them the pair uncage some feisty and imposing riffs to match the throbbing rhythms of bassist Tom Walker and drummer Chris Ogden as Hobson shows his fluid switch to angst fuelled aggression is equal to his harmonic delivery.

Story Artwork_RingMasterReviewThe track is a fiery and eventful encounter with a nice line in unpredictability, not a trait which every song exploits as well but when they do as in the following Push Me Away, the imagination cannot help but get involved. The second track swings in on a lure of tenacious rock ‘n roll, calming down again as vocals join the bubbling affair before rising up with energy into an emotive snarl. Great backing roars and keen spirals of sonic endeavour add to the contagious tempting and presence of the song; it as its predecessor offering plenty of textures and twists to be forcibly enticed by.

Community flares up next, its emotive and volatile blaze catching attention if without finding the same individuality and success as the songs before it. With open craft from the band in sound and songwriting as well as a strong anthemic feel to it, the song certainly keeps enjoyment high before Letting Go serenades ears as an emotive turbulence shares its ire in the background. Melodies and vocals gently and impressively hug the senses, proceeding to reveal their tormented side as in time provocative flames of sound and emotion erupt in a thick engulfing of the senses. It is a slow burner compared to the first pair of songs, but grows to be another highly agreeable moment in the adventure of the EP.

The release’s busily textured and energetic title track sizzles within ears next, Hopeless But Hoping a song which is as riveting as it is a touch frustrating. It leaps in with an irresistible turbulence of grooves and rhythms aligned to raw vocals but then lets the strength of its thrilling start wane as its intensity and drama drops. It saves itself though with some fascinating turns into atmospheric and melody fuelled resourcefulness to add a great element of surprise to an encounter which, as great as it turns out, just feels like it could have been even bigger and bolder.

Carry Me Home finishes the release, its rousing air and boisterous enterprising alone a blend to grab attention. It might not be a song ripe with uniqueness, something you could say about the EP generally, but as Hopeless But Hoping, it has a wealth of invention and drama, as well as the band’s undeniable skills, to leave ears and emotions healthily satisfied. The potential of their sound also makes a lingering impact suggesting that Story has a potent time ahead of them.

The Hopeless But Hoping EP is released March 4th, details @ http://storyofficial.bigcartel.com/product/hopeless-but-hoping-ep-pre-order

https://www.facebook.com/StoryOfficialUK  https://twitter.com/storyofficialuk

Pete RingMaster 04/03/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/