Not Tonight Josephine – Self Titled EP

Released the same week as the new self-titled EP from Not Tonight Josephine, the debut release from UK band Death Kindly Waits For Me ignited a fresh breath in the post hardcore scene. It set down, even in its raw but potential drenched proposition, a new adventure for the genre which for us made a marker all other offerings would now have to match up against. The Florida hailing quintet are the unfortunate ones to step up next and within hours of that striking release, the first to have to impress new demands and hopes. It is fair to say that Not Tonight Josephine do a fine job, their six track encounter might not have that special ingredient we found so thrilling but it out crafts and out shines most other post hardcore proposals over recent months to leave thick pleasure in its wake.

The band has been working on the new release since mid-2014, creating songs to push their sound on again from its acclaimed successor, the Common Gold EP released the previous year. With a more aggressive and voracious character to it, the band has certainly achieved that with the EP and it is right to suggest the release is their finest moment yet. Not Tonight Josephine formed in 2008 and has consistently lured in praising attention locally and across broader spotlights leading up to that previous EP. Live too they have earned a potent reputation, shows with the likes of A Day To Remember, Underoath, Ice Nine Kills, Rise Against, New Found Glory, and The Colour Morale only adding to that. Common Gold followed a line-up change and seemed to find that flush of heavier and arguably rawer adventure which now roars from within the Not Tonight Josephine EP. As mentioned at the start, for us the bar has been raised recently, but it is all relative to personal tastes and definitely this new protagonist leaves only the fullest satisfaction and impressed reactions.

Recorded with From First To Last duo Taylor Larsen and Spencer Sotelo, the EP opens with brief instrumental ;) . It is an atmospheric forty seconds which intrigues but is really the intro to the following ReEmerge. Why it has its own track listing it is hard to know but it is soon a thought of the past as the new track erupts with thumping beats and aggressive riffs bound in an instantly inviting melodic enterprise. Even as the song settles in to its tempestuous stride, the swings of drummer Christian Turt show no mercy, only impressing with their weight and tenacity. The raging vocal squalls of frontman Danny Garry and bassist Evan Foley also have a potent angst and attitude to them but it is the clean delivery of Garry that really impresses and steals the attention. It is fair to say that post hardcore bands have been predominantly impressing and grabbing our plaudits through the melodic side of their attack vocally, maybe too much of the same caustic shouting talking its toll on our patience and simply feeding expectations, and there is no doubting the might of that area in Not Tonight Josephine matched by the creative enterprise evolving round them. The use of strings and production twists only add to the drama and increasing success of the song, unpredictability an open weapon in the great start.

The following Nothing To Show is a brawl of vocal hostility and antagonistic sounds from the off, riffs and beats a delicious baiting as they intimidate and lead the listener into a maelstrom of vocal deliveries and twang lit grooves under a thunderous sky of attitude and sound. Not quite having the individuality of its predecessor or the imaginative punch, the song still intrigues and persuades with its mix of almost metalcore hostility, djent bred ferocity, and melodic expression woven by the skills of guitarists Scott Vallina and James Purcell. Whereas the last song broke ranks, this feeds expectations for the post hardcore sound, something you can say about Eyes which follows. Featuring a guest performance from Spencer Sotelo too, the track bellows and revolves with ear seizing adventure and satisfaction breeding pugnacity. It is wholly enjoyable but again does not surprise which is a real want in our admittedly demanding tastes.

Don’t Hold Your Tongue though is another matter, a fairer and mellower croon, it is bewitching. It is melodic rock at its captivating best, the balladry of sound and Garry’s outstanding vocals spellbinding and another excuse for us to say less caustic styling ahead please; save just for textural use. Song and band reveal a fresh charm to their songwriting and composing through it, with only the ever fiery beats of Turt offering dark and complimenting intensity.

The final song finds the band back in turbulent mood. Barefaced also shows the band to have the kind of invention and skill to help drive their genre on to new heights. The song is sensational, the EP’s top temptation where even the aggressive squalls work perfectly within the unbridled animosity and inventive spite of the encounter. It is a predator of a song but also an inescapable seduction, tearing the senses asunder then soothing the wounds with a vocal and harmonic caress. It has something special, a heavy dosage of startling and exciting imagination in thought and sound which reignites, what are becoming, tired ears for the standard post hardcore template.

Not Tonight Josephine band and EP is a highly enjoyable and impressing encounter; yes we know we have become picky and did pick here, but we come away from the release with satisfaction full and hopes for new creative blood in this genre re-energised a little more.

The Not Tonight Josephine EP is available from March 3^rd

http://nottonightjosephine.com/     https://www.facebook.com/nottonightjosephine

RingMaster 03/03/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://reputationradio.yooco.org/

Death Kindly Waits For Me – Wire Iron Blood

Let us cut to the chase right away and suggest that Wire Iron Blood might just be the best and certainly one of the most exciting post hardcore debut in recent times. An introduction to UK quartet Death Kindly Waits For Me, the three track release is a striking and dramatically captivating protagonist for ears and imagination, and the fact that it suggests there is plenty more in the creative tank of the band yet to be explored and developed only increases its impact. Expressively provocative with a sound coming from the At The Drive In/Fall Of Troy end of an ever broadening genre, Death Kindly Waits For Me is a dramatic fresh breath in the British post hardcore scene.

Northamptonshire bred, Death Kindly Waits For Me began towards the beginning of 2014, taking inspirations from the likes of Thursday, Being As An Ocean, Finch, and Taking Back Sunday into their emerging invention. Their melody rich and aggressive sound was soon drawing potent attention locally and even further afield as their increasing live presence saw the foursome sharing stages with bands such as Decade, Light You Up, Devil Sold His Soul, Terraform, Emp!re, Our Hollow Our Home, Hey Vanity, Attention Thieves and Flood Of Red. Now a national attention is on the radar as Wire Iron Blood is uncaged, and it is fair to say that expectations are already confident in the band’s success in luring a wider spotlight.

The EP opens with the outstanding Cutting Room Floor, a sonic lure swiftly thrusting ears into the impassioned vocals of Adam Fitch, his clean and earnest tones instantly magnetic. Alongside him the guitar of Max Freeston slowly spreads a coarsely melodic lure whilst the heavy bass tones of Adam Cator, just as quickly adds dark haunting shadows. Pierced by the controlled and reserved but rapier like strikes of drummer Josh Miller, it is not a dramatic start yet thoroughly intriguing and awakening an appetite to hear more. Soon into a steady stride and still employing the creative weave which set things off, the song increasingly impresses as it expands its presence musically and vocally, Fitch superb with his distinctive angst fuelled tones whilst the more punkish offering of Freeston is a potent backing and the raw roars of Cator nicely caustic. An additional anthemic strength emerges in the song and though musically maybe it does not blaze with startling originality there is nothing but freshness and adventure to the opener.

The same strengths flows though the following Best Friends. It character is shadowed and emotionally dark yet it flames with a contagious energy and a rigorously exciting imagination. Vocally once more the track shines whilst riffs and melodies create an infectious proposal which, as the EP, becomes more addictively enjoyable over time. That Fall Of Troy feel is a bright whisper across the song, whilst other elements hint at the more experimental adventure of The Mai Shi at times, but as the song evolves from a raging stomp into a melancholic croon in its finale, the track is thrillingly individual to Death Kindly Waits For Me.

The closing Decade Of War continues the excellent temptation, its emotionally sober but energetically impassioned heart a canvas for great rhythmic enterprise and colourful guitar endeavour to wrap with craft and tenacity. Vocally of course the song continues a weighty persuasion amidst impressive sonic imagination and by its end it is hard not to sigh in disappointment that there is no more and to swiftly go back to the beginning again and ensure there is.

As mentioned at the beginning, Wire Iron Blood is a starting point for the band which shows that they have plenty to discover and push within themselves. There is little nothing to shade the potency of the release though, with no reflection on Cator, personal tastes would like to see a diminishing or loss of the aggressive vocal squalls as they often feel at odds with the rest of the vocal delivery and at times songs. It is a very minor thing of course in a potential drenched start by Death Kindly Waits For Me, a band hard not to get rather excited over.

Wire Iron Blood will be available from 2^nd March through all digital stores.

https://www.facebook.com/deathkindlywaitsformeuk

RingMaster 02/03/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://reputationradio.yooco.org/

 

 

Concepts – Transitions

Quite simply Transitions is the post-hardcore equivalent of popping candy; place it in the ears and it can seduce with a melodic calm and elegance which whets the appetite and then erupt in a tempestuous carnage of aggressive flavours and raucous temptation. The debut EP of US band Concepts, the release is a fascinating and compelling encounter, swiftly offering the evidence as to why there is a feisty buzz around the band right now but bursting with a potential suggesting we are only at the beginning of big things from and for the Houston quintet. Certainly the release is not flawless but there is barely a whisper to any ‘issues’ to temper any real enthusiasm for EP and band.

Concepts was formed in 2011 by Aaron Isbell and Jory Nunn, and despite undergoing a fair few line-up changes soon built up a thick following and potent reputation for a live presence which has seen the band play with the likes of Emery, Of Mice & Men, and Memphis May Fire, and indeed their inventive sound. Overcoming various hardships and financial difficulties which all emerging bands suffer to varying extents, the current line-up of Blake Williams, Cruz Stuart, and Barrett Powers alongside Isbell and Nunn, are ready to stir up real attention and fervour with their imaginative sound, and the Kris Crummett (Sleeping With Sirens, Alesana, Issues) mastered Transitions, the spark hoping to open new spotlights.

We labelled Concepts as post-hardcore early on but to be honest and straight away shown by EP opener Posthumous, the band’s sound is bred from a rawer voracious metalcore seeding, though the song also just as rapidly reveals there is plenty of flavoursome styles and scope within songs. Its opening is a portentous ambience with apocalyptic shadows which are soon splintered by ragged riffery and sonic toxicity. The mix of guttural spite and soaring melodic vocals is striking, superbly pitched and stealing attention though so too is the spiny rhythmic animosity and scarring djent sparked enterprise unleashed. Though the track does not quite light a major fire it leaves on a quite bewitching conclusion which lifts a good song into being a great one.

The following Mirrors caresses ears with a gentle stroking of keys cupped in a harmonic vocal hug. Of course the raw and instinctively aggressive character of the song has to emerge, which it does with a rugged and unpredictable savaging of the senses. The song carries on twisting between charmed melodic temptation and jaundiced belligerence, all driven by violent creativity. It is enthralling and pleases with ease if again not quite finding that final spark to ignite the passions.

Both tracks have a fluid and seamless maelstrom to them which continues across the whole release in varying ways, starting with the tantalising Vultures which from its first breath seems an easier going and more restrained slice of invention. It still holds an intimidating essence though which is given moments to uncage its rhythmic teeth and predatory hostility; scarring and ravenous expulsions which almost flirt with deathcore as well as a metalcore spawned barbarousness. Just as potent though is the harmonic croon and intimate melodies aligning the primal side of the song, they equally magnetic and unpredictable in imagination and tenacity.

The EP’s title track lays down its own unique landscape of virulent vicious rancor and melodic intrigue next; the former inciting ears and energies for the latter to swarm all over with harmonic passion. Keys and strings provide the additional lift to the song, their brief but opportune appearances a riveting texture to the ferocious snarl of the song.

The EP just gets better with every song and it is by its midway point that ardour is really aroused though the finest hour of Transitions comes with the closing Abomination. A grouchy vocal scowl sets things in motion with almost instantly heftily driven jagged riffs and pungently aggressive rhythms also lending their antagonistic hand to proceedings. It is a gripping and attention grabbing entrance by the encounter, which is soon expanding horizons and enterprise with great flames of clean vocals across a more melodically even tempered fury. It is a brewing storm though as both aspects of the track’s character entwine and flirt alternatively with its imposing narrative. From within dramatic keys and the increasingly impressive harmonies seduce too, giving slight respite from the increasingly carnivorous tempest around and beside them. It is a tremendous end to a thrilling release.

There are times where things, intricacies and nuances, get lost in the thick melee but never enough to defuse the invention and creative potency of songs and EP. Concepts is being talked of very highly right now, but expect bigger claims as Transitions lures in more and greater attention with its Betraying The Martyrs meets We Are the Ocean like, to give some idea, adventure.

The Transitions EP is available now @ https://itunes.apple.com/us/album/transitions-ep/id956146009

https://www.facebook.com/Concepts.Band

RingMaster 18/02/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from http://www.thereputationlabel.today

 

 

‘DEATH KINDLY WAITS FOR ME’ to unveil their ‘Wire Iron Blood’ from 2nd March

“Nothing short of amazing, perfectly executed noise wrapped in an emotive blanket…top stuff!”

BBC Introducing.

 

Post Hardcore crew ‘Death Kindly Waits For Me’ express a sound that packs concise riffery and energetic beats with pop sensibilities. The rising quartet unleash their spanking new EP ‘Wire//Iron//Blood’ on Monday 2^nd March, from all digital stores.

 

With a slew of inspiration stemming from Thursday, Being As An Ocean, Finch and Taking Back Sunday, Death Kindly Waits For Me have absorbed their predecessors’ influences and added their own imposing stamp. In doing so, they now despatch an engrossing sound that is accessible and earnest.

Coming at you from Northamptonshire and featuring Adam Fitch (Vocals), Max Freeston (Guitar/Vocals), Adam Cator (Bass/Screams) and Josh Miller (Drums), Death Kindly Waits For Me pull from the fundamentals of emo and hardcore and harvest a sound that is both fast and slow, and altogether heavy yet melodic. The foursome give their all to an audience and have even played shows with broken bones and bloodied hands. DKWFM push the barriers and deliver passionate, emotive, and energetic live shows that truly captivate. Since their formation at the start of 2014, the melodic hardcorers have racked up shows with a host of bands such as Decade, Light You Up, Devil Sold His Soul, Terraform, Emp!re, Our Hollow Our Home, Hey Vanity, Attention Thieves and Flood Of Red.

The four piece are now set to drop their debut EP ‘Wires//Iron//Blood’ on Monday 2^nd March. The EP is an engaging piece of post-hardcore. Right from the opening lines of ‘Cutting Room Floor’, which firmly displays the band’s deft ability to pull in the listener with a hook that will need to be prised from your inside, to the stinging bite of ‘Best Friends’, which goes for the jugular but still manages to unleash a killer refrain, and to the closing track ‘Decade Of War’, as it flaunts their nimble use of dynamics, this record is sure to reinforce the band’s credentials as one to watch for the coming year and beyond.

 

-DEATH KINDLY WAITS FOR ME ‘WIRES//IRON//BLOOD’ MONDAY 2^nd MARCH 2015 THROUGH ALL STORES-

 

https://www.facebook.com/deathkindlywaitsformeuk

Digits – Footprints And Embers EP

 

Having caught ears and attention with promise soaked debut EP Acquiesce To Violence in 2013, UK alternative rockers Digits return with its successor Footprints And Embers. All the thoughts bred by its predecessor remain with the new EP, the potential of the band growing into a really striking proposition ahead as persuasive as before. The new four song encounter also shows a solid growth and freshness to the last release but equally carries a rawness at times which occasionally numbs the creative ideation and potency being shown. Despite that, Digits remains a band to keep under close view with the imagination of big things in their future.

The time between releases has been a trying time for the band it is fair to say. Acquiesce to Violence found itself earning plenty of praise and support as well as having tracks gracing cover CDs of Rocksound and Big Cheese Magazines whilst the band shared stages with the likes of Margera, Feed The Rhino, Marmozets, and played the Make A Scene Festival with the likes of Funeral For A Friend, The Blackout and Hacktivist. Since then though injuries have accosted the band; vocalist/guitarist Chris Bradley damaging ligaments in his ankles, guitarist Craig Strawbridge managing to cut off half his thumb, bassist Stu Latham damaging his back, and drummer Dan Cooper having to leave the band due to persistent problems with his wrists. The Newcastle quartet has endured and overcome though, and with Matt Hickman now swinging the sticks and equipped with a host of new songs, Digits are forging on as they unleash Footprints And Embers to pick up from where they were before being temporarily derailed last year.

Embers starts things off, emerging from a distant wash of sound and prowling forward with pungent rhythms, caustic riffs, and a spiralling lure of strong melodic enterprise. It is a strong start but turned into a less successful moment by the blazing roar of raw vocals from Bradley, his tones bullish and clad in a post hardcore texturing which in turn permeates the song and mutes its initial potency. It is something ears soon acclimatise to though, especially when the song grows again by relaxing into a mellow passage with similarly delivered vocals. Courted by a great bass tempting, alluring guitar endeavour seems to light the touch paper to another explosion of intensity and passion. The song ebbs and flows like this throughout its presence, not always winning its persuasion entirely but with wicked grooves and an irresistible anthemic rhythmic baiting from Hickman, the song wins its argument, and becoming stronger and more potent with every listen.

As mentioned the opener has a post hardcore like nature compared to the alternative rock aggression of the following Dysphoria, a song which as some on the last EP, finds a Reuben like essence to its contagious lure of riffs and hooks. There is another drift into an emotive calm in the song which works but maybe not quite as powerfully as it might against the otherwise tenacious and confrontational qualities of the track. Nevertheless, it is a pleasing and compelling lure which overcomes a slight wavering of vocal quality with ease.

The next up Parachutes is of similar breeding, its sinews flexing with every forceful beat and abrasing riff as vocals unite to push the just as fiery narrative of the song through ears. There is a rage to the song which is cleverly tempered yet enhanced by the marauding rhythms and sonic enterprise, they in turn seeming to encourage a spicier vocal ferocity and control. It and its predecessor take the honours on the EP, reminding and pushing forward the reason why the last EP suggested Digits was a brewing storm to watch.

The calmer skies of Eros concludes the album; the song a melodic hug within brooding bass shadows. Bradley proves his vocal strength on the song, bringing Paul Heaton like tone to his delivery, and at times the melodic breath of the song does have a Housemartins like croon before it erupts into a final blaze of roaring intensity speared by a quite inescapable hook. Again it gives thoughts a nudge to the depths and potential of the band whilst providing ears with another highly satisfying offering.

Digits still feel like they are still looking for their own specific sound and have yet to fully tap into the certain potential within them, but with releases like Footprints And Embers it is no hardship to carry on waiting and enjoying the band’s growth.

The Footprints And Embers EP is available digitally from February 2^nd via iTunes.

https://www.facebook.com/Digitsuk

RingMaster 02/02/0215

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

Omaha – Chapters EP

Creating an emotive weave of melodic and alternative rock with at times a loudly whispering underbelly of post hardcore/metalcore courtesy of the initial sound the band emerged with in2012, UK band Omaha powerfully show they are one fascinating and potential fuelled proposition through debut EP Chapters. It is a vibrant and invigorating encounter which swiftly and with little difficulty grips ears and attention. It also reveals a persuasion which only grows and impresses with greater intrigue and potency over every venture of its provocative textures and intimate passion; so much so that even if Chapters does not quite light the fire in individual passions it will most likely still instil a want to check out the band and their next release without reservation.

As mentioned formed around two years ago, the Leicester quintet has been honing and evolving their sound over the past couple of years, and in tandem continuing to draw and impress fans as well as the music industry along the way. 2014 though was a year where the band’s presence and sound made a potent break through, Omaha signing with American label We Are Triumphant after impressing them on a UK tour and also linking up with Monument Music on a management deal. It is fair to say that things are moving for the British band, a potent step forward which Chapters only reinforces whilst suggesting is just the first step to stronger and broader spotlights.

Thumping beats open up the EP as first track Devilish Acts instantly stakes its claim on ears, an initial bait which with scythes of tangy guitar strikes, has little difficulty raising full attention. This potency only increases and blossoms to greater persuasion as the heavy dark shadows of bass from Arron Bailey and the following vocals of Jack Voss link up with richly enticing acidic guitar swipes and the just as insistent beats of Jake Clark. Relaxing around the full emergence of Voss’ swiftly impressive tones, the music becomes a gentle caress but only for a brief moment before erupting again with emotion and intensity to match the vocals. The track seamlessly slips through inventive scenery of ideation and sonic expression across its appealing canvas, the guitars of Ben Corbett and Freddie Goli showing as much drama as they do craft and adding to an emotive theatre coloured to vibrant effect by the rest of the band.

The impressive start is backed by the weighty presence of Stranger’s Embrace. Throwing a reserved but potently anthemic chorus at the listener amidst an almost prowling landscape of melodic reflection and emotional angst soon after its start, the song straight away opens another character to the sound and songwriting of the band. Linking pungent and imposing intensity with melodic caresses, it does not quite live up to its predecessor but with a great rhythmic enterprise and open adventure across the whole band, the song only leaves a hunger for more of the same, which Homebound shows little reserve in offering. Making a slower but no less dramatic entrance to the first pair of songs, Voss stretches his impressing qualities yet again whilst the track again without finding that final spark, easily leaves appetite full and thoughts keen to explore more.

It is an urge rewarded in fine style by the outstanding G N D, a song bursting in on a rhythmic swing and soon dancing with a charming melody crooned over by Voss. A slight clarity dousing effect grasps his tones for a great piece of thought in the production, the smothering touch over his energy producing an almost angst ridden urgency from the singer which simultaneously conflicts against and compliments the sparkle of the guitar. The veil is washed away once the song expels its energetic breath, a vivacious landscape of harmonies and melodic expression bonding with Voss and the shadow kissed rhythms thereafter. It is a gem of a track taking top dog honours in the EP but challenged from then on by firstly the impassioned vocal and sonic roar of There’s No Room For Doubt. At times Omaha brings for no more reason than their ability to craft emotional anthems which are as contagious as they are dramatic, thoughts of former UK band Always The Quiet Ones; this song especially spicy in that suggestiveness and quiet captivating.

Chapters closes with the excellent embrace of The Final Scene which features guest vocals from Rebecca Need Menear. The song is a gentle emotion soaked temptation which carries an intimate drama and a tapestry of creative invention in the riveting rhythms of Bailey and Clark and the tantalising web of sonic colour crafted by Corbett and Goli, and the stirring tones of Voss and Need Menear do it no harm either.

Chapters is an exciting and potential walled next step for Omaha, with only the fact that not as many songs make a lingering persuasion away from their company than maybe expected. It is a minor comment though in a thoroughly engaging and engrossing proposition from a band badgering a new stature and bigger success.

The Chapters EP is available via We Are Triumphant from January 20^{th @ http://omahaofficial.bigcartel.com/}

https://www.facebook.com/OmahaOfficial

RingMaster 19/01/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://www.thereputationlabel.today

 

 

 

A Room Swept White – No Love Lost

As much as we all hope the next new thing we listen to will be an inflamed love affair for ears and the passions, sometimes a just as enjoyable contemplation is a proposition which manages to leave thoughts and emotions balanced between high praise and dissatisfaction. The new No Love Lost EP from UK post hardcore band A Room Swept White is such an encounter. Consisting of five tracks which at times with their raw persuasion ignite a lusty appetite for the band’s imagination and attempt to stand out from the crowd, the release is a potential soaked and ultimately promising first look for us to a band beginning to brew up a buzz. Tempering its success though, those same songs also provide a senses smarting abrasiveness in certain moments which rub personal tastes the wrong way. It all results in a sizeable confrontation which as it twists and tries to find its feet, provides a presence that ensures A Room Swept White will not be simply a passing interest.

Hailing from Crawley and Horsham, A Room Swept White formed in 2011 with the intent “to create a sound that inspires and attacks the senses.” From the first few seconds of the new EP it is fair to say that the quintet has that angle covered quite potently. They create a persuasion which live has impressed forcibly, as shown by gigs alongside the likes of Heart In Hand, Hacktivist, Bury Tomorrow, Feed The Rhino, Bleed From Within, Soulfly, POLAR, and many more persistently drawing strong praise. They have a stage power and intensity which you can suggest has not quite been discovered on No Love Lost, but as implied earlier, their promise is all there to be heard on the band’s new release.

It opens with the evocative melody fuelled Recollection, a brief caress of emotive guitar and cleanly delivered vocal angst over rugged rhythmic scenery. It is an inviting lure taking the listener straight into the hoarsely throated This Life. The second track immediately assaults with heftily swung beats from drummer James Farrant against just as antagonistic riffs. Twists in the already inventive designs of guitarists Alex Kirrage and Michael Flood catch the imagination before the coarse vocal rage of Ryan Elliott adds to the antagonistic intent. It is a strong start which finds greater energy as the frontman expels his angry breath, an increase in intensity matched by the guitars great enterprise and the darker moodier basslines of James Nicoll. A further enticing colour comes with the clean vocals of Kirrage, firstly as a backing aligned to the calls of the band. It is a great mix and the track is soon winning over thoughts and appetite, especially as it slips into something melodically and atmospherically more comfortable at one point.

The song flows into the EP’s title track and it too is soon badgering and energetically squalling over the senses. Bulging with uncompromising rhythms and vocal predation courted by coarse riffery, the song is a maelstrom of fresh ideas and at times genre familiarity. It works well but is missing something compared to its predecessor, though the clean vocals and imaginative endeavour of the guitars is a tasty extra.

Vocally is where the EP seems to be raising most debatable points with people, though most seem to praise the hostility of Elliott over the warmer tempting of Kirrage. Personally it is the other way round where the band on this encounter flourishes; the latter providing great and impressive contrast to the less adventurous assault of his band mate. It is all down to taste of course but it would be good to see Elliott mixing up his venomous stance in the future to break the almost overwhelming causticity which at times defuses the success of the creativity elsewhere. Songs like the next up Time Heals especially blossoms from the angst soaked ire dripping from Elliott’s fine attack though, and just as pleasingly from the sonic adventure and melodic flames which wrap around the impressive bait set down by Nicoll and Farrant.

From the best track on the release, No Love Lost ends with the more than decent if slightly underwhelming Better Days. Like the third song on the EP, despite highly agreeable ideas and skilled enterprise, the song is missing the fire of certainly the previous incitement of ears. As No Love Lost as a whole, there is still plenty to get strong satisfaction from and things to be unsure about with the final outcome being that A Room Swept White is a prospect needing more keen attention. Both band and release provide pleasing and enjoyable company but are accompanied by a feeling it is still early days and there will be stronger and more exciting things to judge ahead.

The No Love Lost EP is available from January 12^th through all digital platforms.

https://www.facebook.com/ARoomSweptWhite

RingMaster 12/01/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://www.thereputationlabel.today