Voyager – Ghost Mile

There is no denying the eager grin which broke upon faces here when the new Voyager album was sent through, having been seriously tempted by the band since their second album uniVers in 2007 and lustfully hooked through their fourth and fifth in the acclaimed shapes of The Meaning of I and V. The later in 2014 set a plateau it was easy to wonder if the Australian band could eclipse thereon in. Hopes and a quiet confidence have just been realised with the release of Ghost Mile, an album which brings a truly fresh breath to progressive metal as instinctively catchy and virulent as it is technically and inventively imaginative.

The success of the Perth quintet’s last album saw the band invited to perform at major festivals such as ProgPower USA, Euroblast Festival in Germany, and the ProgPower Europe Festival in The Netherlands as well as sharing stages with the likes of Deftones, Opeth, Leprous, Protest The Hero, Nightwish, Epica, Oceans of Slumber, and Coheed and Cambria. Voyager ended last year touring Australia with Deftones and Karnivool and being further invitations to play Euroblast and Progpower EU this year, the latter as headliners. Now with Ghost Mile driving things, it is hard to imagine 2017 being anything other than a really busy adventure, one no doubt littered with praise lured by their stunning new album alone.

Mixed by Matthew Templeman and mastered by Simon Strutters, Ghost Mile opens up with Ascension. A golden melody kisses ears first with the warmth and intrigue of a dawn sun, its suggestive air tempting the imagination before bolder rhythms add their bait. Djent teased enterprise is soon joining the blossoming affair, their steely tenacity paving the way for another caress of elegance around the radiant tones of Danny Estrin. As magnetic as ever, his presence is swiftly joined by sturdier textures whilst being the ringleader to an irresistible infectiousness soon fuelling the chorus and body of the evolving encounter. With the suggestive heat of his keytar matched in craft and magnetism by the guitars of Scott Kay and Simone Dow, the song is pure captivation, only increasing its potency as breaks of predacious intent and aggression escape.

The quite stunning start is quickly continued by the equally outstanding Misery Is Only Company. From the off, it has a harder core to its presence, a latent but open intensity which lines jagged riffs and the brooding air of Alex Canion’s bass. There is no containing the instinctive catchiness within songwriting and imagination though, the swinging beats of Ashley Doodkorte inciting similar boisterousness in the resourceful and technical enterprise across the band. Deftones’ Chino Moreno recently likened Estrin’s voice to Duran Duran’s Simon LeBon, something at times easy to agree with and indeed at times the song has something of the British outfit to its pop sensibilities, infectiousness aligning with more predatory essences to masterful effect.

Next up Lifeline initially lays another sunny shimmer on the senses, its progressive aptitude soon courting metallic rapacity though as melodies radiate and vocals warmly croon. Relaxing into a gentle stroll, there is still a constant snarl to the guitars and bass which breeds alluring unpredictability and waiting volatility, the latter never truly having its moment but keeping the calm honest whilst giving the progressive/ pop rock adventuring a threat. As with its predecessors, physically involving the listener is a quick given and with increasingly lust.

The provocative nature of Fragile Serene seduces next, its climate a mix of melancholy and joy with one addictive hook at the heart of a fusion of rich temptations which almost swarm over the senses into the imagination before To The Riverside carries the same fantasy off in its evocative piano led flight towards the waiting more capricious embrace of the album’s title track. From the first second, Ghost Mile has an agitated eagerness which infects body and spirit, the carnivorously laced bass growling beautifully within the fiery but composed roar of the track. Like sonic and melodic alchemy, the song turns four minutes or so into a cauldron of heavy and light, dark and luminous adventure; contrasts uniting rather than battling for the album’s pinnacle.

What A Wonderful Day pretty much sums up the feeling during its three minutes plus, its pop nurtured rock ‘n’ roll as contagious, additive, and arresting as anything heard this year so far. Its warm dance though does have predacious overtones lurking in its shadows, their semi-vocal presence more realised in the tenebrous texture of the following Disconnected, though it is never devoid of the light and vibrancy instinctive to the Voyager imagination. With industrial breath seeping into the track’s progressively nurtured and invasive metal challenge, there is nothing to deter a quick and full submission to its rousing and often caustic incitement.

The enchanting fascinating of This Gentle Earth simply beguiles next, the union of piano and vocals alone sheer seduction and only escalated as rhythms probe and drama floods every rising texture and tendril of contagion sharing sound; an infectiousness belying the emotional reflection of disconnection.

The album finishes with the fiercely charismatic As The City Takes The Night, a track growing from an absorbing tango into a blaze of heart and intensity which smoulders, simmers, and boils across its eventful reflection without ever seemingly taking the same route twice. As the album, the song is a fascination giving more and more with every listen, rewards including pure pleasure.

Expectations of Voyager are always high because of previous triumphs but again left short by an album which will take some shifting from being one major contender for this year’s greatest moment.

Ghost Mile is out now via Nova Distribution across most stores.

http://voyager-australia.com/   https://www.facebook.com/voyageraustralia   https://twitter.com/voyagerau

Pete RingMaster 17/05/2017

Copyright RingMaster: MyFreeCopyright

One Morning Left – Metalcore Superstars

Metalcore Superstars is the new album from Finnish melodic metalcore band One Morning Left, and our introduction to a sound which quickly you get the marmite factor feeling about in, it breeding love or eager dislike with little in between. As the eleven rousing tracks of the encounter run riot through ears with their bedlamic burst of styles and flavours, we quickly fell into the former opinion and keenly embraced its ferocious mayhem.

It has been three years since the quintet released their seemingly well-received second album Our Sceneration; it’s uncaging in 2013 quickly followed by the band increasing their live presence and hitting stages alongside the likes of like Adept, F*ckface Unstoppable (Bam Margera), Protest The Hero, and We Butter The Bread With Butter and more across Europe. 2014 saw the band begin working on Metalcore Superstars, its creation an extensive affair as the band honed their new ideas into its slightly psychotic character until arriving at the seriously eventful confrontation grabbing ears today.

Maybe the best way to generalise the One Morning Left sound is ravenous metalcore with the punk contagion of Billy Talent, the techno adventure of Silent Descent, and the mischievous prowess of Hollywood Undead; it coming with a hardcore/avant-garde surge of attitude. The result is a full-on and enjoyably unpredictable protagonist, even if one that flirts with a loss of control at times.

Opener OML_KVLT sees the band announcing themselves in anthemic style, the vocals of Mika Lahti a busy and tenacious mix backed by those of guitarist Leevi Luoto. Checking out tracks from previous releases, there seems a lighter tone to the creative devilment of One Morning Left this time around with Metalcore Superstars but equally a more rabid snarl to their sonic and lyrical warfare amidst bolder drama to their imagination. The first track continues to stir ears and appetite with its fiery nature and pungent tapestry of flavours, subsequently creating a virulently infectious incitement that chews on the senses.

The following Heavy Metal Finland flirts with nintendocore like bait initially, it’s tempting aligned to vicious growling and broody dynamics which erupt further within the emergence of the tempestuous proposition. Without the constant spark of its predecessor, the track pleases as it toys vocally with heavy and death metal spices as well as similarly varied textures musically; enjoyably backing up the strong start without quite making the same impact.

The guitars of Luoto and Ari Levola aggressively dance with sonic attitude within ¡Derailed! next, but also they are unafraid to unleash some funk seeded flirtation whilst keys engage in a kaleidoscope of electro flavours and atmospheric suggestiveness. All the time moving towards a bruising confrontation, the track provides a galvanic finale within a formidable rhythmic web cast by drummer Niko Hyttinen before the outstanding You’re Dead! Let’s Disco! has body and energies fully involved in thumping aural devilry. Like Hadouken! meets The Browning, the track is a chest beating slab of sonic and vocal defiance again lit by the off-kilter imagination of keys and programming from Veli-Matti Kananen and bracingly driven by his bass lines and the swinging scythes of Hyttinen. Careering on the precipice of psychotic chaos, the track leaves body and emotions bursting with lust, a success matched by The Recipe, it a more controlled but no less forcibly resourceful and deranged web of concussive textures and fascinating theatre.

Kings and Queens throbs and pulsates straight after, its opening a haunted cascade of electronic splatters leading to a warmer toned but more punk bred aggressor as melodically engaging as it is infectiously cantankerous. That Billy Talent air is at its strongest here in a song with an inventive weave maybe less exploratory than others on the album but is still sculpted from a heftily flavoursome torrent of ideas. Its lean take on that thick diversity elsewhere works a treat, providing one more major highlight.

A muggy collage of metal and punk ‘n’ roll colours Fast and Furious 6.66 next, its electronic calms only bringing more intrigue loaded variety to ultimately an enraged bluster of the song whilst Devil’s Nest rumbles and grumbles from a sinister melodic entrance into an exotically hued adventure with duelling contrasts against aligning radiances and hostilities. A dogged but invitingly invigorating swamp of noise and flavour, the track grips attention and eager involvement with its theatre of enterprise leaving the album’s title track to bully and harry senses next, though it too is unafraid to seduce with the beckoning fingers of melodies and harmonies.

A great carnival-esque air comes with the riveting Eternity; the penultimate treat playing with a My Chemical Romance meets AFI hand within its just as potent murderous traits to ingeniously nag and thrill ears before making way for the closing turbulence of Sticks and Stones. Like being rabidly assaulted by a seductive temptress bound with irritable intent and wrapped in orchestral grandeur, the track is one enthralling end to an inescapably magnetic release.

For some, the creative turmoil and bordering on insatiable imagination of Metalcore Superstars may not hit the spot for ears or desires, but it only left us exhaustively wanting more. So be brave and take on the adventure One Morning Left offers with their latest proposal we suggest; it just might ignite your day.

Metalcore Superstars is out now in Finland via Inverse Records with full release from February 22^nd in central Europe through Bleeding Nose Records, and across America and Oceania on Imminence Records.

http://www.onemorningleft.com/   https://www.facebook.com/Onemorningleft   https://twitter.com/onemorningleft

Pete RingMaster 25/01/2016

Copyright RingMaster: MyFreeCopyright

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All To Ruin – Among Us

Back in 2013, Welsh melodic metallers All To Ruin made their introduction with the Parables EP, a striking collection of songs whose only real issue was a sound which lay comfortably within that of the crowd. The suggestion and potential though was that the band would evolve into something much more distinct in time. Now the Port Talbot band return with its successor Among Us with the first question in anticipation of its release being had All To Ruin found that unique identity. Certainly in adventure, craft, and maturity, the band’s sound has openly leapt on, but in originality it is a bit of yes and no. A familiarity to bands such as Funeral For A Friend, Protest The Hero, and at times August Burns persists but it is now coloured with a freshness and creative tenacity which makes the band’s sound linger and take on a more individual character. All To Ruin is still searching for that real originality it is fair to say but as you get caught up in their powerful anthemic choruses and the fiery passion of vocals and sound, that moment in time belongs solely to them.

Formed in 2011 and with a demo under their belts by the end of that first year, All To Ruin swiftly lured attention from fans and media alike. It was Parables which lit an even stronger awareness and following, backed as potently by live performances which has taken the band to play over the past four years with the likes of The Gallows, Young Guns, Deaf Havana, This Is Hell, Lower Than Atlantis, The Blackout, Funeral For A Friend, Heart Of A Coward, Heights, Exit Ten, Textures, Continents, Sylosis, The Chariot, Revoker, The Casino Brawl…well the list goes on and on. Entering the studio, as with their last EP, with Martyn ‘Ginge’ Ford and Matt Bond (Slipknot, Trivium and Bullet For My Valentine), All To Ruin reveal a bigger, bolder, and more flavoursome sound in Among Us with, as earned by the earlier release, similar if not greater responses expected in return.

     The EP opens with Take The Reins and instantly encases ears in spicy grooves, hungry riffs, and punchy rhythms. Vocalist Aaron Roberts just as quickly brings his impressive voice to the affair whilst the guitar of Rhodri Williams provides a spiral of sonic enterprise and temptation. That new strength in songwriting and sound needs little prompting to show itself, as too a bolder imagination as the song slips into a gentle melodic embrace of voice and guitar. The thick swipes and rolls of drummer Tom Richardson keep an aggression bubbling though, eventually becoming the spark for a return of the opening impassioned roar of the encounter.

It is heavily enticing start to Among Us taken up another level by its title track straight after. Jabbing beats and a dark throaty bassline from Dan George provide the initial bait, their intimidation swiftly wrapped in the sonic tendrils of guitar. It all evens out as a warmer but no less imposing weave of increasingly gripping melodic adventure unites with the tempestuous and intensive rhythmic side of the proposition. There is also a drama to the song, emotionally and physically, which reveals more of the inventive and mature edge to the band’s creativity. An orchestral seducing in the background of the song helps that theatre arise as it flirts throughout, and once given its clarity, simply captivates in the finale of the excellent song.

Certainly there are plenty of recognisable elements on the two songs so far, but in reality that kind of applies to most releases these days, and as mentioned when songs like Among Us and the following Disconnect bellow with passion and imagination, it is predominantly a flavouring which only adds to the enjoyment. The third song brings a similar canvas to the previous track, an emotive orchestral colouring immersing the imagination as rhythms plunder the senses and vocals unleash the heart of the proposal. Aggressive and reflective simultaneously, the track spins another intriguing web of sparkling endeavour soaked in familiarity though it reveals itself to be even stronger in enterprise and emotion.

Aggression fuels History next, the best song on the EP driven by a creative snarl and provocative energy spawned by carnivorous riffs and uncompromising rhythms. Rather than being tempered this is complimented by the blistering sonic exploits cast by the guitars and the inventive twists further stirring up an already explosive song. On the last EP there was one song which stood out and pushed the envelope on the release and on Among Us it is History.

The EP comes to an end through Beneath The Steel Sky, a blaze of melodic rock which like a friend wraps enjoyably around ears and feeds the appetite. As shown here, technically the band has grown impressively as they have in songwriting and sound, but it is the imagination which lines every song which most stands out even if uniqueness is taking longer to come through. As with Parables though, Among Us suggests it is looming and closer still, but again the reality is that as songs consume ears and imagination only thorough enjoyment is the outcome.

The Among Us EP is available from April 27^th via http://www.alltoruin.bigcartel.com/ and through all stores.

https://www.facebook.com/alltoruinmetal   https://twitter.com/alltoruinuk

RingMaster 27/04/2015

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://www.reputationradio.net

ASCENDING MELODIC METAL CREW ALL TO RUIN RETURN WITH NEW EP!

With a melting pot of influences stemming from August Burns Red and Protest The Hero, All To Ruin continue their climb with their own brand of melodic metal that blends blistering riffage against catchy hooks. The rising crew nationally release their spanking new EP ‘Among Us’ on Monday 27th April.

Hailing from the blue collar steel works town of Port Talbot, South Wales, All To Ruin were born in 2011 and quickly became a force to be reckoned with. By the end of the year, the band began work on their first demo, which happily secured national attention from Kerrang! Magazine. A series of successful shows followed before the band headed into the studio with Martyn ‘Ginge’ Ford and Matt Bond, whose previous credits include Slipknot, Trivium and Bullet For My Valentine. The tuneful metallers came out of the studio with a cracking debut EP in hand. The five-some dropped the record in 2013 and it firmly stamped All To Ruin on the map. The EP picked up glowing reviews and support from Rock Sound Magazine, Metal Hammer, Big Cheese, Powerplay, XFM Rock show and Team Rock Radio.

In addition to picking up critical acclaim for their recorded work, the band also have an impressive live CV to date, having played shows with The Gallows, Young Guns, Deaf Havana, This Is Hell, Lower Than Atlantis, The Blackout, Fei Comodo, Funeral For A Friend, Heart Of A Coward, Heights, Exit Ten, Textures, Viatrophy, Continents, Sylosis, The Chariot, Revoker, The Casino Brawl, Twin Zero, Bury Tomorrow and Yashin.

2015 looks ripe for the band to transcend the underground, and they are loaded with their explosive new EP ‘Among Us’. Opener ‘Take The Reins’ gets the ball rolling in supreme style with its crunching techy riff assault pitched by Aaron Roberts’ hugely infectious vocal lines that will bed down deep into your pores. The EP’s namesake ‘Among Us’ is another impressive nugget of melodic metal with its thunderous riffery and layered texturing. ‘Disconnect’ and ‘History’ offer up additional evidence that the South Wales metallers really have an arsenal of banging tunes at their disposal. Lastly, ‘Beneath The Steel Sky’ completes the record with its stunning muscular delivery and killer refrain. Stay tuned to the band’s Facebook page for tour announcements and show updates; big things are going to happen ……

www.facebook.com/alltoruinmetal https://twitter.com/alltoruinuk

-ALL TO RUIN RELEASE ‘AMONG US’ ON MONDAY 27th APRIL THROUGH ALL STORES-

Beyond the Dust – Khepri

Beyond the Dust is a French progressive metal band which has a very potent future on the evidence of debut album Khepri. It is not a release which puts the band up alongside the weightier and more robustly adventurous protagonists of their genre, but one which suggests with the ripe potential coursing through their songs, that the Paris quartet could find that success some when within their evolution.

The band made a potent introduction to themselves with their six-track New Dawn EP in 2011, a release which led the band to shows with the likes of Periphery, Sybreed, Protest The Hero, Monuments, and Becoming The Archetype. The song Reality Deformed opened up a new gaze of attention with its unveiling at the beginning of 2012; the song which featured ex-Aliases singer Jay Berast already showing hints of the new maturity in songwriting and sound which is ripe within Khepri. The band signed with Dooweet Records last year for the release of their first full-length, it a 57 min concept album which has been compared to “references like Dream Theater’s Metropolis Part 2: Scenes From a Memory mixed with Meshuggah’s Catch 33 and Periphery’s albums.” That might be a grand suggestion for Khepri but certainly Beyond the Dust has grown in creative strength and imagination between releases and this certainly lights up the album.

A mature male voice sets the scene as first track Rise waits in the shadows to reveal its presence. It is a dramatic scene being cast under a stormy sky, one soon joined by the melodic charm of guitars and a darker foreboding bass tone. Similarly the ambience of the track becomes thicker in dramatic hue, providing an intriguing premise that Meshuggah bred enterprise agitates and ignites. The instrumental is a captivating opening to the album, alone sparking the imagination and anticipation of what is to follow.

Clarity is the next offering, its own elegant start a potent coaxing before being immersed in a vibrant but cloudier weave of riffs and rhythmic incitement. It is not a particularly stormy encounter though and is soon mixing in peaceful melodies and certain emotional calms, but still prone to eruptions of raw vocals squalls alongside the predominant clean delivery, as well as fierce intensive roars of sonic voracity. The track continues to seduce and blaze away in ears, the band persistently impressing in craft and ideation but, and something which applies to most of the album, not finding that final spark to push the band beyond familiar territories.

After the Light is a valiant attempt though, a voracious predator from the start but guided by the excellent clean tones of the vocalist and almost as swiftly twisting into unexpected and compelling detours. The song is quite gripping, luring in close attention as you wait to see where it goes next, and it does not disappoint with its imagination whilst still managing to stay within the original framework of the song’s tempest. There are moments where it veers towards the precipice of too much but always turns away and explores new just as sonically theatrical and engrossing ventures. A proposal to take your time exploring, much as Khepri itself to be fair, it emerges as a peak of the release which grows even more impressive over time.

A smoother embrace comes with Relief, melodies and harmonies as resourceful as the guitar escapades and vocal variety. There is a small sense of flamboyancy through the solo which will appeal to some and maybe less to others but it is the lack of the bold almost warped ingenuity of its predecessor which prevents the song lighting emotions as potently. As a rapacious melodic rock track though there is little to ignore and refuse, much as with Last Breath, though the song is much more volatile emotionally and aggressive creatively. The further into its short but eventful body it travels, the greater the creative temptation discovered where again a more twisted invention is allowed to flirt with the listener even if in short doses.

Both Zero and Silence and Sorrow have the imagination heavily invested and ears fully attentive, the first a tenaciously expressive and inflammatory instrumental coaxing thoughts and emotions into the savage jaws of its successor. The most carnivorous track on the album, riffs and rhythms a barbarous incitement, the song proceeds to explore a sonic tapestry of bedlamic enterprise and melodic ingenuity. Funk, jazz, and math rock all seem to have a part of its breeding whilst the ever impressing vocals in their harmonic styling only add to the magnetism of the tempestuous encounter. As After The Light, the track stands as a pinnacle of Khepri, the moments where something new is truly breached.

The three parts of The Edge of Earth and Sea complete the album, each a part of an epic twenty plus minute narrative also standing well individually if taken that way. Part 1: The Tears Of Departures is a mellow and evocative embrace, though as expected it has a fiercer energy to its air and a darker nature to its shadows. They subsequently boil over into a brawling hardcore-esque vocal expulsion over jagged riffs and tingling melodies, the evolving vocals and warm guitar expression ensuring though that there is plenty of adventure in the growing maelstrom, a stormy scene which slips into again the more restrained and charmed opening to Part 2: The Fear Of The Journey This in turn rumbles with storm like emotion and intent across its colourful and technically extravagant soundscape. The mid way collapse into hellish domains, where the safety of the narrative’s protagonist is lost, suddenly ignites the track to new heights matched by the voracious stalking of the senses from riffs and rhythms. There is a new inescapable drama to the scene which you wish was there sooner and longer as Part 3: The Bliss Of The Gathering comes in. With its rugged terrain and hungry hostility aligned to harmonic reassurance, the bliss of its title seems to come at a price thematically, but with a new pleasing adventure offered to the listener.

It is potent end to a fine first album from Beyond The Dust, not one to rave endlessly about but easily a release to recommend progressive metal fans take a good look at. Khepri is a seriously solid and enjoyable proposition, not pushing the band above the crowd but with songs like Silence and Sorrow and After The Light showing flair and promise which definitely excites, it hints that their time in a singular light will surely come.

Khepri is available via Dooweet Records now @ http://dooweet.bandcamp.com/album/khepri

https://www.facebook.com/beyondthedust   http://www.beyond-the-dust.com/

RingMaster 28/02/2015

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/

 

Wolfetone – Silence Is Acquiescence

A slow burner which takes time to getting going in some ways but emerges as a quite tasty slab of adventurous rock ‘n’ roll, Silence Is Acquiescence suggests the UK has another highly promising proposition in its rock scene under the rather cool name of Wolfetone. The release loudly hints that this is a band we should definitely be watching out for ahead, and with its rampant potential and increasingly persuasive songs, the band’s highly enjoyable debut album suggests why wait, a sentiment we can only concur with. It is a attention holding start to Wolfetone’s persuasion on a national spotlight, one with a few things needing ironing out ahead, but a collection of dynamic and exciting songs which do what all encounters should, leaves ears eager and satisfaction full.

Hailing from Northampton and Milton Keynes, Wolfetone has taken little time luring in eager support and attention through a live presence which has seen the band pick up highly favourable reviews and increasing acclaim whilst sharing stages with the likes of Heart of a Coward and Scholars. Their dynamic mix of alternative and melodic rock is bred with inspirations from bands like Billy Talent, Sikth, Protest The Hero, Foo Fighters, Reuben, and Hundred Reasons but as Silence Is Acquiescence shows, but it is a sound with its own emerging and distinct personality as shown by the album.

It opens up with Blame Culture, a track which personally did not grab as quickly or fully as following songs subsequently do with greater ease. In saying that once the big healthy bassline showed its lure and a potent wiry hook bound a flame of riffs, the track certainly had interest and appetite engaged. In hindsight it is a relatively low key song in comparison to many of its successors, but doing enough to tempt and certainly showing the strength of the band’s songwriting as well as their individual and united skills. The firm and punchy rhythms of Baz Woodsford and the increasingly alluring dark throated tones cast by Ollie Young’s bass make the strongest impression in a song which ultimately lacks the spark to ignite personal tastes. That success though is swiftly solved by the following Tanks, a vibrant and immediately striking slice of melodic rock veined by another spicy bassline and a potent blaze of enterprise from the guitars of Andy Simmons and Dan Moloney. There is also a pop punk contagion to the stride and chorus of the encounter, offering a dynamism lacking in the last song which in turn feeds a new energy in the craft of the band. The vocals of Moloney also have a new lease of life, ably backed by the rest of the band in a three pronged harmonic adventure.

Born Human steps up next and is similarly loaded with an eager attitude and adventurous nature; the album in full swing now and providing all the proof as to why Wolfetone is beginning to stir up a buzz. The prime hook of the song is a tangy temptation too which steals the show from equally robust and tenacious elements within the seriously catchy proposition, whilst the changing gait of the song adds to the easily accessible but unpredictable nature of the track.

The feverish Enemies with its emotional intimacy and thumping heartbeat has ears and imagination greedily involved, a tempting reinforced by the excellent slip into melodic and harmonic calm with just an edge of angst. It is a passing breath though as the song is soon flexing creative and rhythmic muscle as hooks bite and melodies flame over the captivating frame of the song. Another highlight of the album, it is matched in success by the impassioned drama of Lost Boys, where guitars and voice create a colourful scenery of lively melodies and reflective emotion respectively, and the punkier exploits of Milton. An immediate favourite on the album, the track stands toe to toe with the listener through abrasing riffs and bracing rhythms whilst vocals croon and hooks spread infectious enterprise. Once more the bass Young feeds instinctive likes as if it already knows what the listener wants, his growling instrument the darker intimidation of a song which is prepared to brawl but would rather rigorously party with the listener.

Another highlight of Silence Is Acquiescence seduces straight away, The Constant a song which is happy either stirring up a tempest of sound and endeavour or laying warm melodic hands on the senses, and does both with invention. There is certainly a depth to the sound and songwriting of Wolfetone which is untapped but hinted at throughout the album, this song the strongest evidence of that further promise and potential which we will hopefully be exploring over future releases.

The album is finished by an acoustic version of Blame Culture, a wholly captivating offering with bewitching strings, but one which does emphasize the only issue with Silence Is Acquiescence, and that is the production on the vocals. Less prominent on the first couple of tracks but increasingly obvious as songs pass by, the excellent voice of Moloney and the supporting tones of the band come in a hollow embrace. It is a slightly cavernous effect surrounding them which is almost as if the vocals were recorded in a large cold bathroom rather than where the rest of the songs were laid down. The fact it cannot stop the songs making such strong impressions is testament to the band and the writing but it does just temper and stop an impressive debut from being a truly striking introduction.

Nevertheless Wolfetone has set down a potent marker and base for their next steps, and bred a definite appetite for their highly enjoyable sounds with their impressive release.

Silence Is Acquiescence is available from February 23^rd @ https://itunes.apple.com/gb/album/silence-is-acquiescence/id955979528 and through all stores.

https://www.facebook.com/wolfetoneuk

RingMaster 23/02/2015

Copyright RingMaster: MyFreeCopyright

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The Body Politic – Egressor

As sonically savage as it is melodically radiant, Egressor provides one sizeable tempest of aggression, passion, and technical invention which thrusts Canadian progressive metallers The Body Politic into a whole new spotlight. The EP is a furious yet seductive storm which is as accomplished and gripping in its senses ravaging enterprise as it is in its rich croon of melodic and harmonic endeavour. The six track encounter provides a blistering fascination and unpredictable adventure which took a short while to reveal all its glories but emerged as another of the rigorously compelling events of the year.

Coming out of Vancouver Island and taking their name from the Clive Barker short story, The Body Politic made an attention grabbing mark with their well-received debut album All Too Human in 2011. Their sound entangles the nuances and freedom of jazz, which most members of the band studied at Vancouver Island University, with the colourful exploration of progressive metal and the predatory voracity of metalcore. It is a striking blend, skilfully twisted into an imagination binding storm as evidenced by Egressor. Following a period which has seen the band undertake several Canadian tours and share stages with the likes of Tesseract, Protest The Hero, and Scale The Summit, the new EP suggests it holds the spark to wider recognition as it sets the band out from the crowd.

The release impresses in many aspects, the technical craft, explosive adventure to the songwriting, and the striking vocals of Sam Britton the most striking of these. Produced by Spencer Bowman, the release opens with Vitam Agere. It is a haunting instrumental piece, emotion spilling keys stroking ears as a sonic wind grazes the senses. The restrained entrance soon brews up a forcible and portentous coaxing as guitars and rhythms sculpt a climactic air which is still soaked in that initial haunted, almost apocalyptic texture. The track flows straight into Armature, the track an immediate onslaught of eventful and demanding rhythms aligned to scorching grooves and ragged riffs. Driven by the coarse scowls of bassist Jesse Janzen, his tones as aggressive as the metalcore spine of the track, the song swiftly reveals potent scenery of raw persuasion from the riffs of Matt Aasen and Dan Montgomery alongside the thumping beats of Spencer Bowman. This onslaught is tempered by the technical flair and imagination the guitarists also unleash and the exceptional clean vocals of Britton, his entrance the final piece in the jigsaw bringing the track alive. As soon realised every moment is just an instance in the journey of a song, the starter proceeding to steer ears and emotions through avenues of raucous passion and ingenious technical enterprise, all soaked in the emotive keys of Rob Wilkinson.

It is an imposing and impressing start but merely a taster of greater things to come, instantly shown by the following All Hands. Electro radiance sets the track off before a torrent of contagious jagged riffs and the brawling tones of Janzen erupt, their confrontation swiftly tempered and complimented by the smooth flow of Britton’s delivery. The song then twists into an enthralling schizophrenic dance of psychotic rhythms and similarly bred sonic imagination, both aspects flirting with and chewing on thoughts and senses respectively. It is a glorious turn in the song before it slips back into its melodic fire bound in hostile intent. The track is sensational, a constant flood of creative intrigue and bold invention unafraid to wrong-foot and confront the listener.

Swing For The Fences has the task of following the EP’s first highlight and does so with antagonistic gusto. Grooves and riffs climb over the psyche from the off before relaxing into a melodic embrace led by Britton’s refreshing tones. Keys and melodies wrap emotive arms around ears before the track combines its dark and light side for another absorbing flight of riveting imagination and honest passion. Both sides of the vocals impress but it is the guitars which push passions from ardour into a lust for the song, their almost cryptic invention as bewildering as it is bewitching and never allow senses and thoughts to settle and get a firm hold of the swirl of sonic acidity and bedlamic enterprise at the heart of the track.

In song and EP though, every part of the band combines to create spellbinding torrents of adventure and intent, keys and bass as vocal in their own way as the rhythmic and sonic character of tracks. Colqhoun instantly proves the point, the throaty lure of Janzen’s bass and the seducing presence of Wilkinson’s keys potent and expressive textures in the song’s exploration. Though not as dramatically gripping as its two predecessors, it casts a seriously rewarding and imagination provoking canvas coloured by raw metal and jazz rock hues, before making way for the closing Irradiate. The final track takes its initial crystalline melodies into a turbulent yet infectiously captivating furnace of adversarial angst and provocation, shadows and light hurling themselves around each other through the stunning skill and imagination of the band.

The track is a thrilling end to an outstanding release, one with the flesh and soul to push The Body Politic to the forefront of progressive metal.

The Egressor EP is available now digitally as a name your price download and on CD @ http://thebodypolitic.bandcamp.com/

http://www.thebodypolitic.ca/

RingMaster 17/09/2014

Copyright RingMaster: MyFreeCopyright

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Tigers Of Junction Street – Self Titled

The self-titled debut EP from UK band Tigers Of Junction Street is a release which does not realise its potential as successfully as it should but still leaves an impressive and lingering presence in the imagination and appetite. Consisting of five tracks which blend and at times merely flirt with essences from technical, melodic, and alternative rock, the band’s EP is a striking entrance by the London Town quintet. It has flaws and sometimes is unconvincing yet breeds an enjoyment and anticipation for the band ahead which cannot be dismissed as coincidence.

Formed in 2010, Tigers Of Junction Street saw the union of five friends with the want to challenge themselves musically, which their debut more than hints at as it equally tests the listener, in the right way. Drawing on inspirations from the likes of Coheed And Cambria, Protest The Hero, TesseracT, Yes, and King Crimson, the band set about recording their first release last year with George Lever at G1 Productions, Somerset. What emerged is an encounter which makes an intriguing introduction to the band and sets thoughts in motion that UK rock might have a rather potent prospect on its hands.

The High Wycombe five-piece sets EP and senses off in fine style with Incarnation, the strong and enticing vocals of Josh Elliott beckoning instant attention before being surrounded by heavily striding rhythms and fiery riffs. It is a dramatic and gripping mix which is soon veined by a rich and skilled enterprise as guitarists James Wrigley and Ash Whitelock set to work raging over and seducing the imagination. Their craft is openly potent yet unimposing within the drive of the song, though their invention certainly breaks up its urgency whilst enriching its evocative hues. The driving beats of drummer James Burton flow between intimidating and coaxing as the song evolves its narrative. At times things do not always smoothly fit, the vocals left stranded by a sudden twist within the sounds but it only adds to the unpredictability and intrigue which endears the song to thoughts.

In full flow the song is a treat matched by The Deception, though its opening Nintendo-esque tease feels wrong. The track is soon alight with the melody seeping from that intro and vocals uniting around the thick stride of rhythms as the throaty tones of Tom Newey’s bass providing enthralling shadows. That first electro sound appears occasionally and now to great effect within the tempestuous body of the song whilst the unexpected detours and switches in the track which at times even seems to catch the band out, only add to the compelling nature of its lure and adventure.

There is a darker texture and expression to third track Cold Winter, its heavier lyrical presence matched by the more intensive if still melodically fuelled sounds. As its predecessors, band and song is unafraid to turn on its heels and venture into contrasting and melodramatic scenes, most flowing purposefully and easily yet a few moments provide a stumble in the flight of the song. Vocally there are a few issues, suggesting Elliott is more at home giving full rein to his fiery attack than slowing down his expression whilst arguably at times the band pushes things in their bold imagination too far on the song which does not help the vocals either. Nevertheless the track still hits the right note with emotions for the main, those issues something you can only see being ironed out with experience and maturity.

Next comes a short instrumental, called simply Interlude which is more an extended intro into closing track Closed Doors which reminds of the band Dead Til Friday initially. This is a track which seems to have got more criticism than most on the EP yet it is the most captivating slice of invention upon it too. Certainly at times the twists are over drawn and its striking textures clash against each other but in the case of the latter it only adds to the great turbulent enticement as the track offers the most promising and potentially loaded moment on the encounter.

The EP from Tigers Of Junction Street is undeniably flawed but even more so brings an engrossing creative emprise which courts the imagination whilst suggesting this band has a very healthily and for us exciting future ahead.

The Tigers Of Junction Street EP is available in CD and Digital formats through Hoffen Records and @ http://tigersofjunctionstreet.bandcamp.com/

https://www.facebook.com/tigersofjunctionstreet

7.5/10

RingMaster 28/07/2014

Copyright RingMaster: MyFreeCopyright

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Alaya –Thrones

Now that US progressive metallers Alaya have unveiled their debut album we can confirm that the feisty buzz and acclaim for the Chicago trio is more than just for their powerful sound and presence. Thrones is a formidable adventure of technical prowess and passionate endeavour funnelled into a ferociously compelling and imaginative experience. Anticipation for the band’s debut has been as eager and fiery as the sounds it offers and it is easy to say that no one will be disappointed by the encounter just awe inspired.

It is fair to say that Thrones took longer than some to unveil its intensive persuasion though that was nothing to do with accessibility issues just the richness of depth and invention waiting to be discovered. It is a dramatic and demanding listen with its never ending twists and persistent evolution and unashamedly rewarding every step of the way. There are times where arguably the landscape of melodic fire and unrestrained technical ingenuity suffocates the chance of memorable moments within some songs preventing them being as strong a lingering temptation as they deserve but in their hands senses and emotions are invigorated playthings for a thoroughly riveting proposition.

Consisting of vocalist/guitarist Evan Graham Dunn, bassist/vocalist Michael Brandt Rinkenberger, and drummer David Jacob Robison, Alaya has forged a formidable reputation which has caught the imagination of fans and musicians alike as well as the media. Offered comparisons to the likes of Periphery, Muse, and Protest The Hero, the band has still forged its own distinct identity which bursts from Thrones like a corona ejection. Over two years in the making, the Basick Records released album is a soulful and soul filling tempest of melodic beauty, intrusively confrontational technical rhythms, and exploratory incisive grooves all under deeply evocative atmospheres and similarly sculpted lyrical narratives. It is easy to see why Alaya have been smothered in strong plaudits and easy to join the queue.

The expansive adventure of the album begins with Inside, its initial coaxing of sharp grooves and punchy rhythms a restrained yet eager pull which once stepping aside for a gentle caress bursts forward again with sinews flexing and colours blazing. The vocals of Dunn ably assisted by the tones of Rinkenberger throughout are as immediately impressive as the sounds, his delivery adding spice to the tale and texture to the already shifting scenery. The track twists and veers down unpredictable and intensively investigated avenues, rhythms a constant heavy provocateur and guitars a designer of the most enthralling incitements.

The impressive start is taken to another level by the following White Noise, its first acidic strike relaxing into a seducing enticement of melodic crooning veined by a rhythmic virulence, both courting the continuing to impress vocals. It is a relatively gentle absorption of the imagination but one which infuses an intimidating threat to its mesmeric landscape. Forceful and restrained, open and intriguingly deceptive, the track continues to reveal extra corners to its imposing beauty and appetising shadows which fascinate and envelop.

Both Sleep and Screaming Still tighten the hold of the album, the first with its emotive breath and drama clad rhythmic framing around an expressively engaging melodic painting and the second with its simply virulently gripping enterprise. A definite Muse like lilt casts its spice to the thrilling and tantalising technical waltz of the song, flavoursome bait which accentuates every muscle and creative hue of the exciting endeavour. Its intensive suasion is matched by the more melancholic Poor Gloria, an emotive hug which whilst filling the ears on a slow canter has a flame to its passion and expression reinforcing the diversity of songwriting and sound. It does not quite light the fires within as other songs but still leaves a greedy appetite and hunger concentrated on Alaya and album.

Haunted Pt. I is a delightful brief instrumental which is as emotive as it is elegant, lighting up the imagination ready for the outstanding Grace to rummage through shadows. Thrones seems to take on a darker intensive intent at this point, the track bringing a more rapacious snarl to its riffs and antagonistic punch to its rhythmic manipulations. The vocals also gain a slight growl to their expression whilst around them the song resonates across the senses with angular strikes of guitar and jagged spears of beats aligned to similarly predacious bass surges. It is an exceptional track, one which does linger long after the curtains close as does the next up Day of the Dead, its opening swarm of sonics an instant scar for thoughts to hang on to before a celestial melody cast grace falls over the ears. The song soon explores its provocative beauty in strong emotive detail before the title track launches another contagion soaked exploration of sound, textures, and thoughts.

The pair of Paths and Entropy keep the engrossing nature of the album in full flight even if neither quite steal the same rich responses as other tracks. Both ensure the album continues to hold the tightest grip on body and mind though with their fluid transformations and irresistible technical craft, which allows the closing two parts of Haunted to exploit and send the imagination off to explore and draw its own premises.

Thrones is a scintillating encounter from a band making existing claims about them pale against the reality. As mentioned there are maybe too many tracks which drift in the memory away from their captivating embraces to push the album into the terms of a classic debut but it is certainly an immensely powerful and stunningly inventive one declaring Alaya as one of the most exciting emerging forces around.

http://www.facebook.com/AlayaOfficial

8.5/10

RingMaster 28/03/2014

Copyright RingMaster: MyFreeCopyright

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

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Seizing time and opportunities: an interview with Enfeeble

German metallers Enfeeble might still be a bit of a secret to the wider metal world but with new album Encapsulate This Moment they have made a potent statement which should grip a stronger attention. It is an album which arguably does not quite fulfil the open potential of the band and their blend of melodic and heavy metal with metalcore predaciousness, but certainly makes a potent impact and in hindsight a lingering lure which brings you back to its compelling confrontation time and time again. Wanting to find out more about the band we had the pleasure to ask guitarist Pascal (Baal) Stafflage and the band about the origins of Enfeeble, their new album, life for a metal band in their hometown, and much more…

Hi and many thanks for taking time out to talk with us.

Firstly can you tell us how the band and its members came together?

It was a few years ago in 2005…Luke was the singer of the school band and I was looking for a singer and guitarist for a new band. I asked Luke if he wants to start a band with me and he was excited directly. A drummer and bassist were found quickly and so we started as a small punk rock band. In the coming years we’ve had many changes on bass and drums. Since the beginning of 2013 we are the current cast.

Did you have any deliberate idea or direction for Enfeeble from the start?

Absolutely no…We started as a punk rock band (like Sum 41, Blink 182…) in 2005 and somehow we grew old and became some sort of metalheads with a little bit of punk rock influence. With the fast and harder music, we feel more comfortable.

You come from the Lingen in Germany. What is it like in the town and surrounding areas for a band trying to emerge?

Really bad to be honest…This whole area has a couple of metalheads but unfortunately most of them retain to a special kind of genre and it´s not our genre. Maybe it’s the country life here. We have no idea what it is. Therefore, we travel a lot around the country.

You have just released your second album Encapsulate This Moment; how do you see the evolution of your sound to it from your debut full-length Too Ugly to Show it!?

We never really see the evolution ´cause we are right now in this process of evolving. But when you compare Too Ugly To Show It and Encapsulate This Moment you can hear that we have become more “metal” and try to improve our skills at our instruments all the time.

Did you approach the new release any differently to the previous album, whether through simply the experience of previously recording something or to achieve something specific?

We have changed the bass player, drummer, studio and attitude. So you can see…almost everything. The result is Encapsulate This Moment…A significant improvement.

With its strong blend of aggression and grooved endeavour, did you find yourself developing a broader bravery in your songwriting for the new album than ever before?

Of course… Almost every month we find new bands and therefore new influences. The songwriting is affected by this as well. And we try to sound unique as every other band to.

What were the biggest inspirations for the album musically and lyrically?

Musically it´s some bands like Killswitch Engage, Protest The Hero, Dream Theater or Threat Signal.

The lyrics were also created by experiences of everyday life.

How does the songwriting process work within Enfeeble?

We got some different ways. Either we play all together and discuss every part and the arrangement. Or Baal writes a song and we refine just a few parts or Baal and Luke sit together on a weekend locked up from the world only surviving with pizza, beer and energy drinks.

Did you find the tracks developing new characters during the studio process or stayed pretty much as intended going into the situation?

We worked together with Jörg from Soundlodge studios and he gave us some of his advice and we rewrote some parts. It was a very inspiring and enjoyable time with Jörg. We learned a lot and had good experiences.

The album has an invigorating rawness to its breath; did you do anything in particular to encourage this aspect?

Luke has a raw natural voice. No fake – All original. Maybe if he starts with smoking and whisky drinking, he becomes the new Lemmy. Just a little big joke 🙂 Honestly we would not change much on the vocals. Only improve, not change.

Was anything learnt during recording Encapsulate This Moment which surprised you and will be taken into your next release?

Less is more! Some parts, where we have had some double bass and blastbeats are now a standard rock beats. But in the mix it sounds a lot heavier. That was an important experience for us.

For us it is the title track to the album which gives us thrilling chills, is there any moment or essence of the album which gives you extra satisfaction?

Maybe it´s A Million Voices, because the song is really complex in itself and it’s always fun to play it. But also As We Were Like Shadows ´cause it has a personal story and Luke has sung it so fucking beautifully that Baal was crying in the studio. (Beautiful bastard).

You have a strong reputation for your live performances, a different proposition to the studio of course but do you think you captured that same intensity and honest raw quality on the album also this time around?

We guess not. We are always a bit nervous on stage but we believe that we also therefore play with so much energy.

Talking of shows how is 2014 planning out so far for the band ahead?

We already have some confirmed dates. However, we continue to search for new performances… Also internationally. Current dates are always on our website http://www.enfeeble.de

Back to Encapsulate This Moment; tell us about the striking artwork for the album.

We had the luck, to work together with Björn Goosses of Killustration. We had an artwork in our minds but his suggestion (what he thought when he thinks of Encapsulate This Moment) was just perfect for us.

What comes next for Enfeeble other than shows?

We are working on new songs for the third album. We want to hit the studio in the beginning of 2015. Maybe by then we have found a label who wants to work with us. That would be a dream come true.

Thanks once again for chatting with us, any last thoughts or words you would like to finish with?

Encapsulate all your moments! And thanks a lot for the interview.

https://www.facebook.com/EnfeebleOfficial

Read the review of Encapsulate This Moment @ https://ringmasterreviewintroduces.wordpress.com/2014/03/07/enfeeble-encapsulate-this-moment/

Pete Ringmaster

The Ringmaster Review 27/03/2014

Copyright RingMaster: MyFreeCopyright

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

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