I Cried Wolf – Hollow Heart

Lamp Shade Press Shot _RingMaster Review

Real uniqueness in music is a long sought after and if we are honest rarely found aspect in the current music scene. But there are always a few exceptions and many more which come pretty close to finding that clear originality, and one such incitement is UK post-hardcore/punk ‘n’ rollers I Cried Wolf. The band is poised to release their new EP Hollow Heart, and it is a rousing roar of fierce invention and raw intimacy which sets the case for the Banbury quintet being the next big thing in certainly the British hardcore scene, if not its rock ‘n’ roll landscape, whilst creating an incitement which sets ears aflame and the band well away from the crowd.

Hollow Heart is a diverse and unpredictable encounter which you can at times reference to the likes of Dillinger Escape Plan and Every Time I Die as well as others such as Pantera and Reuben in certain moments and aspects, but an invigorating trespass on the senses and imagination which has a character and invention of its very own. The EP is the work of a band formed in 2012 and becoming quickly renowned for their ferocious live presence which has in turn garnered an increasingly potent and loyal following. The past couple of years or so has seen I Cried Wolf share stages with the likes of Bleed From Within, Hacktivist, Create To Inspire, Let’s Talk Daggers, Red Seas Fire, Bad Sign, and Surrender The Coast around the UK. Recorded with producer Sam Winfield (Bring Me The Horizon, Dry The River), Hollow Heart is the band’s broadest wake-up call for the country yet and one hard to imagine being ignored by very many.

Lyrically relating to the life of vocalist Harry Davies, “his reluctance to let go of the past….Of loss, lust, and betrayal”, Hollow Heart opens up with Scratching My Head With Ink and a scratching of riffs before exploding in a howl of sonic turbulence and vocal angst. To that though, is an immediate swing and volatile stroll bursting with imagination and quickly gripping hooks. The guitars of Louie Hodgson and Alex Gibbons cast raw smog of irritable riffs and gripping grooves whilst the drums of Oli Hampshire ransack the senses with their rugged yet rousing incitement. It is a thrilling and bracing proposal enhanced by the roaming throaty bassline spread by Jacob Rudman and the impassioned squalls from the lungs of Davies. That alone would be enough to provide potent bait for the appetite but it is the unpredictable nature of the song which makes a great song something special. The grooves just get heavier and spicier whilst Davies as he digs deeper into his emotions discovers a gripping Anselmo like grizzle to his delivery, whilst the song, well that just bristles punk attitude and heavy rock tenacity as it twists and turns.

ICW_Hollowheart_EP_RingMaster Review     The outstanding start is not let down by its successor, Massokiss Me an agitated swarm of toxic riffs and rhythmic rumbling from the off only breeding keener grooves, greater vocal diversity, and serious invention as it explores a host of flavours all bred in rock ‘n’ roll of some design. That subsequently leads into an impassioned post-hardcore seeded outpouring of melodic and vocal emotion, the track evolving within ears with broader and bolder enterprise before making way for the enthralling It Takes A Slave. It starts with a swing which is best described as blues meets ska punk meets jazz rock where Davies uncovers a dusty growl to his tones as the guitars weave a sultry enticing and the bass a funky lure behind him. It is an entrance which eventually expands into another fascinating and exciting entwining merger of diverse flavours, Faith No More a suggested hint to the ingenuity at play. Each song in a way is ordered bedlam, a vat of individual textures and styles twisted and aligned for songs which, as here, smash expectations and leaves a lingering and inescapable intrigue which simply draws ears keenly and swiftly back into its midst for more exploration.

Kensopia is a spiral of melodic revelry and suggestion from the off next, guitars almost duelling with their individual exploits as rhythms tenderise ears ready for the vocal prowess of Davies and band. Jagged riffs bring another new shade to the sound and release whilst an air of bands like Bring Me The Horizon comes forward briefly as the track moves on to pastures new and old in the strike of a chord or swing of a stick. It is another enjoyable aspect to the I Cried Wolf sound, it never stands still, always in creative motion meaning ears and thoughts have to be lively and willing to rerun the bruising fun again, and again to grasp all the rewards.

Sharkfeet brings Hollow Heart to its close, the track another cauldron of emotion and mouth-watering revelry in songwriting and a tenaciously uncaged tempest. Sonically burning, rhythmically intimidating, and consistently engrossing, the song simply boils over in adventure and almost psychotic invention yet, as all songs, manages to find a coherent and fluid passage across the whole of its explosive passage.

Impressive on the first listen and increasingly impacting and thrilling thereafter, there is only one word for Hollow Heart…remarkable!

Hollow Heart is digitally available from September 11th via Crooked Noise Records.

Pete RingMaster 11/09/2015

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From Her Eyes – Demons

From Her Eyes Online Promo Shot

From Her Eyes may be young in age, its members just slipping out of their teens, but there is a maturity to their sound which instantly impresses as it belies their youth and ensures the Welsh metalcore band is a thoroughly captivating proposition. The release of their debut EP Demons reinforces an already keen buzz for the band whilst taking their presence to a national level to, it is easy to expect, similarly eager but ultimately wider attention growing up around them.

Formed in 2012, the Bridgend consists of school friends Tom Owen (vocals), James Kearle (guitar), Jesse Simmonds (bass) and Gary Holley (drums). From Her Eyes since day one has been a rigorously active proposition, sharing stages with the likes of One Last Breath, Red Seas Fire, Continents, When We Were Wolves, Set to Break, and Reaper in Sicily amongst hordes of shows before settling down to create their first release. That saw the band linking up with Jonny Renshaw (Devil Sold His Soul) at Bandit Studios to record Demons with the resulting EP a compelling and gripping slice of voracious angst fuelled metal.

The EP opens up with brief instrumental Decay, a haunting piece with elegant guitar craft coaxing ears and imagination within a brooding air of portentous persuasion. More subtle than dramatic and beautifully crafted, the track is a From Her Eyes Cover Artworkmagnet into the release and the following Comatose. From its first breath the vocal delivery and narrative of Owen is an impassioned presence which roars within an immediately enticing web of sonic and rhythmic enterprise. There is ruggedness to the beats of Holley and riffs of Kearle whilst Simmonds unveils a heavy throated lure from his bass which only adds to the weight and presence of the track. To that muscular intent though the acidic melodies and sonic weaving brings a vibrant colour and strained charm which exposes the strength and invention of the band in songwriting and sound impressively.

From that mighty proposition the releaser grows another level with Porcelain, its gentle initial coaxing where again melodies seduce and intrigue with their emotive hues, leading into a tempestuous storm of heavily descending rhythms and abrasing riffs. An additional squall of anger to that offered by Owen makes an imposing and pleasing pressure whilst the song almost flirts with the antagonism that rages with every beat and chord. As in its predecessor though, in the wall of confrontation there is elegant veining which is as dramatic in its evocative presence as the brawling endeavours surrounding its beauty. The track is outstanding, easily the best on the release and another potent reason why From Her Eyes is being touted as a big event waiting to happen.

The next up Disillusionist is a rawer abrasion than the previous tracks, though it too is equipped with intelligent and intricate sonic suasion. It does lack the spark of those earlier songs with its hostile breath overpowering the previously perfect blend of rage and elegance but it still makes for a stirring and riveting incitement to keep the release firmly entrenched in attention and appetite.

Elysium with its post hardcore resonance is a brief respite from the rage of the last song but it too is lacking something to make it spark in the passions. Despite that its masterful sculpting is a draw in its own right to ready ears and emotions for the final evocative tide of the title track. The last song’s first touch is a controlled but turbulent wash of heavy swiping rhythms and vivacious sonic enticing which swiftly enslaves the senses before its finds a sturdier antipathy. It is a powerful and robust finale infused with the richly appealing melodic lacing and sonic colouring which sets the band apart from the majority of the metalcore crowd, though still not quite enough for the band to find its own distinct corner. The song also features Lucas Woodland, the vocalist from Falling With Style. His presence and excellent clean tones highlights the only wish to be had with the EP, a bolder variety to the vocals. Owen is impressive but as with seemingly the majority of metalcore seeded bands there is an aversion to temper or fuse the raging single minded roars of passion with something openly different. If there is one band which could do it to striking success though, on the evidence of the last song, it is From Her Eyes.

The song is an excellent end to a similarly impressive release. Demons will push From Her Eyes into a richer attentive spotlight and the country will embrace their debut with relish, that is surely a given so now it is up to the band to take it to the next highly anticipated level.

The Demons EP is available now @ https://fromhereyes.bandcamp.com/

https://www.facebook.com/FromHerEyesOfficial

8.5/10

RingMaster 26/08/2014

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Doomed From Day One – Nine Fingers

Doomed From Day One Online Promo Shot

It has been two years since the release of their acclaimed debut EP The Wasted World but on the evidence of its successor Nine Fingers, UK progressive death metallers Doomed From Day One have not been resting on its laurels. The new EP is six tracks of confronting and impacting enterprise which leaves predictability a dormant factor and intrigue a toxic substance within its consuming presence. The Surrey quintet has honed their already impressive songwriting and intensive sound into a real predator of senses and emotions, an accomplished brutality which is sculpted by feisty invention and incendiary imagination, and though arguably the new release lacks those moments which impact after the event, it is a magnetically striking and creatively dominant beast during in its company.

Formed in 2009, the Guildford band has been on a formidable rise through the ranks of UK extreme metal, their passionate fanbase recruited not only by their first release but their formidable live reputation and presence.  Through impressive shows alongside the likes of Malefice, Martyr Defiled, The Defiled, Gallows and most recently Black Dahlia Murder, Sylosis, Bleed From Within and Thy Art Is Murder, as well as world media acclaim, Doomed From Day One has earned a worldwide attention which you can only imagine the strength of Nine Fingers will cement and accelerate. Released as the band share dates with Red Seas Fire and Fathoms, the EP confirms Doomed From Day One as one of the most potent, imagination tipping encounters with an immense depth of promise.

The title track opens up the release; an enthralling instrumental which introduces itself and the album with a sunrise of excellent guitar Doomed From Day One Cover Artworktemptation and orchestral bred elegance. It then evolves into a fire borne sonic blaze of craft and evocative textures whilst melodic flames scorch the ears for a wholly persuasive invitation into the release and the following Cut And Hunt. The second track takes little time in testing the senses with a crippling array of spiteful rhythms, corrosive riffery, and equally caustic gutturally primed vocals from Sean Scott. The track rages and ravages with craft and malevolence but equally exports a range of hooks and barbed grooves which dig deep and contagiously from within the dangerous tempest. It is a breath-taking companion which increases it’s tempting further with an excellently progressive, almost avant-garde teasing from the guitars of Charlie Griffiths and Charlie Frederick which evolves from their persistently impressive skills.

The immense full start to Nine Fingers is backed up by At Graves End, a song which falls short of the plateau just set but creates its own unique stature of imaginative and mercurial invention. As the drums of Daniel Ristic sculpt a web of bone splintering craft and force, the guitars again send spirals of sonic ingenuity through the heart of the vitriolic intensive track whilst vocals quall and scar the surface of the ear with the great tones Scott first successfully unveiled on the EPs predecessor. Creatively antagonistic and fuelled by enthralling enterprise, the song drifting into a progressive jazz spawned landscape at one point before returning as ferocious and dramatically impacting as it started, there is little to dismiss about the track but it does like most of the others lack that ignition to remain a potent instigator away from its destructive arms.

The Promise does verge on that break through, the delicious irritant of flesh scorching sonic toxicity and rhythmic barbarism a vicious alchemy which lays down the strongest inventive bait upon the EP. With the bass of Eifion Sweet prowling with predatory glee and menace across its length, the track like its predecessor is unafraid to explore a slower melodic beauty and progressive tapestry. The skill of the band and the imaginative songwriting is impressive and again bordering spellbinding but still without that lingering claw for the mind, though when it sounds this good in the claws of the song and EP is it really an issue?

Dread and In This Life Not The Next complete the release; the first an insatiable fury of lethal rhythms and riveting riffing which is just as inciting through its mordant touch with the vocals of Scott a ferocious maelstrom of passion and maliciousness upon the outstanding blend of vindictive and seductive musical craft. Personal favourite of all the tracks, it spears the body with imaginative violence to provoke the strongest satisfaction before its successor finishes things off with a thrilling torment sculpted by a technical fire of extreme and fertile aural retribution. The track unleashes everything which is good about the band and the release in a seven minute deeply pleasing scourge.

Nine Fingers is an excellent release which as mentioned only misses out on finding that one element which plays in thoughts and memory long after it takes its leave. All the same Doomed From Day One has created a release which when standing in front of the body feeds every want and hope for an extreme metal offering whilst reinforcing the band as one of the finest and most promising to emerge in the UK in recent years.

http://www.doomedfromdayone.co.uk/

8/10

RingMaster 21/10/2013

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‘Nine Fingers’ the new EP from DOOMED FROM DAY ONE out Monday 21st October‏

Doomed From Day One Online Promo Shot
THE BLISTERING NEW EP FROM DOOMED FROM DAY ONE UNLEASHED WITH A UK TOUR ANNOUNCED!!!
 
Surrey Slayers ‘Doomed From Day One’ nationally release their stunning new EP ‘Nine Fingers’ on Monday 21st October, through all digital stores.
Ascending UK noise chiefs ‘Doomed From Day One’ are swiftly ploughing through the ranks in the British metal scene and now set loose a burly slice of resourceful progressive Death Metal in the shape of their sophomore EP ‘Nine Fingers’.
Spawned from the depths of Surrey, and born at the end of 2009, Guildford riff slingers Doomed From Day One have quickly assembled an army of fans by constantly touring. And word is now rapidly starting to spread about the band’s intense live shows. Adding further weight to their cause, the ferocious five-some have recently supported The Black Dahlia Murder, Sylosis, Bleed From Within and Thy Art Is Murder, and the boys head out on the road again with Red Seas Fire and Fathoms this Autumn (see tour dates below).
Besides their noteworthy affection for and commitment to touring through the country’s highways and byways, Doomed From Day One have also garnered critical acclaim for their debut EP ‘The Wasted World’, chalking up lofty support from Metal Hammer, Kerrang!, Big Cheese and Zero Tolerance Magazine, as well as acquiring widespread radio airplay from Total Rock/Bloodstock Radio.
Doomed From Day One surge onwards again with the official release of their stunning new EP ‘Nine Fingers’ which immediately grabs your interest as the opening track and namesake ‘Nine Fingers’ takes you from hauntingly beautiful acoustics to pummeling guitars in a heartbeat. The pace continues with the guttural attack of ‘Cut and Hunt’, framed by sledge-hammer beats and blistering guitar parts. The magnificently proggy ‘At Graves End’ is next up, and it duly wraps its crawls around your ears to stunning effect. ‘The Promise’ is a blistering full frontal blast of Thrashcore, complete with a captivating interlude highlighting that DFDO can throw away the blueprint for any genre. ‘Dread’ further cements the bruisers place as real contenders as its amps up on the brutality, with deep growls that stem from the pits of hell. Finally, ‘In This Life Not The Next’ draws the record to a close as it displays the southern metalheads’ shrewd craft for shaping a gargantuan beast of a tune complete with thoughtful arrangements. This record will stomp its way through your cranium, leaving you with a sizable indent; Doomed From Day One will surely leave their mark.

DOOMED FROM DAY ONE LIVE: September with ‘Red Seas Fire’: 4th – South Sea Live, Sheffield*; 5th – Zombie Hut, Corby; 6th – Soundhouse, Leicester; 7th – Ivy Leaf, Sheerness; 8th – Intake Bar, Mansfield. October with ‘Fathoms’: 22nd – Scream Lounge, Croydon (EP Release show)**; 23rd – South Sea Live, Sheffield; 24th – The North Wales Inn, Rhyl; 25th – The Frog & Nightgown, Worksop; 26th – The Derby, Barrow In Furness.

 

*Without Red Seas Fire; **Without Fathoms.

 Doomed From Day One Cover Artwork
 
 

Insurgence: Under Open Skies

As highly appreciated and wonderful as it is to have bands and releases sent to The RingMaster Review from bands, labels, PR companies and the likes there is something satisfyingly different and special when by chance you come across a band often by pure luck, which ignites the heart into an enflamed satisfaction and pleasure. Such is the case with hardcore/metal band Insurgence. By pure luck a random and fortunately seen post by someone led us to the new album Under Open Skies from the Maltese band and what an impressive beast of a release it is.

Info about the band is scarce to absent online but to be honest it is all about the music and that is quality in its fullest glory. The Marsa based band consists of vocalist Cliff Falzon, guitarists Daniel Buhagiar and Gustaf Karl Cauchi, drummer Jolen Galea, and bassist /backing vocalist James Spiteri. Together they have brewed up an album in Under Open Skies which is unpredictable, persistently enterprising and continually magnetic. Superbly crafted and written the release is an ever evolving twisting mix of extreme and melodic metal unleashed through nine striking aggressive tracks. Individually the songs are as imaginatively diverse and perpetually writhing as the album, making for a release which offers something new each and every listen, its depth and expanse extensive and inventive beneath the sprawling intense consumption.

Under Open Skies opens with the brief Foreword an emerging fusion of sound which only suggests at the ingenuity ahead, its tangled web of noise and atmospheres an attention grabbing lead into the tumultuous Adam’s Eden. This track is monstrous in size and intensity. Riffs beat up on the ear building into a wall of blackened threats and barracking energy whilst the rhythms smash the senses with merciless jabs and lethal uppercuts. As the song progresses and the vocals of Falzon spew every shade of bile and venom out with the lyrics the guitars reach scorched heights to splice the senses with crystalline veined razor sharp melodic intrusions. With snatches of djent tendencies and splatters of death metal villainy, the song is immense and still a mere hint of what is to come.

The following Exchanges begins on distressed melodic play surging through eager riffs and gut borne vocals. Once in its stride electronic sonic spots light up the intensity and further reveal the thoughtful creative songwriting behind the songs. Openly infectious whilst being as menacing and belligerent as you could wish the song scrapes and caresses the ear with stirring craft and invention.

The outstanding Forked Tongue lifts things to an even greater plateau next with the featured aid of Robin Adams (Red Seas Fire). The track is staggering though that word can be used freely throughout the album. With a great steely groove which winds tighter and tighter around the ear and a perfect mix of spiteful and clean vocal harmonies the song is truly outstanding. From obliterating and numbing the senses to leaving them soaring headlong into the sun, Forked Tongue is a masterful ever shifting and revealing contagion of imagination and pure creative skill.

Great heights are scaled and left as the norm with further stunning slices of ingenuity in the likes of Bystanders with its startling electronic manipulations and destructive addictive grind, The Rise And Fall Of Nothing with its vicious piercing grooved riffs and concussive rhythms, and the caustic Where The Fault Lies, each track on the album leaving one utterly breathless whilst offering no respite except the mere seconds in between them.

With the atmospheric and emotive harsh beauty of instrumental Minor Transmission exploring and fingering every thought and feeling whilst the mountainous closer Obsidian Black rips apart an already devastated husk of a listener with barbaric drumming and crushing venomous riffs alongside lethal melodic enterprise, Under Open Skies is easily one of the finest extreme metal albums to appear in recent months, of any type of metal to be honest. Produced by Spiteri, with the vocals produced by Robin Adams, Insurgence has released one of the essential albums of the year and as it is a free download from their official website there is no excuse for not being infested by their amazing sounds.

http://www.insurgencemalta.com

RingMaster 14/06/2012

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