Story – Hopeless But Hoping

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

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

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

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

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

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

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

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

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

Pete RingMaster 04/03/2016

Copyright RingMaster: MyFreeCopyright

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Animus – Fall of the Elite

    If you understandably missed the limited regional release of the Fall of the Elite EP last year, Scottish metallers Animus have provided another chance to immerse in its tempest with its deserved nationwide unleashing. Consisting of four savagely aggressive and rivetingly varied slabs of sonic provocation, the band’s introduction is a mouthwatering onslaught providing a well of satisfaction as deep as the promise also rampaging through its sinews. Its sound whips up an antagonistic fury from a brew of progressive death metal and djent with technical and groove metal, creating a predation which is equally recognisable and innovative. Fall of the Elite certainly suggests this is a band still evolving its presence but one with major expulsions ahead you easily feel.

     Hailing from Dundee, Animus was formed in 2010 by drummer Poul Thomassen and guitarist Sam Gilmour. It was not long before the pair was joined by second guitarist Graham Brown and Gavin Holloway on bass. The first couple of years saw the band playing around Scotland drawing strong support and responses but it was with the addition of vocalist Aaron Fawns in 2012 that it could be said a spark ignited within the band, the quintet finding that something bringing everything into focus and vital explosiveness. A further rampage of shows ensued, including sharing stages with the likes of Bleed From Within, To Kill Achilles, Here Lies A Warning, Heights, Silent Screams, Chronographs, Hero In Error, Our People Versus Yours, and I Divide, all only increasing the stature and reputation of the band. The final weeks of 2012 saw Animus enter the studio to sculpt their debut Fall Of The Elite, influences from the likes of After The Burial, Suicide Silence, Bring Me The Horizon, Whitechapel, and Tesseract spicing up their own distinct toxicity. After a well-received first unveiling, the EP is now poised to work on the rest of the UK with its ravenous and creative intensity.

    Drawing a single breath whilst a groan brews in the background, opener Damnation announces its presence with an intriguing air accentuated by sirens and an apocalyptic ambience. With the scene set, the track emerges from the anarchy with forcibly twisting grooves and percussive provocation speared by vicious rhythms skirted by predatory riffing. The vocals of Fawns snarl and growl with bile soaked animosity, his direct intent sharing enough variety to engage whilst musically the band lashes and entices the senses with a masterful and bold invention. The song is not the most malevolent and violent proposition but holds an intimidation and intensity which leaves knees buckled and ears scarred as its imagination captures that of its recipient with ease and enterprise.

   The following DB8666 follows suit but instantly uncages a lethal groove and commanding swagger which leaves its predecessor in the shade. The swinging contagion of the track is clad in a threatening musculature upon a djent inspired spine whilst it’s flailing sonic arms and acrid melodic adventure provides the most compelling hues to potently ignite the imagination. Every move and twist of the song is pure infectious bait, at times almost too involved in itself but never relinquishing the tightest entrapment of thoughts and emotions. As all the tracks upon the EP, there is plenty to discover with each subsequent encounter, certain underlying textures and touches unveiled within the increasingly persuasive tempestuous engagement after numerous excursions.

     The following Home(less) is a bestial display of maliciousness but one aligned to the most creative progressive enticement yet. The guitars sculpt simultaneously uncompromising and seductive endeavours whilst bass and drums carve out bruising lures which also only beckon and threaten. Once again the song is a cascade of innovative manipulations which flirt with indulgence and chaos but only to tease and taunt within its skilled and deliberately devious craft. That dramatic and alluring enterprise is pushed further with the closing title track, its bewitching opening progressive design of melody caressing keys wrapping the ears in a transfixing coaxing before being joined by staccato riffs and splintering rhythms within a brawling cast of sonic causticity. Carnivorous in its stalking and guitar endeavour whilst magnetic in its continually evolving melody induced progressive searing of the air, the track is a smouldering rampancy which seizes an instant lingering submission for its ruinous nature and assault yet slowly burns an even greater seduction in the passions over time and multiple unions.

   The outstanding climax brings a similarly impressive release to a close leaving anticipation and appetite for Animus a greedy hunger. Certainly the release shows that the band is yet to find its truly unique presence but that is only a matter of time with, on the evidence of Fall of the Elite, stronger dramatic triumphs destined to follow. This is an immense exciting start and base for their horizons and the open doorway to eager recognition countrywide.

www.facebook.com/AnimusUK

9/10

RingMaster 03/03/2014

 Copyright RingMaster: MyFreeCopyright

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ANIMUS declare the ‘Fall Of The Elite’, on 3rd March‏

DUNDEE PROGRESSIVE METAL CREW ANIMUS REBOOT THEIR EAR SHATTERING DEBUT EP THIS SPRING!

Drawing musical influence from a host of sources stemming from After The Burial, Suicide Silence, Bring Me The Horizon, Whitechapel and Tesseract, Scotland death metal progsters ‘Animus’ are primed to take the UK by storm with their cutting blend of crossover metal. The rising five piece release ‘Fall Of The Elite’ on Monday 3rd March through all stores.

Animus began life in 2010, with beatmaster Poul Thomassen on drums and Sam Gilmour handling the guitar. The duo soon enlisted Sam’s old college buddy Graham Brown on second guitar and new friend Gavin Holloway on bass. For the next two years, the band played throughout Scotland, wrestling to hold down a permanent and reliable vocalist. However, all of this changed in the Summer of 2012 when the four-piece hooked up with Aaron Fawns, and everything just clicked into place. Aaron immediately joined the band as full-time vocalist and the revitalised noiseniks soon picked up the pace with a flurry of explosive shows throughout the northern territory supporting the likes of Bleed From Within, To Kill Achilles, Here Lies A Warning, Heights, Silent Screams, Chronographs, Hero In Error, Our People Versus Yours and I Divide.

The five-some closed 2012 by heading into the studio to lay down their official release in the shape of their “Fall Of The Elite” EP. Because the EP only received a regional and limited release during the early part of 2013, the band have decided to unleash the record with a full national release and extensive touring for Spring 2014. And rightly so, as the record deserves to be thrust into the limelight. From the full bloodied fury of the opener track ‘Damnation’ to the death prog beatings of the EP’s namesake ‘Fall Of The Elite’, the record showcases a band that will be a prominent force in the UK metal scene for many years to come.

=ANIMUS RELEASE ‘FALL OF THE ELITE” ON MONDAY 3rd MARCH 2014 THROUGH ALL DIGITAL STORES=

 

www.facebook.com/AnimusUK

 

The Last Legion: Conspire EP

Though you cannot say the debut EP from UK metallers The Last Legion is a release which has a distinct voice and presence amongst the numerous metalcore/melodic hardcore bands which have emerged over the past couple of years or so, it certainly offers the promise and evidence within its quartet of impressive tracks that the band is on the right course to find that uniqueness. The Conspire EP is an accomplished and satisfying release from a band that employ existing sounds and ideas in their own inventive way and though the release maybe does not ignite raging fires within for its enterprise and offerings it certainly intrigues and marks the band as one to keep a steady eye and ear upon.

From South London the quintet blend strong technical metal intent with an aggressive metalcore passion whilst inventive progressive and melodic flames add extra heat to the powerful union. Since forming in2010 the band has made steady and potent strides forward with last year their most intensive to date and seeing the band sharing stages alongside the likes of Silent Screams, Against The Flood, Carcer City, The Charm The Fury, Demoraliser and Liferuiner, whilst this year already looks just as active and potent live but with their first release to ignite things further. The Adam Getgood (Periphery) released EP is a vigorous first step to a wider awareness and the initial move towards what it suggests will be a successful future.

First track Guardian emerges from a sonic bristling of guitar and atmosphere to entwine the ear in intimidating rhythm, with the bass of Alex Bramwell immediately grabbing its own corner of focus through a controlled but openly hungry presence, and skilled inventive guitar lures from Ali Marshall and Chris Tierney. The song takes no time in stealing the march on the senses accosting them with melodic and intense energy before they can breathe whilst the diversity of the vocals is a pleasing adventure to come to terms with. Lead vocalist on the EP is Steve Kerr ably supported by Marshall and Bramwell, and between them from impressive clean coaxing of the ear to the squeezing squalls and ravenous belligerent growls the united effect works a treat. Admittedly the clean vocals excel over the other approaches with ease but each attack finds its place in the song and scheme of things given time.

The following BeakBreakers teases and punishes the senses straight from its first gulp of energy, the guitars coaxing with sonic elegance and simultaneously splintering bone with djent malevolence and the thumping impressive drums of Jake Ardley. The musicianship within the band is skilled and keenly sculpted for the strongest effect, this song arguably the band at its strongest and most creative. Mid-way in to the track the progressive heart of the band has its moment to escape the destructive malice and mesmerises the listener with delicious melodies and again superior clean vocals. The track soon reverts to its inciting poison and climaxes with aural spite and thrilling violence with the only niggle coming from the song fading out, just a personal bug-bear though.

Both Standing Like Steel and Angels And Demands continue the great sounds and songwriting, the first wrenching on thoughts and emotions with provocative anger and seducing melodic beckoning whilst the final song on the release chews and gnaws on the ear with enterprise though it is the least successful song on the EP.

As mentioned The Last Legion does not stand apart from the rest quite yet but the Conspire EP is full of an invention and craft which will surely evolve and brew that individual stance within the genre in the future. The release is more than worthy of taking up your time and offers up a rich satisfaction and occasionally an incendiary passion to feast upon.

A name your own price release join the first steps of one very promising emerging band @ http://thelastlegion.bandcamp.com/

https://www.facebook.com/TheLastLegion

7/10

RingMaster 19/03/2013

Copyright RingMaster: MyFreeCopyright

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Anchored By Avarice: Axillion EP

     Encapsulating the listener in a sonic furnace of heat, intensity, and passion, the Axillion EP from UK metallers Anchored By Avarice is a corrosive invigorating fire which extinguishes the air from lungs and replaces it with incendiary promise and awe. To be honest the release is so accomplished and captivating that it is a finished confrontation in its own right but you still feel there is much more to come from the band in imagination and craft, let alone further uniqueness.

The quintet from Wakefield formed in June 2011 and set about creating a tempest of invention and melodic destruction. Primarily you can declare the band a metalcore onslaught but with scorching flames of djent, hardcore, and melodic death metal to their confrontation, it is a sound which has a distinction and imagination which sets the passions ablaze and marks the band as a rising target for attention and acclaim. Already having unleashed live scourges upon stages alongside the likes of Villa Rise, Silent Screams, Our People Versus Yours, The Omega Particle, Carving a Giant and The Colour Line, the band is currently in the midst of a UK tour, dates to be found on their Facebook profile, and on the evidence of Axillion this is one band not to be missed if threatening your town.

Opening track Endless Corruption sidles up to the ear with seductive sonics and mesmeric keys filling a subdued ambience with slight agitation and compelling beckoning. It is a brief invitation before a surge of senses buffeting riffs and crisp unforgiving rhythms stretch and ignite their muscles, the initial elegant caress still in place but with a stronger acidic and cutting breath. The vocal squalls of Tom Bellamy immediately grab attention, their almost accusing forceful brawling tone a step above most and with a clarity which ensures the lyrical passion has full reign to impact on the listener. Into its full stride now the djent manipulating riffs from Danny Widdowson and Andy Parkinson ravage the senses whilst their adjacent sonic guitar whispers are loud and compelling throughout the track to perpetually whisk thoughts away from the unrelenting ferocity into evocative climes. It is a song which has little restraint in any aspect but a craft and composure to its creation which balances everything perfectly for an enthralling and unpredictable experience, something which applies to the whole release.

The following Furies of Charbydis instantly bewitches the senses with sonic mastery and sparks whilst chewing the synapses with ravenous raptorial riffs and punishing rhythms, the bass of Jack Bhogal mauling with a rabid hunger and intent whilst the drum beats of Blue Thorn resonate in ear and bone with a resonance and spite which is immeasurable. The song is a stirring blend of melodic persuasion and sinew stretching intimidation woven together with immense thought and skill so that each facet and extreme seamlessly and instinctively flows alongside and within each other. Admittedly whether, like in all songs, there is enough which lingers in the memory after the song has fled the scene is debatable but this is a band still evolving and the remembrance of how impressive tracks and the EP were as they burnt savagely upon the person is in no degree debatable.

Substance For Slumber is a stunning beast of fury and passion with a sonic and melodic embrace that explodes and entices like a siren. Arguably the song has less open temptation than the first pair but replaces it with more drama and emotive intensity to provoke and inspire an equal depth of satisfaction and ardour for its expressive and innovative storm. Because of its continually shifting gait amidst the torrent of breakdowns, crippling rhythms, and melodic intrigue, the song is one track which leaves a longer lasting voice behind, the expanse of ideas and emotion an inciting yet spellbinding brutal tide.

The title track is the fullest triumph of the release, its highest pinnacle. From its math/technical metal beginning hex, the track explores with riveting erosive breath and an equally captivating quarrel through consistently testing and teasing switches of position and sound entwined into one galvanic bruising treat. As elsewhere the vocals leave their stinging mark with quality and belligerence whilst the guitars perform a sonic alchemy to compliment the barrage of lethal richly defined rhythms from bass and drums.

The closing Resentment simply confirms the quality and strength of Anchored By Avarice and the release, its tight and explosive stance a final rousing instigator upon the by now lustful passions. The Axillion EP is an exceptional release which makes a towering declaration of how exciting and creatively powerful the band is and excitingly will be.

www.facebook.com/anchoredbyavaricewakefield

9/10

RingMaster 02/03/2013

Copyright RingMaster: MyFreeCopyright

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The Villa Rise Interview

Making the long journey from Sydney Australia to relocate in England, hardcore/punk band Villa Rise has immediately marked their arrival with the release of their mighty and impressive debut EP Wastelands. It is a  release consisting of songs that burst with aggressive intensity, dark bulging riffs, thoughtfully crafted melodies. It also shows a band with a full confidence in their sound and skilled in bringing forth a varied and flavoursome array of ideas and sounds. We had the fortunate chance to talk to the band to find out more about Villa Rise, their EP, and reasons for moving thousands of miles?

Hi and welcome to The Ringmaster Review. Thank you for talking with us.

No worries!

Firstly would you introduce the members of the band?

Yeah, we have Jarrod Martin on Vocals, Kyle Usher on Bass, Alex Wood on Drums, Ben Clink and Brendon Fameli of Guitar.

 How did you all meet and what inspired you to start the band?

We all grew up in the same town, and knew each other from school or gigs. Basically we started the band out necessity really, we just knew we wanted to play music.

You recently moved to the UK, a bold and some would say brave move, what was the reasoning for this?

We basically just all came to a point in our lives where we wanted to experience new things and see the world. We were really lucky that all of us wanted to do this sort of thing at the same time, and so naturally the band continued and we were able to bring it with us.

Does the move reflect or say anything about the state of metal back in Australia for new bands?

Well, I guess you can interpret it that way and we’re sure a few people have, but the Australian music scene was really great to us and there are a lot of really talented bands and people doing great things. Being so isolated and so large are unique problems for Australian bands, but we wouldn’t say that that was the real motivation for moving, even if it did play a part.

What were your expectations or hopes before hitting our soil?

Nothing really, we expect a lot from ourselves and we have a pretty high standard of how we try to go about things, but whenever someone says they dig what we do, or whenever we get great opportunities like touring with Silent Screams or playing Ghostfest , it always comes as a bit of a surprise to us, we’re very grateful.

How do you think being here will help or inspire your music?

Well living together and having the freedom to write music at all hours has definitely made an impact, and being here has pretty much changed our lives, so naturally our perspectives on certain things have changed a little too. Hopefully for the best!

Do you fear losing your Australian fans by making the move?

No, we’ve had a tonne of support from back home since being here, we’re more focused on anyone appreciating what we are trying to do moving forward, whether they’re British, Australian, Chinese, whatever.

So far what has been the surprising positives being here and the negatives you were not expecting either musically or personally?

As we said before we never would have imagined we’d be playing such great shows so quickly, and we really have to thank Tom from Kings Agency for that. As far as negatives are concerned; sausages here are terrible, vegetables are expensive, and it’s hard to earn money to afford to buy any nice food at all.

You are just about to release your excellent debut EP Wastelands, so it must be an exciting but equally busy time for you guys right now?

Absolutely, we’re really looking forward to getting the EP out on this side of the world and seeing how it goes down. We’ve been working really hard to put our lives back together, and now that we’re about to really start playing some great shows it seems like it is about to pay off a little.

 You are releasing it as a free download, what is the thinking behind that?

We just want people to hear it, as many people as possible. If 1 out of every 10 people who download it for free like it and come to a show, it will probably be more than if we were trying to sell an EP to an audience who have never heard of us. We don’t have much money to buy music these days, so bands that release music for free feature pretty heavily on our iPods.

Tell us about the concept/theme that runs through the release.

It is pretty loose based really, and it all comes down to the idea that there can be happiness in everyone’s life if they are able to see it and appreciate it. Obviously some people have problems with that and depression is a serious issue, and that’s not really something that we’re trying to comment on as such. But for the greater part we believe that happiness is a state of mind, and it can be within your control. Wastelands is pretty a story about a guy trying, and failing to come to terms with that.

For a first release it is quite an intensive project what inspired the idea and how much work went into planning how it would work?

We’d spent a really long time writing this, and the idea had developed over a long period of time. Concept records and bands like Defeater and Coheed & Cambria and blown us away, so some sort of concept wasn’t a conscious decision as such, it was just seemed appropriate at the time. We were writing those songs from a pretty frustrated place, and that’s where a lot of the abrasion in the sound comes from, but the idea itself isn’t meant to be a negative or angry thing at all. We also spent a long time producing this record at Def Wolf in Sydney and that gave us a  bit of freedom to develop the sound.

 You have written the songs to the theme or they were already existing  songs which just naturally fitted the idea?

The songs and the theme pretty much grew together. We had a few instrumental tracks written before we really started working out the details of the lyrical content, but we had a pretty solid idea of where we were heading when writing it all.

The release and your music is a varied animal with many distinct flavours, what are the main influences that have inspired you?

Our main influences as a band are groups like Defeater, Comeback Kid, Alexisonfire and mewithoutYOU, but at the time of writing this record we were still interested in big sounds that band like Underoath do really well, and I think that comes across too.

Your bio labels you as a hardcore band but is that not too limiting a tag for your sound?

We don’t really try to get involved with genre tagging much, we’ve written 10 songs for an album later this year and they are very different songs to the ones on Wasteland. We write music that represents our state of mind at the time – and this varies, so Hardcore seems like an appropriately broad tag.

How does the songwriting work within the band?

We spend a lot of time writing music and doing a lot of preliminary demos so that we can go back and adjust things over time. The songs grow with us that way, and we think that it is the most honest way that we can write music, as opposed to trying to pick something in advanced that will unify any songs that we write for any particular release. We all get involved in writing as much as possible.

You have some big gigs coming up I believe?

Yeah, we’re about to head out on tour with Silent Screams & Our People Versus Yours for our first proper UK hit out, we’re so stoked for this. Then we have some other tours in the works, and of course Ghostfest at the beginning of July is something that we still can’t quite believe we’re lucky enough to be a part of.

What is next for Villa Rise?

We’re working on an Album for later this year, so hopefully all goes well and we can get it out and play some rad shows off of it.

Again many thanks for sparing time to talk with us.

Thanks for having us!

Would you like to say something to your new fans in the UK?

Thanks for showing us any support so far! We look forward to getting out there and having a rad time at a gig with you all.

And lastly we have to ask what are you missing most about Australia other than family and friends?

Sausages. Haha. Kyle and Jarrod miss tofu and watermelon, they don’t eat meat.

Read the Wastelands EP review @ https://ringmasterreviewintroduces.wordpress.com/2012/04/23/villa-rise-wastelands/

The Ringmaster Review 05/05/2012

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When Giants Collide – No One Is Safe

UK metalers When Giants Collide have not just made their debut with a release that is powerful and ferocious but one that leaves their audience sprawled on the floor as empty husks from their sonic onslaught. No One Is Safe is a very apt title and fair warning for the demanding series of violations within the EP’s muscular walls.

The West Yorkshire quintet, originally formed in 2008, really started to put their stamp upon UK metal when they re-energised with a new, and the current line-up in 2010. This point saw the band and sound really come together and things begin to gel and move distinctly forward for them. They began drawing in eager and strong attention through the sharing of stages with the likes of Martyr Defiled, Silent Screams, Panic Cell, Sworn Amongst, and Texas in July to name a few, their highly intense mix of destructive riffs, mind bending rhythms, and incisive technical metal creativity riling up audiences to great effect.

Immediately the EP opens it is obvious the ability of the musicians involved, the songs carefully crafted and strikingly presented to display the skill of those involved. When Giants Collide bring a fusion of influences from bands like Meshuggah, Sikth, Between the Buried and Me, and TesseracT, the band using these flavours in a collision (the band’s name really the perfect representation) with their own immense ideas to create precise yet bludgeoning music that cannot be denied. It comes with the intent of attaching to and equally numbing and mesmerising the senses.

First track ‘Wasteland’ eases itself in with simplistic crystalline guitar melodies and an air of impending menace. The acidic melodies persist as intrusive riffs demand attention combining into a partly hypnotic and partly abusive maelstrom of creativity. The guitars of William Luke Downing and Rory Cavanagh pierce and splinter within the ear into testing intimidating aggression and mesmeric sparkling melodies. Powered by the impressive drumming of Damian Clarke and the growling bestial lines of bassist Anthony Green the song erupts and expands like a living beast, breathing and throbbing with an eager pulse.

Every song within the EP warrants that description, such as the antagonistic ‘Codename 47’, a track that feels like it is examining and judging ones limits before unleashing the stunning and challenging ‘Defcon ‘ to consume and eat away all defences before its insatiable heavy sound. As with every track, as harsh and full of violate intent as they are the band temper them wonderfully with their technical and melodic interplay. Beautifully blended it is almost as if the songs have a cannibalistic quality, the intensity and the fierce side of the sound wanting to consume and feast upon the melodic and technical progressive like grooves and those cleaner blistering elements wanting to slice apart the heavy artillery of the band. It all combines into an impressive and constantly intriguing experience with ‘Balboa’ and ‘Swansong’ matching and completing a fine release.

Throughout No One Is Safe vocalist Scott Jenkins growls and spews lyrics as if his throat is in dispute with his voice, bile coated and verging on inhuman his harsh delivery enhances and burdens each track. Many bands seem to have gone this way whether by choice only they know but certainly with When Giants Collide the lack of variety within Jenkin’s delivery does hinder at times. He is a strong vocalist and at times his ‘cruel’ delivery is perfect but in other moments as the bands melodic sway exudes out, a shift in attack or variation in tone feels needed.

This does not stop No One Is Safe being a more than fine debut and though the band need a little more individuality to their music to really stand out one can only anticipate that it will be a certainty in the future of When Giants Collide.

http://www.facebook.com/whengiantscollide

RingMaster 10/02/2012

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