In Isolation – A Certain Fractal Light

In Isolation_RingMaster Review

Amongst the gifts you hopefully receive this Christmas Day, we suggest you drop big hints that one of them should be the new single from UK band In Isolation. Released on the 25th, Parlance is a riveting post punk/new wave inspired anthem for ears and emotions taken from the band’s upcoming debut album A Certain Fractal Light. To kill two birds with one stone, we are going to dive into the full-length right now, a release showing that the single is no flash in the pan in great nostalgia seeded sound and fresh imagination.

Hailing from Nottingham, In Isolation emerged in 2009 openly drawing on inspirations found within eighties post-punk and new wave. Equally though, their sound has seeds in the indie flavours of the following decade and more, with influences on the trio’s invention found in artists ranging from The Smiths, Buzzcocks, and David Bowie to Killing Joke, Editors, and Bloc Party. The years have already seen In Isolation stir strong attention, their well-received singles Film Noir Scandal and Berlin making potent impressions with the latter appearing in the 2013 Steve Best directed movie Zombie Hood alongside the track The Wrong Girl, which In Isolation performed as themselves in the opening club scene of the film. A host of other appearances for their music in movie and TV productions followed whilst live the past years have seen the band share stages with the likes of Republica, Spear Of Destiny, The Chapman Family, and Trailer Trash Traceys amongst a great many and play festivals like Out The Box with Jake Bugg and DV8 alongside Gary Numan.

Parlance cover_RingMaster Review   Having spent fair amount of 2015 writing and creating A Certain Fractal Light, In Isolation is poised to prod even bigger spotlights and appetites with their excellent Gavin Monaghan (Editors, Babes In Toyland, Paolo Nutini) recorded album and before that through Parlance, the second single from and opener to its striking adventure. The song opens with sultry caresses of guitar quickly joined by a great throaty bass tone which quickly reveals an irresistible hook all of its own. Its appearance in turn sparks the guitars to spring new zeal and colour in their enterprise; it all framed by the hypnotic beats and percussion of drummer Tony Ghost. As the vocals of Ryan Swift join the mix, his and John Berry’s guitars still casting a tangy web of temptation, there is a great feel of The Teardrop Explodes to the song but equally a pungent scent of something fresh and solely imaginative to the band with the perpetually snarling bassline the added cream.

The outstanding start makes way for the album’s title track and a similarly potent seducing of ears and appetite. Keys and guitars lay the initial tempting, warm melodies kissing the senses with a China Crisis meets Spandau Ballet like elegance as darker hues bring greater depth to the track through the bass and atmospheric shadows, both skilfully tempering the glow of the song. It is hard not to be swiftly bewitched by the familiar yet unique proposal and further excited by its successors Not Noticing and Truth Or Dare. The first of the two enters on an electronic prowl but with a bold saunter to its gait which is quickly wrapped in a siren-esque harmony. The ever delicious gnarly tone of the bass is there tempting in quick time too, offering its raw bait amongst the just as magnetic hooks of guitar and voice as exotic hues add to the great drama and contagion of the encounter. There is plenty going on to be grabbed by including an electro suggestiveness which perfectly colludes with the dark theatre of guitar and bass in a persuasion lying somewhere between The The and US band Post Adolescence.

From one striking track to another as Truth Or Dare, the first single from the album released a few weeks back, takes over to reveal a body similar to that of the track A Certain Fractal Light but one soon casting its own emotive charm and melodic imagination to swiftly seduce and enlist eager participation from the listener before Elder Statesman engages ears with another imaginative fusion of dark and light soaked textures. As all songs within the album, familiar hues and influences are bold but woven into an evocative proposition creating its own unique character, The Letter straight after, with its rawer tenacious rock ‘n’ roll heart and enveloping virulence, providing another aspect to the potent variety within the post punk inspired melodic tapestry of the album.

Strange Thoughts keeps ears inflamed next with its catchy intent and richly textured romance, female vocals reappearing to add to the resourcefully captivating song. Keys and bass alone make the broadest contrasts as they stand side by side, their union wrapped in the excellent blend of vocals and sonic flames that spring from the pen and invention of In Isolation with compelling ease.

The equally fiery but energetically controlled Ghostburn, its body a close but unique enough design to that of its predecessor, and the classically shaped Gods both keep ears treated, the latter a reflective croon merging gothic overtones and provocative melancholy with poetic melodies. Each again show another facet to the In Isolation sound and invention, before Mist brings the album to a fine close with its own individual heart bred serenade built on a lively canvas of varying and contrasting elements.

Released in March 2016, A Certain Fractal Light is a glorious fusion of old and modern imagination, nostalgia and originality uniting for a highly enjoyable waltz of light and dark adventure. Treat yourself this Christmas with Parlance we say and then really go for it a few weeks later; the single will be a big enough persuasion for deciding on the latter anyway.

Parlance is released December 25th with A Certain Fractal Light out March 2016, both via the band’s own imprint Aye Aye Records.

https://www.facebook.com/inisolationofficial   http://inisolationofficial.tumblr.com   http://twitter.com/InIsolation

Pete RingMaster 16/12/2015

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The Idol Dead – Dark Little Heart

The Idol Dead Online Promo shot

If you missed out on the initial release of Dark Little Heart at the tail of 2012 from UK rockers The Idol Dead then stand ready to leap on board with its reboot this week through the band’s own label RAAA! Records. It is a feisty and fiery slab of rowdy and bruising rock ‘n’ roll but one with all the insatiable charm of a lady of the night and the contagious strength of the common cold. The Leeds hailing quintet merges glam and hard rock with a voracious breed of punk resulting in an invigorating and immensely enjoyable rampage of sound and enjoyment. Admittedly its first contact courtesy of the opening song left a promising and pleasing suasion but one which left reservations in regard to its originality and finding a spark to ignite more than simple satisfaction. They were short lived concerns though, the second track bringing a voracious bait before the imagination which set thoughts and emotions on fire. Certainly the album stays away from forging a really distinctive new proposition, thoughts of The Wildhearts and Backyard Babies an undeniable comparison, but Dark Little Heart emerges as one rebellious stomp of rock ‘n’ roll which simply hits the sweet spot.

The Idol Dead began in 2008 and soon made a rapid impression on the local rock scene. Their reputation for explosive live performances went before them as the band played throughout the UK, sharing stages with the likes of Killing Joke, Sebastian Bach, Buckcherry, Evil Scarecrow, Blackfoot, Warrior Soul, Molly Hatchet, Hatebreed, Pitchshifter, Laika Dog, and Spear of Destiny along the way as well as enjoying great responses at numerous festivals. After the well-received Shooting Star EP, the band’s debut album Die on my Feet or Live on my Knees on their own label marked the band out and drew strong responses but it is through the crowd funded Dark Little Hearts that you feel that The Idol Dead will find access to a much wider attention and fevered spotlight. Inevitable line-up shifts along the way have seen the band adapt and grow so that the five piece of vocalist Polly Phluid, guitarists KC Duggan and Tim Jeffs, bassist Dan Sugden, and drummer Nish Gonsalkorale now show themselves to be a potentially explosive proposition within British rock.

As mentioned at the start of the review, opening track Blue Skies provides an appealing encounter but is somewhat underwhelming in its The Idol Dead Cover Artworkpersuasion due to there being little surprise or unpredictability to its otherwise potent presence. Certainly the passion and craft of the band is an open declaration whilst infectiousness is rife from the riffs to the thumping rhythms and from the impressive vocals to the united anthemic band calls beside them. In hindsight it feels like the band is playing safe to start things off, giving ears a well formed and boisterous yet easily accessible entrance into the album. The track is still a thoroughly pleasing offer though but soon left looking pale as the following song lights the fuse to a passionate and imagination stirring experience.

Six Feet Under is just glorious, from its initial flush of raw flame of riffs and inciting rhythms it is an instantaneous trap which has feet, senses, and imagination recruited with its punk ‘n’ roll bred contagion. Holding an essence of Misfits to its sinewed romp and passions corralling enterprise, the track drags out a hungry appetite for it and the album. Again it is fair to say surprises are scarce in many ways, though just the weighty temptation and resourceful triumph of the track alone makes a detonator to the expulsion of expectations whilst leaving thrills and spills rampant. It is a major highlight but one which itself is exceeded by the following Vampire. From an atmospheric intimidating ambience in the dead of night, the song erupts with scorching flames of guitar and moody rhythms matched by the dark throated bass. The vocals of Phluid equally have a sinister edge and leer to their tone which adds greater intrigue to the narrative of the outstanding song. The band finds an even more addictive toxin to the chorus and infection veining the horror punk like predation, sculpting a track even more immense and irresistible than its predecessor.

Both Dion and Hey Girl unveil superbly crafted and shaped bodies of hard rock bred enticement and though neither can match the heights of the previous pair, the songs feed compelling strides of rock ‘n’ roll into a hungry appetite. The first is much like the opener in that is has few moments of wrong footing assumptions but provides enough invention in its unrelenting catchiness to bring a wholesome appetiser to devour before the more substantial feast of its successor twists and rolls with its garage punk/hard rock fusion. The song takes mere seconds to have limbs and voice enlisted in its cause, giving them a vivacious ride of riffs and grooves with barbed rhythmic hooks before making way for the ferocious Bad Fiction. The punk sided heart of the band is an open brawl in the song, rapacious mischief and energy surging through riffs and adrenaline gifted rhythms. Vocally too the band snarls and incites but it and the sounds all come with a wink and a loud whisper of Generation X within the urgency and pent up roar which wants to rock rather than fight.

The pair of I’m Drowning, a captivating stirring ballad featuring the excellent guest vocals of Claire Cameron alongside the again strongly impressive Phluid, and the magnetic Bleed continue to keep imagination and emotions on their feet; both with a longer to convince persuasion but each evolving into easy to recommend highlights upon the album.

The closing stretch of the album is a little undulating but continues to thrill; the blues filtered You Don’t Know a sonic fire which misses finding the trigger which elevates other tracks so masterly and the closing Beautiful Disaster almost ending the album as it started with a less than imposing offering but a skilfully written and presented one which does enough to leave a contented listener. Between them though the band unleashes one final gem in the rabid punk spawned I Don’t Wanna, an unbridled charge of dirty and belligerent rock ‘n’ roll with all the lures and seduction to spring the inner punk in us all. It is a terrific provocation again proving the potential and already open quality of The Idol Dead.

With Dark Little Heart you are not going to find new pastures to explore but for excitingly accomplished and virulent rock ‘n’ roll, there are few around right now to impress more than The Idol Dead.

Dark Little Hearts is available on 5th May through RAAA! Records.

http://theidoldead.com

8/10

RingMaster 04/05/2014

Copyright RingMaster: MyFreeCopyright

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The Idol Dead reveal their ‘Dark Little Hearts’, on 5th May‏

The Idol Dead Online Promo shot

 

UK ROCKERS THE IDOL DEAD RE-RELEASE STUNNING NEW ALBUM!

 

Leeds rock crew ‘The Idol Dead’ spit out a heady amalgamation of infectious Rock ‘n’ Roll and spiky punk which tips its hat to the likes of Guns ‘n’ Roses, Foo Fighters and The Wildhearts. Pinning sledge hammer riffs against gargantuan choruses backed by thunderous drumming, The Idol Dead are poised to bring their sound to the masses in the shape of their blistering new album ‘Dark Little Hearts’, which is rebooted on 5th May, through the band’s own RAAA! Records label.

Born out of a mutual love for blistering riffs, The Idol Dead sport a varied collection of influences stemming from Rachael Stamp, Foo Fighters and Sex Pistols, to David Bowie and Queen. It’s no wonder that, given their eclectic tastes, the 5 piece offer something different – their own brand of big booted rock n roll!

Formed in 2008 and consisting of Polly Phluid (Vocals), Nish Gonsalkorale (Drums,) KC Duggan (Guitar), Tim Jeffs (Guitar) and Dan Sugden (Bass), the five-some soon became the best of friends. After honing their live set, the quintet began to play throughout the UK and swiftly earned a hearty reputation for delivering explosive live performances. The band have gone on to share stages with the likes of Killing Joke, Sebastian Bach, Buckcherry, Evil Scarecrow, Blackfoot, Warrior Soul, Molly Hatchet, Hatebreed, Pitchshifter, Laika Dog and Spear of Destiny, to name just a few.

The Idol Dead also have a strong DIY ethos which led them to form their own label, Raaa! Records. The label spawned the release of their debut album ‘Die on my Feet or Live on my Knees’, which was totally self-funded. However, the band decided to utilise the pledge platform for their sophomore album ‘Dark Little Hearts’, and within six weeks, they had what they needed in order to complete the album. Needless to say, The Idol Dead were simply blown away by the dedication and support of their fans.

Now with ‘Dark Little Hearts’ recorded and prepped for a national release, the sky is the limit. The band’s album certainly delivers on all fronts. From the urgency and cut throat riffery of ‘Blue Skies’, to the buoyant vigour of ‘Hey Girl’ and the radio friendly melodic brilliance of ‘I’m Drowning’, the five piece have everything in line and are set to battle it out for their place as one of the new breed of Brit Rock bands set to break in the UK!

 

Check out The Idol Dead live: 21st March – Sitwell Tavern, Derby; 30th April – The Duchess, York; 3rd & 4th May – Noize Level Critical, The Maze, Nottingham; 9th May – 360 Club, The Library, Leeds; 24th & 25th May – TBFM 5th Birthday Bash, The Snooty Fox, Wakefield; 31st May – The Riverside, Selby.

The Idol Dead Cover Artwork

www.facebook.com/theidoldead