Moments – Outlast EP

With potential as vocal and uncompromising as their snarl, Belgian outfit Moments release their new EP this month. Containing five hungry and irritable tracks, Outlast is a ferocious attack of hardcore and metal which manages to be a swiftly striking incitement of impressed pleasure and a slow burning cauldron of even richer promise.

Hailing from Tessenderlo, the quintet emerged in 2011 and has increasingly forged and earned a potent reputation and following at home and more recently across Europe with their live presence. They have shared stages with the likes of Bury Tomorrow, While She Sleeps, Our Last Night, and Stick To Your Guns as well as played numerous festivals such as Groezrock, True Spirit Festival, Summerblast, Cerberbrus and Rock Herk to great success. Now they are ready to poke at bigger attention with Outlast, a release declaring the possibility of a new potent force in hardcore town.

The EP makes an instant impact with its outstanding opener What If. As a busy street scene surrounds ears, the sonic trespass of guitars brews, swiftly taking over the landscape with wiry grooves and rapacious riffs. Dries Monsieurs’ vocals are just as quickly invasive and impressing, his ire coated roar supported by equally caustic tones and sounds from across the band. A raw yet infectious scent reminding of The Ghost of a Thousand carries appetite and imagination off into the irritable heart of the track, the hooks and grooves of guitarists Jeffrey Beutels and Kristof Fransen addictive as the imposing swings of drummer Benjamin Hendrickx simply bite upon the senses. It is a stunning start which is never quite matched again within Outlast but tenaciously and enjoyably supported by the likes of next up All It Takes.

The second song harries ears with an initial scrub of riffs, drums throbbing upon impact to match the resonating tone of Gert-Jan Vandervoort’s bass. If the first song it was a lingering threat, in its successor a predatory declaration is made yet with a catchy grooving as enticing as anything conjured by voice and guitar elsewhere. Harmonic backing to the throat scraping attack of Monsieurs is a great contrast to the antagonistic charge driving the song as too the citric melodic enterprise aligning with the sonic trespass abrasing the senses.

As the EP, the song simply grows in strength and enjoyment with each listen, a quality shared by all and indeed next up Crossroads which maybe did not quite hit the mark as fully the first few times around but blossomed to be another definite pleasure. It does not quite have the individual traits of its companions but employs more recognisable hardcore bred threads in a bold and heated metalcore spiced union of harsh and melodic craft.

Our Faults, Our Failures is a bracing tempest of emotion and sound straight after, it’s scalding sonic web as intensive as the rhythmic harassing and vocal animus of raw emotion and displeasure. It too is a grower reaching loftier heights with time whilst revealing open potential of bigger and bolder things with Moments. The band has been suggested for fans of artists like The Ghost Inside and Hatebreed, this track gives all the reasons why whilst still creating its own highly agreeable character again adding to that promise.

Outlast closes as it began, with a track which commands a quick appetite and hunger for its punk and metal quarrel. Riffs and hooks collide with the senses, sonic tenacity further searing the damage as rhythms create fresh bruises with every attack. It is addictive stuff, vocals almost cursing listener and world in tone alone, the bass showing a mutual discontent in its texture and grumble.

Moments is a band on the rise, Outlast a release which leaves a lingering scar and together a pair creating another reason to anticipate hardcore nurtured noise becoming especially exciting sometime soon.

Outlast is released May 26th.

https://www.facebook.com/momentsbe

Pete RingMaster 26/05/2017

Copyright RingMaster: MyFreeCopyright

Choking On Illusions – Rest/less

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Hailing out of South-West Germany, Choking On Illusions is a band which looks like they are about to be on the receiving end of an enthusiastic roar of attention. The reason being their new album Rest/less; a beast of a melodic hardcore incitement which is as fiercely confrontational and emotionally voracious as it is inventively compelling. On first listen, it is not one which instantly leaps from the crowd though it certainly is a more riveting and fascinating encounter than most, but over time it reveals an imagination and craft which leaves ears and attention gripped. You would still not say that the second full-length from the Saarbrücken quintet is going to turn the hardcore scene on its head, but it definitely gives it an exciting proposal to chew over.

Formed in 2008, Choking On Illusions has frequently awoken keen and increasing interest in their presence; a self-titled EP in the following year starting the growth which was backed and nurtured further by a two track demo in 2010 and the band’s keenly supported live presence. It has been from the current line-up’s coming together a year later though that the band and their sound really hit its stride, as established by their well-received debut album Guide me home in the summer of 2012. Alongside all these moments the band has similarly drawn great praise and following through shows with the likes of Stick to your Guns, Comeback Kid, Terror, Evergreen Terrace, Hundredth, Counterparts, and La Dispute amongst a great many, as well as tours with The Green River Burial, Wasted Bullet, Chronograph, and Seasons in Wreckage. It all only reinforced and enriched their emergence in the hardcore scene. Now the band is lining up to burst into the broadest spotlights with their Bastardized Recordings released Rest/less, and given the time and focus it needs and deserves, it would be hard to expect anything but further potent success.

The opening Intro is a decent enough emotional scene setter, guitars melodically eloquent within a heavily brooding atmosphere whilst leading ears and imagination into the jaws of the following album title track. The second track bursts into life with ravenous rhythms and fiery riffs, each intensifying as the vocals of Mario Strasser begin their agreeable roar and the guitars of Jannik Aulenbacher and Maciej Spiczak align in a tempting mix of caustic riffery and sonic enterprise. It is when singer and melodies really erupt in an infectious and lively embrace that the song truly comes alive, their brief expulsion of revelry infecting the subsequent antagonistic side of the song which too develops an intriguing mix of catchiness and emotional provocation. It is a great start to the release, and like the album, it takes time to explore all its twists and depths, though its appeal and appetite sparking potency is swift.

Choking on Illusions Cover   The following Sleepwalker explodes in a creative and impassioned tirade you expect to hear in a hardcore based offering, continuing to feed with satisfaction those thoughts but twisting them into fresh endeavour through the persistently thoughtful and skilled ideation of the guitars. As in its predecessor though, there is a particular moment where the good song ignites into something greater, and here it is the lull in the sonic tempest where the bass of Christian Pontes takes over with a richly carnivorous bass tone matched in intimidation by the muscular swings of drummer Dustin Ueckert. It is a mere moment in the passage of the track but again seems to instil a new attitude and impact into the following adventure and passion of the proposition.

Both Left Unsaid and 13 rage and bellow with explosive and intriguing creativity, the first punctuated by the thickest rhythmic jabs yet on the album but tempered by a tantalising flame of impressive vocal harmonies and guitar crafted melodic acidity. The song continues to be unpredictable and enthralling, a slip into an acoustic landscape bewitching in company with calm and captivating clean vocals. Its heart felt and raw emotion though is soon back filling the senses, and again it is fair to say this also seems to return with a new air and vitality in its angst and sound. It is of course all sparked by the band’s dramatic adventure in songwriting and sound, with these moments seeded in a strong array of flavours outside of hardcore. They are essences not always apparent at the start of songs but emerging impressively throughout and something the band will hopefully utilise even more ahead as this is when Choking On Illusions impressively breaks free of any formulaic hardcore restraints and expectations. The song’s successor is the same, spinning a recognisable initial weave of sound and aggression built on open invention before sculpting a predatory net of rhythms and sonic imagination. It is the most straight forward song on the album in many ways but when relaxing into a smouldering embrace of warm melodies and intimate vocals to again cast a new light on its body and heart.

The disorientating dazzle of guitar and rhythms at its start sets Borderlines off in fine style and initially it is a shame it is not a constant incitement throughout the excellent track, the band preferring to unleash it in bursts amongst the muscular antagonism of the song. The truth is the band get it right, its intermittent diversity makes for thrilling eruptions of bedlam in the ferocious roar of the song and the subsequent melodic poetry charming from its heart. The song is superb, whilst the album simply gets stronger and more exciting with every offering.

The peaceful radiance of Interlude allows a breath next, its brief instrumental a classic hug of keys but as the intro, embraced by a more and increasingly turbulent ambience. Its beauty makes way for the fiery energy and intensity of Broken Song, a blaze of an encounter with deep anxiousness to its air and hostile emotion fuelling its fury. It is another which simply grows in weight and persuasion as it reveals more invention and unpredictable ideation once established in the ears; post and melodic hardcore colouring its ire as forcibly as a punk viciousness.

A new peak is set with the hellacious charge and presence of Death Waltz next, the track a thunderous predator of the senses unafraid to draw on noise rock and metallic essences to ignite its creative battlefield. Complete with soaring harmonies and sonic intricacies, the song is a raucous anthem and impassioned croon simultaneously, and quite sensational in its distorted and scuzz lit brilliance giving next up L.O.V.E. a hard task to emulate. It gives a mighty effort though with a bass sound from Pontes which is raw and carnal in touch, whilst a blistering furnace of sonic rapacity and vocal incitement treats the senses. It also has that fresh onslaught of punk hostility to it which seeps into the album’s latter tracks to enjoyable success.

Closing track Baptism – Funeral enters on a rhythmic enticement from Ueckert which alone secures hungry attention, and continues to drive and ignite the solemn and melancholic heart of the increasingly ferocious encounter. It is a mighty end to an outstanding release, one sure to put Choking On Illusions on the widest hardcore map and suggesting potential of greater things yet to come, though more of the same to be fair would not be too disappointing either.

Rest/less is available from March 27th via Bastardized Recordings @ http://shop.bastardizedrecordings.de/product_info.php?products_id=2411

https://www.facebook.com/ChokingonIllusions

RingMaster 26/03/2015

Copyright RingMaster: MyFreeCopyright

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

 

Statues – Together We’re Alone

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Blistering is the best way to describe Together We’re Alone, the debut album from Australian hardcore band Statues, that and thoroughly enjoyable. Hailing from Perth, the band uncages a “chaotic” style of the genre which has a just as keen penchant for acidic noise and caustic punk. Like a voracious merger of Ghost of a Thousand and Shevils with Coilguns and Kabul Golf Club, band and sound is a corrosive and exhilarating proposition, not forgetting one of the most unique.

Formed in 2009, Statues became swiftly recognised and renowned for their high intensity stage performances, shows which has seen them play alongside the likes of Every Time I Die, Northlane, Stray from the Path, Stick to Your Guns, Structures, and La Dispute. Their reputation has gone before them but Together We’re Alone is the band’s first real foray into global attention and it is hard to see the release missing out on awakening an intensive spotlight on the quintet’s presence.

As unafraid to make a searing commentary on social and personal issues as it is in scorching the senses, band and album instantly stirs up attention and imagination with the brief and seriously potent All Fears Are Learned, All Victories Are Earned. The opening song almost swaggers as it casts percussive bait straight away but is soon turning its enticing entrance into a brewing maelstrom of raw grooves and caustic riffs. There is still a teasing lure to the track though, a lighter almost mischievous wink which subsequently turns to a scowl and roars along with the imposing and striking vocals of Jayme Van Keulen. As swiftly realised across the album, how a song starts and tempts is never a consistent narrative, just a moment in a fury of invention shown here by the guitars of Scott Kay and John Overthrow mixing stabbing riffs and hook spilling noise to further colour and ignite the already incendiary proposition.

The following Always Building, Always Breaking similarly opens with an engaging temptation before venting its rage, a bluesy flame of guitar a spicy offering initially. It is soon battling c7e74127-c689-4e43-ad49-1d7a5e203f3cwith and aligning to, a fierce bluster of noise and the rapid fire skills of drummer Daniel Harper as the track explodes with fierce enterprise and magnetic intensity. As its predecessor, there is as much irresistible contagiousness to the encounter as passionate fury, especially through the masterful infectious lures laid down by Matthew Templeman’s bass skills which seem to creatively revel in the tempest. The track is a brawl of an incitement, a torrential outpouring of angst and hostility within a weave of sonic ingenuity. Only two songs in and Together We’re Alone is already announcing that it is one of the most startling and exciting hardcore releases of current times.

Oh Precious Commodity does nothing to defuse that thought and declaration, its hoarse vocal and anthemic barracking accompanied by throaty bass groans and tangy grooves which feverishly scorch and light the senses. There is hailstorm of piercing beats throughout the knee buckling ferocity too which collude with a cascade of just as hellacious vocals and dramatically imaginative inhospitality. Together they make an antagonistic treat matched in its individual way by the mouth-watering sonic hysteria of Forseeing the Cloud and Not the Rain and the hellacious rampage of Affliction Prescription. With a great many hardcore bands similarity seems to creep into any clutch of songs but there is no sign of that across Together We’re Alone, this pair alone steeped in abrasing individuality and unpredictable invention.

The band throws a curve ball from left field next, the simple and bewitching soulful blues croon of I Want Peace stepping forward with just voice against handclaps as its body, before the impassioned hostile delirium of Abide consumes ears and senses. As now expected, the track is a shifting landscape of imposing ideation and eventful sound, ruggedly caressing and forcibly pounding the psyche from start to finish. The thrilling turbulence makes way for Burning the Truth At Both Ends with its spiralling acrid grooves of and the concussive might of The Wanderer; both a crippling net of rhythms and scalding vat of sonic exploration bound in emotional ferocity.

Between the slower melodic almost post hardcore tinged Hard Words, Softly Spoken and the closing Within Arm’s Reach, another unexpected twist comes with the blues instrumental twang of Hope Is. Its minute plus lure is an intriguing and pleasing respite ready for the final creative furor of the album, Within Arm’s Reach arguably the most intensive and painfully invigorating track on the album, though all songs truthfully leave senses sore and emotions elated.

Statues have set down a benchmark not only for themselves but hardcore with Together We’re Alone, the first of many you imagine if this release is anything to go by.

Together We’re Alone is available now via https://itunes.apple.com/us/album/together-were-alone/id944791123

https://www.facebook.com/statuesau

RingMaster 14/01/2015

Copyright RingMaster: MyFreeCopyright

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

http://www.thereputationlabel.today

Our Final Hour release video for Autumn Breeze‏

 
Our Final Hour Online Promo Shot (1)
BRIT HARDCORE COMBO OUR FINAL HOUR SET LOOSE NEW VIDEO AND NEW EP!
Hailing from the shores of the Isle of Man, OUR FINAL HOUR draw from a glut of areas from the power of ‘Defeater’ to the ferocious energy of ‘Stick To Your Guns’ and ‘Pianos Become Teeth’. By harnessing these influences, yet unmistakably etching their own unique signature on their undertaking, the band have produced a sound that intelligently merges Hardcore, Metal, and Punk to powerful effect.
The ascending noisniks release their debut EP ‘The Moving House’ on Monday 24th June and the band have just released a brand new video for ‘Autumn Breeze’, check it out over at https://www.youtube.com/watch?v=lSOcRDKxyMA .
Also, hit the band for live dates at www.facebook.com/ourfinalhour