Bear – ///

As the list of essential 2017 releases already looks like it has the potential of being a substantial one establishing itself at the head is the third album from Belgian metallers Bear. Primarily tagged as math/technical metal, the Antwerp based quartet swiftly show within their new intrusive roar that their sound is a kaleidoscope of imposing flavours. Within the release hefty strains of everything from progressive and heavy metal to nu-metal , hardcore, and metalcore accost the imagination It is a ravenous web aligned to more voracious grooves than found within most lifetimes of similar genre participants and one hellacious treat of a trespass for ears, senses, and pleasure.

Formed in 2010, Bear awoke attention with their self-released 5 track EP Abstractions; its initial success continued through a digital release with Conspiracy Records and a full re-release via Let It Burn Records who followed that up by uncaging debut album Doradus in 2011. At the same time, the band was invading the UK with their raw sound, touring there with While She Sleeps while headlining their local festivals while the year after the album’s release they went on to support the likes of Periphery and entice major plaudits with appearances at  festivals such as Euroblast and Groezrock. Signing with Basick Records in 2013 brought second album Noumenon into greater acclaim whilst live a trio of UK tours with The Colour Line, Black Dogs and Carcer City and further festival triumphs only helped to firmly establish the outfit within the European metal scene.

The biggest spotlight is now sure to be tempted with the release of ///, from its claw slashed title to its ursine assault of sound, the album is an inescapable beast of character, aggression, and invention mauling the listener from its first breath with opener Blackpool. Its first gasp brings a senses eroding surge of guitar and Maarten Albrechts’ furious vocals, a colossal onslaught weighted further by the lethal swings of drummer Serch Carriere and the grievous tone of Dries Verhaert’s bass. As the corrosive tide continues scything riffs and squalling grooves escape the already impressing exploits of guitarist Leander Tsjakalov, his creative weave in turn sparking greater variety in the vocal roar of Albrechts and band. Like a blend of Meshuggah, Slipknot, and Society 1, the song bullies and seduces, opening up more unpredictable twists and compelling exploits with every passing wave of imagination.

The tremendous start continues with Hounds, its primal and rhythmically dynamic entrance enough alone to grip ears, the subsequent net of grooves and technical espionage as well as continuing vocal variety an ever tightening vice of creative temptation. With lighter but just as dirty heavy rock hues adding to the raw infectiousness, the track snarls and ferociously dances with the senses; bruising and teasing them before the band’s latest single Masks emerges from its own dusty smog with a Rob Zombie-esque stomp soon sharing invasive grooves amidst a dissonant cauldron of technical and off-kilter ingenuity. Whereas its predecessors pretty much tore at the senses, Masks taunts and flirts, if with instinctive rapacity and ruthless persistence. Every second is a tempest of intrigue and adventure, each moment a ravishment of ears leaving sheer greed for more in its wake.

It is a hunger swiftly fed and further provoked by Childbreaker, the song initially a blaze of intensity with waspish grooves buzzing around brawly rhythms but soon exploding into an invasive tempest of attitude and barbarous sound though still a storm bound in a virulent infectiousness as devious as the ferocity around it. Predatory in every aspect, the track devours with every breath, a quality no less forceful within next up Knives Are Easy and its maelstrom of technical and instinctively quarrelsome enterprise. The combined creative voracity of Tsjakalov and Verhaert is seemingly encouraged by the irritable jabs of Carriere and Albrechts’ grizzly tones and just as intrusive when the charge turns into a prowling examination of the listener. It is a stalking which cannot sustain its lust for long, the song ending on the same assertive thrust it began with.

The Oath entangles the senses in its own agitated and kinetic almost gladiatorial frenzy next, harmonies and melodic seduction enticing from within the cyclonic ambush and having their own moment of inescapable persuasion like a warm oasis at the eye of an increasingly psychotic storm. With every element combined, it is a fearsome bewitchment with the animalistic growl of bass irresistible, delicious bait continuing as 7 strolls into view carrying a maze of meandering anxious grooves and sonic psychosis. Becoming more brutal and intense with each passing moment, it equally breeds a captivation of harmonic and melodic seduction, the union of extremes as catchy as it is wanton. The song is a helter-skelter of invention and craft, fiercely glorious leaving exhausted ears in bliss and easy prey for the slow menacing prowl of instrumental Klank before Raw has them consumed in another eddy of feverish craft and unbridled discord abound with swirling contrasts and volatile textures all woven into one mouth-watering dispute.

The album is completed by the just as argumentative and creatively pugnacious Construct.Constrict and finally the physically and emotionally subversive Adjust.Adapt. As distinct in nature and body as they are united in bristling attitude and laying a sanguinary touch upon the senses, the pair stretch and open up new realms in the Bear sound; the closing song especially charming in its harmonious siren-esque heart within another truculent body.

There is simply no weak spot within ///, not even a moment when the album slips a foot let alone falls from of very early established pedestal. Quite simply the album and indeed Bear for newcomers is a must!!

/// is out now through Basick Records across most online stores.

http://www.bearpropaganda.com/band/   https://www.facebook.com/bearpropaganda    https://twitter.com/bearpropaganda

Pete RingMaster 12/04/2017

Copyright RingMaster: MyFreeCopyright

Idols Of Apathy – Life Lessons

Idols Of Apathy Promo Shot_RingMaster Review

Truly standing out in the vast horde of metal bands with a hellacious bully of a sound seems to get harder and harder with every passing year and diversely brutal release. Originality is a premium numerous touch upon, often impressively, and few rarely blossom to something which really does stand alone and become the inspirer rather than the inspired. British extreme /tech metallers Idols Of Apathy fall into the former with their sound, but equally strongly impress with their five track tempest of fury and raw ingenuity, the Life Lessons EP. The release is a volatile and skilfully invasive proposition which never leaves a moment dulled by a lack of imagination and passion, qualities woven in with recognisable hues to suggest that influences breed as much of the band’s invention as their own explorations. At the same time though, the highly enjoyable Life Lessons leaves ears and appetite fiercely attentive as a rich fuel of potential hints of even bigger and individually bolder things ahead as Idols Of Apathy evolve.

Idols Of Apathy Cover Artwork_RingMaster Review   Bursting from the Essex landscape in 2013, Idols Of Apathy were soon stirring up a potent local fan base, spreading further afield once they swiftly released debut single Deceiver. Its success was backed by first EP Unheard Words, which was recorded by Dan Keer. Picking up strong national and media recognition, it was the spark to the band sharing stages, to continuing acclaim, alongside the likes of Climates, Canvas, Lock & Key, Shields, Sworn In, Continents, Create to Inspire, Carcer City, and Falling With Style amongst many more. It is easy to see similar and bigger responses to the release and persuasion of Life Lessons coming up, and though it might not roar from that plateau of major originality it powerfully gives the already strong reputation of the band a new shot in the arm.

The release opens with Bipolar, a song inspired by vocalist Jack Dervish’s own condition and living up to its title in sound and character from its first evocative breath. In no time the inviting coaxing is an anger driven and heart spawned tearing of the senses, with a sound seemingly drawing on the savage intensity and hues of a Slipknot, Devil Driver, or As I Lay Dying. The lethal swings of drummer Stuart Roche resonate like masonry through ears and bone whilst the raw vocal invasion of Dervish, backed as strongly by guitarist Dean Chignell especially with his eventful clean tones, abrase and entice simultaneously. It is the web of invasive grooves and technical imagination from Chignell and fellow guitarists Tom Johnston and Joe Gregory that majorly helps turn a very decent track become a striking offering, their entwining enterprise helping the EP get off to an immense and impressive start.

The great creative irritability and hostile dynamics of the first song continues in the following Addiction, its trespass an insatiable incursion into the senses but bolder in its embrace of provocative ambiences and ‘mellower’ textures led again by clean vocals. The song itself jerks around at times like it has creative Saint Vitus Dance, twisting and lurching from idea to carnivorous intent with seamless and eventful prowess. The bass of Elliott Black is a predator in the mix, his lines and lures bestial, and though not always as open in the mix as in the first song are always there tempering or inciting the calmer and fiercer moments.

Once A Cheat / Always comes next, smothering ears in an atmospheric angst around similarly driven vocals before spilling its own animus of sound and emotion. The scything strokes of one guitar collude with a net of off-kilter sonic from another as the track blossoms a turbulence which merges moments of rich catchiness with winds of blustery causticity; the technical craft and ideation of the band from all angles ensuring predictability is an unused issue.

The scent of Whitechapel meets Revocation of the track merges with the rancorous intensity of the following Backstabber too, lining the melodic expression lighting up a track which maybe does not make the same initial impact as earlier propositions within Life Lessons but comes into its thrilling own over time and listens. It is an increasingly virulent tapestry of crippling rhythms and spiky guitar intrusiveness bursting with resourceful vitality and physical tenacity from across the board before leaving Lessons Learnt to bring the EP to an imposing like-minded and pleasing close. As well as essences which savage as old friends, there is an element of similarity between songs in certain areas but always saved from dominating things by the turbulent adventure the band builds each track upon. Whereas its predecessor’s assault was sonic and lyrical venom, the final track feels like it is an understanding incitement, melodic and harmonic essences a hug around the shoulder giving a reassurance echoing the words shared, though it still snarls and bites like a rabid beast too.

Idols Of Apathy is a band destined to more and greater attention, a suggestion hard to resist making on the evidence of the excellent Life Lessons, and if they can find that real element of originality too, the real potential of big things ahead.

The Life Lessons EP is available from December 4th.

https://www.facebook.com/IdolsOfApathy   https://twitter.com/idolsofapathy

Pete RingMaster 04/12/2015

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

This Is Shark Country ready to bite with new EP 13th November

This_Is_Shark_Country_-_Chances_Artwork.jpg_RingMaster Review

UK Tech metal hardcore chiefs ‘This Is Shark Country’ are back in the fold with their explosive new EP ‘Chances’, which drops on Friday 13th November through all stores and digital platforms.

This Is Shark Country are a quintet of riffsmiths and noise-mongers, emerging from the sleepy market town of Newbury, Berkshire. Riding the line between tech metal and melodic hardcore, bucking the trend for more strings and lower tuning, and brandishing a totally different vocal style to boot – the band are navigating uncharted waters.

Born in 2011, the irrepressible five-some are 100% committed to the execution and construction of their craft. Through extensive gigging and intense rehearsing, This Is Shark Country have supremely tuned their live show, which has seen them hit venues from Leeds to the Isle of Wight, and everywhere in between, sharing stages with ‘68 (ex Norma Jean), Nexilva, Palm Reader, Exist Immortal, and more. In 2013, the southern riff lords released their debut album and the record attracted strong interest from Kerrang Radio’s Alex Baker, who featured the band on his radio show and Front Magazine column. As Alex Baker stated, “I put it in the CD player, and was absolutely blown away. My mind melted into fragments, into my cup of coffee, and I drank the fragments of my mind. That’s how good it was”.

Now after a year in the making, This Is Shark Country return with their most impressive work to date. The band release their new self-produced EP ‘Chances’ this November, and it’s an absolute beast. Kicking off with the techy wizardry and ball breaking crunch of ‘Sitting Pretty’, you soon realise that you are in for quite a journey. The hardcore beatings of ‘Ghosting’ then continue to tear up proceedings in spectacular style. The EP’s namesake is up next, and it doesn’t fail to deliver with its gritty groove and stunning refrain that hits you sharply between the eyes. Lastly, ‘Forever In Waiting’ showcases the band’s dynamism and true ability to pen a tune that can not only blow your face off, but can also make you think. The tireless crew take their record on the road with dates in the pipeline for the rest of the year; stay tuned and get ready!

-THIS IS SHARK COUNTRY RELEASE ‘CHANCES’ ON FRIDAY 13th NOVEMBER THROUGH ALL STORES-

https://www.facebook.com/ThisIsSharkCountry

 

Akarusa Yami – Heavy Climb

AY Pic 1_RingMaster Review

This year has seen a host of impressive and imaginative progressive/technical metal releases and joining the most compelling and thrilling is Heavy Climb, the debut album from Akarusa Yami. The UK band has uncaged a mouth-wateringly unpredictable and fascinating proposal with their first full-length, not only building on the potential of previous successes but setting out a whole new template of adventure and uniqueness to explore further ahead.

Heavy Climb is simultaneously raw and sonically elegant, imposingly fierce and seductively bewitching and as suggested earlier, a striking step forward from its creator’s previously acclaimed offerings. Formed in 2010 by guitarist Tom Clarke and vocalist Tom Brumpton, the Nottingham hailing Akarusa Yami quickly whipped up ears and support with their sound and live presence, and in turn debut EP Ouroboros the following year. The quintet’s singles Third Eye, Wide Open and Millennium Is My Salvation lured potent national airplay across Europe and online whilst the band began being featured in the likes of Terrorizer, Zero Tolerance, and Metal Hammer (Norway). Their generally well-received second EP Trace Element Rebirth arrived in 2013, following successes like the supporting of bands like Textures, The Ocean, and Aliases as well as appearing at the Bloodstock Festival also in 2011. It also saw the new emerging direction in the Akarusa Yami sound and songwriting and it is probably fair to say for some it was not an immediate persuasion. It was though a gripping sign of things to come, and an intriguing teaser for what is now Heavy Climb. With a line-up completed by bassist Jake Bennett, drummer Adam Jones, and guitarist Julia Goatly, Akarusa Yami have honed and experimented with their sound, stretched their ideation and craft and subsequently the imagination of the listener with Heavy Climb; the result being certainly for us one of the most enjoyable and enthralling encounters of 2015.

Heavy Climb - Front Art_RingMaster Review     The album opens with The Old Man By The Fjord where instantly rolling rhythms align with engaging melodies and a shadowy bassline. The song does not grab attention but coaxes it for the same success before riffs get steely with their snarl and the voice of Brumpton growls attitude and aggression. Now ears and thoughts are firmly awake and held, and it is here where expectations start to unravel as the band begins their relentless emprise of invention and unpredictable ingenuity. A slip into an infectious passage of glowing melodies alongside clean vocals and harmonies brings a progressive tempting which is almost Horslips like, its presence entwined with more technical predation amidst the pulsating lure of keys. It is an engrossing start to the album which just gets stronger and more endearing with every listen, as indeed does the album.

Second track At Last, Sunlight (Endlich, Sonnenlicht) makes its entrance on a warm jazzy field of enticement, though the track soon uncages its ire and aggression fuelled volatility in a tempest again infused with gothic keys, sonic suggestiveness, and clean vocals which again catch thoughts initially unaware. It does not quite live up to its predecessor or the following title track but feeds an already strong appetite before its successor bawls at and brawls with the listener with irritable rancor and magnetic resourcefulness spread by the atmospheric keys and perpetually shifting attack of the guitars. The rhythmic swings of Jones are a constantly addictive bait in the mix too though it is the perfect union of metal savagery and electronic charm which steals the show.

The imagination is taken on a moonlit flight with the instrumental Long Nights In The City next, its ambience and emotive climate moody and melodic body exotic. Keys and guitars virtually writhe around and alongside each other in the minimalistic but thickly evocative piece before A Monument Built To Carnal Desire comes forward with its own melodic calm in front of a predacious and inventively tenacious storm. As the song erupts and spills its antagonistic and technical prowess, synths tour a vibrant electronic palette, at times flirting with Nintendo-core teasing and more often flowing with progressively symphonic hues. It is an absorbing engagement, the song managing to combine bestial and beauteous extremes in one thrilling incitement, a fusion taken to fiercer depths by And The Night Will Take Us All. Rhythms are barbarous yet anthemic with the guitars a source of swirling sonic toxicity whilst Brumpton leaves no animosity core stone unturned, yet throughout the bruising assault, smart hooks and electronic enterprise add their alluring touch and magnetism. It is the virulent irregularity and schizophrenic rhythms which lure the biggest portion of the ardour bred for the track though, they and the glorious melodic majesty falling from jazzy/Latin kissed guitar strings midway.

     I Work In Formaldehyde sees the band again immerse in its electronic/industrial inspirations early on before spinning another grouchy and insatiable web of carnal riffs, lethal beats, and the ever compelling vocal roars of Brumpton. It is angry, dark, and sinister, a song to keep the imagination and passions involved past its departure as too the exceptional Les Mere Terribles, which after the noir lit electronic lead of the brief instrumental Loving Parents, wraps ears in a spiralling of djent spiked trespasses and senses binding melodic enterprise. Vocals and rhythms take no prisoners, their intrusive drive a bracing onslaught enhanced rather than tempered by the spellbinding caress of keys and warm melodies as well as the outstanding clean vocals, Brumpton showing his great prowess and diversity.

The album’s pinnacle is followed by its most fascinating offering. The Natasha Trade is a haunting drama of a life trapped in a stark, unforgiving, and destructively enslaving situation voiced by guest Joy Shannon from Beauty Marks. It is a strikingly cinematic proposal, like a theme within a dark visual incitement such as Sin City and though it does not quite fit in with what came before in many ways, the thought of it not being included feels even more wrong.

Akarusa Yami have made a huge leap on from the ground seeding encounters of their previous EPs and now with Heavy Climb announced themselves as one of progressive/technical metals brightest and thrilling protagonists.

Heavy Climb is released on October 5th via the Akarusa Yami Bandcamp profile as a name your own price download.

https://www.facebook.com/akarusayami

Pete RingMaster 05/10/2105

Copyright RingMaster: MyFreeCopyright

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TesseracT – Polaris

TESSERACT_RingMaster Review

Lost in the beauty and technical magnetism of Polaris, a trio of thoughts leap forward to lead the increasing enjoyment and personal plaudits brewing up for the album. Firstly this is without doubt a typical TesseracT proposition, but not in any way one dosed with predictability or repetitious emulation of past triumphs. Their third full-length has the bands unmistakable presence and imagination, their renowned craft and riveting bold adventure, all colluding to create a brand new journey of creative evolution leading to expansive yet fiercely intimate discoveries.

Secondly like the creation of a painting, each track within Polaris plays like a layer upon layer; each individually standing alone but uniting to cast a rich and fully immersive landscape of emotive and provocative sonic incitement. They are textures to a whole which can be explored singularly or as one fluid movement across a record which just fascinates and transfixes at every turn.

The final leading thought is that everything seems right with the world as the returning voice of singer Daniel Tompkins caresses and roars in ears. As impressive and thickly important to past successes that previous vocalists Elliot Coleman or Ashe O’Hara were, something is complete with Tompkins sharing his vocal and emotional heart within the ever stirring sounds of the band.

Polaris cover_RingMaster Review       Released by the band’s new label Kscope, Polaris opens with Dystopia, it emerging through dank shadows with a tight spiral of riffs and atmospheric chills. Soon a swing grips the guitars of Acle Kahney and James Monteith, riffs and grooves enlivened with energy and a swagger as Tompkins walks their lure with his assured and distinctive tones. Pretty soon everything catches aflame, the guitars becoming openly fiery, vocals impassioned, and the bass of Amos Williams, well that just turns out the most delicious steely growl. With the dynamic beats of Jay Postones as skilfully impacting as ever, the track shows the band is on striking creative form individually and as one, and building yet another new drama of sound and imagination to get greedy over.

Of course one song does not dictate the way an album goes but its suggestiveness is quickly backed by Hexes and Survival after that, the next pair swiftly pushing on the emerging and immersion exploration within the album. The first of these two initially creates a celestial melodic sigh, its lingering elegance casting a radiance which keys and vocals share as the spatial depths of the track come into view. Its poetic glow just thickens around the subsequent vocal unions of Tompkins and Williams, remaining a rich hue as the track continually simmers and boils with intensity and emotion the further into its controlled yet tempestuous body is stretches. The track is hypnotic, seductive, and portentous; a stunning captivation matched by its successor which also opens on an absorbing calm but much sooner exudes a feistier blaze of emotion. Like a fire it smoulders and blazes, licks at the senses and crackles with aggression, and like a mass of flames totally bewitches the senses as they stare at its seamlessly volatile beauty.

Tourniquet spreads harmonic radiation next, keys and vocals an intensive caress against the mouth-watering rhythmic bait and prowess of Postones. They keep their mesmeric grip even as the guitars wind up their technical endeavour and intensity, parting only once the full technical and inventive theatre of Utopia takes over. A maze of styles and flavours cored by another entrapment of ardour sparking bass enterprise, the next song simply engrosses with its dramatic tenacity in sound and ideation, and indeed vocal strength where again Tompkins and Williams are riveting in their part within the superb creative emprise.

With a more reserved but no less impacting presence, the following Phoenix lives up to the suggestiveness of its name. Melodies leap like flames throughout, springing from a subdued canvas to soar, as the vocals, across the rich sonic sky of the encounter. Ears and emotions are full and basking before Messenger takes over with its spiny grooves and jagged riffs aligned to classically sultry keys and a melodic character which just oozes elegance, even when embraced by the more rugged elements of the track. Both songs drag ears and imagination deeper into their diversely textured depths, and like all songs and subsequently the album as a whole, reveal new twists, nuances, and creative revelations with each and very listen.

The immersive ambience bringing Cages to the fore is instantly compelling but once the song slips into something melodically and evocatively ‘comfortable’ it becomes truly spellbinding. Bass and drums flirt with rapacious tenacity whilst the guitars and keys impose their tempting with gaseous prowess, invading every pore for the richest pleasure. The song epitomises the album; every element and slither of inventiveness familiarly TesseracT but nurtured within a band taking their songwriting and imagination into new realms of experimentation and personal exploration.

Completed by the mouth-watering Seven Names, it is fair to say that Polaris is sensational and lives up to the hype already brewing around it on its first listen alone. The fact that it just gets more stunning and impressive with each additional play tells you why we believe that the new TesseracT album is the progressive/groove metal triumph of the year.

Polaris is out now via Kscope now across most online stores.

Pete RingMaster 25/09/2015

Copyright RingMaster: MyFreeCopyright

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Faces Of Eve – The Story So Far

Faces Of Eve Promo Shot_RingMaster Review

It may intensely fascinate more than it explosively thrills but The Story So Far, the debut EP from UK metallers Faces Of Eve, is a thoroughly enjoyable introduction to a potential drenched band. Across six compelling tracks, they create a tapestry of diverse sounds which at any given moment can be as progressive metal as they are alternative rock, as tech metal as they are experimental. It makes for a seriously enticing proposal keeping ears and imagination rigorously keen and though many songs just lack the final essence to ignite the biggest reactions, an ingrained appetite for more is a swiftly done deal.

The Hertfordshire quartet emerged towards the end of 2013, Faces Of Eve emerging from the ashes of Brave The Moment, Shields, Trophies Of Dahmer, and Olympus Must Fall. A potent following to their impressive live presence quickly grew and now fresh off a UK tour with Oaths, the band is turning up the heat on a national recognition with The Story So Far.

It all starts with For My Fallen Heroes and an enticing coaxing from guitars and a harmonic ambience. The strings of Dan Sloane gently dance with ears as the melodic tones of vocalist Benjamin Fordham Black add their caresses to the magnetic persuasion. The air of the song has an increasingly imposing texture, not intimidating but carrying open shadows enhanced by the heavily wiry tones of bass. It does all unite in a richer and thicker tempting, though that is for mere moments as the song suddenly stops. It is a strong opening but the abruptness of the track without being instantly replaced by its successor, or bleeding straight into it, feels slightly odd. It is a minor thing though and soon forgotten as Feed emerges from the distance with a tangy groove around punchy rhythms. Full in the face, the track is soon a thrilling web of spidery grooves and sonic tendrils wrapped in more strong vocals and contagious hooks. An increasing unpredictability almost as quickly erupts too, a weapon the band use to great effect over the release and here emerges in jagged riffs and barbarous snarls from the bass of Alistair Hines which strikingly flirt with the superbly crafted mesh of flavours and technical imagination. It is like a festival of sound, a collusion of textures hinting at bands like Circles, Muse, Alexisonfire, and Shattered Skies, and at its heart just an irresistible rocker.

Faces Of Eve Cover Art_RingMaster Review   The following Crime Of Passion opens with a sombre atmosphere, vocally and musically, as scythes of guitar court the imagination with the vocals in a melancholic yet charming invitation. The steely funk bait of Hine’s bass stirs the song’s air soon after as the blend of falsetto and emotive vocals entangle, the track eventually shrugging off its reserve as the potent beats of Oliver Jones incite a voracious and snarling tango of metal bred sound. As its predecessor, the song is soon evolving and weaving in various styles with every passing grouping of seconds and similarly gripping ears and thoughts through its bold adventure.

Temporal Rotunda also has a morose toned start, voices and sounds cloaked in a cloudy ambience which eventually sparks into a composed but fiery stroll littered with jabbing beats and gnarly riffs bound in spicy grooves and melodic incitement. The track prowls at certain points, imposing its weight and alluring intensity whilst veining its trespass with attention pulling slithers and twists of melodic and off kilter imagination. By its end the dark side of the track is a riveting enticement, leaving a lingering pleasure which One Man Show runs with through its own vivacious and agitated qualities. The technical growl and nagging of song and sound is a persistent beckoning but the band inventively send it spinning with swift flashes of avant-garde and progressive ingenuity, matched by resourceful vocals. It is an outstanding track which epitomises everything good about The Story So Far and how it just misses the mark. It is inventive and fiercely imaginative but never pushes its promise to the limits hoped, never quite finding the spark which tips a great song into a show stopper.

It is nevertheless inescapable evidence of the songwriting and technical qualities of Faces Of Eve and their infectious sound which is confirmed on final time by Dwellers. The closing song is another which is a born rocker at heart, its aggressive alternative rock core encased in a spiral of tenacious grooves, their union twisting into an increasingly dramatic and ferocious blaze. Things continue to move into new textures and scenery as the track increasingly lure ears and enjoyment, always returning to its creative spine but always providing new highly satisfying endeavours off of it.

Faces Of Eve is a name to make a note of and The Story So Far a release to seriously think about checking out. Both are destined to promote thoughts that here is a band with a very successful future before them if they want it.

The Story So Far EP is available from Monday 29th June through all digital platforms and as a name your price download @ http://facesofeveuk.bandcamp.com/album/the-story-so-far

https://www.facebook.com/facesofeveuk     https://twitter.com/F_O_E_UK

RingMaster 29/06/2015

Copyright RingMaster: MyFreeCopyright

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