Patriot Rebel – Propaganda

Patriot Rebel Promo Shot_RingMaster Review

British alternative/hard rockers Patriot Rebel provide raw and rousing rock ‘n’ roll as virulent as it is ravenously aggressive. They proved it with their outstanding Two Worlds EP in 2013 and do so again with new single Propaganda. The song is a raw and explosive confrontation, an anthem to get fully involved in straight away but emerging even stronger and more impressive with every listen.

Though formed around 2007, it was arguably when the current line-up of vocalist Paul Smith, guitarists Danny Marsh and Dave Gadd, bassist Will Kirk, and drummer Aaron Grainger came together that the Nottingham hailing Patriot Rebel found the truly potent spark to their sound and in awakening eager attention. Inspired by the likes of Stone Temple Pilots, Alter Bridge, Black Stone Cherry, and Velvet Revolver, the quintet created a musical proposal which was soon invigorating ears and appetites, shows with bands such as Tesseract, Jettblack, Skarlett Riot, Cornerstone, Earthtone9, Spirytus and Violet over the years the live proof and Two Worlds the potent studio evidence. The Matt Elliss (Black Spiders, Terrorvision, Skarlett Riot) produced EP certainly drew acclaim and keen focus from old and new fans as well as the media upon its uncaging, which the band’s live presence has only driven on and now Propaganda can only kick into greater reaction again.

Patriot Rebel Cover Artwork_RingMaster Review     The single is taken from that earlier EP but manages to hold a fresh breath and character now standing alone as the band’s new protagonist. It is also a teaser of sorts for things to come, Patriot Rebel most likely in the studio, again with Ellis, as you read this. Sometimes tracks show a new light upon their depths and presence when taken away from an album or EP, and fair to say Propaganda, for whatever reason, manages to do the same as it roars from its opening second through to its last. From an initial sonic lure of a second of two, thumping rhythms prowl and riffs stalk the senses; their intimidation crouched over by the distinctive tones of Smith. The predatory start of the song and his croon subsequently triggers the embedded contagious might and stride of the encounter, grooves and melodies entangling in an irresistible tempting still graced by the formidable and throaty nature of bass and drums.

The song is a blaze of anthemic rock ‘n’ roll, luring the listener with its verse and leads into the irresistible chorus where full involvement from band and listener is a given. There are no truly major surprises within the song, the band’s influences open spices, yet it has a resourcefulness and enterprise which leaves expectations empty and enjoyment full to bursting.

Patriot Rebel continues to impress and though Propaganda is taken from their previous release it only thrills and ensures anticipation for the band’s next exploit will be greedy. Completed by a great acoustic version of Propaganda too, and accompanied by one equally enjoyable video, this is one single for new and old fans to spend a riotous summer with.

Propaganda is available from 3rd August.

https://www.facebook.com/patriotrebel        https://twitter.com/patriotrebeluk

Read our interview with Patriot Rebel @ https://ringmasterreviewintroduces.wordpress.com/2015/06/19/rousing-spirits-the-patriot-rebel-interview/

RingMaster 01/08/2015

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://www.reputationradio.net

 

Rousing spirits: the Patriot Rebel Interview

Patriot Rebel Online Promo https://ringmasterreviewintroduces.wordpress.com/2015/06/19/rousing-spirits-the-patriot-rebel-interview/Shot

Having impressed and staked their place as one of the best emerging rock bands on the British music scene with debut EP Two Worlds last year, Nottingham quintet Patriot Rebel release brand new single Propaganda August 3rd. Between releases the band has reinforced and increased their stature with numerous tours and festival appearances, playing with the likes of Tesseract, Jettblack, Skarlett Riot, Cornerstone, Earthtone9, Spirytus, and Violet along the way. Having been one of many bowled over by their debut, the news of a new single meant we had to know more, so we cornered the band to talk beginnings, Propaganda, Matt Ellis and much more…

Hi guys and welcome to The RingMaster Review. Many thanks for taking time out to talk with us.

There may be still some yet to discover Patriot Rebel so can you give an introduction to yourselves?

Yeah we are a five piece hard rock band from Nottingham. Our sound is heavy and riff based with melodic vocals which is rare these days as most frontmen just get up there and make a noise as if they are clearing their throats in some cheaply made Lockets advert

Your sound is drenched in flavour and variety at its core, what are the predominant inspirations for band, its sound, and you as a musician?

I think our sound benefits from the fact that we all like very different things musically. We can regularly be overheard telling each other how shit each other’s music is as we pull up to our practise studio. But it’s all in good fun and actually when it comes together really helps the song writing process. If everyone came up with the same stuff week in week out I can imagine it would get boring pretty quickly.

I believe the band started around 2007 but is it fair to say that things truly clicked and began sparking attention when the current line-up came together a few years later?

Yeah it was 2007 that the idea came about after a couple of us had been doing a few open mic nights around Nottingham performing cover songs. As we started writing our own songs we wanted to expand and round up a drummer and bassist to get the sound we wanted and Patriot Rebel was born. We fluttered around many different band members for a good few years and it wasn’t until just before the Two Worlds EP that we finally settled with five members that really clicked together.

How did you all meet, was it solely because of the band or is there history before and away from it?

Two of us were good friends from school and that was why we started doing the open mic nights. We were out in Nottingham most nights getting drunk and stumbling onto various karaoke bars before we decided to find a guitar and do it properly. We advertised on various websites and even scattered some posters around the local rock bars for band members. We were actually surprised at how quickly we managed to throw a band together but it rarely stuck until the final members were found. It can be very difficult to find five lads that can all get along and have the same sense of humour but we did and it’s been great ever since.

With those early days of the band; what was the spark predominantly bringing Patriot Rebel to life?

Mainly alcohol…..and of course it was all new to us. Playing at just a local pub felt as if you were playing something much bigger and just a group of 15 people felt like a crowd. It was very exciting to play your own music to people that wanted to listen and that’s why we do it still now today.

Patriot Rebel_Reputation Radio/RingMaster ReviewWe discovered you through your excellent debut EP Two Worlds in 2013, a show stopper it is fair to say without blowing smoke up your egos ha-ha. August 3rd sees the release of new single Propaganda, how have you filled the time between releases?

We have been gigging the Two Worlds EP all over the UK. Edinburgh was a particular favourite of ours not just because of the show but the experience. We’ve modified an old transit van into a makeshift tour bus and it has made touring much more enjoyable than packing into numerous cars. Although sleeping in it wasn’t the best experience. It was very snug and it’s difficult to look each other in the eye after you’ve been ‘spooning’ the night before.

The new song is a beast of an anthem for ears and emotions, and a potent evolution to that first release. Where are the biggest differences between both encounters?

Well actually we have cheated a bit because Propaganda was recorded as part of Two Worlds. We are basically releasing it as a thank you to everyone who has supported Two Worlds and made a video to go with it.

Have you changed any specific elements in songwriting since the first release or is it just an organic progression fuelling your new endeavours?

Our song writing is always done on a feeling. If we feel like we are struggling to come up with something we tend to leave it be. Our best stuff tends to flow immediately and just clicks straight away. Sometimes we revisit old stuff and that works too.

Can you give some background to the lyrical side of the single?

It was written about an old work colleague of mine who would always try to belittle the younger lads and shit stir just to cause trouble. So Propaganda was my way of looking at it. People generally presume its war related but it’s not in the slightest…Although it’s good that some people take out of songs what works for them.

And musically any particular sparks brewing up elements?

Not so much musically. We tend to come up with various parts and then write the lyrics over the top. It’s not often the lyrics/song come first. But the music certainly matches the mood lyrically.

You recorded Two Worlds with Matt Ellis (Black Spiders, Terrorvision, Skarlett Riot), and the same again with Propaganda?

Yes definitely. Matt is brilliant at what he does. He doesn’t just record what we play; he actually makes suggestions and has ideas of how certain things could be done differently. I think that it is important to have this whilst recording. Sometimes a non-biased ear can help the way things sound without actually changing much at all.

He seems to have the touch in luring out every essence of your sound and its nuances?

He literally does it exactly how we imagine it should sound. We’ve used a couple of other producers over the years and none have come close to the sound quality that Matt gives us.PatriotRebel live_Reputation Radio/RingMaster Review

People might imagine one song would be a quick in and out of the studio to record and perfect. Give us the real insight to the single’s creation and journey.

To be fair Propaganda was quite quick in relation to some of the other songs. It has quite a raw sound and sometimes too much production can kill a song. It went really well but yeah recording can sometimes be quite tedious especially for the vocalists who have to wait until the end.

Is Propaganda the teaser for bigger things ahead too; another EP or album maybe?

That’s exactly what it is. We are booked in with Matt again at Axis studios for late July where we will be recording our next EP. We have a couple of potential titles for it but I’m afraid that’s classified information at this time. We will be working on more videos, merchandise and tour dates to coincide with its release which we hope will be early 2016

You said the song was recorded around the EP but does it still offer a real hint of your new songs or are there plenty of new surprises to anticipate?

A bit of both really. We will always have the unmistakeable Patriot Rebel sound but we have worked on new things which we think are sounding great. We are really excited about some of the new stuff and we think you should be too.

You mentioned it earlier so tell us about the video accompanying Propaganda.

It’s basically a mixture of band performance and storyline. We worked with our friend Chris Clough on this one and we are glad we did because his work is excellent…Really professional record quality. We also got the help of model Katie Wainwright to accompany the storyline sections of the video where she takes newspaper clippings and sticks them on the wall to create a twist at the end. We used Katy because what’s the point of making a video without a girl in a corset and short skirt right?

patriot rebelHow was that experience in the making compared to the recording of songs?

It was really enjoyable for us; we had a great time making the video. We have done videos before but not to this quality. The last one we did was just taken from various live performances so it was an experience for us to do it properly. We shot the video on two separate occasions and the second part was done in the basement of a pub which is always good. The first part which was the band performance was actually shot at my workplace. Which is weird for me but it came out really well.

You touched on the next release but anything else ahead for Patriot Rebel and its fans you can share with us?

We’ve got plenty in the pipeline, some of which we can’t reveal yet. But we will be back gigging very soon. In fact we have a show in Nottingham as main support to Jett Black on the 29th August. It’s part of Degeneration fest and will also include The Treatment so it’s a great line up.

Once again big thanks for chatting with us. Any words or thoughts you would like to leave us with?

Always a pleasure…We would just like to thank your readers and anyone else that has supported us over the years. Cheers

https://www.facebook.com/patriotrebel   https://twitter.com/patriotrebeluk

Thanks to Garry at SaN for arranging the interview.

Pete RingMaster

The RingMaster Review 19/06/2015

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://www.reputationradio.net

No Consequence – Vimana

No Consequence press shot

It is probably not too far from the mark to suggest that Vimana, the new album from UK progressive/tech metallers No Consequence has been one highly anticipated offering, and right on the money to say it is one strapping beast of sound and creative attitude. The release takes an already highly flavoursome and attention grabbing sound to new pastures of imagination and voracious intensity, aligning the established technical and aggression of the band to a more concentrated brew of melodic and expressive adventure. It is their most rounded and gripping proposition yet with just the hint that they and we are still nowhere near the finished article of their potential and sound.

Renowned as one of the most impressive live acts on the European metal scene, listing the sharing of tours and stages with the likes of TesseracT, Chimp Spanner, Carcer City and just recently Monuments and Murdock on their CV, No Consequence follow up their previous acclaimed albums In the Shadow of Gods and IO, of 2009 and 2013 respectively, with an incitement which seduces as it tears strips of the senses and relentlessly fascinates as it casts a roar of uncompromising aggressiveness.

NC-Vimana-packshot   Vimana begins with the short persuasion of Acala and an immediate hint of dramatic climates and textures within a harmonic embrace. An intro come scene setter, the appealing opening is soon departing for the more rugged and emotionally intensive Our Time Has Come. Restrained yet rich grooves wind around ravenous riffs and a sonic turbulence as the rawer aspect of vocalist Kaan Tasan comes to the fore. He too though is soon showing an adept range as a cleaner presence entwines with his dustier snarls. As the guitars of Dan Reid and Harry Edwards flirt and abrase ears with craft and enterprise, the song’s tempest provides a persistent challenge and enticement of progressive and technical tenacity. It is equally a weave of varied metal and melodic toxicity, it all colluding in one magnetic lure holding attention and appetite firmly in its hands alongside enjoyment.

The following Is This A Way To Live has a calmer if no less energetic presence, though vocal squalls and cantankerous riffs as well as a grooved taunting offer disagreement. Subsequently the song slips into a mellow reflective passage within a still tempestuous atmosphere, the bass of Tom Parkinson a prowling shadow in the growing web of wiry grooves and hooks whilst the rhythmic animosity of drummer Colin Bentham is barbarous in the norm and bestial, like the bass, in the track’s most agitated state. With a Middle Eastern suggestiveness emerging in its thick ambience and unpredictability driving every twist and turn, the track has ears and thoughts thoroughly captivated before making way for the more rigorous examination of Resistance and in turn the cyclonic energy of The Turning Point. There is a carnal essence to the savage riffs and technical predation of the first of the two, but countered by and aligned to a constantly evolving landscape of immersive melodies, heart driven vocals, and a blustery fury. Virulently contagious and intrusively dynamic, the track is the first major pinnacle within an already seriously impressing album and quickly matched by the inventive theatre and hostile temptation of its successor. It is another song which merges contrasts and contradictions in sound and energy in a riveting emotional and breath-taking physical turmoil. Though arguably not as technically busy as previous releases but certainly as skilfully dynamic and inventive it, as all the songs within Vimana, reveals new corners and depths with every listen, ensuring every flight of the album’s raging adventure is increasingly rewarding.

The elegant caress of brief instrumental Half Light comes next, its evocative beauty courted by a vocal sample before Citizen with a similarly warm charm and presence takes over. Of course things get more heated and agitated soon after, guitars spinning a trap of sonic predation matched by heavy rhythms though almost as quickly, a melodic tempting returns to seduce once again. The vocal variety of Tasan leads an eventual merger of both aspects as the song becomes a bewitching trespass on ears and passions.

There is something familiar about the following Speechless especially when vocals and song are in full roar but ultimately it casts a uniquely inflamed presence rife with emotional ire and sonic adventure. The lead track from the album and another highly satisfying encounter, it still does not quite take ears and emotions on the same thrilling ride as other tracks upon the album or indeed Disconnect which straight after unveils a worldly melodic emprise within a creative bellow and an imposing persistently evolving incitement.

Vimana is drawn to a close by firstly the cauldron of diversity and extremes that is Signs and finally its title track and its mellow croon on ears. Also equipped with a rhythmic stalking, the last song increasingly spawns brighter and bolder voracious flames throughout but without ever catching ablaze; a restraint which you have to say superbly works.

Both tracks bring Vimana a fine and absorbing finale, the album ending as potently as it began. There are moments where personally there was a wish for the band to go further with its melodic explorations or inhospitable endeavour but no moment when No Consequence just do not seriously impress. Bottom-line is that Vimana is an unbridled recommendation for not only technical/progressive metal fans but for the broad attention of metal itself.

Vimana is available now via Basick Records digitally and on CD @ http://music.basickrecords.com/album/vimana and http://basick.supplies/collections/no-consequence

https://www.facebook.com/noconsequenceband   http://www.basickrecords.com/bands/no-consequence

RingMaster 09/06/2015

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://www.reputationradio.net

 

[STÖMB] – The Grey

Band

   “Can you hear the sound of the world? This ephemeral echo that slowly burns through the void…

Can you see beyond the veil? This overwhelming presence that enhances the truthfulness of any reality…

And then…When everything has faded away and the world is silent…

All there will be left is resonance…And the grey.”

 

Bred from the prose above, the epic, imposing landscape of The Grey, the debut album from French progressive metallers [STÖMB], is a ten track exploration of desolation and the nothingness consuming life before, during, and after its journey. Certainly that is where it took our imaginations, but the encounter will be the conjuring of diverse thoughts and emotions across all immersing within its potent and compelling adventure. As much as it is for ears, The Grey is an exploration for the imagination too, sculpting instrumental dramas and imposing soundscapes which easily ignite the senses and mind.

With a progressive metal sound entwining rich essences of diversely found flavours, the listing of the Paris quartet’s inspirations probably giving a clearer picture of their invention. Guitarists Tom B and Aurélien DF, bassist Alexandre G, and drummer Olivier R cite bands such as Meshuggah, Tesseract, Klone, Tool, and Animals As Leader as influences to their own striking compositions, and fair to say whatever your imagination is coming up with as you read that spicing is probably close to the mark in regard to album and sound yet a fraction of what The Grey provides as it leads ears and emotions into fresh adventures.

Digi    At around seventy minutes in length, the album is an epic journey and challenges from start to finish whilst rewarding with tracks which transport the listener into the realms they have been inspired to contemplate by its sonic narrative. Maybe combined it all makes for a proposal pushing limits of endurance, yet there is rarely a moment within songs and release where thoughts and attention wanders. From opener The Complex the album simply fascinates; every slither of melodic seduction and roar of primal antagonism a bewitching incitement. The first track alone has it all, its initial caress of beauty evolving into a volatile stroll of ravenous riffs and menacing rhythms within a caustic yet inviting ambience. The only voices across the album come in occasional suggestive samples, an early one helping shape or at least hint to the descriptive intensity and background of the first track.

The portentous feel of the song is replaced by the ferocious and hostile majesty of Rise from Nothing, a ravenous consumption of the senses but composed with a sonic and melodic beauty which ebbs and flows across the rugged rhythmic scenery. It’s consistently tempestuous air and theatre becomes even more volatile and inflammatory as the track proceeds, but like a travelogue it equally enthrals as it slips into new aural lands of mystique and creative colour before making way for Veins of Asphalt. The new detour to explore equally has a wealth of fearsome and endearing enterprise to offer and evolve; jagged riffs and scything beats entangled with a sonic web of mouth-watering craft and virulent temptation. With most tracks within The Grey ranging between six and nine minutes, only two courting slimmer lengths, there is a continually changeable aspect to the dark, immersive flights which is impossible to portray here but take as read very easy to get lost within in person.

Corrosion Juncture is a blend of savage intimidation and melodic ingenuity within a spatial atmosphere, the music a tenaciously magnetic flight through turbulence and calm within a shadowed drenched unknown. The senses are buffeted throughout and ears lit by the masterful endeavour of each aspect of sound as the track drives towards the lighter peace and beauty of The Crossing. It is a brief floatation of warm melodises and transfixing creative charm, a lull in the tempest which is soon consuming ears and thoughts again through the dystopian heat and intensity of Under the Grey. Its busy persuasion has thoughts lost in Orwellian theatre, again evidence of tracks and the band freeing the imagination to explore its own dark corners to their soundtrack. The song is a gripping proposal equalled by the just as potent Terminal City, a bustling rigorous prowl across an intensive, unrelenting daily provocation of life we can all feel akin to.

The track is glorious, the pinnacle of the album alongside its predecessor, though things continue to enthuse appetite and enjoyment as the broader terrain of The New Coming and the mercurial Genome Decline follow. The first of the pair embraces a calmer if still ferociously unstable climate with a smothering tapestry of unpredictable sound whilst its successor is an undulating, rabidly twisted spiral of enterprise and imagination embracing the listener in a thick sonic hug breeding fiery melodies and spicy textures.

The album closes with Only an Echo, a song with its melancholic air and reflective ambience which feels like an epilogue or more an epitaph to the dark premises explored before it. It is a fine and suggestive end to an increasingly gripping encounter. Admittedly at times The Grey is now taken in halves here, yet each time it leaves a lingering pleasure and incitement in emotions and thoughts…Fair to say that progressive metal has another impressive protagonist to contemplate.

The Grey is available now @ https://stomb.bandcamp.com/album/the-grey

http://www.facebook.com/stombofficial

RingMaster 28/05/2015

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://www.reputationradio.net

 

Heights – Phantasia On The High Processions Of Sun, Moon And Countless Stars Above

HEIGHTS_shot1

As in the size of its title, Phantasia On The High Processions Of Sun, Moon And Countless Stars Above is an epic proposition, an atmospherically expansive offering which is simultaneously an encounter of emotional intimacy. In similar fashion whilst being technically intricate and involved there is an organic and almost simple flow to the whole thing. The new creative emprise from UK band Heights, the album is the host of many contrasting things entangling in mesmeric majesty, combining and aligning for an irresistible adventure of aural beauty.

The trio take rich sonic threads from varied styles such as post and progressive rock, jazz and more classically seeded flavours, weaving them into instrumental explorations which invigorate ears and fascinate the imagination with a sublime creative seduction. Formed in 2006, this has been the way of the trio since day one. It is a flavour and imagination ensuring that previous releases like 2008 album Salvation and Trepidation and its 2010 successor From Sea to Sky, have been irresistible lures for the senses and magnets for acclaim. Now guitarist/composer Al Heslop, bassist John Hopkin, and drummer Jay Postones, also of TesseracT, return with their finest most transfixing creative emprise yet, a release which simply immerses the listener in unique and invigorating explorations of sound and sonic suggestiveness.

Phantasia, as we will call the album from hereon in to save space and time in your lives, opens with Universe Forming and swiftly entangles ears and thoughts in a gentle but evocative melodic embrace. A celestial atmosphere and warmth soaks the air of the emerging song, kissing the thickly enticing groove and sonic colouring which is soon filling the song’s spatial canvas. A melodic seducing lights up the now energetic stroll of the encounter but just as potently lays an emotive hue over more calmer, almost solemn moments. Each move within the song, and in those to come, are seamless twists in the landscape whilst rhythms provide a wonderful shading to the prowess of Heslop’s fingers and ideation. That shadow becomes a more vocal, almost predatory tempting further in the track, in turn sparking sultry and Latin spiced enterprise in the melodies. The track is a glorious start to the album instantly matched by its outstanding successor.

4PAN1T  The eagerly prowling incitement of guitar and bass ignites Solar Bringer of Chaos Lunar Bringer of Light into life, their intriguing and beguiling venture springing a new greed in an already fully awoken appetite for what is in offer. Their bait takes ears into another flight through a vast soundscape of universal expanse but also veined by intimate and provocative tendrils of guitar and rhythmic imagination. It is impossible to project everything which goes on in a single moment upon Phantasia, let alone within whole songs themselves, but it is easy to say that the sonic persuasion and ingenious tapestries cast simply take body and emotions into sensational realms away from reality.

Through the climactic smoulder of Aeolus with its jazzy rhythmic enticing and the more agitated lure of Time Dilation, band and album engage and further involve the listener in sonic scenery which is as visually potent on thoughts as it is aurally stimulating. The first is an elegant romance of melodies and those unpredictable rhythms but with more danger lined shadows whilst the second of the two aligns feisty, bordering on volatile mini crescendos with emotively stimulating caresses. It is the darker essences which in many ways spark the emotional side of things for album and listener, ears certainly seduced by the flair and imagination of the guitar but it is the darker drama surfacing around this, especially in bass and drums, which trigger the cinematic stimulus pervading the release.

New Star explodes in a fresh dawn of infectious melodic light next, again the bright air nicely tempered but more so complimented by the throatier tones of bass, before the outstanding Centrifuge turns into an unexpected avenue of discord lined jangles, wiry grooves, and unbridled unpredictability. There is a free flowing essence to the whole of the album, an improv like suggestiveness which at times hints but in this riveting encounter simply engulfs ears and pleasure. Of course it is a planned and again superbly sculpted incitement but worming into the psyche with an organically flowing instinct.

That almost riotous enterprise continues in Perseids, a similarly bewitching encounter with a great grizzle to the bass and expansive textures to its invention whilst Heliograph and the following Astronomer explore more personal and creatively intimate emotions in their individual ways. That is another potent key to the success of Phantasia, though over an hour of in many ways intensive imagination and technical majesty, every song reveals a wholly unique character and presence within the growing and glowing soundscape of the release.

Emotions and thoughts continue to be enthralled as the virulently compelling Ballad Of The Space Time Continuum and the more low key but inescapably enticing On The Wings Of Astral Projection bring their own absorbing aural theatre, whilst ears are especially spellbound by the closing excellence of Everlasting. Rhythmically addictive from its first breath and sonically enchanting throughout, the pure captivation posing as a song brings the album to an intoxicating conclusion.

Whether taking tracks alone or the album as a whole, Heights have created a place to escape to and bask in whilst evading the trials of life and the shadows of the day. There is nothing grand in the intent of the band and their creative thoughts but everything majestic and epic in the results. Phantasia On The High Processions Of Sun, Moon And Countless Stars Above is a must for all progressive/post rock fans, heck melodic rock fans in general.

Phantasia On The High Processions Of Sun, Moon And Countless Stars Above is out now via Basick Records @ http://music.basickrecords.com/album/phantasia-on-the-high-processions-of-sun-moon-and-countless-stars-above and all online stores.

https://www.facebook.com/heightsuk

RingMaster 28/04/2015

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://www.reputationradio.net

Shattered Skies – The World We Used To Know

Shattered Skies low res

With their acclaimed first EP having escaped our radar when it came out around three years ago, The World We Used To Know is our introduction to Ireland  bred progressive metallers Shattered Skies, and have we been missing out. The band’s debut album is an enthralling and thrilling creative emprise which avoids all the self-indulgences and over blown excesses the genre can at times coax out of a band. Instead it creates an epic drama of passion and invention with a technical adventure and skill to match, leaving jaws dropped in awe and passions lustfully inflamed.

Formed in the earlier moments of 2011, the now London based band swiftly gripped attention and critical praise with the Reanimation EP that same year. The time between releases has been filled with a host of reputation growing shows alongside the likes of Machine Head, Dimmu Borgir, Alice Cooper, TesseracT, Scar Symmetry, SikTh, Animals as Leaders, Twelve Foot Ninja, The Algorithm, After the Burial and many more, as well as performances at festivals such as Holland’s ProgPower and Bloodstock in the UK, two appearances at Britain’s Techfest and a trio of visits to Euroblast in Germany. The World We Used To Know will be the biggest lure to the world from the band yet and like for us, it is hard to imagine many genre fans and beyond resisting the fiery imagination and seriously accomplished sounds tempting from within the album’s fascinating walls.

As aflame with inescapable hooks and grooves as it is with breath-taking exploration, the release opens with the short and emotive temptation of Collapse Of Man. A provocative caress of Albumcoverpiano, the instrumental piece draws ears and thoughts into the release with a sense of drama which simply explodes in the following The End And The Rebirth. The band’s new single too, the song dances on the senses with a vibrant electro smile before ruggedly spicy grooves and matching crunchy riffs join the vivacious tempest. Instantly enticing whispers of TesseracT and Circles, the track casts its own uniqueness as it expands and glows with enterprise and invention. The striking melodic vocals of Sean Murphy are an instant treat, his ability and expression as dynamic as the sounds and ideation around him. It makes for a scintillating kaleidoscope of adventure spun on the skills of guitarist/keyboardist Ian Rockett and the simultaneously savage and addictive rhythms of drummer Ross McMahon and bassist Jim Hughes, quite simply it is a stunning start.

Things only explode with greater potency and ingenuity when 15 Minutes takes over, vocals and melodies again a sure seduction against the slightly carnivorous breath of the djent inspired guitar predation and rhythmic stalking. As mentioned before, each track has an inventive and sonic theatre to its songwriting and sound, one which over the first song and especially this has a feel of early My Chemical Romance to it. The track is sensational, a cantankerous croon of an incitement within a whirlpool of unpredictable and fluidly flowing experimentation.

Both the gripping enticement of Haunted and the inflamed serenade of Elegance And Grace keep album and ears burning brightly. The first is an angst fuelled weave of acidic grooves and stabbing riffs aligned to ever mesmeric vocals and harmonies. Its rhythms equally impose their strengths with ease, intimidating rather than coaxing the same plaudits in thoughts and emotions. Its successor is a smouldering romance of charm loaded keys and impassioned vocal expression in comparison. The song simmers and boils across a climactic canvas of riveting Muse meets Dioramic like endeavour, and as the last song engrossing ears and imagination with increasing strength and drama.

The guitars are back snarling and abrasing the pleasures in the following Show’s Over, though as discovered in all always Shattered Skies songs, they only provide one moment in evolving landscapes. Their bait and Meshuggah like growl is never far from the frontline of the song though, just in a constant and seamless flux of fresh sound and inventiveness. The track is an inescapable contagion, so much so that it is hard to think of many progressive metal bands which can rock body and passions with such catchiness to their enormous technical prowess as Shattered Skies.

As The Sea Divides is a tempestuous turbulence of sound next, its blustery guitar bred climate and inhospitable rhythmic trap the scenery for siren-esque keys and the soaring tones of Murphy to poetically and magnificently colour. A little longer to draw similar lustful responses as other songs, it grows to new heights with every listen, though it still misses the top step found by the last song and the outstanding Flipside which follows. Almost bestial in its prowling gait and sonic tempting, the track manages to be savage and impossibly infectious with a melodic bloom of voice and sound to put any crooner and pop band to shame. The song is quite delicious, a must be second single to our minds and another irrepressible reason why Shattered Skies will take the progressive metal world by storm, well this and ten other great reasons on The World We Used To Know.

     The pair of Aesthetics and Saviours seduce senses and emotions next, the first exploring the scent of bands like Tool and The HAARP Machine in a magnetic tapestry of emotion soaked expression and soaring harmonics. Unafraid to have a raw edge too, the song is also ridiculously catchy, something emulated by the darker squalling presence of the second of the two. An antagonistic cage of riffs and drums from the first second, it scowls and teases with scarring tenacity whilst within the raw frame keys and the stunning vocals of Murphy roar and soar.

The track is exceptional but so is the closing eleven minutes plus of the title track which brings The World We Used To Know to a mighty close. An epic journey and creative escapade in its own right, the song seems to draw on all the hearts of its predecessors as it draws a mouth-watering and bewitching soundscape all of its own. Everything about it is sensational and its lengthy presence seemingly over in a flash thanks to its wonderfully busy maze of startling craft and volcanic enterprise.

2015 has already in its brief time seen some quite invigorating encounters, the new 6:33 and Cold Snap albums coming to mind, and on that frontline of excellence Shattered Skies sits looking rather sensational with The World We Used To Know.

The self-released The World We Used To Know is available now @ http://shatteredskies.bigcartel.com/product/the-world-we-used-to-know and digitally @ http://shatteredskies.bandcamp.com/

https://www.facebook.com/shatteredskiesofficial

RingMaster 15/01/2015

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Skyharbor – Guiding Lights

© Naki Kouyioumtzis. SkyHarbor, on a roof top with London skyline behind them

Whilst Guiding Lights did not exactly blow us away as it might have, there is nothing but praise and recommendations which can be offered over the new album from progressive metallers Skyharbor. The successor to the band’s acclaimed 2012 debut album Blinding White Noise: Illusion & Chaos, the new ten track exploration reaps all the essences which made its predecessor standout and explores even richer and more adventurous landscapes of technical and imaginative invention aligned to impassioned creativity. Taken individually, the tracks within Guiding Lights tempt, enthral, and impress without exception but as a whole for whatever reason, the album becomes one thrilling immersive journey but which loses the definition between the different exploits, tracks often blending in without very intensive attention. It is a personal issue we came up against and will not apply to all, and to be fair still could not stop the album standing out as a remarkable and seriously appetising next step in the striking evolution of the band.

Formed initially as a studio project by songwriter/guitarist Keshav Dhar, Skyharbor, the India based band has grown to become one of the rigorously captivating propositions in world progressive metal, in the studio and as the live touring band it evolved into. Starting its line-up growth around 2011 with the linking up of drummer Anup Sastry (Jeff Loomis, Intervals) and Another Vertigo Rush bassist Nikhil Rufus Raj, the band soon emerged as a potent and persistently intriguing presence, its first shows seeing Skyharbor as an instrumental trio. Signing with Basick Records led to the release of the double-disc album Blinding White Noise: Illusion & Chaos, the album seeing Sunneith Revankar (Bhayanak Maut) the vocalist on one disc and Daniel Tompkins (TesseracT), who had previously contacted Dhar with the suggestion of collaborating, on the other. Soon after confirming Tomkins as permanent vocalist, the band with second guitarist Devesh Dayal joining the line-up found themselves sharing stages with the likes of Lamb of God, Bass Monuments, and TesseracT as well as going on to play numerous festivals up to the latter part of last year when the band took time out to write and create Guiding Lights. With Goddess Gagged bassist Krishna Jhaveri replacing the departing Raj, the crowd-funded new album also released via Basick, has stepped forward as a dramatic and riveting next step in the band’s ascent.

Opening track Allure instantly transfixes; melodies and sonic enterprise vibrantly rippling across the song’s fluid canvas like warm summer rain on a clear stretch of water. Almost as swiftly though there is an intensity of passion and GuidingLights_Coverrhythmic incitement which with an agitated beckoning, streaks across the immersive embrace of the track. It is a masterful lure of a song, the outstanding vocals of Tompkins, as across the whole album, smooth and clean with engrossing expression to their narrative. Every aspect of the track and band impresses it is fair to say, the dark toned shadows of bass excelling in the clarity given and guitars bewitching whether laying down elegant designs or brewing up a more tempestuous persuasion.

The impressive start is emulated by the following Evolution, the track a rawer fiery proposition than the opener. The imposing beats of Sastry which commanded attention in the first song take an even more grievous pose in their swings here, though they are unafraid to temper the attack in the more temperate passages of the song. Though not a violent storm, the track still blusters from its rugged start with rigorously heavy scything riffery before finding a mellow and reflective emotive calm to explore, not quite the eye of the tempest but a temporary peace in a gripping maelstrom.

Both Idle Minds and Miracle keep ears and thoughts firmly engaged, the first taking on a poppier breath with its contagion without drifting from the raw emotion of its provocative exploration and a sonic endeavour where the throaty predation of the bass and sensuous melodies from guitars align for another intriguing captivation. The second of the two tracks soars through a celestial atmosphere, vocal and resourceful invention from guitars a radiant and acidic beauty which flares perfectly across the more vigorous traits of the song. As across the release, both are as excitingly unpredictable as they are skilfully sculpted and a potent continuation of the rich creative parade already unveiled.

Through the mesmeric and dramatically flavoursome scenery of Halogen and the more tenaciously challenging adventure of New Devil, the album whips up further greed in the appetite; the second of the two with its provocative and ferocious energy an irresistible incitement and with its intrigue drenched ingenuity, another peak to the album. Both leave thoughts and emotions bound in their creative emprises as does the Porcupine Tree like elegance and resonance of Patience which is subsequently followed by the long mystical temptation of the album’s title track. From its haunting opening ambience, the track brews up into a stormy flight merging rhythmic and emotional turbulence with thought encroaching melodies and vocal passion. As with so many of the tracks, once departed the song is a slim memory but in its hug the track steals ears and thought from the outside world with ease.

Guiding Lights is completed by firstly the excellent seduction of Kaikoma, a song exploring electronic and sonic temptations within an infectious and lingering progressive immersion of the senses. It is a thrilling investigation, one of the major pinnacles of the album which sets up the expansive realm of the finale. The Constant is an undulating terrain of thick and subtle structures, sublime and concussive textures, and gripping creative drama. It is a powerful and thrilling encounter which epitomises the album in that it is absorbingly and bracingly enjoyable as company and inspiration but whether it is its length or there being so much going on, it loses attention at points within its impressive landscape.

With every member of the band mouth-wateringly exploring their stunning individual technical and creative depths, the bottom-line is that Skyharbor has not only created another exceptional proposition to bask in, but one pushing them to the forefront of progressive metal. Guiding Lights is an outstanding journey which challenges for all the right reasons and though for us it works better taken as individual trips in its extensive emprise, it is nothing to complain about and only something to enjoy.

Guiding Lights is available now digitally and on CD via Basick Records @ http://music.basickrecords.com/album/guiding-lights and http://store.basickrecords.com/home/products/guiding-lights-cd/

https://www.facebook.com/Skyharbor7

RingMaster 11/11/2014

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