Released in May this year to strongly positive responses, The Final Broadcast EP from Welsh electronicore band Clear The Auditorium gets a national reboot November 17th and such its gripping presence a new wave of acclaim and recognition is a certainty. It is not a release which startles with originality yet presents a striking and rigorous confrontation which is as compelling as it is invigorating. The band’s second EP, The Final Broadcast is an attention grabbing statement of intent from a band with the potential to light major fires ahead.
Hailing from Pontypridd and formed in 2011, Clear The Auditorium entwines electronic and rock essences in a voracious merger spawned from the inspiration of bands such as Enter Shikari and Linkin Park. Last year saw the release of their debut EP 2021, a concept release following a young soldier in the midst of the third World War. Its thematic enterprise brought references to bands such as My Chemical Romance which continue to apply in The Final Broadcast, its drama centred on a post-war wasteland and rebellion against a tyrannical superpower formed in the wake of first EPs scenario. It is a lyrically enthralling encounter, though it is the music where the creative theatre is most successful. The Todd Campbell produced EP leaves appetite and its hunger greedy and satisfaction full to bursting whilst anticipation for their next endeavour is already brewing up some impatience.
The release opens with Prologue, an introduction surrounding a news alert with heavy shadows and tempting electronics before the band pushes forward with the start of the apocalyptic narrative. The electro provocation unleashed by Dafydd Richards instantly raise intrigue and sinister incitement which is simultaneously tempered and accelerated by his outstanding vocals, the vocalist strong and bullish in his raw squalls but even more impressive with his clean tones. Musically the song too seduces and threatens on its way to its successor If We Burn, a song similarly bred from the same climate of the first track. The song is a blaze of a provocation, one aflame with electronic devilry aligned to muscular rhythmic intimidation cast by drummer Caleb Priday-Jeremiah and bassist Conor Evans and courted by the predacious intent and enterprise of guitarist Matthew Bennett-Jones. The song shows where those earlier mentioned comparisons are seeded but even more it holds a strong similarity to bands like Jensen and Dead By April whilst their at times raw aggression suggests The Browning. The track is a beast of an incitement which flares up and sizzles like a battlefield.
The following Vacant Streets is a less forceful encounter, certainly at its start but is soon imposing with rabid beats and fiercely simmering electronic vivacity. Across its equally rugged and welcoming terrain, vocals roar and spit malevolent intent whilst within the embrace of the sizzling flight of melodies, Richards croons with warm and thrilling clean tones. As all tracks, as well as being part of the overall story, there is individual drama to the song inspiring intimate reflections and connections alongside the stark landscape of the central theme. As its predecessor, an exhausting and thrilling offering it leads into Intermission, a fascinating short piece which is hard to read, but with the turning of a radio dial connecting the two tracks it feels like it represents a moment of light and lost enjoyment found by souls locked in the cold reality and broken world they hide within.
It is followed by the extraordinary We Are The Danger, easily our favourite track on the release and the band at its most adventurous and imposing best. Ignited by a dance of Morse code which is the spark to a rebellious uprising in sound and defiance, the track rages with scythes of beats and riffs, all matched by the acidic rants of electro pulses. It instantly gets body and emotions fired up ready for the heroic emprise of grooves and rampant riffing which follows. Everything about the song is anthemic from the hoarse and warm vocals, through the aggressively agitated rhythms, to the hellacious devilry driving guitars bass and mass vocal shouts. An uprising and creative brawl, the track is one of the most rousing and exhilarating songs this year reminding of now demised UK band Always The Quiet Ones.
Ozymandius comes next with gentle and elegant sonic mystique within a psychedelically kissed atmosphere. Swiftly catching the imagination with a seeming tour of lost wonders and hopes, it explosively evolves and broadens its inventive weight and passion as it strives for a new horizon of sonic light. The track is a powerful slab of evocative textures and expression potently holding its own against the masterful triumph of the previous track.
The EP is brought to a close by the slow burning and persuading Epilogue, an ultimately engrossing song which from bare voice and keys erupts into a pungently brewing tempest of emotion and climactic rhythms aligned to burning melodies. It is a fine end to an excellent adventure of sound and story. Already there are seeds of uniqueness to the character of Clear The Auditorium’s sound but there is still a fair way to go to be truly individual but with offerings like this, a release which just impresses more with every listen, we can happily wait.
The Final Broadcast EP is available now @ http://cleartheauditorium.bandcamp.com/
https://www.facebook.com/ClearTheAuditorium
RingMaster 17/11/2014
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abrasing the senses and lyrical intent within firm rhythms and a sonic coaxing from the guitars. It is not a dramatic explosion but one with strong grooves and melodic designs from lead guitarist Julian Thomas alongside the equally welcoming riffs of Michael Thomas making an appealing start. The clean vocals of Michael Thomas equally impress; his delivery gentle and a good temper to the gruffness of Hardiman though you feel placing them side by side rather than alternatively could work better. The punchy beats of drummer Alex Bargh and solo casting of Julian complete the expressive forceful colour of the song and arguably stand out on the track most but all aspects skilfully unite for a strong first strike from the release.
sound and intent veined with stalking rhythms and the immediate irresistible lure of the vocal tempting of Hurley and Ben Marvin, James also lurking with and adding his tones across the release. A staggered rhythmic fury from drummer Rich Hawking proceeds to assassinate the air and provoke the senses as it fuels the absorbing verging on debilitating djent craft of James skirted by the predatory antagonism conjured by the bass of Josh Gurner. Barely two minutes in length the track sets up the EP and introduction to the band perfectly, the riveting assault sparking an immediate appetite soon wrapped in hunger as the song’s successor uncages its might.
member vocalist Christina Groner, Secrets Of Sin take little time upon Future Memories in sparking good thoughts with opener Deus Ex Machina. The track is a brief industrialised dawning provoking rich ideas before merging into the initial electro stomp of Utopia. From here synths make a swirling beckon before the orchestral heights of the keys veined by thumping rhythms immerse the ear in epically toned persuasion. Into its galloping stride the song makes for a strong if unsurprising adventure though expectations are soon displaced by excitement as the wonderful voice and delivery of Groner lays their touch on the senses. She has a sirenesque quality which mesmerises even within the more demanding and caustic squalls of Mansk and the heavy boned sounds building up crescendos of melodic flame and intensity. Reverting to again more familiar essences for the latter symphonic pressing, the almost Nightwish meets The Browning like track is a potent and gripping start to the album with imagination and thoughts finding a steady and pleasing place within the less than unique but enterprising encounter.
there is still plenty of depths for the band to explore ahead, a frightening and threatening thought to get excited about. Structurally Unsound steps forward on a lone melodic breeze, the bright inviting beckoning a devious lure as it leads the ear into the immediately exploding maelstrom of sound and intensity. The track roars with venom and cavernous strength before gnawing and chewing viciously upon the senses with rabid riffs, crisp rhythms and scowling vocal squalls from Grant Stacey. As the knees buckle under the extreme assault, the band breaks into a breath-taking melodic aside with clean vocal harmonies to lap up with greed. The progressive toned tease is a mere breath in the control regaining fury but then reappears again with the guitars of Tony Dando and Andy Slade parading a skilled and expressive fire of sonic and melodic enslavement for the passions. Throughout the drums of Conor Harkness cage and punish the senses without diminishing the potency of the seduction also at play whilst the bass of Nathan Lamb prowls within its own shadows to add further depth, even if its presence is a little lost in the production and needing concentrated focus to fully feel its compelling breath.
ambience whilst keys evoke a tender yet firm invitation to the heart of the release. The piece gives no indication of the destructive intent to follow though its brief minute and a half is merely a pleasing slight-of-hand as the malice of Pressure Revolution takes its place. The track plunders the ear initially with electronic teases and riotous shouts before gaining a stride of rampant electronics and hungry riffs. In full flight the song is a storm of brawling intensity, grazing acidic vocal squalls, and transfixing sonic rain of melodies and electro shards of infection. It is an undemanding yet sinewy encounter which has essences of Houston! and Celldweller within its heated stance.