Scream Blue Murder – Rock Bottom

Certainly with their debut album three years back, metallers Scream Blue Murder more than teased our attention; a release which coaxed strong praise around the metalcore scene. Now the band has just uncaged its predecessor and the teasing upon our personal attention is over, replaced by a forceful grip from an encounter which confirms the Coventry quartet one as one of the UK’s most striking proposition.

Formed in 2014, Scream Blue Murder quickly gained eager support through their first EP, a release leading to the band signing with Stay Sick Recordings. It was that debut full-length two years later which really stirred things up, Hollow Stories a collection of imagination soaked and boldly delivered songs. Since its success, the band has toured the USA three times and cross EU/UK countless times sharing stages with the likes of Bury Tomorrow, Crossfaith, Of Mice And Men, We Are The Ocean, Cancer Bats, The Defiled, I, The Breather, With One Last Breath, The Red Chord and so many more. Rock Bottom though is a whole new ball game, the new strength and maturity in songwriting matched by the new depth of adventure and imagination fuelled its tracks.

The album opens with Death Sentence, Aaron Bloomer‘s easily engaging vocals kissed by a warm melody in the song’s shadows. It is a potent invitation which soon catches light as the song looms nearer and erupts in a fiery melodic metal roar. Intensity and aggression soon joins the growing tempest, but one which ebbs and flows in its assault as the band’s melodic and harmonic prowess entangles the core volatility of the encounter.  As it expands its landscape atmospheric intimation brings another compelling exploration within the already infectious proposition, the guitar of Jack Roddy constantly shaping and entangling the inescapable tempting with rich enterprise.

Inside follows and immediately confronts and trespasses the senses, the hefty swings of drummer Jamie Bloomer driving its incursion. Even so, the invasive proposal is infectiously wired, again raw and clean vocals to the core of a virulence embracing the untamed nature of some of the surrounding sounds. Jacob Houghton’s bass adds a thick moodiness as well as its own rousing endeavour, the song all the while, as its predecessor, aligning mellow and melodic intimation with metal irritability and creative hostility.

The album’s title track and new single lays out its own particular magnetism next, Rock Bottom eventually seeing its opening melancholic sea bubbling up with harsher emotion and intensity. Every wave crashes in with instinctive catchiness amidst intimate self-reflection, drama soaking every note and syllable before recent single Bury Me eclipses its haunting success with unbridled virulence. Bass and guitar collude in a swiftly tempting web of riffs and grooves but a mere twist in the emerging landscape of imagination and enterprise creating one of the album’s major highlights. Every angle of the song is devious in its captivation and incitement, anxiety and angst soaking the fluid union of prickly attitude, spirited aggression, and calm repose.

Light It Up is just as dramatic and potent straight after, it too equipped with inescapable hooks and delicious grooves within a tapestry of texture varied adventure. Easily the most infectious moment within the release despite the contagious might of so many others, the song just manipulated and enslaved participation from body and throat whilst relishing the band’s open imagination does miss the target yet with its tetchy air and keys bred melodic climate offering plenty to become engaged in, striding rhythms and vocal contemplation adding to its persuasive fuel, it leaves thick satisfaction in its wake before The Anchor offers up its own inventive web, rancor and splenetic emotion lining its harsher threads alongside causticity less catchiness. It too took a touch longer to fully tempt but with a rousing chorus and individual flair constantly uniting for a rich recipe of sound it left little else to be desired.

A new harshness and irascibility soaks the latter part of the album, Friends Like Judas ear grabbing proof yet that fractious increasing does nothing to diminish the instinctive catchiness of songs and choruses which just light up the senses. Another big highpoint within Rock Bottom, it leaves a hunger for more in its wake as it makes way for the equally imposing and spitefully enticing Over the Line where every dynamic breath and inventive turn left another layer of praised for release and band.

Victims of Violence completes the line-up of pleasures, its haunting intimation and threat soon a fertile tempest of craft and emotive volatility whilst providing a striking and thrilling end to a just as potent release.

There is something familiar about the Scream Blue Murder sound at times across Rock Bottom yet it is hard to define and is more than tempered by the bold uniqueness which surrounds it. From their more metalcore beginnings, the band has evolved a rich multi-flavoured sound which inspires as it thrills. The fact that it feels like Scream Blue Murder are still to fully tap into their potential means it is hard not to be rather excited for times ahead whilst enjoying this triumph of a release.

Rock Bottom is out now via Stay Sick Recordings; available @ https://screambluemurderofficial.bigcartel.com/

Upcoming live dates…

May 17th – Coventry – Kasbah (Hometown show)

May 18th – Kingston – Fighting Cocks

http://sbmofficial.com/   https://www.facebook.com/sbmmetal/   https://twitter.com/SBMmetal

Pete RingMaster 01/05/2019

Copyright RingMaster: MyFreeCopyright

Furyborn – Dawn Of Leviathan

Since emerging in 2010, UK outfit Furyborn seem to make a potent statement with every move they make within the British metal scene. From their live debut in 2011, they have earned support and a reputation which has only gathered momentum and is sure to again with the release of their debut album, Dawn Of Leviathan. It is a ferociously imposing and compelling affair that arouses the same senses it trespasses with the band’s increasingly distinct and adventurous style of melodic death metal.

That live side of the Poole hailing quintet has seen them become one of the most potent forces across the South of England, win the regional Metal 2 The Masses competition and play Bloodstock Open Air for only their seventh live outing. Since then they have shared stages with the likes of Napalm Death, Threat Signal, Mors Principium Est, Sylosis, The Agonist, Malefice, The Defiled, Evile, (Hed) P.E. and Ted Maul as well as release their first acclaimed EP, The Reaping Of Our Days released in 2012 through Bored Stiff Records. Fair to say the band has been nagging at national and broader attention since day one, increasingly growing both which the highly anticipated Dawn Of Leviathan can only escalate.

The album quickly shows a new strength in intensity, craft, and imagination within Furyborn; a growth in all aspects infused into a maturity which is maybe unexpected within a first full-length, even from a band in its seventh year. Dawn of Leviathan opens with the atmospheric trespass of Second Sun, a brief harass of raw sonic dissonance which leads into the album’s title track where instantly a barrage of intrusive beats from drummer Tim Coulson and ravenous riffs from rhythm guitarist Rob Walker devour ears. Just as forceful are the raw throated roars of vocalist Jut Tabor who quickly seizes attention with his grudging tones, their causticity leading to a great flame of clean endeavour; the frontman, as the sounds around him showing a new dexterity and range which only impresses. It takes little time for band and song to reveal a new lofty plateau to that of the first EP, the melodic suggestiveness of lead guitarist Nick Richardson alone a striking new adventure equipped with the broader imagination and uniqueness that flows through the veins of the track.

The Reckoning follows with the same striking creative tenacity and character, the track a tirade of biting rhythms and corrosive riffs leading the listener into a web of melodic and cleanly delivered temptation. Within the burly, ravenous tempest of bitter sonic and vocal inhospitality, it makes for a compelling mix which only intensifies its lures as the song evolves and broadens its inventive landscape before Exult in Extinction uncages its own rabid assault again led by the uncompromising swings of Coulson. Stalking the senses, the bass of Timmy Hodgson is predatory if sometimes overwhelmed by the storm of riffs and beats while again Richardson veins the cauldron of sound with tendrils of skilful melodic lava. Contrasts flare and meet within the encounter, each colluding with and countering the other in a twisting tempest matched by vocal resourcefulness across the band.

The industrial opening of A Fault in Our Design brings a bold hint of Fear Factory like hues before the track turns to stalking and intimidating the senses. There is a swing to its core presence with breeds the infectiousness soon seeping into every element, the result a blistering yet controlled incitement as predatory as it is melodically tenacious while Life Begins uncages its own mercurial invasion of sound and emotion. Though swiftly persuasive and increasingly compelling, the song does not quite reach the inventive and  gripping heights of its predecessors for these ears though individual flair is as open as the track’s animosity and melodic assurance.

The raw rabidity of I Am Heresy has the imagination and appetite magnetically hooked again straight after with its ravenous and invitingly inhospitable assault of the senses while Deep Rising provides an enthralling lure of Tabor’s striking clean side courted by a laid back but fully suggestive climate of electronically led sound. With the irresistible carnivorous tone of Hodgson’s bass to the fore, the track is superb, another stirring magnet within the release adding further aspects to the bold adventure and evolving imagination of Furyborn.

The album concludes with firstly the varied metal symphony of Wraith, an array of flavours swarming with each other before a writhing death metal causticity bursts from within their midst, and finally with the symphonically laced As We Burn. The closer revels in all the new attributes of the band’s sound and writing, its proposal as invasively seductive as it is rancorous and transfixing. Again Fear Factory-esque hues entice as more Sepultura/Gojira like elements challenge, each woven into the individual character of Furyborn’s own sound. One of its major highlights, the song ensures that Dawn of Leviathan ends on a fascinating high.

Throughout, the album tightly holds attention and fiercely pleases, increasingly so with every subsequent listen. The fact that you still feel we are listening in on one step in a journey still to unfold only adds to the impressive nature of a release which is as much about potential as it is ear exciting craft and adventure.

Dawn of Leviathan is out now through most online stores and @ http://furyborn.bigcartel.com/

https://www.facebook.com/furyborn/

Pete RingMaster 11/07/2017

Copyright RingMaster: MyFreeCopyright

This Year’s Ghost – Yesterday Becomes Tomorrow Today

Band_RingMaster Review

This Year’s Ghost might not be a particularly familiar name for many right now but with more releases like Yesterday Becomes Tomorrow Today, it is hard to imagine that remaining the case. The five-track EP is a rousing blaze of anthemic melodic rock woven from the varied strains of alternative rock, grunge, and melodic metal, and though in some ways it is not particularly unique there is no escaping the fresh and arousing character to the roar of sound and release.

Formed in 2012, London hailing This Year’s Ghost consists of vocalist/guitarist Paul McKenzie, bassist/backing vocalist Joe Kusionowicz, and drummer Jake Tellinghusen. Last year saw the release of the Winter Earth EP, a release recorded with producer Meyrick de la Fuente. It was the start of a year which sparked good interest the way of the band, a UK tour and numerous other shows adding to the growing awareness of their emergence. Yesterday Becomes Tomorrow Today is the next step, a release sure to increase the swell of attention crowding around the band and alone reason why those in the know keenly shout about the trio’s compelling exploits.

THIS YEAR'S GHOST - COVER _RingMaster ReviewART     Recorded with producer Matt Hyde (Slipknot/Machine Head/Funeral For A Friend/Gallows), Yesterday Becomes Tomorrow quickly stirs up ears and an eager appetite with Death Of A Gift, its entrance of fuzzy guitar and brewing intensity a potent coaxing. In no time it is into a reserved but fiery stroll with the superb tones of McKenzie strongly impressing, as too the web of grooves and sonic endeavour escaping his guitar strings. Band inspirations include the likes of Biffy Clyro, Pearl Jam, and Alter Bridge, and fair to say in the opener alone you can feel those essences colouring the song’s inviting roar, but equally This Year’s Ghost casts its own identity in the rich melodies and vocal harmonies shaping the excellent drama of the song.

The stirring start continues with December Sun, a track featuring guest vocals from Stitch D of The Defiled. Straight away as melodic persuasion gallops in on hefty beats and grouchy bass, ears and appetite are gripped, even more so as the vocals croon with expression and quality. Though not as energetic as its predecessor, dynamically the song is a rampant stallion of sound and invention, its metallic side the flaring nostrils and melodic invention the heart of one impassioned and arousing encounter.

Carry Us In Blue similarly aligns a carnivorous rhythmic enticement, especially from the bass, with harmonic and melodic flames; the union breeding the emotive intensity escaping through the pores of the track’s tempestuous but controlled bellow. Whereas the first two songs immediately stir the senses and emotions, the third is more of a smouldering persuasion but one subsequently leaving ripe pleasure and a captivation of the over time. Though Silver Tongue hits with a swifter temptation it too blossoms more over numerous plays, its inflamed seduction a success unwilling to rush things but increasingly successful whilst adding to the rich enjoyment arising from Yesterday Becomes Tomorrow.

The EP is completed by the provocative infectiousness of Black Dogs, another where bass and drums are predatory, vocals and guitar sonically radiant, and all unite to craft a fire of imaginative sonic expression and intensive lyrical reflection, something which applies to the whole of the increasingly impressing release.

Bolder originality is the only thing you could offer up as something missing within Yesterday Becomes Tomorrow Today, an essence though easy to assume will emerge as the band evolves and grows. Other than that the EP borders on the majestic; a thickly pleasing proposition which might not change your musical life but easily doffer up This Year’s Ghost as a new long term friend.

The Yesterday Becomes Tomorrow Today EP is available now via iTunes.

https://www.facebook.com/ThisYearsGhost   http://www.thisyearsghost.com  https://twitter.com/thisyearsghost

Pete RingMaster 22/11/2015

Copyright RingMaster: MyFreeCopyright

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The Dead XIII – Catacombs

temp dead xiii final_RingMaster Review

Just over a year ago, UK horror metallers The Dead XIII, without majorly startling ears made a potent introduction with their Creatures Of The Night EP. It certainly whetted the appetite and revealed the potential of the band forging out a distinctive presence in the British metal/rock scene. Now the Mancunian quintet unleashes their debut album Catacombs, an encounter which weaves all the promise of its predecessor into a hefty slab of skilled and thrilling enticement. Whether the band has quite found that unique voice can be argued, for us it is still something brewing, but there is no doubting that the album is a potent nudge to awaken national attention and push the band well away from the crowd.

The Dead XIII escaped their crypts in 2013 and was soon breeding an increasing number of loyal fans through a live presence which over time saw them sharing stages with the likes of The Fearless Vampire Killers, William Control, Dead, and Bad Pollyanna. Creatures Of The Night lured new blood to the band with its Wednesday 13 meets Misfits like sound in 2014, a base which The Dead XIII has torn and sculpted into a more mature, inventive, and predatory proposal. Fresh from the British Horror Story Tour with Ashestoangels and Farewell, My Love, vocalist Kurt Blackshard, lead guitarist Ste Mahoney, keyboardist/guitarist Symon Strange, bassist Paul Ryan, and drummer Spike Owen reveal the evolution that has coursed through their songwriting and sound over the past year with Catacombs, and provide a rather tasty offering at the same time.

catacombs-cover_RingMaster Review    The album opens with its lead single XIII; guitars instantly weaving a mesh of sonic bait before the song erupts into a cauldron of electronic and guitar driven causticity. The distinctive tones of Blackshard quickly enter the building drama oozing from every aspect of the song, his unpolished and ghoulish dark tones another magnetic lure to an already heftily enticing encounter. There is a whiff of Marilyn Mansion and White Zombie to the track, as well as The Defiled, hues which collude to create a contagious trespass of the senses and a mighty and irresistible start to the album. It is a potent first roar matched by Frostbite and its fiercely aggressive tenacity aligned with a wintery atmosphere cloaking keys and vocals. Whereas the songs on the previous EP rarely strayed from their core design, here as in its predecessor, the song is unafraid to twist further unpredictable and imagination bred flirtations of sound and ideation into its appealing intrusion.

Daemons shows its teeth straight away with thumping beats piecing carnivorous riffery. The keys almost as quickly spread their sinister gothic charm and melodic resourcefulness into the ravenous tempest of the song where again there is an energy and intensity which never relents from badgering, almost bullying the listener. It is a great union, warm inviting textures contrasting the imposing bellow of the song whilst rhythms and the growling vocals temper the provocative tapestry of the keys and melodies. It is fair to say that every track is aural theatre, and each song upon Catacombs a mouth-watering dark escapade perfectly epitomised by the third song on the album.

The album’s title track is its successor, another proposition which gets straight down to the virulent nitty-gritty of its devilish invention and uniting horror metal/punk resources. Once more the grizzled delivery of Blackshard is like the barker or crypt-keeper to dark deeds and deathly delights within the song, and whereas on the last EP his tones occasionally tested with their one dimensional presence, in song and album they reveal, as the music, that they have evolved and discovered their deep potency.

The pair of Be-Were and The Greatest Escape richly catch the imagination next, the first encroaching on ears with stalking riffs and jabbing beats around a demonic fusion of singular and mass anthemic vocals whilst the second, being arguably the most openly Misfits toned song on Catacombs, dances on ears with a voodoo-esque array of hooks and again mass vocal roaring. Both tracks captivate with its slithers of heavy metal seeded enterprise from Mahoney whilst the latter further grips though it’s entwining of intimidating rhythmic and metal textures with melodically searing flames erupting within the song’s smouldering heart.

Not quite living up to those before it, lacking the creative spark which ignites its companions, Haunter with its corrosive metal breeding still leaves appetite and satisfaction content next before making way for the outstanding and ravenous Lay Siege To Hell. The song is unbridled and bruising rock ‘n’ roll but equally bold with sidesteps into electronic/techno adventure and a host of ever changing hooks and scorching guitar imagination adding up to another boisterous rousing of body and psyche within Catacombs.

The closing stretch to the album begins with Can’t Escape The Grave, more highly agreeable rock ‘n’ roll to lose your inhibitions and soul to and ends with Apothesis, a death infused, ambience crafted encounter which is as much post-hardcore and blackened metal as it is horror metal, and quite enthralling. It too does not quite match earlier tracks yet it is the most inventive and increasingly fascinating offering on the album revealing the depth to The Dead XIII invention still brewing and to be explored ahead.

There is no doubting that Catacombs is a must explore treat for horror and gothic metal/punk fans. It is not the perfect offering with some tracks a little too similar in some areas and hues of other genre bands seeping into play, but one impressive leap forward for the band and undeniable impressive romp for ears. As things moved forward between EP and album, evolution will see the same ahead as The Dead XIII progresses and we for one cannot wait whilst continuing to devour Catacombs right now.

Catacombs is out now

RingMaster 13/08/2015

Copyright RingMaster: MyFreeCopyright

Kill The Silence – Self Titled

Kill The Silence Promo Shot

Inspirations to UK band Kill The Silence are said to include the likes of Lower Than Atlantis, Bring Me The Horizon, and Reuben and it is the latter which most comes to mind as the band’s debut release sets about inciting an excited appetite for their sounds. The self-titled EP from the Leeds quartet is an explosive roar of imagination and fierce energy with potential oozing from every idea and twist whilst an already nurtured enterprise simply floods the four-track rampage. Release and band straight away stirred up a bloom of pleasure in ears and emotions but now after numerous excursions across its raging sonic rapids it is fair to say that responses offered now come with a healthy dose of lust.

Kill The Silence emerged in mid-2013 and it was not long before their ferocious mix of alternative rock, post-hardcore, and melodic metal was earning invites to play shows and appearances at festivals. The time since forming has seen the foursome of vocalist/rhythm guitarist Jason Walsh, lead guitarist Sam Rickerby, bassist Jack Townend, and drummer Reece Cockayne play with bands such as Fearless Vampire Killers, Blitz Kids, Max Raptor, The Family Ruin, Attention Thieves, Ashestoangels, Yashin, Mallory Knox, The Defiled, Dinosaur Pile-Up and Rolo Tomassi across the north of the UK. Now the whole of Britain is their target and it is easy to suggest that their first EP just might be all it needs to push the band into the broadest national spotlight.

Kill The Silence Cover Art     The EP opens up with the band’s current single Get Out, Get Out! and swiftly has ears engaged in a blend of riffs and melodies. It is a raw introduction mellowing out with the clean vocals of Walsh who in turn reveals his prowess at offering raucous throat bred squalls and angst hued harmonies. His delivery is nothing less than impressive, something applying to all elements of the band to be fair. Bleeding addictive citric grooves and disorientating rhythms, the track continues to explore a widening expanse of rock music for a potent start to the EP, though the song is the ‘weakest’ on the EP for personal tastes with the major excitement and might of Kill The Silence coming in the following trio of tracks.

Darling is next and from a muffled rhythmic shuffle explodes into an intimidating blaze of sonic ferocity and vocal hostility, both soaked in instant anthemic persuasion. The track proceeds to lurch and scythe through the senses with its volatile animosity and virulent contagion, that Reuben spicing a loud whisper in the tempest of punk and metal with melodically lined rock ‘n’ roll. The searing and psyche seeded hooks of the song are irresistible on top of this whilst the sheer energy and passion of the band is fuel to its voracious fire and indeed ire.

The major inciting of ears and emotions continues just as forcibly with S.S.D.D, its opening prowl of low key but suggestive riffs courted by a nagging single-minded bait of beats. There is a menace and intensity to the track from its first breath too, one slowly brewing up a storm which erupts in a web of riffs and cantankerous rhythms driven by rawer but no less magnetic vocals. The muscularly swinging beats of Cockayne dominate the sound in some ways, a very small niggle over the production there, but it only adds to the confrontation and explosive character of the outstanding song. Though again openly infectious, the song is a predator, from voice to beats, riffs to barbarous hooks, it looks to challenge the senses as it takes the EP up another level.

It is a step soon outshone by the best song on the release in Chapter II. A waspish groove almost instantly emerges to seduce and bind ears and appetite, springing from a bracing bluster of guitar and bass aligned to again wickedly swung beats. It is a toxic and intoxicating lure buffeted by another strong variety of vocals and the tempestuous heart of the dirty and ravenous song. Drawing on the most metal honed and carnivorous aspects of the band’s sound, the track equally entangles catchy pop rock and melodic ferocity into its tempest, creating a song the Reuben boys would have been more than proud of.

The EP is a seriously exciting and attention stealing introduction to Kill The Silence, the first of many impressive and incendiary offerings ahead we suspect as they do indeed spark a pungent nationwide spotlight on their blistering sound and presence.

The Kill The Silence EP is available from April 20th through all stores.

https://www.facebook.com/KTSilenceOfficial      https://twitter.com/ktsilenceband

RingMaster 20/04/2015

Copyright RingMaster: MyFreeCopyright

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YORKSHIRE YOUNG GUNS KILL THE SILENCE RELEASE DEBUT RECORD!

Kill The Silence Online Promo Shot

Taking from a collection of influences, spanning from Reuben and Lower Than Atlantis to Bring Me The Horizon, Kill The Silence come at you from Leeds and nationally release their self-titled debut EP on Monday 20th April through all digital stores.

Consisting of Jason Walsh (Vocals/Rhythm Guitar), Sam Rickerby (Lead Guitar), Jack Townend (Bass) and

Reece Cockayne (Drums), Kill The Silence were officially formed during the middle part of 2013. Show invites and festival appearances soon began to take shape. To date, the foursome have played extensively through the north, rounding up support slots and festival appearances with Fearless Vampire Killers, Blitz Kids, Max Raptor, The Family Ruin, Attention Thieves, Ashestoangels, Yashin, Mallory Knox, The Defiled, Dinosaur Pile-Up and Rolo Tomassi. The hi-octane rockers have also picked coverage from BBC Introducing and internet radio, and have been featured as Kerrang!’s Local Heroes.

The time is now ripe for Kill The Silence to step up and reach out to a national audience, and the band have the right tools in the shape of their new EP. The juggernaut rhythms and soaring chorus of their current single ‘Get Out! Get Out!’ start up the record, and it’s a perfect introduction for the wiry quartet. The punchy grimy hardcore of ‘Darling’ is next up and it’s an engrossing slab of adrenaline fuelled punkcore. The pounding onslaught of ‘S.S.D.D.’ continues to batter your eardrums before ‘Chapter II’ caps off the EP with its blistering riffage bonded with oft-kilter phrasing. Kill The Silence now hit the road with their record in tow, so stay tuned to their social sites for tour announcements.

-KILL THE SILENCE RELEASE THEIR SELF-TITLED DEBUT EP ON MONDAY 20th APRIL THROUGH ALL STORES-

Kill The Silence PromoImage

https://twitter.com/ktsilenceband

https://www.facebook.com/KTSilenceOfficial https://www.youtube.com/user/KTSilenceOfficial

‘GENERATION GRAVEYARD’ are Lonewolves, on 21st July‏

Generation Graveyard Online Promo Shot

LONDON NOISE CHIEFS GENERATION GRAVEYARD RELEASE DEBUT EP!

 

Hotly-tipped UK metal punks ‘Generation Graveyard’ are poised to break out to the nation with their blistering new EP ‘Lonewolves’, which hits stores on Monday 21st July.

Inspired by urban isolation, an outcast lifestyle and social upheaval, Generation Graveyard are candid and straightforward, refusing to bite their tongues and be pigeon-holed. With a vast cross-section of influences stemming from hardcore, old school rock n roll, black metal and crust delivered with a vicious punk venom, Generation Graveyard have established themselves as the antithesis to the UK music’s current alternative scene.

 

Conceived at the end of 2009 and hailing from London, Generation Graveyard are 100% committed to the execution and creation of their craft. Through widespread gigging and intense rehearsing, the rising five-some have finely tuned their live show, which has led to them being selected for support slots with names such as The Misfits, Anti-Nowhere League, The 69 Eyes, Breed77, Black Breath, Viking Skull, Warrior Soul and The Defiled. The Londoners have also recently successfully supported Breed77 on their full UK tour.

 

Now the stage is set for the lively noiseniks to firmly stamp their mark on the UK scene and they have the ammunition in the shape of their new EP ‘Lonewolves’. The record bursts out of the blocks with the pounding openings of ‘Abominate/Desolate’ which goes right for the jugular and it’s a real introduction to what’s ahead. The blistering punk rock fury of ‘Human Hive’ is next up, as it attacks your senses at breakneck speed. The stout ballsy vigour of ‘The Empty’ continues in supreme vein before the vibe shifts with the industrial guile of ‘Deletist’. The record closes with the anthemic and down-right fantastical ‘Lonewolves’. Miss this band at your peril!

Generation Graveyard - Lonewolves EP cover

-GENERATION GRAVEYARD UNLEASH ‘LONEWOLVES’ THROUGH ALL STORES ON MONDAY 21st JULY-

https://www.facebook.com/GENGRAVE