Glass City Vice – Waves EP

GCV - Promo

There has been a certain swell of excited murmurs and a keen buzz about UK alternative rockers Glass City Vice since their first appearance through debut EP No Direction in 2011, a year after the band formed. The Waves EP is our first introduction to the band and as its trio of tracks tantalise the ears and thoughts it is not too hard to see why they have excitedly caught the imagination of so many. There is an enterprise and distinct voice to its sound which instantly grabs attention but also a lure which less openly seduces the senses so that at any time the songs making up the EP can return in thoughts as a welcome reprise. Big things are suggested for the Brighton quartet and taking Waves as evidence it is hard to raise any real disagreement.

The foursome of vocalist/lead guitarist Josh Oliver, guitarist/backing vocalist Ed Lytton Cobbold, bassist Dudley Powell, and drummer Lawrie Miller as well as with their first release has equally built a strong reputation for their live performances which has seen them play alongside the likes Lawson, The Audition, The Xcerts, and Freeze The Atlantic during over 200 shows across the UK they have played over the past three years. The Waves EP is the next step in their rise, a major step one suspects, and a trigger which will recruit waves of new recruits to their already fervour driven fan base.

Recorded with Mercury nominee producer Jag Jago (The Maccabees, The Xcerts), the release opens with its title track and takes a mere Artworkmoment to draw in full attention and appetite as the guitars stroke the ear whilst rhythms create a firm web for them to play within. As the vocals of Oliver enters into the brewing mix of energy and passion there is a definite Reuben feel calling out thoughts and emotions. From a bright melodic blaze for its chorus the song settles into an energetic but restrained stroll which easily recruits feet and focus to its imaginative cause. Infectious and strikingly composed to merge elegance and a feisty breath, the song is a stirring and potent start to the release though soon eclipsed by the new single.

Have To Say also finds a catchy depth which makes it impossible to turn away from, the opening rhythmic dance covered by the acidic guitar kisses and vocal expression a contagious start which is built upon and accelerated in effect by thrilling guitar work and invention courted by equally accomplished drum and bass persuasion. Sabre strikes of guitar crash across the almost predatory grizzled bass line and caging drum taunts which mark a twist in the song bringing even greater temptation whilst the fiery climax is seeded in a passion and energy which leaves senses and thoughts subservient to its call.

The closing Just A Position ensures the release ends as impressively as it began; the song an undemanding yet fully engaging wash of melodic and enthusiastic enterprise which impresses more and more with each listen even if it does pale slightly against its predecessors.

The Waves EP accompanied by a great video for the single filmed at Knebworth House with upcoming director Dean Sherwood, is the clear marker for a band on a definite rise musically and in recognition. Glass Vice City could very well soon be a name on the lips of the country or certainly a sound in their ears.

Get the Waves EP as a Name Your Own Price @ http://glasscityvice.bandcamp.com/

http://www.glasscityvice.com

8.5/10

RingMaster 26/08/2013

Copyright RingMaster: MyFreeCopyright

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Reaper In Sicily – Islands

Reaper In Sicily Online Promo Shot

Listening to the debut album from Reaper In Sicily who cannot help wondering and going as far to suggest that the band has all the ability and creative strength to become Britain’s alternative to Billy Talent. Apart from strong whispers of the Canadians in sound across a lot of Islands, the quintet also has the same skill and invention in landing a mighty punch with their sound whilst seducing with melodic imagination and inciting the passions with anthemic crafted vocals and hooks. The ten track album is excellent, exceeding the promise earlier single Horizons suggested and setting the Aberdare band as one of the most exciting and promising emerging rock bands.

Reaper in Sicily began in 2009 and with a sound which has been compared to the likes of The Blackout and Rise Against and a potent and lively live show, soon became the winners of the unsigned live act in Kerrang! Magazine. Their debut single We Are The Show garnered strong responses and widespread play on TV and radio across the UK but then in 2010 guitarist Matthew Jenkins diagnosed with leukaemia taking the band on hiatus until he was able to return, which thankfully he did later the same year. Two EPs swiftly followed to continue the rise of the band as well as successful appearances at both the Reading and Leeds festivals and supporting and playing alongside the likes of Kids In Glass Houses, The Subways, Max Raptor, Attack! Attack!, Mallory Knox, Hawthorne Heights, Fightstar, The Xcerts, Straight Lines, I Spy Strangers, Evarosa, Hildamay and many more. Islands was recorded in the closing weeks of 2012 with Romesh Dodangoda (Funeral For A Friend, Kids In Glass Houses) and as mentioned the release of Horizons set up a urgent anticipation for its debut though even that hunger we would suggest did not expect such an impressive encounter.

The Prisoner sets things ablaze with dawning caresses of guitar before shrugging off any restraint to open up sinews and melodic Reaper In Sicily Album Cover Artworkpersuasion framed and veined by the firm hand of drummer Damon Miles’ beats and the rumbling tones of the bass of Mike Evans. With energy flowing freely and attention fully captured the guitars of Jenkins and Jonny Chappell carve a distinct and captivating character to the song whilst the excellent expressive tones of vocalist Rhys Bernardo drive the ride with slight squalls within his enticing delivery. The song is an immediate draw which without lighting the same depth of fire as following songs, sets the listener up to eagerly embrace what is to come.

The following 50 raises the bar again with muscular riffs and strongly beckoning grooves casting their temptation over senses and passions. The tight craft and melodic enterprise reminds of bands such as The Blackout and even Avenged Sevenfold whilst the punk snarl edges things with hardcore confrontation. Once it makes way for Down But Not Out it finds itself outplayed whilst the album continues to get better and better. The third song builds on the base of its predecessor to expel even stronger scowling venom and caustic winds within ridiculously infectious enterprise and sounds. Into its stride the track takes its recipient on a riotous dance with moments of bruising attitude and exhausting passion which again cements and accelerates the growing presence and promise.

The single Horizon still impresses as it did on its unveiling, thumping rhythms alongside the thick tones of the bass wrapped in fiery guitar washes thrilling whilst Bernardo lights another emotive heat to engage and entice things further, whilst the likes of Old Dogs and the title track romp and emotively stroll respectively to weave continuing creative textures and calls before thought and heart. It has to be said that there is a similarity to the surface sound of many of the songs but with the invention beneath and accomplished polish of its shine it is not an issue and will evolve out ahead as the band mature.

The tail of the album is its most impressive as Islands continues to get even stronger song by song. Sunnydale Sucks encloses the ear with addict forming riffs and a varied bluster of vocals, coarse and melodic, which enslave the imagination whilst the guitars bound it all in sonic teasing to set richer flames in their fire. Then Boys Will Be Boys comes in to steal top honours with its furnace of passionate vocals, virulent melodic contagion, and energetic imagination, every second a bouncing and incendiary companion uniting for a fervour crafted triumph.  Those Billy Talent references are at their most inviting at this point of the album with both The Catalina Wine Mixer and the closing Chuck Norris Got A Chainsaw making their thrilling interpretations. Both songs leave a breathless appetite rife which immediately snatches at the play button to enjoy the outstanding album all over again at their completion.

Islands should and will be a trigger to an unbridled new sea of attention and acclaim for Reaper In Sicily and it will be all deserved we can assure you. Check out the album and remove any doubts the very best way.

www.facebook.com/reaperinsicily

8.5/10

RingMaster 10/06/2013

Copyright RingMaster: MyFreeCopyright

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Hello Lazarus – Moving Forward Over The Next Financial Quarter

pic KMT Media

pic KMT Media

You know you are onto something special when a release makes an impressive first statement in its initial persuasion upon the ear and then just gets better and more potent with each subsequent encounter. Such is the case with Moving Forward Over The Next Financial Quarter, the new EP from UK alternative rock band Hello Lazarus. The first of three EPs scheduled for the year, the four track triumph is a scintillating and gloriously expressive ignition for the passions and the declaration of a band destined to stretch the lines for and reshape British melodic rock on this evidence.

From Bristol, the trio of Adam Hooper, Luke Taylor, and Sean Shirwan-Begie, creates songs which breed punk pop infectiousness from within a deep reservoir of finely sculpted melodic rock. The resulting sound is one which can wrap tender emotive arms or more hungry urgently driven confrontation around the ear and from the proof of the EP alone, has the imagination and power to bring a consistently enthralling and provocative experience with a diversity of unique rewards from across every second of their expansive ideas. Equally grabbing attention with their live show which has seen the band alongside the likes of The Xcerts, Tellison, Flood of Red, Tubelord, and Vessels, Hello Lazarus brings a fresh presence and creativity to the ear. Their Scylla Records released as mentioned first of three scheduled EPs, is the initial step of a massively suggestive promise of greater things for the band ahead. One which provokes the notion of a nationwide awareness waking up to the band from if not to this Jake Robbins (Natives, Sharks) produced release, somewhere along the line of the subsequent unveilings if they are anything like Moving Forward Over The Next Financial Quarter.

The EP opens up with new video single When In Rome, a song which boldly barges through the ear with a muscular bass snarl and ImageProxycrisp rhythms from within a gently abrasing rash of sharp guitar lashes. Once the excellent vocals step up with their expressive narrative things settle into a slightly restrained air with voice, harmonies, and the ever provocative bass sharing attention whilst the guitars and drums frame their potency. The wholly infectious chorus is excellent its contagion not borne from obvious and easy hooks but pure passion and invention, and instantly recruits the listener into its emotive charge and catchy stroll. Arguably there is nothing which alone makes a lingering capture of passion and memory, no richly barbed hook or element which stands out, but the song is just a whole of immensely seductive and deeply penetrating elements with a mutual depth of quality and excellence combining for that impacting and long lasting temptation. It is a striking and emotively inciting song which by itself gives all the reasons why the band is causing a stir.

The following Get An Axe brings sterner sinews into play from the intimidating drums and again deliciously grumpy basslines, for another insatiable melodic escapade of near virulent contagion and energy soaking enterprise. With a stronger punk lilt than its predecessor, the track is an incendiary recruitment drive for heart borne melodic expression and eager air igniting energy, all moulded and bred through thoughtfully crafted and imaginatively enhanced ingenuity. The song leaves breathlessness behind, it’s again hard to ignore or refuse lure to join its cause exploiting and feeding on the now full greed devouring the release and its enslaving rewards.

Stallions is a gentler temptress, the instantly consuming breeze of harmonies and cascading sonic elegance offering a warm hand whilst the bass adds its own shadows to temper the blaze of light elsewhere. It is a crystalline glow within the release, its shimmering sonic kisses outshining the prowling bass and senses tripping drums strikes yet never dousing the fire of the darker elements and the threatening to escape brew of feisty intensity. The track shows the range and invention of band and songwriting, as does in its individual way the closing I Am No Explorer. It is another emotively sculpted piece of beauty with corners of darkness adding their haunting temptation. It is a stunning song, and though maybe not the top personal favourite upon the EP it is undoubtedly the most involved and involving treat.

Moving Forward Over The Next Financial Quarter is an excellent instigator of the passions as well as thoughts and emotions, a release which suggests Hello Lazarus can be as essential as the likes of 30 Seconds To Mars, and Lower Than Atlantis, and even Biffy Clyro.

http://hellolazarus.com/

9/10

RingMaster 28/04/2013

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Reaper In Sicily: Horizons

   Reaper In Sicily Promo Shot

    Combining powerful and contagious energy with intensive melodies and squalling passion, the new single from UK rock band Reaper In Sicily is a potent lure to their debut album Islands due for release in June. The album has been the focus of strong anticipation and the first single from it, Horizons certainly does nothing but cement the strength of expectations and intrigue for what it will unleash.

Formed in 2009, the Aberdare quintet took no time in making a mark, the band winning the best unsigned live act award in Kerrang! Magazine. With a sound which has been compared to the likes of The Blackout and Rise Against, their first acclaimed single We Are The Show received strong radio play and its video good TV exposure. Unfortunately in 2010 guitarist Matthew Jenkins was Reaper In Sicily Single Cover Artworkdiagnosed with leukaemia so the band went on a hiatus until he was well enough to re-join and play with them again. On their return they lit up the Reading and Leeds festivals with impressive performances and continued their growing stature with the Eden EP. This was followed with equal success by the Chapters EP and extensive tours around the UK with bands such as Kids In Glass Houses, The Subways, Max Raptor, Attack! Attack!, Mallory Knox, Hawthorne Heights, Fightstar, The Xcerts, Straight Lines, I Spy Strangers, Evarosa, and Hildamay. The end of 2012 saw Reaper In Sicily enter the studio with Romesh Dodangoda (Funeral For A Friend, Kids In Glass Houses) to record Islands with Horizons the first striking piece of enticement.

The single takes mere seconds in filling the ear with thumping rhythms from drummer Damon Miles accompanied by the thick tones from the bass of Mike Evans. This potent core is wrapped in fiery guitar coaxing from Jonny Chappell and Jenkins their instinctive sounds caressing and provoking in equal measure. With the expressive vocals of Rhys John Bernardo bringing their emotive lilt to the enticing encounter, there is a continual strength of variety and passion to the song which alongside the thoughtful songwriting, enthralling weave of inventive, and emotionally heated sounds ensures a full engagement with its heart and inviting surface.

The song is catchy without being obvious and intensive without losing its melodic fluidity and richness. Arguably the song also lacks a truly distinct voice to step far from other similarly forged bands but such its strength and imaginative intent it is right now certainly not an issue. Most importantly the fine song leaves no option but to investigate Islands upon its release and keeps the rise of Reaper In Sicily boiling nicely.

https://www.facebook.com/reaperinsicily

7.5/10

RingMaster 22/03/2013

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The Trade: Fight Club

by Graeme McInnes

by Graeme McInnes

The past three years has seen UK alternative rock band The Trade earn a strong reputation and an eagerly growing fanbase through their impressive line performances which have seen the band shared stages with bands such as The Undertones, The Buzzcocks, The Twang, The Twilight Sad, The Xcerts, Chris Helm, Mark Morriss and The Underground Hero’s to name a few, and the release of their debut album Lie in the Dark in 2011. Since its well-received release the band has kept interest in them high with a series of singles of which Fight Club from the album is the latest. The enjoyable song is also another enterprising lure to strong anticipation ahead of the release of their second album later this year.

Consisting of vocalist Ross Milne, guitarists Stevie Morris and Liam Moir, bassist/backing vocalist Drew McLaren, and drummer Sean Hollowmind, the quintet from Angus in Scotland creates guitar driven music which with ease captures the imagination. The new single is a prime slice of their invention and a pleasing invitation into the band, a song which takes no time in engaging fully and bringing a vibrant stroll of fresh melodies and guitar lined craft to bear.

The track opens with firm but restrained riffs which niggle the air with a slightly agitated breath whilst the expressive vocals of Milne engage the ear with its fine gravelly texture. Soon a throaty bassline joins the affair paced by crisp drum beats and a brewing hunger to the song itself. Into its stride the track offers further sonic flames upon the solid and inviting hooks of the song as well as crescendos of energies which suggest the song is going to explode into more muscular purpose but instead remains in its boisterous stance to tease and equally disappoint and thrill.

Fight Club with its emotive lilt lyrically and to the vocals brings a certain hunger in the listener to check out the impending album from the band at the very least. The single is probably not the finest moment of the band to date but undoubtedly a perfect way to walk into their creative embrace.

www.the-trade.co.uk

www.facebook.com/thetradeoffical

7/10

RingMaster 19/03/2013

Copyright RingMaster: MyFreeCopyright

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

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Broken Links: Disasters: Ways To Leave A Scene

There has been a little bit of a stir brewing around UK rock band Broken Links and after hearing their debut album Disasters: Ways To Leave A Scene a few times it is easy to see why. To be fair it only took a couple of engagements with the vibrant and compelling release to be convinced but such its magnetic and powerful pull the resistance to returning time and time again was weaker than a paper boat in a tempest.

Since forming around four years ago, the trio from Southampton has seen a slow but very solid rise with their potent mix of post punk, rock, and industrial rock with strong whispers of new wave, winning over hearts consistently along the way. Certainly locally they are one of the most talked about bands and with the release of a trio of well received EPs have built a fan base which is loyal and feisty whilst moving farther afield. Influences come from the likes of Joy Division, Depeche Mode, Nine Inch Nails, Manic Street Preachers and Bush, flavours which Broken Links evolved into their own unique sound. The result is songs which trigger all the keen responses and taste buds their inspirations ignited, whilst opening up new depths of pleasure for themselves. Their eclectic sound also makes the band an easy and effective fit with many genres which their sharing of stages alongside bands such as British Sea Power, The Boxer Rebellion, InMe, My Vitriol, 22, Official Secrets Act, Fighting with Wire, and The Xcerts shows.

Disasters: Ways To Leave A Scene brings many of the tracks which featured on those early self released EPs with a couple of new ones to create a stirring and towering expanse of emotive and melodic invention. Even though the release strikes a match to open a full magnetism towards its sounds from the start, the more impressive it becomes with time spent in its striking aural arms. Evocative and impactful, the album leaves one breathless and invigorated whilst fully charged to dive into its shadows and immense soundscapes again and again.

The release opens on the sonic simmering of Electrik, though the track soon explodes into a sonically burning sunrise of mesmeric charms.  It is impossible not to be rocked back on ones heels by the mighty vocals of guitarist Mark Lawrence and the electronic blistering which ignites the atmosphere of the song like a cascade of hot golden rain. The rhythms of drummer Phil Boulter form a magnetic frame whilst bassist Lewis Betteridge is a prowling and imaginative shadow to the synths and expressive guitar of Lawrence. The track itself is a ravenous mix of Depeche Mode, My Preserver, and Muse, though the one band which did come to mind during the song was Ultravox, the early version before John Foxx and guitars became redundant.

Within Isolation and What Are You Waiting For? Raise the temperature even higher with their thumping urgency and inventive craft. The first is a sinewy romp of energetic vocals and riffs wrapped in riotous intent and acidic sonic manipulation, a barnstormer of an affair whilst the second explores darker corners of the sound with a smouldering heavy post punk resonance and metallic sonic licking of the senses. A Joy Divison starkness combines with  barbed Comsat Angels like hooks to leave one drooling and when the atmospheric grandeur of Modern English wraps its emotive muscular arms around the song nothing but passion is apace. It is a track which reaps the riches of the eighties yet still is of the now, the band nurturing and evolving those seeds once again into something quite irresistible and distinct to themselves.

Great tracks come thick and fast, each song without fail leaving deep pleasure and ardour behind their accomplished ingenious lures. Tracks such as the brilliant electro rock/pop  triumph We’re All Paranoid, the two part grandeur that is Choice/Decay, with Part I a chilled ambient and slightly disturbing build into the stunning crescendo of Part II, and the swaggering Shelter Your Loss, just captivate and evoke more and more heated enthusiasm.

Hitting even greater pinnacles with the snarling Therapy Sessions In The Dark and potently contagious Cherno, not forgetting the gloriously inciting What Are You Addicted to?, the album expertly and skilfully explores across styles and emotions. Melancholic and reflective, warm and oozing positivity, Disasters: Ways To Leave A Scene is a true giant of a release and surely the first massive and impressive step to wide recognition for Broken Links.

http://www.brokenlinksmusic.co.uk

RingMaster 16/11/2012

Copyright RingMaster: MyFreeCopyright