Brightlight City – Our Future’s Not Dead

Having impressed with debut EP, Adventures in 2015, British rockers Brightlight City now reveal the blossoming invention and increasing maturity in their sound with successor Our Future’s Not Dead. Hinted at by a pair of singles last year, the new release is evidence of a band building on an impressive start and potential with stylish adventure whilst nurturing a whole new promise for continued growth.

Surrey bred, Brightlight City weave in inspirations from the likes of Hundred Reasons, Million Dead, Yourcodenameis:milo, At the Drive-In, Biffy Clyro, and Jimmy Eat World into their sound; indeed sparking comparisons to the former and others such as Thursday and Hell Is For Heroes with their melody rich and harmonically honed songs. Equally there is a fresh and potent catchiness and steel to Our Future’s Not Dead which as suggested was first glimpsed within last year’s singles Gravity and Thieves. It is a growth in sound which has come with an increasing reputation and praise for their live shows through the quintet sharing stages with Max Raptor, Fizzy Blood, Bad Sign, and Blood Youth and playing alongside Rise Against and Millencolin at Envol et Macadam Festival in Canada in 2015as well as their own shows.

Recorded with Matt Hyde (Funeral For A Friend, Bullet For My Valentine, Slipknot), Our Future’s Not Dead is likely to spark another bout of attention and hunger for Brightlight City, setting out its persuasive strength with opener It Depends On You. Skittish beats alongside vocal and guitar offered temptation bring the song into focus; their low key yet agitated attitude soon a full roar as vocalist Jamie Giarraputo heads a web of melodic enterprise from guitarists Jonathan Staunton and Justin Giarraputo, the latter adding his own potent vocal expression to the mix. Anthemic in heart, imposing in rhythm as the hefty jabs of drummer Ben Bell court the brooding lines of bassist Tom Stock, the track roars with energy and passion.

With a mellower air Leave A Light On follows, wiry melodies swimming round a throaty bassline as emotive vocals entice with distinctive expression. Once again there is an instinctive catchiness at work, never wavering as fiery textures evolve and unite in a livelier blaze of sound and emotion. In some ways it is a less intricate proposition than its predecessor but only to its strength as each element is a flame of craft and drama before making way for Heart Stops. The third track comes coated in the infectiousness of the opener, its swinging body almost pop punk like and relentlessly coaxing listener involvement with its vocal harmonies and controlled but boisterous swing; a tenacious essence just as open in the calmer moments of a song taking best track honours.

The EP is brought to an end by Past/Future, a track epitomising the evolution in the Brightlight City sound with its rounded fusion of melody and energy amidst a new depth of contagiousness and invention. As all the songs within Our Future’s Not Dead it is a memorable and lingering encounter going to make a thoroughly enjoyable and impressing release. The Brightlight City sound has yet to become something truly unique but as the EP shows, it is well on the way and providing some rather tasty encounters along the way.

Our Future’s Not Dead is out now through Undead Collective Records.

https://www.brightlightcityofficial.co.uk/   https://www.facebook.com/brightlightcityofficial   https://twitter.com/blcband

Pete RingMaster 12/04/2017

Copyright RingMaster: MyFreeCopyright

Death Kindly Waits For Me – Wire Iron Blood

death kindly

Let us cut to the chase right away and suggest that Wire Iron Blood might just be the best and certainly one of the most exciting post hardcore debut in recent times. An introduction to UK quartet Death Kindly Waits For Me, the three track release is a striking and dramatically captivating protagonist for ears and imagination, and the fact that it suggests there is plenty more in the creative tank of the band yet to be explored and developed only increases its impact. Expressively provocative with a sound coming from the At The Drive In/Fall Of Troy end of an ever broadening genre, Death Kindly Waits For Me is a dramatic fresh breath in the British post hardcore scene.

Northamptonshire bred, Death Kindly Waits For Me began towards the beginning of 2014, taking inspirations from the likes of Thursday, Being As An Ocean, Finch, and Taking Back Sunday into their emerging invention. Their melody rich and aggressive sound was soon drawing potent attention locally and even further afield as their increasing live presence saw the foursome sharing stages with bands such as Decade, Light You Up, Devil Sold His Soul, Terraform, Emp!re, Our Hollow Our Home, Hey Vanity, Attention Thieves and Flood Of Red. Now a national attention is on the radar as Wire Iron Blood is uncaged, and it is fair to say that expectations are already confident in the band’s success in luring a wider spotlight.

The EP opens with the outstanding Cutting Room Floor, a sonic lure swiftly thrusting ears into the impassioned vocals of Adam Fitch, his clean and earnest tones instantly magnetic. Alongside him the guitar of Max Freeston slowly spreads a coarsely melodic lure whilst the heavy bass tones of Adam Cator, just as quickly adds dark haunting shadows. Pierced by the controlled and reserved but rapier like strikes of drummer Josh Miller, it is not a dramatic start yet thoroughly intriguing and awakening an appetite to hear more. Soon into a steady stride and still employing the creative weave which set things off, the song increasingly impresses as it expands its presence musically and vocally, Fitch superb with his distinctive angst fuelled tones whilst the DEath KIndly...more punkish offering of Freeston is a potent backing and the raw roars of Cator nicely caustic. An additional anthemic strength emerges in the song and though musically maybe it does not blaze with startling originality there is nothing but freshness and adventure to the opener.

The same strengths flows though the following Best Friends. It character is shadowed and emotionally dark yet it flames with a contagious energy and a rigorously exciting imagination. Vocally once more the track shines whilst riffs and melodies create an infectious proposal which, as the EP, becomes more addictively enjoyable over time. That Fall Of Troy feel is a bright whisper across the song, whilst other elements hint at the more experimental adventure of The Mai Shi at times, but as the song evolves from a raging stomp into a melancholic croon in its finale, the track is thrillingly individual to Death Kindly Waits For Me.

The closing Decade Of War continues the excellent temptation, its emotionally sober but energetically impassioned heart a canvas for great rhythmic enterprise and colourful guitar endeavour to wrap with craft and tenacity. Vocally of course the song continues a weighty persuasion amidst impressive sonic imagination and by its end it is hard not to sigh in disappointment that there is no more and to swiftly go back to the beginning again and ensure there is.

As mentioned at the beginning, Wire Iron Blood is a starting point for the band which shows that they have plenty to discover and push within themselves. There is little nothing to shade the potency of the release though, with no reflection on Cator, personal tastes would like to see a diminishing or loss of the aggressive vocal squalls as they often feel at odds with the rest of the vocal delivery and at times songs. It is a very minor thing of course in a potential drenched start by Death Kindly Waits For Me, a band hard not to get rather excited over.

Wire Iron Blood will be available from 2nd March through all digital stores.

https://www.facebook.com/deathkindlywaitsformeuk

RingMaster 02/03/2015

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://reputationradio.yooco.org/

 

 

‘DEATH KINDLY WAITS FOR ME’ to unveil their ‘Wire Iron Blood’ from 2nd March

Death Kindly Waits For Me Online Promo Shot

“Nothing short of amazing, perfectly executed noise wrapped in an emotive blanket…top stuff!”

BBC Introducing.

 

Post Hardcore crew ‘Death Kindly Waits For Me’ express a sound that packs concise riffery and energetic beats with pop sensibilities. The rising quartet unleash their spanking new EP ‘Wire//Iron//Blood’ on Monday 2nd March, from all digital stores.

 

With a slew of inspiration stemming from Thursday, Being As An Ocean, Finch and Taking Back Sunday, Death Kindly Waits For Me have absorbed their predecessors’ influences and added their own imposing stamp. In doing so, they now despatch an engrossing sound that is accessible and earnest.

Coming at you from Northamptonshire and featuring Adam Fitch (Vocals), Max Freeston (Guitar/Vocals), Adam Cator (Bass/Screams) and Josh Miller (Drums), Death Kindly Waits For Me pull from the fundamentals of emo and hardcore and harvest a sound that is both fast and slow, and altogether heavy yet melodic. The foursome give their all to an audience and have even played shows with broken bones and bloodied hands. DKWFM push the barriers and deliver passionate, emotive, and energetic live shows that truly captivate. Since their formation at the start of 2014, the melodic hardcorers have racked up shows with a host of bands such as Decade, Light You Up, Devil Sold His Soul, Terraform, Emp!re, Our Hollow Our Home, Hey Vanity, Attention Thieves and Flood Of Red.

The four piece are now set to drop their debut EP ‘Wires//Iron//Blood’ on Monday 2nd March. The EP is an engaging piece of post-hardcore. Right from the opening lines of ‘Cutting Room Floor’, which firmly displays the band’s deft ability to pull in the listener with a hook that will need to be prised from your inside, to the stinging bite of ‘Best Friends’, which goes for the jugular but still manages to unleash a killer refrain, and to the closing track ‘Decade Of War’, as it flaunts their nimble use of dynamics, this record is sure to reinforce the band’s credentials as one to watch for the coming year and beyond.

 

-DEATH KINDLY WAITS FOR ME ‘WIRES//IRON//BLOOD’ MONDAY 2nd MARCH 2015 THROUGH ALL STORES-

 

https://www.facebook.com/deathkindlywaitsformeuk

CITY OF ASHES to release debut album’All We Left Behind’, Mon 11th November‏

City Of Ashes Online Promo Shot
Emerging energetic South East alt-rockers ‘City Of Ashes’ are poised to stake their claim as one of the exciting new breed of bands to break through this year. They are loaded up with their blistering debut album ‘All We Left Behind’, out Monday 11th November, and it’s ram-packed with killer tracks, and sure to set the rising foursome apart from the masses.
“…this is polished, emotional work. Frontman Orion Powell pours his heart out throughout….” Rocksound Magazine.
Sparking glowing comparisons to ‘Thursday’ and rising UK stars ‘Don Broco’, City Of Ashes bond together a crafty tunesmith approach with a sincere and emotive delivery.
Born in 2009 and hailing from Eastbourne, Sussex, COA feature Orion Powell (vocals), James Macdonald (guitar), Dan Frederick (bass) and Dan Russell (drums). The tireless quartet went about the business of perfecting their sound quickly, spending their early years cutting their teeth playing a host of shows throughout the country. The youthful upstarts amassed a dedicated following and managed to share stages with a host of rising bands from Exit Ten, Polar, Shadows Chasing Ghosts, Fei Comodo, Hildamay and Young Guns, to Yashin, Skindred, Fearless Vampire Killers, Attica Rage and The Dead Lay Waiting.
Besides having a hearty appetite for touring, the band also have a dedication to recording, and enlisted respected producer Matt O’Grady (Deaf Havana, You Me At Six, Don Broco) to work on their debut EP ‘Then There Was A Hand In The Darkness’. The record further solidified the band’s growing fan-base and garnered positive acclaim from Rocksound Magazine, as well as racking up an array of glowing online reviews.
City Of Ashes have now raised the bar with their debut album ‘All We Left Behind’ which is unleashed this Autumn. The broody instrumental ‘Initia’ starts the record before the punchy riff assault of ‘Ode To Innocence’ lays down the band’s intriguing manifesto of layered guitar lines and alluring hooks. Their previous single, ‘Falling Star’, continues to ignite with its colossal refrain, and the current single, ‘In Retrospect’, perfectly highlights the quartet’s nimble aptitude for despatching a killer single with its soaring melody and luscious guitar passages. ‘Brand New World’ nods its head in the direction of Taking Back Sunday with vocalist Orion Powell laying his soul bare to devastating effect. ‘Dorian Gray’ moves the album along swiftly with stomping beat blasts and visceral riffery, and then ‘Waves’ further demonstrates the band’s song-writing guile and ability to unleash an epic anthemic chorus, as it brings the album to a close.
The alternative tunesmiths hit the road this summer and have extensive touring planned for the remainder of the year; track the band’s movements atwww.facebook.com/cityofashesband
City Of Ashes Cover Artwork
CITY OF ASHES RELEASE ‘ALL WE LEFT BEHIND’ ON MONDAY 11th NOVEMBER

City Of Ashes: Then There Was A Hand In the Darkness EP

 City Of Ashes Promo Shot

       Slowly burning like a smouldering wick in the passions, the debut EP from UK alternative rock band City Of Ashes ensures its ultimate persuasion is a full and lingering declaration through a melodic breath and enterprise which will not be denied. Offering a breath to their sound which can ignite the senses with either a soft indie caress or a post hardcore quall, the quartet from Eastbourne, Sussex have taken their first bow with a record which ripples with strong promise and marks the band immediately as one to watch, and enjoy, very closely.

Formed in 2009, City Of Ashes delivers a sound which though not one to open new avenues for their area of rock music it certainly offers an imagination and accomplished skill alongside thoughtful songwriting which flames like a torch against many of the other emerging alternative rock toned bands. Comparisons to the likes of Thursday and Lostprophets have been cast upon the band with the former of the two references certainly an open influence one feels when emerged within the stirring tracks on the Then There Was A Hand In the Darkness EP. Since its beginnings the band has honed its sound and earned a deserved recognition for their hard working and impressive live performances and ethic as well as a formidable underground following. The past years have seen the band light up stages alongside bands such as Skindred, Yashin, Young Guns, Exit Ten, Polar, Fei Comodo, and Hildamay to name just a few whilst enduring line-up changes and other obstacles. Produced by Matt O’Grady (You Me At Six, Deaf Havana, Don Broco, Your Demise), Then There Was A Hand In The Darkness is the first nationwide statement from vocalist Orion Powell, guitarist James Macdonald, bassist Dan Frederick, and drummer Dan Russell and one which it is hard to imagine falling on deaf ears.

The release opens with the compelling Falling Star its initial guitar rub and vocal stroking from Powell an immediate lure to theCity Of Ashes Cover Artwork ear and attention. Soon the vocals hit full range with fine accompaniment from others in the band whilst the melodic gait of the song erupts into a passionate roar to match the great vocals. At times the song reminds of eighties band The Vapors when the Guilford quartet moved away from their oriental doodling, whilst throughout there is an earnest and expansive atmosphere and energy pulling the emotions to merge with those of the song. The rhythms are sinews which enthral without defusing the potency of the heart of the song and all in all, the track is impressive as an opener and stand-alone track from the band.

It is also quite infectious as is its successor Beggars & Thieves. It is a feistier track than its predecessor offering a view of the band with their post hardcore gait at play. The bass of Frederick is a riveting prowl alongside the again firm beats of Russell whilst Macdonald blazes with sonic enterprise behind his shards of melodic coaxing, both acidic and warming. Once more the vocals are an expressive highlight and at this point it is a given Powell will wring the heart of a song of all its passion and pass it over impressively to the listener. The track does not unveil obvious hooks to capture its recipient but uses subtler yet no less contagious weaves which feel familiar but new.

The Highest Point Of Living and Hourglass bring another  diversity to the release, the first an emotive ballad whispering which wraps tender but heavy hearted arms around the ear with great surety. The song is an impassioned fever exploring and showing off the immense tones of Powell supported by the warm gentle yet passional sounds of the band whilst the second of the pair is a tower of shifting intensity and power which is bristling with creative intriguing and inventive accomplishment.

The release saves the very best to last with the thumping A Calm Like Lethargy, a track which fully shows the adventure and depth of inventive opportunities within the band and their open creative intent. Again merging a muscular aggression with fine dazzling melodic ingenuity, the song is a magnetic and irresistible confrontation with intimidating riffs and mesmeric sonic brilliance scoring the eloquent and assertive vocals.

It is a mighty close to an EP in Then There Was A Hand In The Darkness, which ignites all the right thoughts and reactions inside. It might not top best of lists in the long term but easily sets City of Ashes as a band which deserves proper attention especially from fans of the likes of Thursday, Shadows Chasing Ghosts, 30 Seconds to Mars, and Fei Comodo.

www.facebook.com/cityofashesband

RingMaster 21/01/2013

Copyright RingMaster: MyFreeCopyright