FROM HER EYES offer their ‘Demons’, on 25th August‏

From Her Eyes Online Promo Shot

FROM HER EYES HAVE THEIR EXPLOSIVE DEBUT EP NATIONALLY RELEASED!

Up-and-comers ‘From Her Eyes’ are poised for a brisk climb with the national release of their rousing debut record ‘Demons’, which hits outlets on Monday 25th August.

Born in 2012 and hailing from Bridgend, Wales, ‘From Her Eyes’ carry the potential to follow in the footsteps of fellow home-towners ‘Funeral For A Friend’ and ‘Bullet For My Valentine’. Consisting of old school friends Tom Owen (Vocals), James Kearle (Guitar), Jesse Simmonds (Bass) and Gary Holley (Drums), the metalcore quartet have a formidable and mature sound that certainly defies the fact that they are all just out of their late teens.

By drawing power from the Architects, While She Sleeps, Devil Sold His Soul and post-rock heroes, Touche Amore, the band has cultivated a sound that is direct, hard-hitting, and all consuming.

Despite their lean years, the band have been actively hitting the road since the end of 2012, and during this time have chalked up a plethora of fiery live shows, including igniting stages whilst supporting the likes of With One Last Breath, Red Seas Fire, Continents, When We Were Wolves, Set to Break and Reaper in Sicily. After winning souls with their live set, the post-hardcore seeded band soon turned their attention to their first record, and earlier this year bunkered down at Bandit Studios with Jonny Renshaw (Devil Sold His Soul) to record their forthcoming new EP ‘Demons’; the resulting fury nothing short of breathtaking.

‘Demons’ starts off with the hypnotic and atmospheric ‘Decay’, which lulls you into a faux state of calm before the monstrous ‘Comatose’ hits you right between the eyes. The juggernaut groove of ‘Porcelain’ also works its way into your grey matter with devastating conviction, while the fantastically frantic ‘Disillusionist’ further displays the band’s arsenal of hefty riffs at their disposal. The haunting ‘Elsyuim’ is next and it highlights the combo’s impressive maturity and guile. Finally, the EP’s namesake ‘Demons’ completes the record, crowning a striking piece of work that proves the rising riff tyrants are ripe for national recognition.

From Her Eyes Cover Artwork

https://www.facebook.com/FromHerEyesOfficial      https://twitter.com/FromHerEyes

 

American Standards – Still Life

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With a debut album planned for the latter part of the year we thought it was worth checking out the Still Life EP from US hardcore band American Standards. It may have been out a while but as possibly many, like us, missed its initial unveiling and it is so damn good there is no better time to catch up and fire up a hunger for the forthcoming full length release.

From Phoenix, Arizona, the quartet of vocalist Brandon Kellum, guitarist Brennen Westermeyer, bassist Corey Skowronski, and drummer Geoff Gittleson, has earned a strong reputation for their live performances and sound which though we called them a hardcore band takes in many more potent essences such as punk and noise rock. It is a riveting confrontation and at times borders unleashing disorientation with its passion bred intensity and creative maelstrom. The unpredictable and diverse imagination to its invention though is an easy capture of the imagination with band and sound having the depth and flavours to ignite the appetite of all fans from the likes of Cancer Bats and Every Time I Die through to those of Dead Kennedys and on to devourers of the kind of noise the likes of Coilguns, Retox, and Blood Brothers conjure. Since forming the band has toured extensively across the US especially through 2012, playing with bands such as Sick Of It All, Trial, Touché Amore, and Joyce Manor and making successful appearances at numerous festivals including Within These Walls, The Punk Rock Picnic, and inFEST. Since the release of Still Life, American Standards has signed with Victory Records for the new album and continued to explode stages with their devastating sound.

Released via indie label We Are Triumphant, the EP opens with the brief and irresistibly caustic Self (En)titled, the track coverinstantly attacking the ear with vocal venom and soon joined by an emerging rhythmic and sonic provocation. It is the perfect introduction to open up attention and set the wheels of intimidation and incitement in motion as it boils up into the following Raised By Wolves. Again the coarse vocals of Kellum seize the opening seconds, his delivery a harsh but excellent rub on the senses immediately wrapped in another fury of sonic and rhythmic challenge. There is an earthy groove soon in place to start a deeper contagion aided by group scowls and the enslaving beats of Gittleson but it is just the appetiser as the track explores veins of infectious alternative rock alongside rapacious riff greed to ignite greater flames of passion for its confrontation.

The close of the track also sees the bass of Skowronski develop a predatory throat to its growl which is scintillating and across subsequent tracks prowls and chews the senses and emotions with greater and more carnivorous glory starting with Bottom Feeder. A sonic tease comes with drum foot stomps to open up the fury, and is soon led into a jugular ripping primal assault, vocals and the guitar of Westermeyer scything through the air with acidic malevolence. The unexpected offering of clean vocals is another rewarding and pleasing element and tempers the sonic fire and bass/drum barbarity which threatens throughout.

Both Paradigm-Alt-Shift-Delete and Harvester continue drawing stronger impressed reactions to the release. The first is a tempest of metallic vengeance crafted by again excellent bass and drum vehemence further fuelled by the twisting guitar grooves and varied vocals which switch from seduction to antagonism note by note. With flames of noise rock and discord taunts, the song is a thrilling adventure of predacious design, senses and thoughts lured and exploited by the excellent enterprise and insidious invention of every element of song and band, especially that bass. Its successor is equally corrosive and eager to offload its sonic rabidity onto nerves and synapses, a ferocity driven by arcs of guitar sonically honed imagination, flesh searing vocals, and steel jawed basslines gnawing away from start to finish. Not for the first time American Standards take exciting detours from the assault, here vocal harmonies allowing breaths to be taken and passions to leap before the returning savagery brings a triumphant climax.

The release is completed by the fearsome punk goading of The Red Queen and the crawling intrusive primal chaos that is the title track, its opening lumbering gait evolving through oppressive washes of intensive rage vocally and musically and varying unpredictable pace changes. Again there is a constant flood of ideas and variations all successfully and seamlessly infused into the emotive furnace. The two tracks leave the richest impressions and satisfaction to confirm the release as something quite immense.

Rather than wait for, what on the evidence of the EP, will be an album to bring another striking and exciting provocation, we suggest the Still Life EP should be confronted right away and allowed to feast on thoughts and passions, and as a name your own price offer on their Bandcamp profile, American Standards have given an invitation impossible to refuse, especially when it one of the best hardcore releases to come along in the past year.

http://americanstndrds.bandcamp.com/

https://www.facebook.com/AmericanStandards

9/10

RingMaster 27/06/2013

 

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The New Sheriff – BlackSwanSongs EP

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Having been more than impressed by his previous projects, their distinctly different sounds lighting some potent passion, vocalist James Scott-Howes has stepped forward again with another unexpected but equally intriguing project in the shape of The New Sheriff. From the soulful mischievous  hip hop enterprise of Great Imitation through the startling experimental haunting adventures of Shrikes, Scott-Howes and his lyrical prowess has engaged and pushed the envelope of himself and listener but the post hardcore squalling intensity of The New Sheriff may just be his most disruptive and challenging moment yet. The Leicester based band is not all about him though, the frontman joining the accomplished and imaginative skills of guitarist Tom Whitmore, bassist Ollie Jones, and drummer Mark Abbott for a combined force which ensures attention is all theirs whilst they bruise and intrigue thoughts and senses.

With influences taken from the likes of Touche Amore, Pianos Become The Teeth, Defeater, La Dispute, At The Drive-In, and Refused, coverthe quartet create they own abrasive confrontation which takes its debut upon the BlackSwanSongs EP. The four track tempest of emotion and sonic spite is a raw and uncomfortable listen but a richly compelling and provocative one, and in no mood to take it easy on the ear from its very first tempestuous breath. Opening track Pinky Swear approaches with strokes of jangling guitar before big boned rhythms thump out their intentions alongside the dark growling bass. The combination has no problem in sparking the appetite as they set the platform for the caustic scowling attack of Scott-Howes to work senses and thoughts. As expected his lyrical stance and stylish script is magnetic but his delivery initially throwing assumptions off balance. Being used to his rapping and word crafted explorations the acidic and abrasive vocals shock and take a while to get used to but soon make the strongest persuasion. The song itself swipes and intimidates the ear yet within its full intensity, the sonic colours of the guitar casting a rich tale upon the muscular satisfying canvas.

Eternity Means Eternally steps forward next, well barges forth, with again a forceful almost rabid hunger. There is a punk grazing to the provocation especially in the group chorus which breaks out whilst the grizzled bass voice is a ravenous predator within the welcomingly wearing assault of guitar and vocals. The drums of Abbott cage and pummel the listener with excellent maliciousness especially entering its climax, and overall though the track is firmly seeded in post hardcore there is more than a whisper of the punk hardcore assault of Amen to its threatening lure.

The following Bitter Magicians restrains some of its intensity for an evocative weave of expressive guitar sculpting and less confrontational but more potent vocal suasion, the hard spoken delivery of Scott-Howes offering more clarity which certainly has essences of his previous band without losing the already in place spite or venom. As with all the songs there is no escaping or hiding from the power and intensity of the band which the EP closer In Heliotrope We Burn equally ensures. Moving from where its predecessor left off, the slower clear tones of sound and voice welcomes the ear into the impending storm of corrosive emotion and sonic spleen bred creativity, the track an inciting finale to a strong and impressive first encounter with The New Sheriff.

BlackSwanSongs suggests the band is still in the process of evolving and defining its sound and unique voice to stand out amongst a torrent of emerging post hardcore band but it is rife with promise which ignites real anticipation for their future creativity…a band to keep a close eye on indeed.

https://www.facebook.com/TheNewSheriffOfficial

8/10

RingMaster 03/05/2013

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Blood Of The Spectre: Self Titled EP

If you are looking for a new metal force with an extreme breath to their sound than you could do far worse than taking a listen to UK band Blood Of The Spectre. With their debut self titled EP they do more than enough to convince they could be one of the most formidable weapons in British metal. The release is not perfect but leaves one convinced of their future and promise, both unmistakeably mighty.

Released June 25th, the EP is the first step in a wider annihilation of the masses by the band. Since their beginning in 2009, Blood Of The Spectre has earned a well deserved recognition for their live shows, the quintet leaving depleted husks and deeply contented victims from their stage power across the length and width of England alone and in support of bands like Evita, Touché Amore, Monuments, Malefice, You Me At Six and The Blackout. The Hampshire band take no prisoners nor show any mercy but are not just about destructive tendencies, combining unbridled mountainous aggression with concise technical invention, intrusive scorched melodic play, and dehabilitating breakdowns they create songs which spark the senses as equally as they crumble the walls surrounding them. The EP arguably fails to bring the full force of their live show to its contents but still shows enough balls and focused aggression to leave others in the shade.

The release opens with an excellent instrumental called simply Introduction and that is what it is. A welcoming declaration of what is to come, an invite to stand before a brewing force. With an appealing grooved lure and thumping rhythms to compliment the punchy riffs the track is near mesmeric even if maybe lacks anything remarkable. The following Darkened Majesty is an immediate proof of the intent suggested by its predecessor. The track licks at the ear initially before opening up in to a surge of addictive riffs and hungry rhythms whilst vocalist Nick Brooks drips venom and grizzled energy from every syllable. His delivery is not the most original but makes a bruising companion to the manipulative melodic teasing of guitarists Richard Jacobs and Dominic Pool. Switching pace and intensity throughout the band do not spare a second for reflection or breath and it is an impressive start continued by the following Defeatist.

Initially the track is much like its previous companion and without a concentrated attention they can simply merge. Focus though shows a varied sonic display from the guitarists within the thunderous intensity and a great brooding bass presence from Tom Farrington who eventually by the EP end probably impressed the most, though all on the release show great quality and intent. The track is another fine example of the well crafted blend the band achieve of thoughtful and carefully structured technical enterprise and an uncomplicated oppressive aggression. The mix is balanced and mutually generous even if that possibly depletes the full live intensity of the band upon the EP, and gives a fresh feel with every visit.

The consuming storm that is Lexical Grip and Dystopia The first is a ravenous brew of confrontational riffs and rhythms with drummer Laurence Ash taking pot shots at the ear like a primed boxer within his eager precise attack. Again the song seamlessly moves through the knee buckling bombardments into melodically driven slices of absorbing guitar invention back again. The second of the two with the bass as rabid as you could wish, pulls a violating fury and spiteful presence out of its depths to entangle the senses in a willing submission. The band has had comparisons to the likes of TesseracT, Sylosis, Killswitch Engage and Black Dahlia Murder often placed upon them and this song gives reasons why with its feverish mesh of sounds.

Splitting these two songs is the outstanding instrumental called….Interlude, yep no mincing words with these boys. The piece is wonderful, just guitar and atmosphere in union for one and a half blissful minutes as the band highlight their melodic skill and imagination perfectly.

Ending with the creative and ever evolving End Era, the EP is a thoroughly satisfying and powerful release giving evidence to why Blood Of The Spectre have carved such promise for themselves ahead. Being critical a variation on the vocals with more group contribution and at times a better distinction between songs, though the way they flow as one breath is quite impressive, would possibly have helped ignite bigger flames than the release did overall but it is nevertheless a great collection of tracks from an outstanding band.

https://www.facebook.com/bloodofthespectre

RingMaster 19/06/2012

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