Cute Cute Death – Vessels

Cute Cute Death Promo Shot_RingMasterReview

With a name which certainly sparks intrigue, Cute Cute Death back it up with a sound just as attention grabbing and now an album which climbs over the senses, trespasses their boundaries, and leaves fierce satisfaction in its wake. Vessels though is a slightly curious affair for personal tastes, an album which for its first third certainly pleases yet without sparking much more whilst its remainder is a different type of protagonist sparking real excitement about itself and the band’s future.

The seeds of Cute Cute Death began in 2008 when drummer Wayne Kopman and guitarist Johnny Correia relocated from their home city of Johannesburg, South Africa to the UK. Settling in London, the pair met and subsequently linked up with vocalist Niko Forster. After a few line-up changes, guitarist Ricky Gurung and bassist Robert Pipe were enlisted, at which point the band properly emerged, initially under the name Set The Air On Fire. They were soon lighting up stages with their American Metal/hardcore influenced post hardcore endeavours, taking to their growing sound inspirations from the likes of Lower Definition, Alexisonfire, Gallows, Finch, Refused, Deftones, and Glass Jaw, who especially come to mind at times listening to Vessels. The subsequent time since starting has seen the band play across the UK with bands such as Broadway, Atlantis, Flood of Red, They Say Fall, Confessions of a Traitor, and Rival State, all the time adding to their potent reputation which is now pushed again by their debut album.

Produced by Joseph Grouse with Justin Hill (Sikth) mixing, mastering, and co-producing, Vessels opens up with its title track; a song needing little time to get a firm hand on ears and attention. The guitar prowess of Correia and Gurung quickly casts a web of enterprise that lures the imagination, their sonic touch soon wrapping the impressive clean tones of Forster. Straightaway he impresses, increasingly so as his delivery springs rawer, dirtier, and grouchier roars to equally fine success. As the rhythms rumble and prowl the resourceful landscape of the song, there is no escaping the lure and vibrancy of the encounter yet, and we emphasize for personal ears and tastes, it never quite taps into something which really stirs up the passions.

Cute Cute Death Cover Artwork_RingMasterReviewAll the same it is a powerful and dramatic start to Vessels continued by the Sikth meets Incubus personality of Alarm. Once again, the guitars dance with invention and craft as rhythms crowd the senses with their hungry shadows, all colluding to burn fiercely around the equally inflamed and rousing tones of Forster. The track enjoyably blisters on the ear before seamlessly evolving into the rawer antipathy of Pockets. Sonic tendrils and band shouts bring fresh drama to the album whilst the bass of Pipe borders on predatory as it robustly swings through the web of unpredictable and intoxication grooves and scything hooks. There is something extra about the track, if indefinable, which its predecessors lacked, an essence which and hints at the adventure waiting to escape the album further on.

Red Lights makes a calmer entrance next, though walls of bruising rhythms led by the tenacious swings of Kopman amidst intimidating riffs are soon descending on the senses before the song grows into another skilled and magnetic blend of contrasting textures and intensity, as ever echoed in the vocal enterprise of Forster. From its success the brief instrumental of Interlude looms upon ears with electronic suggestiveness on board, it drawing the listener into the awaiting revelry of DMT. It is from here that Vessels suddenly triggers a lustier reaction, though again it is hard to say exactly why, the major differences between the qualities and invention of songs before and after the melodic break not an open reason. With persistently twisting grooves and unpredictable rhythms aligned to writhing tendrils of sonic imagination adding to its temptation, there is no denying that the song simply enthrals and sparks a new breed of pleasure.

There is certainly greater diversity across the songs from hereon in on the album, starting with the warm caress of Statues. The song is an emotive melodic hug and vocal croon with the guitars spellbinding and Forster bordering on majestic with his again wonderfully varied tones. Taking best song honours, the track almost alone tells you all you need to know about the potential and already established invention of Cute Cute Death and that is without sharing any invasive trespass, which they have already proven to be equally adept at.

Leave This City follows and quickly holds courts as its web of spidery grooves and melodic acidity lies magnetically upon the rapier like thrusts of Kopman and another darkly juicy bassline from Pipe. There is a theatre to the hooks and the lively invention which grips the imagination as forcibly as the song’s underlying rhythmic rumble and fiery catchiness takes the body. It is an almost imposingly persuasive proposal matched by that of the enjoyably volatile and often irritable Glass Eyes and eclipsed by the closing might of Dinosaur. The final track is a tempest of anthemic hardcore, rebellious punk rock, and psyche infesting noise rock persistently involved with progressive and melodic ingenuity. The song is rebel rousing, a spirit igniting finale to the album offering a creative call to arms for the impressive invention and presence of Cut Cute Death.

Vessels is an excellent first full-length from the band; one which, even with that odd impact initially, left us thrilled and eager to recommend all fans check out what is a fresh breath in the post and hardcore scene.

Vessels is out now through all outlets on Friday 13th May.

http://www.cutecutedeath.com   https://www.facebook.com/cutecutedeath/     https://twitter.com/cutecutedeath

Pete RingMaster 13/05/2016

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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