Hyvmine – Earthquake

High praise has been brewing up around Los Angeles quartet Hyvmine and it is not too hard to understand why listening to their debut album, Earthquake. The release is a tapestry of attention gripping craft and substance, an encounter woven with individual style and enterprise united with a single rock ‘n’ roll intent.

Hyvmine could be said to be a proposition built around or for the striking technical skill and open imagination of lead guitarist/vocalist Al Joseph but the band’s first album soon shows it is all about four very talented musicians bringing individual prowess to a common guile and aim. Their sound is a magnetic fusion of progressive metal, hard rock, and grunge, a weave which at times ebbs and flows in its imagination stoking qualities and success but is never less than one seriously fascinating and enjoyable proposal.

Earthquake wakes upon ears with Shift, keys like suggestive mist immersing the senses before piano and guitar cast their own inviting welcome. Al’s earthier vocals step forward soon after bringing grunge nurtured hues with him, the song already aligning a mix of flavours and only continues to broaden its web as Al’s guitar paints its creative intent around the rousing rhythmic rumble sprung by bassist Christopher Joseph and drummer Fabrizio Cavallaro. With veins of progressive and heavy metal continuing to escape the strings of Al and fellow guitarist Alon Mei-Tal, the track simply lures intrigue and increasingly keen attention.

The following Mirror Master opens with a bass led grumble, a Sick Puppies like breath joining it as the song swiftly eclipses its predecessor. Veins of technical dexterity and cunning ensure the imagination is persistently caught unawares and pleasured as wholly as ears, the track bursting from its earthier canvas like a firework before settling down to similarly enticing heavier rock incitement. It is a weave emulated across the album in numerously individual ways, as the following Shogun shows with its instinctive rapacious growl and Seether-esque croon. Flowing through mellower scenes, the backing vocals of Alon a warm caress, and steelier climes, the song seduces and snarls with equal tenacity and temptation.

All Of Creation brings its own braid of menace and melody next, grooves winding around the senses as vocals and melodies smoulder if with a great gravelly raw edge especially in the former. If you can imagine a fusion of TesseracT and Stone Temple Pilots, this absorbing track could very well epitomise your thoughts. Again Al’s skills radiate but as elsewhere they are never, even with the startling twists leading to his strands of creative flair, forced upon ears but organically embraced with a track’s roar.

The album’s melodically seductive title track engagingly, almost lovingly, wraps around the listener but still holds a thick growl in its depths while Fire Escape prowls with a plaintive grouchiness as it flirts and challenges with a funk infused, predation lined shuffle. Each left a definite want for more, a lure pretty much all tracks within Earthquake sow as echoed by the melodically atmospheric Elysium. Like a heavy rock equivalent of The Christians meets Voyager, the song is pure mesmerism, its metallic touch addictive and harmonic heart irresistible.

The album closes with firstly the similarly hued but firmly hard rock nurtured Great Divide and lastly the flaming almost tempestuous Cliffhanger. Neither song quite ignited the appetite as their predecessors but both just left an already bred intent to enjoy the album again and again a little more urgent each offering moments of real mouth-watering adventure within their bodies.

Though making a great first impression, Earthquake really grows with every listen, recognisable aspects aligning with uniqueness for one thoroughly pleasurable encounter.

Earthquake is out now through Seek and Strike, available @ https://hyvmine.bandcamp.com/releases and https://seekandstrikemerch.com/products/hyvmine-earthquake-cd

https://www.facebook.com/hyvmineband/

Pete RingMaster 23/01/2018

Copyright RingMaster: MyFreeCopyright

Of Allies – Night Sky

As release by release they have realised and pushed on the promise which came with their first steps into the UK rock scene, Of Allies has similarly step by step grown into one of the most riveting and exciting prospects within its grasp. Because of the potential and craft shared through their previous EPs, and enjoyment found, anticipation for their first album has been patient and increasingly eager with the reward being one rather wonderful encounter going by the name of Night Sky.

Emerging in 2013, Of Allies soon had intrigue and pleasure stoked with the release of their first EP, Tempers the following year. It was a beyond solid and skilfully accomplished introduction which suggested bigger and bolder things to come, that suggestion part realised and supported by its successor, the Fragments EP in 2015. Everything has now come together within Night Sky, all the promise and craft uniting with adventurous enterprise for a kaleidoscope of sound and imagination where you know there is still a tease of even bigger, bolder things to come.

Night Sky opens with its title track, an atmospheric invitation cast by the guitars of Tom Hewson and Rich Nichols against an electronic fizz. The latter’s ever impressive vocals soon intensify the lure; a Voyager meets An Entire Legion like hue soaking the blossoming encounter. Soon the vigorous muscle and stroll of the song takes hold, a rich grip of sound never quite let of the leash and all the more impacting because of it.

It is a striking start swiftly rivalled by the following 17, its calm equally as magnetic and subsequently fevered as the energies and emotions boiling up around the swinging rhythms of drummer Danny Barrick and the alluring groan of Nick Tyldsley’s bass. Controlled yet tempestuous, the song is a rising infectious blaze of invention and captivation before making way for the equally compelling presence of Collapse. Its grumble is heavier, more rapacious, but superbly tempered by its melodic dexterity and the instinctive catchiness which runs through the Of Allies sound. Like Breaking Benjamin meets Shattered Skies, attention and appetite are quickly enslaved.

The haunting beauty and melancholic grace of brief instrumental Apparition leads the imagination into the waiting harmonic drama of Run. As guitars spin a beguiling web, Nichols croons with organic temptation being just as potently backed by the vocal chords of Hewson as the song flows evocatively through ears. It is a caress of aural sunlight with emotive shadowing which only draws the listener deeper into the heart and emotion of the album; a prowess as deftly conjured within the celestially warm and increasingly volcanic Waiting For You where progressive and melodic textures collude with metallic trespasses. With a capricious character and mercurial climate, the track is nothing less than thick enticement for ears and plaudits.

The steelier Lost Not Found has a firm grasp on rock pop boisterousness in its similarly skittish gait and eventful body while the lapping waves of scenic seduction and undercurrents of gloom clad aural thoughts within the suggestive slither that is Drifting leads the imagination into the spatial and immersive fineness and deceptive calm of Open Sea. It too has a dark edge and underlining predaciousness which perfectly aligns with the heated drama of voice and sonic enterprise.

The warm atmospheric succour of Solace lifts emotions up from those darker hues, the instrumental piece as provocative as it is manipulative before passing an open imagination over to easily the best track within Night Sky. The open ingenuity of all songs frames the sheer magnificence of CMD-Q. Straight away post punk instincts are gnawing on the passions, guitars and bass linking up in agitated discord and melodic trespass as beats scythe across their glory and vocals skilfully wrap their addictive throes. The track is just majestic but so frustrating when it just leaves lust hanging at two minutes.

It is a hunger soon satisfied though by the robust but graceful exploits of Glass House, Of Allies showing how inventive and artful they at aligning contrasting elements. It is a quality never far from the surface of their music even the slim moments of atmospheric instrumental haunting as shown once again in Stranded.

The album finishes with In Low Light, an echo of all the diversity and craft across the release in its own individual theatre of adventure and imagination with a bite to its nature and dynamic drama to its breath.

Night Sky is superb, easily one of the most captivating propositions this year and most importantly, one of the most enjoyable; both aspects only increasing listen by listen.

Night Sky is out now on iTunes.

 http://ofallies.com/    https://www.facebook.com/OfAllies/    https://twitter.com/weareofallies

Pete RingMaster 30/11/2017

Copyright RingMaster: MyFreeCopyright

Vie Jester – All In Jest

It was around two years ago that L.A. trio Vie Jester grabbed ears and impressed with the Etches In Aether EP, a collection of multi-flavoured and imaginatively sculpted melodic/alternative rock bred songs. Recently drummer Cliff Conway got in touch to introduce the band’s latest offering, All In Jest, to our ears. Another EP sized clutch of songs, it was gratefully received especially once discovering the new adventure and maturity shaping the band’s sound and even more striking new offering.

As much as it left a greedy appetite for the Vie Jester sound, Etches In Aether is forcibly eclipsed by the exploits of All In Jest. Everything about the band has grown and matured with its five songs giving dramatic evidence within their skilfully woven episodes of enterprise and imagination. Magnetically melodic but with a snarl which may ebb and flow but always lurks to add greater depth, All In Jest is an inventive roar unafraid to lyrically take a bite at intimate and social issues.

It opens up with new single Please and one of the best starts to any release this year. The track is immense, rising from a calm but portentous melodic yawn into a muscular yet inviting spire of sonic nagging. The guitar of vocalist Kyle Guerrero needs mere seconds to tempt, his powerful vocal prowess just as swift in persuasion once gracing a song already revealing an unpredictable and adventurous body. Vocally backed by both Conway and bassist Jaime Salas with matching potency, Guerrero’s niggly citric tendrils addictively persist though stepping back nicely at times as the track blossoms from one twist and idea to another with increasing magnetism.

It is a magnificent start which hints at bands like Voyager, Tool, and Karnivool in its own individual adventure; a blend echoed in the equally creative Sunburn & Moonshine. A gentle melody wraps its suggestion around ears first, harmonic whispers adding their elegance before Guerrero’s expressive tones join the already bubbling adventure brewing within the catchy encounter. Embracing an engaging intimacy as it brews up emotive crescendos, the track just seduces ears and attention. It does lack the tempestuousness of its predecessor but replaces it with melodic flames and warm infectious tenacity for similar if not quite as spectacular success.

Enigmata follows quickly catching expectations unaware with its electronic tempting as vocals gather. The same essences continue as they are joined by the imaginative enterprise of guitar, rhythms, and vocals; the song evolving with every passing note and idea with enticing endeavour. Its relative calm and boisterous expulsions are similarly gripping whilst the array of flavours and textures within its body only captivate. It has the boldness guiding the whole release to the fore but with its richest invention in play as the song explores it simply demands plaudits.

The release is concluded by firstly The Punchline, an ethereal caress with volcanic tendencies, and lastly through the rousing endeavours of Colourblind. Both tracks keep pleasure and ears intensely involved with the second of the two especially gripping with its stylish touch and creative tapestry framed by Conway’s rhythmic prowess. It is probably fair to say that neither quite lights the major fires in personal passions as those before them but both inflame an already installed appetite for the Vie Jester invention whilst pushing the new craft and imagination shaping their sound.

Vie Jester has always deserved greater attention and they should get it with All In Jest; certainly they and it warrant a moment of your concentrated time.

All In Jest is available now @ https://viejester.com/album/548219/all-in-jest

http://www.viejester.com/     https://www.facebook.com/viejester    https://www.instagram.com/viejester/    https://twitter.com/viejester

Pete RingMaster 07/11/2017

Copyright RingMaster: MyFreeCopyright

Ape Rising – Self Titled

It is hard to believe that it is five years and a few months ago that we were tantalised and hooked on the melodic dexterity and acoustic mischief of The Radioactive Grandma and their debut album, the fact that numerous of its tracks from it are still a regular part of our intimate listening for pleasure moments. Ready to re-energise that playlist, the outfit has returned with a new offering to grip ears and seduce the imagination.

It is not quite as simple as that though. Firstly the Co Cavan and Maynooth hailing band is now called Ape Rising and where once a trio it is now a tenaciously inventive quintet. Band originals in vocalist/guitarists Johno Leader and Peter Donohue are still there leading the way in melodic enterprise and lyrical suggestiveness but now joined by keyboardist Peter Denton, drummer Fran Mc Donnell, and bassist Jimmy Deface who is/was also one half of the excellent duo Juggling Wolves alongside Leader. Whether it was the need to recruit new members or the evolution of their sound which inspired the new moniker, or as hinted at elsewhere a dubious porn site taking their previous domain name, it certainly comes with a fresh wind of invention and a broader array of sound with the outfit; a blend simply lighting up their new self-titled treat.

Their acoustic prowess is still in evidence but embraced by a new indie/progressive/math rock venture which truly refuses to sit in any camp but embraces plenty of styles and flavours within its retro kissed synth inspired adventure. To say it is magnetic from start to finish does not do the increasing irresistibility of the album justice. It swiftly gets under the skin and engagingly niggles away whether with or without its company. It all starts with In Their Masses, the song rising from an initial ignition sparking sample in a melodic haze before guitars begin weaving their suggestive enterprise around the vocal prowess of Leader and the assisting tones of Donohue and band. Perpetually blossoming second by second as melodies and harmonies cluster, a seventies synth essence brings its flowing colours to the creative canvas. It is just one of the emerging traits though, a raw alternative growl having its moment in voice and sound too before things settle back into the track’s gentler yet still fiery seduction.

The song is pure temptation sparking things off and setting the heart of the release in fine style before being eclipsed by the following Oddysee. Straight away a great nagging hook is at work, its touch part celestial part espionage like resembling one of the teasing attributes of those classic sixties/seventies spy/sci-fi TV show themes. From its intrigue, a strolling body of infectious energy and endeavour surges, spun by guitar and keys as rhythms dance boisterously around zeal fuelled vocals. There is theatre in its nature, adventure in its heart; a combination with individually cast bold invention unites to simply hit the spot.

There is a bit of early Jimmy Eat World to next up King Of The Universe, Denton’ s keys bubbling with that ever present seventies  revelry alongside the irresistible acoustic craft of the guitars. Incessantly catchy to feet, neck muscles, and appetite, the song whisks the imagination away into its own climate of warm temptation; a plateau frequented just as captivatingly by Divide where imagining Young Knives and KingBathmat fused together gives an idea of the enticing progressive hug of the song and its graceful voice.

Keeping Me Away is a slice of indie rock ‘n’ pop which has the body bouncing with just its first eager strum, and swinging by the time keys swarm poetically across high-spirited rhythms.  Of all the songs within the album, this has the boldest Radioactive Grandma feel to its swinging body but it comes with the organic infectiousness which made eighties outfit The Woodentops so glorious, and now adds the same addictive quality to Ape Rising.

The calmer reflection of Medicine Part 1 shares a poetic suasion which reminds of songwriter/composer/musician John Bassett while Medicine Part 2 loads all of its predecessor’s assets into its own rousing sortie on ears and imagination, at times bewitching like a hybrid of Yes and Voyager. Numerous tracks make a play for best honours but this always stands at the front of the pack with every listen.

It is probably fair to say that To Daze The Day I borrows something of Juggling Wolves for its emotive canter but a stroll which bubbles with an energy which borders on raucous as keen invention simply lights up ears and the passions with an unrelenting imagination.

New single, The Model Prime skips in next; its melodic dance and harmonic sways animatingly lighting the song’s retro tone and mesh of glowing flavours. Like a siren it calls on ears and the spirit, unafraid to add unpredictability to its warmly cast temptations before the shuffle of the album gets even more kinetic within Joysticks & Stones, a song which at times has a touch of eighties band Furniture to it and in other moments the more hot-headed devilry of someone like Bloc Party.

The album finishes on the lustfully simmering progressive pop of Flicker and finally the pop rock beauty of 6 Eight 7. Both tracks simply match the pleasures before them with their own ear stroking, spirit stirring enterprises with the stunning first again having a great KingBathmat vibe which can never do any harm while its successor offers an acoustically nurtured samba which excites the senses with its unrelenting and greedily accepted infection.

The Radioactive Grandma will never be forgotten here or lose their spot on for pleasure only listening but now they are joined with equal zeal by Ape Rising, a proposition sure to drive you to highly pleasurable distraction.

The Ape Rising album is out now @ https://aperising.bandcamp.com/ and through other stores.

https://www.aperising.com/     https://www.facebook.com/ApeRising/    https://twitter.com/Ape_Rising

Pete RingMaster 02/10/2017

Copyright RingMaster: MyFreeCopyright

NoSelf – Human-Cyborg Relations Episode 1

Proving that nu metal is still a valid presence and temptation, Central Florida outfit NoSelf have just released their new seven track mini-album to excite ears and arouse the spirit. Human-Cyborg Relations Episode 1 unites familiar traits with the band’s imagination stoking individuality, sparking body and an already bred appetite for the earlier heyday of nu metal along the way. It is claimed there is a new revival of the genre; a most welcome second coming if band and album is evidence of its new adventure.

Emerging in 2002, NoSelf draw on the inspiration of bands such as Deftones, Spineshank, Adema, Nothingface, and Korn for their sound, spicing making a potent ingredient in the band’s new Matt Johnson recorded offering. It is flavouring which has enriched previous encounters but makes more of a hue than ingredient of the immediately pleasing Human-Cyborg Relations Episode 1.

The album opens with Casting Stones, instantly cradling ears in a melodic coaxing as keys entice. Their suggestive welcome swiftly draws the listener into a waiting raw roar of sound, the guitar of Justin Dabney a predacious tempest of riffs and grooves backed by the rapier swings of drummer Drew Miller. The snarling tones of vocalist Dylan Hart Kleinhans are enticingly tempered and supported by warmer vocals, the union a bridge between the savage and electronically enchanting aspects of the outstanding opener. As suggested earlier, the song brings recognisable aspects in its turbulence but equally a squall of fresh enterprise which has body and thoughts quickly locked in.

As great as it is, the starter is still eclipsed by next up Save Me; carnivorous riffs and the wonderfully gnarly tones of Joey Bivo’s bass chewing on the senses, their ferocious web sonic barbed wire. Similarly to the first, the track contrasts its ferocity with a harmonic radiance, vocals and melodies flirting with ears before falling into the onrushing scourge of aggression though still forcing their inviting calm to the surface. That Adema influence is an especially open and enticing colour in the storm, and across the release, adding to its drama as it tempers the corrosive heart of the excellent song.

Nudisease is just as appealing and intrusive as its predecessors though with a more tolerant nature, riffs and grooves to the fore from its first breath. The intensity of the first two is pulled back in the third though its fire is as pyre like but turned into a hook carting swagger which has the body bouncing. Slips into calmer passages are fluid and magnetic, the track revealing a bolder adventure than the previous two if less of their greed inducing savagery while successor Through Your Eyes also embraces mellower climes in its more mercurial atmosphere and proposition. The song though has a volcanic temperament and heart which fuels its melodic and aggressive sides, creating an unpredictable and rabid but ultimately restrained trespass which maybe teases more than fulfils but still leaves pleasure stuck in its previous high.

If there has been a more enticing start to a song this year than that of Outatime we have yet to hear it, the track beckoning with flirtatious sonic finger wagging before the funk hearted bass of Bivo adds its lure; swiftly followed by a rapacious tide of riffs. Just as tenacious vocals and rhythms soon jump in, their more predatory touch colluding with the atmospherically intriguing, funkily mischievous antics of the song and the similarly devious presence of Hart Kleinhans. Eventually its carnal rawness erupts in a contagion of an insatiable chorus before things ebb and flow in intensity with increasing infectiousness. The track steals best song honours in no time, cementing its claim with every listen.

The weakest moment on the encounter is Frisco but the fact it is one inescapably catchy and persuasive moment tells you how potent Human-Cyborg Relations Episode 1 is as a whole. The song has a definite pop spiced side not heard on the previous tracks; a kinder more deliberately infectious nature which has the feet trapping and vocal chords induced. There is something of Australian band Voyager to the song at times which only adds to its tempting and a growing growl that shows real teeth but lacks the weight and tenacity of its predecessors for personal tastes. In saying that there is no denying it commands full involvement and enjoyment before making way for the closing delights of Ctrl-Z. It too has an undisguised poppiness but latched to an imposing antipathy which hits the spot as much as its infectious escapades. The song is another which bears boldness in design and adventure to captivate ears and imagination but also a hearty tension of sound and emotion which grips eager participation.

Recently signing a worldwide distribution deal with Zombie Shark Records, the new record label from Noah “Shark” Robertson (Motograter, EX-The Browning), NoSelf have pushed themselves to the fore of this new wave of nu metal seeded goodness with Human-Cyborg Relations Episode 1. There is more to their sound than just that field of flavouring, one we eagerly await hearing expand ahead.

Human-Cyborg Relations Episode 1 is out now and available @ http://www.zombieshark.net/  and  https://zombiesharkrecords.bandcamp.com/album/human-cyborg-relations-episode-1

https://www.facebook.com/NoSelf/

Pete RingMaster 22/08/2017

Copyright RingMaster: MyFreeCopyright

Vault 51 – Kid

It is never a bad thing to make a thumping good first impression and that is exactly what US quintet Vault 51 has done with their debut EP, Kid. Not that the band is exactly a new force to attention having been around a while now with a buzz soon brewing up around them and apparently they have been signed to Roadrunner Records at some point too. Kid though is their first meaty proposition for real focus following a clutch of magnetic singles, and a forcible reason to pay close attention to their rousing sound.

Roaring out of Atlanta, Vault 51 breed a sound which lies somewhere between alternative rock and melodic/post hardcore; a proposition embracing familiar essences with fresh invention to create an individual character which blossoms across the six tracks of Kid. Already earning comparisons to the likes of Red Jumpsuit Apparatus and Story Of The Year, the band gets straight down to persuasive business with the Drew Fulk (I Prevail, Motionless In White) produced and Lee Rouse mixed EP. Thirty Six gets things underway, it’s ticking suggestiveness soon submerged in a torrent of riffs and fiery sonic flames. That passing of time is still there working away as the song ebbs and flows, the bass of Alex Garmon a gnarly temptation and the jabbing beats of Joshua Landry a biting trespass as melodies and harmonies catch alight and soar. Frontman Landon Jones leads the way with his potent tones backed by the similarly alluring voice of guitarist Tom Jepson, whose strings simultaneously collude with those of Patrick Snyder in a web of enterprise which has ears gripped and an early appetite stoked in swift time.

It is a powerful start to the release, that mix of varied flavours and textures a tempestuous yet composed blaze which as suggested earlier merges recognisable essences with bolder exploits belonging to Vault 51; a success found again within the following We Don’t Care. The track quickly shows itself a predatory individual, riffs carrying a sinister and aggressive edge tempered by again impressing vocals. With rhythms bringing their own cantankerous almost inhospitable intent, the track still plunders the senses; a Spineshank meets Breaking Benjamin spicing grabbing keen attention as things flow through mellow and harsh scenery with craft and emotional intensity.

The first two striking tracks set the marker for the EP which arguably the subsequent songs miss matching yet as latest single Magnolia with its melodic graces and atmospheric caresses soon reveals, the adventurous ear pleasing nature and power of the release refuses to die down. A volatile encounter as calm and seductive as it is fiery and imposing, the third song breeds a virulent infectiousness as forceful as that cast by its predecessors and in next up Wildfire. A poppier incitement from the off but soon lighting a pyre of emotion and intensity, the song has something of Australians Voyager and Sick Puppies to it, a mix of the two in many ways at least which has the imagination soon caught up in its creative drama.

The magnetic reflective calm of Mourning View makes an engaging contrast soon after; the song a melodic serenade on the senses with a brooding rhythmic lining as keys cast their suggestive poetry.  It too has tempestuousness to its heart which flirts with rather than breaks in ears, adding an anxiousness which firmly appeals before Sincerely Me brings things to a ferocious conclusion with a blistering tempest abound with melodic beauty and emotional drama. Maybe taking longer to initially convince than other tracks within Kid, it blossoms into one of the highlight of the release with its cyclonic breath and rousing ingenuity.

Kid makes an increasingly compelling and impressive statement through every listen, sparking the lift off of Vault 51 into the grasp of real attention but more importantly a certain new wave of hungry fans.

The Kid EP is out now on Spotify, through other stores and @ https://www.vault51.net/merch/kid

https://www.vault51.net/    https://www.facebook.com/Vault51official/    https://twitter.com/vault51official

 Pete RingMaster 25/07/2017

Copyright RingMaster: MyFreeCopyright

Figures – Chronos

Barely giving the acclaim laden dust time to settle after the release of their self-titled debut EP this past February, Australian outfit Figures have just unleashed its predecessor in the similarly striking and fiercely enjoyable shape of Chronos. Offering five more slices of the Melbourne quintet’s alternative rock/melodic metal blend, the EP also has a new fresh breath and seeming richer maturity which defies the mere four months between releases. Obviously we cannot say when the songs of either release were written but the step is maybe surprising but greedily taken as Chronos eclipses the equally outstanding first offering from the band.

Formed as 2013 turned into its successor, Figures has risen up the ranks of attention with notably increasing success in recent times due to that critically acclaimed first EP and a dynamic live presence which has already seen the band  share stages with the likes of Caligula’s Horse, Twelve Foot Ninja, and Superheist. Broader focus and support for the band has without doubt been aroused these past handful of months and is sure to escalate again as Chronos is discovered by more and more. Instantly it has ears and attention in the palms of its creative hands as opener Recoil raggedly simmers into view and proceeds to uncage a gnarly groove as primal as it is magnetic. The guitar continues to growl and tempt as the lively rhythms of drummer Josh Sforzin and Jen Fletcher’s moody bassline join the blossoming affair; vocalist Mark Tronson soon in the mix with his agitated roar. Predatory and magnetic, the track needs mere seconds to entrap the senses and imagination, sealing the deal as Tronson’s melodic prowess unites with his rawer tones as steely metal and melodic rock textures equally collude.

The stunning start is matched by the equally dramatic and even bolder exploits of Alpha. Guitarists Paul Callow and Simon Edgell spring a lure of wiry riffs and sonic temptation around the harmonic delivery of Tronson, though as the music he allows harsher textures to escape his throat to keeps things unpredictable. Virulently infectious and persistently imaginative, the song is pure captivation; its heart earnest and body a tapestry of melodic and sonic intrigue with just the right richness of volatility to keep things intensely fascinating.

Tied Around follows, winding brooding grooves around ears as Fletcher’s bass groans with matching seduction while again Tronson enthrals with his impressive vocals. There is an agitation in the riffs and beats of Sforzin which is transferred to the steely grooves but tempered by the elegant beauty of melodies and harmonies floating across the song’s inner oasis. As with the first pair, creative magnetism is at play sparking an elevated greed which Point of Doubt feeds with its cosmopolitan almost shamanic nature. Sultrily exotic melodies align with anthemic rhythms within the song’s fiery blaze, its riveting landscape tempestuously sharing warm and irritable climates.

The EP concludes with Crying Door, a mellow melancholy lined croon shaped by keys and voice and their suggestive beauty, Tronson again a magnet in its midst. Darker hues walk the song’s edge, bassy shadows lurking as skittish beats court a more portentous edge. It is an entrancing close to a second seriously striking encounter with Figures. Musically the band has been compared to the likes of Incubus, Deftones, and Karnivool, all justified but add a touch of Voyager and possibly even Porcupine Tree and you get a fuller impression of what, to be honest, is a sound distinct to one truly exciting proposition.

Chronos is out now @ https://figuresbandofficial.bandcamp.com/album/chronos and other online stores.

http://www.figuresband.com/    https://www.facebook.com/figuresbandofficial

Pete RingMaster 21/06/2017

Copyright RingMaster: MyFreeCopyright