I Fight Bears – Self Titled

An encounter which just grows in strength and persuasion with every listen, the self-titled debut album from Welsh metallers I Fight Bears is an ear grabbing statement of potential and success. Brewing a healthy blend of the familiar and fresh, it is a declaration of a band with all the weaponry to make a potent impact on the British metal scene.

Hailing from Bridgend, I Fight Bears draw on the inspirations of bands such as Killswitch Engage, Parkway Drive, and Lamb Of God for their voracious sound. It is not necessarily the most unique proposal you will come up against yet each song within the band’s first album has a freshness and adventure which commands attention. Since emerging around two years ago, the band has stirred ears and praise with their singles and a live presence which has taken them alongside the likes of When We Were Wolves, Skies In Motion, and Perpetua. Predominately self-recorded by the band itself with Micheal Paget (Bullet For My Valentine) involved on some songs for both mastering and mixing, their first album is a big nudge at richer and thicker attention and instantly makes a potent impact.

It opens with the mighty Hammers, melodic enticement and hungry rhythms instantly to the fore before it all unites for a rapacious and inviting enticement. A great blend of throat scraping and clean vocals grab their own healthy portion of attention soon after, the excellent mix matched by the predacious craft of the rhythms and creative weave of the guitars. Infectious and intimidating, it is a great start to the release; as suggested familiar and new imagination entangling in magnetic success.

Upcoming single, Envision, follows sharing melodic vines which maybe are not the most original but make a tasty appetiser for the blossoming enterprise of the song to flourish upon, again vocals captivating at the heart of the creative web. As the guitars weave, rhythms pounce with an anthemic touch, fiery grooves and spicy hooks latching onto their intrusive swing. With a touch of Avenged Sevenfold to it, the song hits the spot before making way for the band’s current single, Lost The Fight. The track’s roar is unleashed on a snare of grooves and sonic temptation, their enticing bait laid on the more volatile but no less gripping lure of the rhythms. I Fight Bears have a multi-flavoured surge of sound at the heart of all songs and maybe none as compelling as that fuelling this very easy to devour proposal, especially as it grows more predatory by the minute.

Design And Purpose carries that intrusive intent into its following proposition, beats and bass a grumbling trespass soon bound in melodic strands with their own imposing touch. Vocals blast the mix with a raw emotive breath, the song a predacious assault before opening up its melodic dexterity as clean vocals again provide a superb contrast matched by the endeavour of the guitars. As imposing and catchy as its predecessors, the track is a just as inviting lead into the band and its sound, quickly matched in that quality by Life Of One. Another smart weave of styles and sound bound in an adventurous intent, the song a swift and increasing captivation epitomising the band’s craft in songwriting, performance, and imagination.

It is fair to say that next up Disposed did not grab our ears as dramatically as those before it, surprises less open yet it is a richly satisfying and intriguing encounter with vocals once more especially magnetic before Trust thrusts its rousing prowess through ears. Rhythms harry and punish the senses as raw vocals graze their surface, an appetite stirring mix only enhanced by the melodic and harmonic tenacity of guitars and the cleaner side of the two pronged vocal persuasion. Barbarous yet seductive, the song is superb and only escalates in captivation with every subsequent twist.

From the cantankerously wired Exhale, an incendiary slice of metal with a hardcore lining that is as irritable as it is infectious, and the senses crushing tempest of Smoking Gun, the album hits another high spot to rival its early plateau. Both songs are a cauldron of what the band does best and right to the fore of our favourite moments, their might leaving System a task to bring things to a just as potent close which it does with its own corrosive furnace of enterprise and power. The trio alone leave ears and pleasure full with a hunger for more in close attention.

With the realisation of their inescapable potential and a real vein of individuality, I Fight Bears could become a real presence within the broadest metal scene. Their thickly enjoyable first album already declares the band one exciting prospect on that British landscape.

The I Fight Bears album is out now.

http://www.facebook.com/ifightbearsband   http://www.twitter.com/ifightbearsband   http://www.instagram.com/ifightbears

Pete RingMaster 20/02/2018

Copyright RingMaster: MyFreeCopyright

Networks – Enough To Save Us EP

Networks_RingMaster Review

There is a bit of a buzz brewing up around UK metalcore band Networks and though we are not ready to yet add majorly enthused voices to the rising roar, intrigue and attention for the Portsmouth band has certainly been sparked thanks to their debut EP Enough To Save Us. It is a tempest of sound and ire fuelled emotion which sits easily within expectations of the genre inspiring it but dig deeper and there is an underbelly of invention and imagination which incites closer inspection and a want to know more.

Formed in 2014, Networks was soon stirring up ears and support across shows and a handful of festivals like Redfest, Edgefest and Messtival. From there opportunities to share stages with the likes of The Blackout, Slaves, and Astroid Boys have arisen, 2015 being a thick nudge of broader attention by the band. Seeing a couple of personnel changes early on this year, they set about writing new songs whilst playing with artists such as Palm Reader, Zoax, and When We Were Wolves and at the Crossroads Stage at Butserfest with HECK, Fathoms, and Shields. Now they attempt to whip up more of us with Enough To Save Us, a try easy to imagine leading the band to some potent success.

Networks ETSU EP Front Cover_RingMaster Review   Wires gets things off and running, its opening a worldly bred flavouring infused with samples and a brewing turbulence which soon drives the heart of the raw fury and enticing sonic tempting gripping the track. In no time the guitar of Joe Soar builds a web of engaging grooves and sonic enterprise, they a less hostile tempering to the heavy growling vocal antagonism of Sean Kelly and the hefty swipes of drummer Harry Fielder. The main body of the track is potent and persuasive if without springing any surprises but it is the twists of sound and imagination, at times only in slithers, which turn a good track into a keenly appetising one.

A melodic caress opens up the following End Of An Era, though soon jagged exploits from the guitar step forward in tandem with the dark menace of Josh Slade’s bass. Within a few more breaths, the track is stomping with energy and irritable emotion, though again things evolve as all the creative tendrils and facets of the excellent track collude and entwine. Once more it is fair to say that Networks are not breaking free from established metalcore scenery and hues, but with bright imagination and a good level of unpredictability, the track provides an increasingly enjoyable incitement.

The rugged and challenging Darker Truth steps up next, vocals a rasping provocation against barbarous rhythms. As the lure littered sonic weave spun by Soar breaches ears, the bass brings a great bestial voracity to the song’s tone, it all uniting in an appealing trespass on the senses with again surprises low but enjoyment thick.

The EP is completed by its title track, a proposal carrying a similar and satisfying template to its predecessor. There is an open degree of similarity across all songs in varying ways, the admittedly strong and pleasing vocals of Kelly one such area which might blossom further with a touch more diversity. More than most, the final provocation suggests this closeness but nevertheless it still enlivens the appetite whilst confirming the prowess and potency of Networks in songwriting through to sound.

Enough To Save Us suggests there is plenty of potential and quality which will see Networks emerge from the crowd in time and coax strong attention and support along the way. Fair to say that the band’s opening gambit is a strong and fiercely solid introduction providing ears with a potently enjoyable slab of confrontation, a sign of things to come we suspect.

The Enough To Save Us EP is available via on Viper Trail Records, digitally now from most online stores and as a physical copy from December 3rd when it will be launched at the EP’s release show at The Edge Of The Wedge in Portsmouth.

https://www.facebook.com/networksband        https://twitter.com/networksband

Pete RingMaster 30/11/2015

Copyright RingMaster: MyFreeCopyright

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When We Were Wolves – Heartless

When We Were Wolves

At the end of our review of the deeply pleasing The More Things Change, The More We Stay The Same EP from Welsh post hardcore band When We Were Wolves, we added that this was “still a band in the making”. Now the Bridgend quintet unleash its successor in the stunning shape of Heartless to show that they are a creative tempest which has arrived at its first pinnacle whilst still offering the potential of even greater things to come. The five track fury of invention and intensity is a startling encounter exploring a broader and more mature landscape than its predecessor yet still passionately driven by the band’s now distinctive and imaginative post hardcore intent.

Formed in 2011, When We Were Wolves has built a rich reputation for their live presence, which has seen them play alongside the likes of Bury Tomorrow, The Blackout, Devil Sold His Soul, Malefice, Born Of Osiris, Exit Ten, Betraying The Martyrs, Martyr Defiled, and Carcer City. Add that to the success of The More Things Change, The More We Stay The Same and it is fair to say that anticipation for its successor was ripe and full, a hunger swiftly sufficed as Heartless rampages through the ears.

Opening track Dying On The Inside straight away lays a feisty glaze of riffs over ears, their lure fusing a punk and metal attraction before the rampaging beats of drummer Josh Baker uncage their full weight upon the sonic turbulence. The bass of Matt Shaw prowls the gripping brawl of sound with relish whilst vocalist Mitch Bock roars with emotion and animosity. Riffs and grooves spill equal animosity through the craft and invention of guitarists Steve French and Rhod Evans too, their intensive proposal alone creating a riveting baiting of thoughts and emotions within the song. It is a stunning start to the EP, the track twisting and embracing the senses with enthralling imagination whilst further inescapable temptation is expelled through the outstanding and impressive vocal delivery of Bock. Like a collision between While She Sleeps and Slipknot with a twist of Cancer Bats, the song is an irresistible contagion.

Coating ears in an initial melodic yet fiery embrace, the next up The Devil You Know soon twists into a ferocious beast of vocal hostility and sonic antagonism. It is a demanding and compelling start but taken to another level as Bock PromoImageunveils more of his superb clean and melody rich vocals which had already enhanced its predecessor. Equipped and skilled to merge both extremes, he proves himself on Heartless to be one of the more exciting frontmen around. An essence of Dead Til Friday prompts thoughts towards the song but again a mere whisper to a sound undeniably belonging to When We Were Wolves. Predatory and seductive, it is a riveting adventure matched immediately by the voracious Blind. A sonic haze starts it off before grooves come out of the woodwork with insidious intent as pounding rhythms bring their equally enslaving thunderous textures. Vocals also explode with wide variety and unbridled passion across the destructive maelstrom smothering the senses. It is an exceptional savagery with a lingering spite ensuring it is one of the pinnacles of the release.

The following Confession takes its spark from the previous track, staggered riffs and venomous grooves an intensive and welcome intrusion as rhythms cast their heavyweight provocation. There is no respite from the vocals either initially, the fighting tones of Bock showing no mercy until his seamless slip into the equally impacting clean and velvet delivery he possesses. The encounter is a masterfully invigorating tempest which like most of the songs, perfectly sculpts its relatively brief length for the most dramatic impact before making way for the closing title track. Lighter in its presence in comparison to the last couple of tracks, Heartless is a radiantly emotive song, a melodically fired croon of sonic enterprise and vocal intensity which steals attention and ardour with Bock again exceptional though well-matched by the skilled sonic and rugged rhythmic charm of the rest of the band.

The Heartless EP is a major triumph for When We Were Wolves and the British post hardcore scene. The Welsh band has not only found its own voice but set out a new vat of promise and invention to inspire even greater anticipation for their next offerings.

The Heartless EP is available digitally through all stores on Monday 22nd September.

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RingMaster 21/09/2014

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WHEN WE WERE WOLVES reveal their ‘Heartless’, on 22nd September‏

When We Were Wolves
EXCITING SOPHMORE EP FROM WHEN WERE WOLVES RELEASED AND UK TOUR ANNOUNCED!
 ‘The Welsh quintet hold nothing back here, ensuring that their heavy parts are scathingly so and imbuing their melodies with heart-rending ethereal grace’ KKKK Kerrang!
Impressive South Wales Post-Hardcore quintet ‘When We Were Wolves’ unleash their explosive new EP ‘Heartless’, through all stores on Monday 22nd September. The rising bruisers will also tour throughout the UK this September.
Reared on a healthy diet of A Day To Remember, Slipknot and Parkway Drive, and adding to that genuine craft and an imaginative approach to penning highly engaging slabs of post-hardcore, ‘When We Were Wolves’ have sculpted a sound that is whole-hearted, progressive, and above all, utterly gripping.
Born during the middle part of 2011 and hailing from Bridgend, South Wales, the band soon set themselves on a course for playing as many shows as possible, which saw the five-some quickly amass a strong and loyal following. Their unbridled determination to deliver a ferocious, dynamic live performance at every show has earned them a glowing reputation, and in turn, has led the band to share stages with the likes of Bury Tomorrow,Born Of Osiris, After The Burial, Betraying The Martyrs, Bleed from Within, Heights, The Blackout, Devil Sold His Soul, Malefice and The Amity Affliction, to name a few! As well as being a growing force on the live scene, the band have worked diligently on recording, witnessed by last year’s ‘The More Things Change, The More We Stay The Same’ EP, which secured widespread national praise from Metal Hammer, Terrorizer, Big Cheese and Rocksound, through to radio airplay with XFM, Totalrock and Kerrang! Radio. The record also racked up a stunning KKKK in Kerrang!, as well as a new band featurette in the magazine. Further UK and widespread European touring followed in support of the record before the troupe decided to hit Bandit Studios (home to Devil Sold His Soul) to commence work on their new record, soon to be titled ‘Heartless’.
The band’s follow up EP certainly delivers on all fronts, exploding with innovate ideas and cut-throat riffs. The first track and lead single, ‘Dying On the Inside’, soon slams you in the gut with its infectious groove that stomps and sways before a killer refrain blows you over. The menacingly brilliant and adrenaline-fuelled ‘The Devil You Know’ pounds it ways into your head before ‘Blind’ continues to batter you into submission. ‘Confession’ is further evidence that When We Were Wolves knows how to execute an engaging slab of exhilarating post hardcore, packed with sheer intensity and gripping dynamics. Lastly, the EP’s namesake, ‘Heartless’, rounds off the record with a captivating and passionate vocal performance by Mitch Bock, who really pulls it out of the bag. ‘Heartless’ is an EP that is destined to be heard, and with a UK tour confirmed for September, there’s nothing stopping the band’s swift rise.
WHEN WE WERE WOLVES LIVE W/ Valiant – SEPTEMBER 18 – BRISTOL, The Gryphon; SEPTEMBER 19 – PLYMOUTH, Tiki Bar; SEPTEMBER 20 – WORKINGTON, Lounge Bar; SEPTEMBER 21 – NEWCASTLE, Think Tank; SEPTEMBER 22 – HULL, O’Rileys; SEPTEMBER 23 – STAFFORD, Grapes; SEPTEMBER 24 – SOUTHAMPTON, Unit; SEPTEMBER 25 – ADDLESTONE, The Cave; SEPTEMBER 26 – BRIDGEWATER, White Hart Hotel; SEPTEMBER 27 – CHELTENHAM, Two Pigs.
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From Her Eyes – Demons

From Her Eyes Online Promo Shot

From Her Eyes may be young in age, its members just slipping out of their teens, but there is a maturity to their sound which instantly impresses as it belies their youth and ensures the Welsh metalcore band is a thoroughly captivating proposition. The release of their debut EP Demons reinforces an already keen buzz for the band whilst taking their presence to a national level to, it is easy to expect, similarly eager but ultimately wider attention growing up around them.

Formed in 2012, the Bridgend consists of school friends Tom Owen (vocals), James Kearle (guitar), Jesse Simmonds (bass) and Gary Holley (drums). From Her Eyes since day one has been a rigorously active proposition, sharing stages with the likes of One Last Breath, Red Seas Fire, Continents, When We Were Wolves, Set to Break, and Reaper in Sicily amongst hordes of shows before settling down to create their first release. That saw the band linking up with Jonny Renshaw (Devil Sold His Soul) at Bandit Studios to record Demons with the resulting EP a compelling and gripping slice of voracious angst fuelled metal.

The EP opens up with brief instrumental Decay, a haunting piece with elegant guitar craft coaxing ears and imagination within a brooding air of portentous persuasion. More subtle than dramatic and beautifully crafted, the track is a From Her Eyes Cover Artworkmagnet into the release and the following Comatose. From its first breath the vocal delivery and narrative of Owen is an impassioned presence which roars within an immediately enticing web of sonic and rhythmic enterprise. There is ruggedness to the beats of Holley and riffs of Kearle whilst Simmonds unveils a heavy throated lure from his bass which only adds to the weight and presence of the track. To that muscular intent though the acidic melodies and sonic weaving brings a vibrant colour and strained charm which exposes the strength and invention of the band in songwriting and sound impressively.

From that mighty proposition the releaser grows another level with Porcelain, its gentle initial coaxing where again melodies seduce and intrigue with their emotive hues, leading into a tempestuous storm of heavily descending rhythms and abrasing riffs. An additional squall of anger to that offered by Owen makes an imposing and pleasing pressure whilst the song almost flirts with the antagonism that rages with every beat and chord. As in its predecessor though, in the wall of confrontation there is elegant veining which is as dramatic in its evocative presence as the brawling endeavours surrounding its beauty. The track is outstanding, easily the best on the release and another potent reason why From Her Eyes is being touted as a big event waiting to happen.

The next up Disillusionist is a rawer abrasion than the previous tracks, though it too is equipped with intelligent and intricate sonic suasion. It does lack the spark of those earlier songs with its hostile breath overpowering the previously perfect blend of rage and elegance but it still makes for a stirring and riveting incitement to keep the release firmly entrenched in attention and appetite.

Elysium with its post hardcore resonance is a brief respite from the rage of the last song but it too is lacking something to make it spark in the passions. Despite that its masterful sculpting is a draw in its own right to ready ears and emotions for the final evocative tide of the title track. The last song’s first touch is a controlled but turbulent wash of heavy swiping rhythms and vivacious sonic enticing which swiftly enslaves the senses before its finds a sturdier antipathy. It is a powerful and robust finale infused with the richly appealing melodic lacing and sonic colouring which sets the band apart from the majority of the metalcore crowd, though still not quite enough for the band to find its own distinct corner. The song also features Lucas Woodland, the vocalist from Falling With Style. His presence and excellent clean tones highlights the only wish to be had with the EP, a bolder variety to the vocals. Owen is impressive but as with seemingly the majority of metalcore seeded bands there is an aversion to temper or fuse the raging single minded roars of passion with something openly different. If there is one band which could do it to striking success though, on the evidence of the last song, it is From Her Eyes.

The song is an excellent end to a similarly impressive release. Demons will push From Her Eyes into a richer attentive spotlight and the country will embrace their debut with relish, that is surely a given so now it is up to the band to take it to the next highly anticipated level.

The Demons EP is available now @ https://fromhereyes.bandcamp.com/

https://www.facebook.com/FromHerEyesOfficial

8.5/10

RingMaster 26/08/2014

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Heaven Asunder – Among The Damned

  Heaven Asunder Online Promo Shot

    From their explosive live performances and previous Dead Man’s Waltz  EP, UK metallers Heaven Asunder has bred a very healthy anticipation for their debut album Among The Damned. Now with its unleashing the ten track blaze of melodic passionate metal gives potent evidence as to why there has been such an awaiting appetite. The release may be does not set new markers to fully challenge originality but impressively accomplished and rigorously engaging, the album is soaked in a captivating promise and invigorating strength which marks out the Bristol band as a proposition to eagerly indulge in.

     Formed in 2009 by five guys at University sharing the same flat, the quintet of vocalist Matt Boyd, guitarists Lewis Blake and Ally Roberts, bassist Lewys Ball, and drummer James Whitlock took little time in creating a live presence which seeded the reputation firing up the hunger for their album. Heaven Asunder has ignited stages alongside the likes of 36 Crazyfists, Idiom, Fearless Vampire Killers, When We Were Wolves, Odessa, Shining (Nor), The Smoking Hearts, The Dead Lay Waiting, Crown the Empire, and Issues since forming whilst Dead Man’s Waltz only added to their brewing stature. Thoroughly enjoyable and a powerfully satisfying encounter, Among The Damned expands the rising presence of the band whilst paving the way for stronger expectations of major things ahead from the band.

      The album hits hard right away with opening track Shallow Graves and though in hindsight the song is not the most Heaven Asunder - Cover Artworkgrabbing and gripping on the release it sets things off with hunger and energy. Immediately riffs are greedily stroking the ears whilst the rhythms of Whitlock slap the same from pillar to post. With a great melodically seeded breath wrapping the senses after the aggressive start to allow things to settle, the track is soon back to a keen rampage, the guitars casting well-crafted and alluring sonic patterns which entice and tease whilst the bass of Ball prowls within their bait with menace and depth. The vocals of Boyd backed ably by Roberts are equally as appealing as the sounds and though there is better to come from the release the track is a formidable and appealing blaze of melodic metal.

     Of Coat And Arms keeps up the momentum and potency of the start, the initial melodic coaxing similar to its predecessor but soon expanding with greater growl to the riffs and expressive adventure to vocals and melodies. Admittedly there is little strikingly new going on but there are no doubts about the imagination and skill employed in the use of the previously trodden spicery as the song wraps the listener in something richly appetising and thoroughly accomplished. This is right away built upon by the thumping presence of the excellent Nothing More, the track the most carnivorous and belligerent on the album yet again bringing an impressive and perfectly sculpted merger of violent passion and intent with equally powerful melodic and inventive exploration. Keys add another texture and evocative persuasion to the absorbing encounter whilst the bass, as all aspects, digs into a deeper corner of enticement to help forge the first major pinnacle of the album. The accompanying promo to the release mentions 36 Crazyfists as a reference, and it is hard to disagreed, but to that you can add the better moments of Avenged Sevenfold and the power of Killswitch Engage as well as other essences, all brought into a wholly enjoyable and exciting proposition.

      The likes of the fiery Reviver, a track which flares up and bites at various moments within another pleasing provocative meeting between band and thoughts, and the confrontational Another Broken Soul ensure the album continues to ignite the senses even if both fall slightly before the height set by Nothing More. That plateau is soon seriously challenged though by the next up The Silencer, the track a bruising and challenging treat soaked in rhythmic rabidity and vocal spite whilst driven hard by predacious enterprise and voracious guitar creativity. Its successor, the ravenous Last Rites, is no slouch in seizing and tossing around the senses and passions either. With nagging riffs and a great mixed vocal attack from Boyd laying down irresistible temptation from within the emerging dramatic and merciless aggression, the song is another commanding peak of the album.

     Both Lest We Be Scattered and Stranded provide an appealing closing stretch to Among The Damned, even if neither quite lives up to the previous duo. Despite that it is impossible to pull yourself away from their strong suasions before they make way for the outstanding conclusion to the release, State Of Things To Come. Sinews ripple viciously across the enthralling provocation whilst riffs and hooks saunter and prey upon the senses with rapacious intent and imagination. It is a stirring intensive end to an equally blistering and exhaustive release. Among The Damned is a great full introduction to a band you can only see going from strength to strength. The album does not carve out new adventures but certainly provides a tempestuous and thrilling storm of enjoyment to make Heaven Asunder a band to embrace fully in 2014.

www.facebook.com/heavenasunder

8/10

RingMaster 06/01/2014

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When We Were Wolves – The More Things Change, The More We Stay The Same EP

When We Were Wolves Promo shot

Post hardcore bands and releases came thick and fast in 2012 with the momentum seemingly going to continue into this year. There was a strong and overall impressive depth to the sounds which stepped forward if many lacked that something to set them apart from the rest. Initially that was also the thought when allowing the debut EP from Welsh band When We Were Wolves to unleash its aggression and expressive heart on the senses. That notion was soon slapped into place though especially by the ferociously impressive central core of the release. It is fair to say When We Were Wolves is still determining a unique sound of its own but certainly from the clutch of earnest and passionate tracks making up the release the Bridgend quintet have it in hand.

Formed in mid-2011, the band has built up a loyal and eager following across South Wales and into England with their explosive live shows. To date they have impressively shared stages with the likes of Bury Tomorrow, Exit Ten, Pay No Respect, Martyr Defiled and Carcer City, as well as headlining their own riotous assaults on audiences. The More Things Change, The More We Stay The Same is about to wake up the rest of the UK with intense and well thought out songs which suggest and at times proves that post hardcore can be pleasingly adventurous and contagious.

All Good People Must Come To An End is an intriguing start to the release which did leave some uncertainty in its wake. The When We Were Wolves Cover Artworkheartfelt vocals of Mitch Bock are a caustic and compelling squall over an emotive endeavour from the rest of the band. It is a brief track which asks questions and leaves thoughts open if a little undecided of whether the EP would emerge as something special or another similarly gaited encounter as from many other genre bands. The answer is soon proven to be the former as firstly Under The Water thunders into view. Big grasping riffs assault the ear with scything sonics and thumping rhythms adding their support whilst an expanse of acidic vocal cries blisters the senses. It is not exactly ground breaking but throughout prods and enthrals especially with the excellent clean vocals of Bock adding emotive weight to the inventive guitar work of Steve French and Rhod Evans. The song goes where you expect it too but still offers a riveting and fully satisfied experience through its fresh and keen encounter.

It is with the following pair of songs though that the band stakes its claim as possibly being something special in the making. This Is Where We Belong and Your Sick Fantasy are exceptional, two tracks which leave one drooling at the promise and imaginative confrontations before the senses. The first seizes the ear with predatory riffs which beckon rather than stalk and the again excellent and overwhelming rhythms of drummer Josh Baker, his demanding beats inescapable and ably supported by the hungry bass lines of Ben Taylor. As the vocals rub thoughts raw the track twists and turns into numerous asides and shadows, all inventive and ardour inciting. Each member of the band is a fiery or intimidating aspect coming together for a furnace of intensity and creativity. There are moments which are familiar in the song, as in all tracks to be honest, but When We Were Wolves deliver them and their unique imaginative moments with a relish and fire very few of the other emerging bands accomplish. The second of the two snarls and gnaws with intensity and a controlling presence which leads one into the lyrical and passionate heart of the track. It drags you willingly through dark distant corners and in the face challenges which scorch and captivate. Tough arguably lacking definition at times the song is an immense and unforgiving treat which only marks the band further as ones to watch.

The release closes with Hounds which features Continents vocalist Phil Cross. The track is another raging affair with further imagination coming through the excellent key intro and building climaxes of energy and passion throughout. It is a great mix of aggression and intrusive melodic breaths which without firing up the same flames as the previous two songs leaves one a satisfied and willing recruit to it and the band’s enterprise.

When We Were Wolves is still a band in the making but as The More Things Change, The More We Stay The Same EP shows, it is also group of young musicians who are moving in the right impressive direction.

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RingMaster 14/01/2013

Copyright RingMaster: MyFreeCopyright