James Leese

The Raven Age – Darkness Will Rise – REVIEW

The Raven Age have been dubbed in many magazines as Britain’s next big metal band and after their recent tour with Anthrax it is truly shaping up to be that this statement is true. Now after releasing their debut album Darkness Will Rise it is showing more than now that this band are gaining traction in such a beloved genre, by those who follow Metal music closely. The album in the words of Guitarist George Harris will cover many different instrumental dynamics that themselves love as Metal fans. Without further ado lets break down this Debut Album.

Kicking off the album is the albums title track Darkness Will Rise, which although acts as more of an instrumental does introduce the album well especially with its immediate follow up track Promised Land. When this opener first comes in the soft strings bring you in gently as it is very juxtaposing to what you may think you are going to get at first, but as the track continues on the band comes in to their own as they show their musical prowess and well constructed instrumental composition. Following what feels more as the first half of this album’s opener is Promised Land which is punchy in the right way. With a introduction to this track which feels slightly cliche for a Metal band it soon makes up for it with Michael Burrough’s vocal performance. Although the vocals feel slightly slugish on the verses of this track there is no doubting the power in Michael’s voice from start to finish on this track. Both of these songs combine in to an amazing opening for this album

Coming next on this debut is a set of three songs. The first of these is what sits as the title track, Age Of The Raven. The song is mainly driven by the drums and bass that in a sense carry the song, similarly to many of the songs on the album. However yet again with the well choreographed guitars and well presented vocal melodies. Overall this track continues on a great set of well constructed songs that excels instrumentally. Following this is The Death March which after a brief fade in simply comes crashing in, and despite being a well constructed song with each part accompanying the other excellently it does feel a little long for a song which doesn’t bring anything new to the table except for a well presented and constructed solo.

The final part of this trio is Salem’s Fate, which starts of slower which is a welcome change at this point on the album, and although it sticks at this slower pace it is somewhat let down by the introduction of the more riff centric make up the album has had thus far. Although there is nothing exactly wrong with this continuation of blasting drums and blaring guitars, this cut could have stuck at a much slower pace giving a nice break from the overly brisk pace the album has been going through at this point.

The Merciful One comes next on this album and yet again shows how well the band work together in creating a track which encompasses a cohesive sound. This is by the greatest cut off the album with a very upbeat track which you can’t help but move along to, the only downside with this track is that it is followed up by Eye Among The Blind. This unfortunately is the weakest cut off the album. The main reason for this is, is because despite the interesting drum patterns everything else on the track feels lack luster, even the vocals which up until this point have been a big highlight of this album.

Another trio of tracks follows on from Eye Among The Blind. Starting with Winds of Change, which is one of the most interesting songs on the album with it’s very slow opening which slowly builds up to this crescendo which allows the band to somewhat explore more. Due to this slow build there is a clear sense of musical knowledge and even when the track kicks in to full swing the overall composition makes this a strong contender for the best track on this release. Following on from the interesting Winds of Change is Trapped Within The Shadows  which doesn’t bring anything new to the table similarly to alot of this album.

The final part of this second trio is My Revenge, which yet again excels in terms of vocal presentation but amplify’s the point that none of these tracks truly bring anything new to the album. Almost as if you could pluck any track from this record and despite subtle differences it could be any of the track listing. However, My Revenge does bring along a extremely catchy chorus which shows a different side to Michael Burrough’s vocals

As The Raven Age’s debut album start to draw to a close, the band explore something tat up until this point is untocuhed and this is a somewhat acoustic feeling opening to a track which explodes brilliantly in it’s latter half. The Dying Embers Of Life is a near perfect track with it’s dynamic differences. Accompanying this is Angels in Disgrace which is a full throttle penultimate track.

Closing this debut is Behind The Mask, which with an 8 minute run time which at firs appearances seems daunting but after a very powerful opening half soon drops in to a calmer calmer section which brings a nice and deserved break from the walls of sound that sit throughout most of this debuts track listing. Yet, the song then does pick up again hammering out the ending of this track and the album like it’s life depended on it, however it could have perfectly ended 2 minutes before it does which somewhat weakens this closer despite all of its positives.

Coming to the end of Darkness Will Rise a few things clearly stick in the mind. Firstly, The Raven Age have the potential and most likely will go far in terms of the metal genre. However these songs for the most part are far too long. Although the length allows for more representation of their musical ability the lengths sometimes feel labored and excessive. Alongside this despite some dynamic changes on the album it sticks mainly to this full band and occassionaly deafening wall of sound, even when it feels like the album is taking a swift change ti soon swings back and almost draws away from the change of pace that there had been. However, this isn’t to say that this album isn’t good as it is and any Metal fan will see just how good The Raven Age are bound to become in a year or two

2far2jump – First Attempts At Everything – REVIEW

Hailing from Surrey Pop-Punk trio 2far2jump have been making waves in the UK Pop-Punk scene which is now, at least in some eyes, over saturated with Pop-Punk bands popping up left, right and center. 2far2jump dropped their debut EP on the 5th of May and after releasing the EP’s debut single Deepdene it was set to be a great release. However, let’s breakdown 2far2jump’s Debut EP First Attempt At Everything.

Opening up this EP is Set Your Goals, which after a short but powerful riff the song kicks in too full swing with the vocals which are effortlessly placed over by Alistair Hynes. However, this is where one issue lies although it is something that adds charm to 2far2jump their is a sense that Alistair’s vocals switch from a British to American sense depending on his vocal notes, but as aforementioned it is in this where charm is brought to the song. Overall this opener does exactly what it needs to, brilliantly opens up what is set to be an energetic EP. Through the tight instrumentation and well orchestrated song structure, it is clear the trio understands their genre perfectly.

Coming next on this EP is a volley of tracks starting with single Deepdene, which is the strongest track on this release with great instrumentation the song throws them in the depths of Pop-Punk and shows their ability to go far in this overly-competitive genre. The drums are truly the highlight on this track as they bring the power in to this track and they help carry the song along for its full run time. With this also being the single from the EP it showed how much potential this EP has and with Hynes’ vocals it does leave a lasting impression.

The second half of this volley of tracks is Static, which is a juxtaposing track in it’s tone, being a far softer track in its make up. With the more ethereal vocals, bolstered with a decent amount of delay in a good portion of the song, it shows the variety the band has, alongside the more complex guitar parts that exist in the instrumentation of this track.

Following on from this is A Place To Run which starts off with this more electronic instrumentation that starts off the song well. With this electronic instrumentation mixing in with the full band instrumentation it shows 2far2jump representing yet another side to themselves. Again like with many tracks on this EP it is the vocals of Hynes that brings an extra layer to the track and warrant it to be spun a few more times. This is a close contender for the strongest track on the EP with the tight instrumentation which is present on the track.

The penultimate track on this EP is Think For The New Days which has a feel good opening, that in one sense is a generic riff that could be found in different tunings across many different genres and artists. However, the continuation of this riff and the occasional musical delays on the riff bring something unexpected to the track with the way in to which it then drops in to the chorus and bridge. This unfortunately at the same time is the weakest track on the EP due to this generic feel that comes through at the same time whilst the track powers through to its end runtime.

Rounding off 2far2jump’s debut EP is A Winner In A Loser’s Eyes, which is the slowest cut on this EP. Although it is something that can be found on every Pop-Punk album or EP it is executed perfectly with Hynes’ voice complimenting the guitar parts and the harmonies laying on top of one another with finesse. Overall this track ties the EP to a well rounded and deserved close with ease. Through the simple yet effective instrumentation and well orchestrated song the band proved their potential yet again like many times on this EP.

Overall this EP, does what it needs to do, it represents the band in the best possible light. Although 2far2jump aren’t breaking any new ground on this EP they are showing potential to be a band who could make it far in an over saturated Pop-Punk market. With the tight instrumentation and well presented vocals 2far2jump are showing their knowledge of the genre and thei ability to work inside it. Whether or not they will be able to make a name for themselves in a genre which is so competetitive is yet to be determined but First Attempts At Everything has the foundations in which 2far2jump can build from.

William Control – The Black EP – REVIEW

William Control had announced his four part album in the later half of last year and after dropping the first part in October of 2016, many were looking forward to what the rest of Revelations may offer. Following this on the 17th of February William Control dropped the second part of this album The Black EP. After having The Pale EP top the Billboard Dance and Electronic charts there is a lot of hope for this next installment. Without further a do let’s break down The Black EP.

Opening up William Control’s latest installment to Revelations is Analog Flesh in A Digital World. As openers go it is a strong start to the second installment of what will eventually be a feature length album. As the track starts the first clear thing is the strength of the instrumentation and the electronic backdrop that powers the track along. Soon after the vocals of William Control come in to play the song shows the potential this EP has especially with the cohesiveness that both parts of this song have. One of the only downsides of this track is that it’s musical instrumentation becomes a little repetitive towards the tail end of the track, and although having an instinctive bop does become a little stale. But all in all is an a powerful opener.

Following on from this opener is All I Need which yet again shows this clever and well orchestrated instrumentation that lasts throughout the majority of the EP. Yet again William’s vocals are a highlight on the track, however the main thing that stays vividly in the mind post this tracks run time is the samples drum patterns that help carry the song along. However this song does feel lackluster in comparison to that which comes before it. Yet that doesn’t mean the track doesn’t carry some power on it’s own.

After hitting the half way point on this EP we find Knife Play. This song is unfortunately the weakest on the release however that isn’t exactly a negative thing as it is in this track that the influences of Depeche Mode truly come in fruition and William Control sort of hit a stride which is a shame considering there is only one track left on this EP. Despite this being where the influence truly come in to view and where some form of stride is hit, the track feels like it is missing some vital parts the would warrant more than two listens.

Finally rounding off The Black EP is Velvet Rose, and this is truly an interesting closer as it is a huge change pace in comparison to the rest of the EP. One of the first things that is noticeable on this track is the instrumentation and the soft piano that runs throughout, it in this that the track finds it’s subtlety but also it’s beauty as it needs no more and no less. This undoubtedly is the best track on this release and is a perfect closer.

Overall, Wlliam Control’s new release The Black EP wouldn’t feel out of place again on the Billboard’s Electronic and Dance top ten, however at the same time it is easy to see why for at least some this EP may not hit all the right spots. However, with the well constructed vocal melodies and interesting instrumental arrangements this album does have many highlights even though it is only four tracks long. [7/10]

Coast To Coast Release New Track ‘Heredity’

Birmingham based Coast to Coast are set to release their next EP The Length of A Smile on March 24th. After releasing the EP’s first single Post Graduation earlier this year the band have today released the second track of the highly anticipated upcoming EP, Heredity. Heredity, yet again shows not only how much potential this upcoming release has but also why Coast to Coast are making such a splash in the UK. Check out the track below, and if you like what you hear make sure to catch them on their upcoming April Tour.

UK Tour Dates
16/04 – Liverpool – Maguire’s Pizza Bar
17/04 – Manchester – Sound Control
18/04 –  Birmingham – Asylum
19/04 – Bristol – Stag & Hounds
20/04 – London – Fiddler’s Elbow
21/04 – Oxford – O2 Academy 2
Get Tickets HERE.

Pre-Order the new album HERE.

All Time Low Sign To Fueled By Ramen

Fan favorites All Time Low have recently moved over to a label which hosts names such as Fall Out Boy, Paramore and Twentyone Pilots. The giants are celebrating the move to Fueled By Ramen with a huge International tour which hosts a string of UK dates, which you can find below. However, alongside this All Time Low have released a new single Dirty Laundry, the single has a companion video on Fueled By Ramen’s YouTube page which you can also check out below. So if you like what you hear remember to get your tickets to All Time Low’s tour and check out the band’s single Dirty Laundry.

10th  – LONDON Eventim Apollo
11th – CARDIFF University Great Hall
13th – SOUTHAMPTON O2 Guildhall
14th – CAMBRIDGE Corn Exchange
15th – LEEDS O2 Academy Leeds
16th – BIRMINGHAM O2 Academy Birmingham
18th – LIVERPOOL Guild of Students
19th – BELFAST Ulster Hall
20th – DUBLIN Olympia
22nd – BRISTOL O2 Academy Bristol
23rd – MANCHESTER O2 Apollo
24th – SHEFFIELD O2 Academy Sheffield
25th – NEWCASTLE UPON TYNE O2 Academy Newcastle
27th – EDINBURGH Corn Exchange
28th – GLASGOW O2 Academy Glasgow
31st – LONDON O2 Academy Brixton

Sorority Noise Release New Track

Sorority Noise are pipped to release their next album Your Not As ____ As You Think in March this year. After releasing the first single off the record No Halo in January the band are back yet again with a new track. A Better Sun shows the band in a new light with a slightly slower composition than No Halo, however with the powerful lyricism the song still strikes hard and generates only more excitement for their upcoming record. Check out Sorority Noise’s new track  A Better Sun and it’s lyric video below.

Remember to support Sorority Noise and pre-order the new album

US- http://www.sororitynoise.com/products/584822-sorority-noise-youre-not-as-_____-as-you-think#
UK- http://www.bsmrocks.com/products/585384-sorority-noise-youre-not-as-_____-as-you-think-lp-cd-tape-preorder
Aus- http://artistfirst.com.au/collections/cooking-vinyl/products/you-re-not-as-____-as-you-think-lp

Fueled Hate – March Of The Pigs – Review

Based in Corby Fueled Hate found their beginnings in 2012 and after going under a few personnel changes the band have now settled upon on their final line up. Now Fueled Hate are set to release their next record March Of The Pigs on February 27th. For an album which is pipped to be the next generation of rap metal it is a record that hold a lot of potential. But without further ado let’s break down March Of The Pigs.

Opening this album is Random Thoughts. The track starts out with some powerful instrumentation which is welcomed as the record starts and shows the potential this record has even in the small amount of time that has passed. This continues until we get the first taste of Raymond Lindsay’s vocals which cut through clearly but feel a little all over the place up until he finds his flow almost when things start to come together more cohesively in this opener. However the juxtaposing vocal styles i.e. the shouts/screams and rap seem to clash with the instrumentation in comparison to when Lindsay simply scream atop the track.

Coming next on this record are the songs Over Again and Hide and Seek. The former of these tracks has a great introduction but soon is cut through almost abruptly by more of these rapped screams/shouts which seem to completely clash with the instrumentation which is actually quite strong. However, with a track which is only just over 3 minutes it isn’t a great sign when the instrumentation feels repetitive so when there is an instrumental change it is welcomed, as it allows the band to show off more of their ability instrumentally. Following is the latter of these tracks Hide and Seek which at this point in the album is the most interesting instrumentally and truly shows the ability of all the members in the band, as the track goes on it is the well orchestrated instrumentation that not only carries this track but the majority of the album.

A trio of tracks follow on from this. Starting with This Life (RADIO), which is by far the best track on this release, with a great instinctive bop that goes in to the instrumentation, this is the first time that the rapped shouts/screams perfectly combine with the instrumentation to make a completely cohesive track. Overall this is one of a handful of highlights of this album as it does give a lot of hope for the latter half of this album. Soon however the ball is dropped as the record moves swiftly in to Bomb which is truly the weakest track and that fact is only exacerbated by it being situated after This Life (RADIO). This track is a truly hard listen not only through a deafening wall of guitars but also bland drums which attempt to carry the track through to it’s near 5 minute run time.

The final number in this trio is Dogs, which starts off with this strong instrumentation yet again is interesting during the first spin, accompanying this is a set of clean vocals which are a little surprising and are little odd during the first spin yet again. However, soon enough the shouted/screamed rap comes back in to the forefront and allow for another track which shows the potential this band has through not only the instrumentation but the cohesiveness this track has.

As the album starts to then draw towards it’s close the tracks Plagued and Calling come in to frame. Plagued starts off with this gritty riff which brings the track in with a lot of power and after a great introductory scream the track kicks in to full swing and you can’t help but move a little as you listen, the strength in this track is something that is missing on a lot of this record however, it is definitely present in this track. Alongside this, the end of the track brings something new in to play and that is the infectious bop that is present in the instrumentation as it had been in The Life (RADIO). Following on is Calling which unfortunately sees Fueled Hate dropping the ball again, despite some amazingly well composed instrumentation and some brilliant vocal flourishes it lacks something present in the stronger tracks on the album. One moment in particular in this number that truly sticks out is around the 1:56 mark in which the drumming truly progresses the track and creates a great end to the song.

Closing off this album is the track Begging Me is a somewhat good closer, with some of the most interesting vocal melodies being present in this track, with some overlaying vocals that during the first listen can seem cluttered truly bring something else to the track and allow for a great and strong ending to an album which hasn’t been strong on all fronts. But with more strong instrumentation in the backing of this track it does allow the record to finish on a somewhat high note.

Overall this album by Fueled Hate is a shambles, the cluttering of influences make it a difficult listen as there doesn’t feel to be one apparent direction the band are aiming to go in. Despite there being moments in to which the instrumentation is interesting and truly shows some potential for this record, the ball is soon dropped again and isn’t the next generation of rap metal as once promised. One thing is evident through March Of The Pigs and that is the band despite having potential and a clear understanding of the basis of each genre they are implementing, they not only need some work but also need a clear direction in which they aim to take their music.

Talisman – Don’t Play With Fyah – Review

Reggae outfit Talisman have been playing and recording music for the better half of four decades and are set to release yet another Studio Album on the 17th of March. This new album, by Talisman, Don’t Play with Fyah is set to be yet another full length release since the bands reformation in 2011 and through the single Relijan which dropped at the start of 2017 it seems like this album does have a lot of promise, not only through the main mixes but the dub versions that also sit on this album. But without further ado lets break down Don’t Play with Fyah.

Opening up this album is the lead single Relijan which not only starts up the album with promise but also gives a clear insight in to how well this band are continuing to grow despite the length of time they have been playing. The first thing that clearly jumps out during this track is the simple yet effective reggae stylings that are overtly evident in not only this track but the entirety of the album. With a tight composition the vocals of Dehvan Othieno, Dennison Joseph and Pete Fletcher are able to effortlessly lay on top of the track that carries itself along at a steady pace. Both aspects, vocals and instrumentation is what makes Relijan a great opener.

Coming next on this album are Talkin’ Revolution and She Look Like Reggae. The first of these two tracks Talkin’ Revolution is an interesting track, however is let down by it’s repetitiveness and almost excessive run time. Despite the track being well composed both in terms of instrumentation which although isn’t ground breaking or different fro the opener is still effective, and it’s well constructed vocal melody it still feels lack luster in comparison to the albums opener. Following this is She Look Like Reggae which is another song on this album that is well composed, and with a shorter run time feels more consistent and doesn’t let itself down with any form of repetitiveness that can become quite laboring to listen to.  Overall this track is a great listen simply down to it’s vocal performance as the slow yet powerful vocals truly add an extra layer to this track.

This is then followed up by the albums title track Don’t Play With Fyah, which is simply just a fun track and is possibly the strongest track on the entire release. When this track first starts you can’t help but bop along to the strong instrumentation that is different in it’s make up to the track that proceed it and truly being the mid point of this album truly gives a lot of promise for what is on the latter half of this record. Again like in many of the tracks on Don’t Play With Fyah the harmonies that come from the vocalists in Talisman is something special with a very simplistic harmony set that works perfectly.

This brings the album past it’s midpoint as we hit another set of two tracks which come in the form of Hear No Evil and Racism Never Sleep. The former of these two track Hear No Evil is unfortunately the weakest track on this release and that fact is only exaggerated coming after Don’t Play With Fyah, as it is in this the vocals on the track are the weakest they are on the entire album. However the instrumentation on Hear No Evil is actually quite well orchestrated still in terms of how it is put together and how well the different parts of the album come together. The latter of these two tracks, Racism Never Sleep is simple yet effective, with some great lyricism on a hard hitting issue the song almost has a life of it’s own in that context and this together with the simplistic instrumental makeup makes it a track which can in a sense pack a punch.

Directly after this comes the album’s final song Wheel and Come Again, before we hit the dubs of each track, knowing this it does mean the album unfortunately feels short lived, despite there being 7 more song which are effectively slight reworkings of what has come prior. This track is a great final of the initial seven songs that lay on this record, as not only through the faster beat that powers this track along there is this well orchestrated instrumentation the song possesses similarly to Don’t Play With Fyah which is inherently fun to listen to. This alongside the vocal performance that sits on this track make it an excellent closer.

Finally we reach the dubs of the 7 tracks which make up Talisman’s upcoming record. After a few changes in name to add the word ‘dub’ to each title the tracks soon show their apparent changes. With the loss of vocals on some track and changes to mixing and the occasional extra instrument the tracks do become a great listen for a few spins but after that they all seem to blend together and it is only if you specifically select one of the tracks that the merit of it is clear. Overall these tracks are interesting to listen to but aren’t necessarily anything special and don’t necessarily add anything new to the tracks that the original tracks already had. Apart from the fact that certain tracks that appeared lack luster or weaker during the main albums track listing are given a second life in these dub mixes and add an extra level of enjoyment to them.

Overall this new Talisman album is a great listen for any fans of reggae and through some well crafted instrumentation and beautifully crafted vocal performances it is an album that has many highlights however, there is one draw back to this album that weakens it as a whole and that is the run time of some of the tracks, after a short while the tracks seem to become repetitive in themselves and in a sense become stale. Yet that still doesn’t draw away from the fact that Don’t Play With Fyah does have highlights all over it in both terms of instrumentation and vocals and is definitely worth checking out when it drops in March.

The Dollyrots Are Set To Release New Album

Los Angeles based The Dollyrots over the past few years have been pumping out music and shows since 2014’s Barefoot and Pregnant, but the band are now set to release their sixth studio album Whiplash Splash. The album is pinned for release on March 24th and is set to be a great addition to the bands catalog and with a US tour already announced, there are opes for a UK tour also. The album is available for pre-order through their PledgeMusic campaign.

Proud Ember – I Died In My Bedroom (EP) – Review

Proud Ember is a new kid on the block in the Birmingham scene, and is making waves after recently supporting Hotel Books on their Birmingham show at the end of January. After releasing a split with Miltone Keynes based Crater Face in the latter half of this year many have been looking forward to Proud Ember’s next release. Proud Ember is made up of Alex Hyland, a young lad who is truly showing his potential not only through live shows but also through his recordings. With out further ado let’s break down his debut EP I Died In My Bedroom.

if i was a bird id fly in to the ceiling fan part 1 starts this EP, and not only does it set the tone for this debut by Proud Ember but it also gives a clear insight in to the amount of brutal honesty Alex Hyland is clearly going to present to on this very heartfelt EP. With the tracks simplistic yet powerful instrumentation it allows Alex’s vocals, all be them stronger in shouts, to carry the song and truly hone in on the message the track is wishing to portray. Overall this opener does what it needs to do, for those who know of Proud Ember and for those who don’t, it is a strong opener that truly shows the potential this EP has with everything else that lays on it’s track listing.

This is followed by a re-recording of milhouse, although being the weakest track is by no means a bad thing. milhouse can be found on the split with Crater Face, however with subtle changes and additions this track becomes something else on this EP. One thing is evident through this track, and that is the fact that Proud Ember is far more open with his instrumentation than simply just focusing on chords like a lot of solo musicians do. However, when the track does boil back down to the chords in which he shouts so powerfully on top of, there is this clear sense that all together these separate parts work cohesively. It is at this moment the track does something new that wasn’t evident on that split, and that is the brief moment of spoken word which is truly a nice addition to the track before it closes down with more powerful and heart wrenching lyrics. Which are soon accompanied by the samples of Milhouse from The Simpsons that help drive this track home.

Coming through next on I Died In My Bedroom is [smoke] which is the strongest track on this entire EP. [smoke] starts with this brutally honest spoken word opening which talks about being not good enough among other honest wordings. It is in this moment that we not only witness some brutal realizations which are very reminiscent with Hotel Books, but also the way in which Alex orchestrates his lyrics and instrumentation to create a track full of meaning and powerful delivery. After this spoken word the track quickly jumps back in to these shouts which leave a lasting and haunting impression whether it is live or on recording and help solidify this track as the strongest on the EP.

Following on from this is I Died, which acts as the title track to this EP and is truly haunting not only in terms of the instrumentation which is very simplistic but works for all the right reasons alongside the very well-constructed vocal parts and lyricism which doesn’t only paint a vivid image in the head but also leave a lasting impression well after the song has finished. However one thing does in a sense let the track down, and that is Alex’s cleans which aren’t always the strongest. But with it being his first EP, these clean vocals will be something that will improve with time and will match the rawness and honesty in his shouts.

Ending this is EP is if i was a bird id fly in the ceiling fan part 2 which not only ties the EP together as a whole but also closes it in a great way.  With yet more of this well crafted shout and clean mix Proud Ember perfectly ties together this EP with part 2. Overall instrumentally it is as interesting as the opener with this simple riff that is now repeated but in a calmer sense up until Proud Ember starts to close off this track when his shouts become more raw and truly leave goosebumps as this track plays out.

Overall this five track EP shows a lot of promise for Coventry born Proud Ember through not only the power and emotion that are evident through the tracks but also through the simplistic yet impactful lyricism which is accompanied by this well orchestrated riffs and chords which help the tracks move along at the steady pace. However Proud Ember does have room to grow, both vocally and instrumentally, but with him only being 19 this debut EP is the perfect start of that growth. [7.5/10]