(DL31) SAVE THE EMBERS - Embers & Ashes

SAVE THE EMBERS kommen aus Nürnberg und machen melodischen Hardcore, der eher im Punkigen als im absolut Modernen wildert. Und für ein Debüt-Album ist das hier ziemlich stimmig.

Und das sowohl vom Sound als auch vom Songwriting her. Die Platte klingt gut, ist aber nicht überproduziert und stellt die Stärken des Quintetts ganz gut in den Vordergrund. Und da fällt vor allem die Variabilität bei den Vocals auf. Zwar haben sie einen „Hauptshouter“, der fies und kratzig über die Songs bellt, aber auch die anderen Bandmitglieder mischen immer mal wieder mit. Sei es mit kleinen Solo-Parts oder drückenden Crewvocals. Und genau das gibt „Ambers & Ashes“ die nötige Würze. Denn der Shouter allein würde auf Gesamtlänge ansonsten eventuell ein wenig untergehen, weil die Stimme zwar cool ist, sich auf Dauer aber dennoch etwas abnutzt.

Und genau diesen Fluss haben SAVE THE EMBERS auch im Songwriting. Zwar verlassen sie nie großartig ihr eigenes Revier, halten die Songs aber immer schön im Fluss und haben den ein oder anderen Kniff dabei, um die Songs nicht zu vorhersehbar zu gestalten. Sie sind sehr gerne schnell unterwegs, unterbrechen das aber immer wieder für drückende Midtempo-Parts oder kleine Einschübe. Allerdings bleiben sie grundsätzlich immer ziemlich melodisch. Sei es durch harmonische Oktaven über den Akkorden, einem Refrain oder auch mal einem Solo.

Mir persönlich gefällt vor allem die Geschwindigkeit und das die Nürnberger (gegründet 2008) nicht im modernen Mosh wildern und mit ihrer Platte eher dem klassischen, melodischen Hardcore huldigen, aber dennoch nicht nach einem Abziehbild klingen. Das bekommen sie vor allem durch die ziemlich hohe Energie hin, die sich durch die komplette Platte zieht. Und damit schaffen sie es sogar, ab und zu richtig mitreißend zu klingen.
7/10 -  burn your ears
 

GOOGLE TRANSLATION:
SAVE THE EMBERS come from Nuremberg and make melodic hardcore, the poaching rather in punk as in absolutely modern. And for a debut album that's pretty consistent here.

And that both the sound and from her songwriting. The album sounds good, but is not produced and provides the strengths of the quintet quite well to the fore. And falls on particularly the variability in the vocals. Although they have a "main shouter" barking nasty and itchy about the songs, but also the rest of the band mix from time to time with again. Be it with small solo parts or oppressive Crew vocals. And that is "Ambers & Ashes" spiciness. Because the shouter alone would otherwise possibly be lost in total length a bit, because the voice is indeed cool, but still wears a meaningful and sustainable.

And exactly this river have SAVE THE EMBERS in songwriting. Although they never leave great their own ground, keep the songs but always beautiful in the river and have it one or the other trick, not to make the songs too predictable. They are very happy to go fast, interrupt but always for pushing midtempo parts or small bays. However, they generally remain quite melodic. Be it. By harmonic octaves above the chords, a chorus or sometimes a solo

Personally, I particularly like the speed and the Nuremberg (founded in 2008) do not compete in the modern Mosh and with their plate rather pay homage to the classic, melodic hardcore, yet not sound like a decal. That they get out mainly by the fairly high energy that runs through the entire plate. And so they even do it, from time to time sound to really rousing.


(DL31) SAVE THE EMBERS - Embers & Ashes

Melodic hardcore from Germany here, an accurate bout of blowing belligerence that needs much time from this Fungalised Fruit as it pounds with much fluster and bluster and has many layers that appear to need a good old peeling. It is a CD I got from the kind bods at Deadlamb Records, a good label with a good ethos and an undying spirit (take note). Right, no time to flap my wings, no time to scratch my sphincter - in I throw my all, striving to sum things up as best as I possibly can.

The CD opens with 'Let It Go' and 'Everett', and after a brief unified holler, a crunch of the wires and a stick military trundle the songs explode into pastures of power with a swift trenchant tonality borne of schools of sound from the more modern era. What stops this opening double ended burst from becoming a technical convolution many twanging twats seem to get drawn into is the fact it has a direction based on focus, harsh heaving and with an 'all for one' aspect that real appeals to the punk ticker. The band exhibit a cohesion and impermeable accent that will cross the cacophonic boards and draw in many sonically sozzled spiked heads to the overall foray. The hungry gobbage, the barbed and tautly pulled weavings have me sitting up and preparing for what else is to come. A good opening and into track 3 I plunge with 'From Red To Grey' starting with subdued tones before ascending higher, finding a balance and then letting go with a full throttle roar fest that blazes with an incandescent heat not to be denied. The power arrangement is tight, the tangents subtle, the desire blatant and so, after many rotations I am erecting my thumbs here and appreciating the robust and talent-ridden offering that blows with good effective force.

'Day By Day' quickly tub rolls, twinges forth and then hot-roasts along with continued thermality borne from the previous ditty. My concerns of another repeat trick are banished as the crew move through a more spacious moment that exposes contrast and takes us into different realms. The vibe is positive, the lyrical content equally so and urges that you get up, do and avoid a life of idle apathetic pointlessness. I appreciate that! Onwards and '14th Of Five' follows the set trend, creates a storm and lets fly with many elements. The collection of colliding and complimentary corruptions bounce around within a tight kernel of musical goodness with the inner nut of noise loaded with flavours that take time to be fully appreciated. The animation within this offering and the unifying moments that are interspersed with soaring releases of majestic insight all reveal a unit very much on form and nailing what they set out to achieve. Combustible, oozing potential and still with a chance of crossing the sub-scene bridges of restriction - here's hoping!

A fast batch of 3 sees me tackle 'Benchmarks', a song that skewers in, unravels with grace, set a scene and then gallop to the encouraging shouts and vigorous bounce of the commanders at the helm. Again the recipe contains many acoustic herbs and a single toss around the palate will not suffice. Over and over one must roll the rhythms and finally make a decision. Patience is tested and that may be the only drawback but, other than that...the band do what they do mighty well, albeit more of a particular ilk it seems. 'Crawl' follows the set route but doesn't seem to have any regularity and just wanders in to many directions for its own good. Musically the band are testing themselves and that is no bad thing but they must understand that this will leave some eavesdropping 'erberts behind in their wake. I am one of those and even though I sense the usual precision this one fails to tickle the chuff. 'The Infeasible' operates inside a box, kicks off the lid and eventually resonates with warning slant. The pulsations wors, the harmonies live, the tweaks and twangs are non-too hindering and as the development of the discordant comes and the embryo blooms into a finished product one is applauding yet more clinical control - have it!

The last 3 and 'Associated Sidekicks (Friends For Life)', 'My Great Revelation' and 'Homecoming' all add cream to your hefty cake of yum-scrum cacophonic listening and if you have liked your episode of melodic mastication thus far you will finish on a veritable high here. Personally I think the first song fucks around too much, flushes itself down too many U-Bends and delays the point it is trying to make. I am sure many good comrades will embrace the sound and each other but I just ain't having this one. The second cut throws initial punches from all angles before finding its focus and jabbing and jarring in good equal measure. The final fling is serious shit with uproar and belting riffage all throwing itself headlong into an already fractured wall that has taken a serious kicking over the length of this clinical CD. At this stage you are either in or out, silent or ready to shout - I am a mere reviewer trying to capture something elusive.

A tidy band this who certainly put the hours into delivering their work. The touches of the Front that claim to be Agnostic are many, the strict skater essences and Epitath-esque nuances noticeable but hey, there ain't nowt original and if a band do it well you gotta tip your titfer - how's that

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