|
Lomera - S/T - EP
Hailing from Sydney, Australia - Lomera are what you would expect if Black Sabbath, Kyuss and Alice in Chains had a love child.
Opening track 'Hail the Storm' immediately grabs the listeners attention for all the right reasons - pushing you into a glorious melody of heavy, sludgy guitars that are perfectly matched by frontman Matt Powers' growling vocals.
'Architect vs Instrument' typically follows suit, but astoundingly, despite only mild shifts in tempo and melody, maintains the listeners interest - dragging you further and further into the dark, metal sound.
Third track on the four track EP, 'No Way But The River' focusses on a slower, slightly less intense melody. Although it doesn't 'grab' you like the previous two tracks, the demonstration of the bands versatility to capture a different mood and style is commendable.
Closing track, 'There Will Be Blood' is, in my opinion, the best track on the EP. The crunching, heavy melody whips straight back into a frenzy, beautifully driving the sludgy/grunge-esque guitar sound home.
Lomera are certainly a band to keep an eye on in 2012. Their debut EP is beautifully mastered and executed, showcasing a band that is more than capable of taking their sound to the next level - if not further.
I, for one, am looking forward to seeing what this band does next.
[5/5]
Fashoda Crisis - Him Make They Learn Read
This E.P represents one of the few occasions where, in a musical release, the music takes a backseat.
Rather than attempting to make their mark instrumentally, Fahoda Crisis let their ideologies take precedence, resulting in an effort that acts as source of cultural satire.
‘The Berry Brown Face of Robert Kilroy Silk’ is a sonic attack on the monotony of terrestrial television, defaming ITV’s Vernon Kaye and the generic, unimaginative nature of contemporary media.
Such an approach is not entirely dissimilar to that of Say Anything’s Max Bemis, but it’s just a shame that the band’s simplistic garage-punk doesn’t prove to be as engaging as the subject matter of the songs.
Lyrically, Fashoda Crisis are certainly eccentric and thought-provoking, but their musical style leaves much to be desired. This is particularly underlined in ‘Animals’, which features an indistinctive chorus in tandem with droning guitars, dragging the song into people’s Recycle Bins and out of their memory.
‘Alien Dinosaur Brundefly’ and ‘With My Good Eye’ and honour the same musical structure as the preceding tracks, destroying listeners’ hopes of variety.
The band’s stubborn musical outlook means that if you dislike one song on Him Make They Learn Read, the likelihood is that you’ll dislike the rest too.
2.5/5
Promise Me Tomorrow – Through It All
Overflowing with poppy hooks and sugary-sweet melodies, ‘Through It All’ hints at an auspicious future for Promise Me Tomorrow.
‘More Than You Know’ is reminiscent of The Starting Line, bursting with catchiness and connoting of the summer months. At times, the band’s merits are irrefutable, although one-dimensional vocals often mar the E.P’s vibrancy.
Instrumentally, ‘Knockbacks and Heart Attacks’ can easily be compared to Mae, treading the lines admirably between traditional pop-punk and old-school emo. The only issue is that there are no facets that truly sustain the listener’s attention, especially when You Me At Six have already taken the formula and embellished it to reach mainstream coverage.
There are no elements to the band’s sound that warrant scathing disapproval, though neither is there a unforgettable chorus that will be planted in people’s conscience.
This feeling of mediocrity is further reinforced with listens to ‘You Haven’t Seen The Best of Me’ and ‘For All The Wrong Reasons’. However, Promise Me Tomorrow’s inadequacies can be easily connected to their youth, and there is enough on offer in ‘Through It All’ to suggest that this E.P is only their first draft, before their final piece is completed in the foreseeable future.
3/5
Malokai – Heart Beats
For those who appreciate sugary sweet pop-punk, Malokai will certainly prove appealing.
‘Rumours’ begins with the same zest that made Fenix TX so endearing in the early millennium, before showcasing elements of pop-punk-core, while introducing samples that can be easily likened to Forever The Sickest Kids.
Vocally, Malokai are certainly at the saccharine end of the spectrum, embracing All Time Low’s tried and tested imprint of pop-punk. In ‘Heartbeats’, the formula works wonderfully, thanks to a chorus that is engineered to stay in listeners’ heads for days after listening.
Such is the promise of ‘Heartbeats’, some of the E.P’s tracks appear comparatively pedestrian.
After starting with a gloriously catchy riff, ‘Young and Dumb’ capitulates, indicating that the band are still far from orchestrating their best material.
If the band’s likeness to All Time Low wasn’t already evident, their cover of Jessie J’s ‘Price Tag’ certainly illuminates the comparison. Much like ATL’s rendition of Rhianna’s ‘Umbrella’, it’s an admirable effort, even if its purpose is a little questionable.
‘What’s Inside’ closes the E.P in memorable fashion, pointing to a potentially bright future for a band who, at the moment, may be a tad too inconsistent to transcend the underground circuit.
3/5
Nightwish - Imaginaerum
It's been four years since Dark Passion Play, and to say that I was excited about the impending release of Imaginaerum would be an understatement. A band that perfected the concept of majestic metallic opera, Nightwish certainly don't do anything by halves and Imaginaerum lives up to it's name.
It is thirteen tracks of stunning melodies which sweep you away to the world of Imaginaerum, a twisted reality where freaks and fairytales come to life.
Opening the album is a track in the band's native Finnish 'Taikatalvi'. Translating loosely as 'Winter Magic', bassist Marco Hietala leads you softly down the dark path to Imaginaerum. 'Taikatalvi' is a mystical combination of pipes, strings, xylophone and the beautiful Finnish language. A bit mysterious, a bit foreign, it's the start of a nursery rhyme and the one thing that was missing from 'Dark Passion Play'.
First single 'Storytime' is your signature Nightwish track- crunching riffs and keyboards balanced in metal opera perfection. The perfect choice for a single, it's catchy, poetic and sums up the concept of the album in one track. The only drawback of 'Storyline' is that the music drowns out the vocals.
'Ghost River' marks the return of the duets between Olzon and Hietala, whose grouchy vocals complement Olzon's perfectly. Next up is the 1920s lounge style 'Slow, Love Slow' - a soft and slow keyboard accompaniment track, suiting Olzon's vocal range down to the ground.
'I Want My Tears Back' jumps straight back into traditional Nightwish, albeit with a folkier touch. Alice in Wonderland references abound as Hietala and Olzon continue their duets.
'Scaretale' is the most movie soundtrack of the songs. Beautifully put together, it succeeds in scaring you with the addition of creepy children choirs and recitation of 'Ring a Rosy'. Throw in a 'welcome to the Cirque du Morgue' from ringmaster Hietala and Olzon trying her hand at screeching vocals and you have a downright scary track. And it's making me exceedingly curious to see the film version of Imaginarium.
This is an exquisite record with only one downfall: it's nothing we haven't seen before. Nightwish have completely perfected their genre (and god knows there's a lot of poor imitation bands out there), but Imaginaerum hasn't quite hit the bar they raised when they released 'Dark Passion Play'. Saying that, Imaginaerum is guaranteed to please fans both new and diehard.
8/10
Jack's Mannequin - People & Things
For those people who are not familiar with frontman, Andy McMahon's story, this will just be a listen that will leave them wanting to hear it all over again. For those who have been with Jack's Mannequin from the very start, this will strike as an even more special and entertaining ride.
From the start this is a different sort of album than its predecessors, it holds more maturity and has really allowed McMahon's vocals to grow, integrating themselves with the band and the sound that they produce. What really sets 'People & Things' apart from JM's earlier work is how the whole band now sound when working around a piano. With the piano playing a role where it switches things up from being the lead instrument to becomming just a filler at the appropriate times, helps to bring out the talent around it. This in turn has helped give the album a very complete and satisfying feel, whilst not feeling cluttered.
After two tracks in, there's the brilliant 'Television'. The 80s vibe that can be felt in places through out 'P&T' really shines through and is given the sort of treatment that it wouldn't feel out of place in a stadium. Reverb is beautifully controlled to maximise McMahon's vocals and contribute to just how massive this song actually is.
Whilst 'Amy, I' and 'Hey Hey Hey' carry some darkness in the lyrical content, the whole album manages to retain an uplifting feel that really seperates it from the two previous releases. It's as if the message it's carrying is one of moving forward and not dwelling on what has or has not been, it's all about looking to the future. The lines in 'Release Me' would appear to back this up perfectly; "I've been running such a long time/I've been hiding from the truth/I've been battered, been broken, been buried/now I'm death proof". Where as 'People, Running' really holds a certain calm happiness that's never been experienced before. It's with relief that MacMahon's turned away from just focusing on the topic of cancer that seemed to dominate 'Glass Passenger' and spoke whispers of coincidence on 'Everything in Transit'. The impression given is that of a frontman who's not going to let an obstacle that he's conquered, obstruct his musical present and future. It also gives him the scope to expand the ideas and directions that the album can take, unleashing it's real potential.
This potential and diversity is well expressed in 'People, Running' with it's upbeat tempo. The piano, whilst obviously upfront until the chorus, fades into the background to let the rest of the band breathe. It has a great subtle, country feel running through its veins where clean guitars are given a dashing of distortion.
The main instrument on this album, the piano, has taken a different path compared to MacMahons previous works. The mix provides enough subtlety that the left hands bass transcript is moved to backing up the music, and along with the addition of the bass guitar, gives it more of a punch and a bigger sound. With all this in mind, the notes above middle C are given all the brightness they deserve and placed higher in the mix so that we - the listeners - aren't searching in vein for that piano that has been so accustomed with MacMahon's work. Some of the best guitar work can be found on 'Platform Fire', the layered variety of guitar sounds is flavoursome. They flow effortlessly through out the whole song and it's a trend that can be heard elsewhere on the album.
To say that this album has a single best song is hard to break down given the quality on hand. However one of the most distinct would be 'Restless Dream'. This differs from most JM material due to the fact that it's void of any piano accompaniment. Instead of building this up as a piano ballad, instead the band have taken a more familiar route, yet at the same time unfamiliar. This wonderfully crafted song introduces strings into the mix along with a softly mixed female vocal that sits just behind MacMahon's.
Of all things to take from this album, what strikes foremost is that JM now sound like a band who have ticked all the boxes. Whilst most artists leave you wondering what else needs to be added, the balance and control of the piano helps give JM an advantage in that you don't need anything else to make this record sound any better. And it's not just the balance of the piano that works for JM, everything is balanced well against everything else. There's no impending sense that one instrument is taking unnecessary precedence over the rest. MacMahon has really developed JM into a band to be envied and rivalled for their ability to bring balance, power and lyrical genius to the table.
5 out of 5
Batman: Arkham City - The Album - Various Artists
This compilation is an eclectic mix of artists, who all put their own unique twist on the legend of Batman. Leading track is 'Mercenary' from steampunk rockers Panic! At The Disco. Written exclusively for the soundtrack, it's traditional PATD fare - catchy rock with a darker edge. Complete with a creepy monologue from villain Hugo Strange, 'Mercenary' is the perfect opener.
Coheed & Cambria's 'Deranged' instantly makes you think of the Joker - maniacal, methodical and damn catchy. Blaqk Audio's 'Afterdark' harks back to an eighties ballad and Crosses 'The Years' is haunting and atmospheric. Daughtry's 'Drown in You' blows you away with Chris Daughtry's soaring vocals. Featuring tracks from The Boxer Rebellion, Serj Tankian and stand out track 'Trophy Widow' by The Damned Things. Another stand out track is Danish duo The Ravenettes' sixties inspired 'Oh, Stranger', blending hard bass with keyboards, dark lyrics and drawling vocals.
A compilation of epic proportions Batman: Arkham City is the perfect moody and twisted accompaniment to the game. It also stands alone, much like the caped crusader himself.
7/10
Attack Attack! - This Means War (Album)
This Means War, the third album from Ohio Crabcore pioneers Attack Attack! is certainly a departure from the previous efforts and…well…war on anyone who thinks that Someday Came Suddenly embodied this quartet's work. There's a few reasons why This Means War can be considered a change in pace; for a start there's a change in personnel gone is rhythm guitarist/vocalist Johnny Franck and long-time producer Joey Sturgis (frontman Caleb Shomo is now in on desk duties), but by far the most important distinction here is in the music.
Attack Attack! seem to have skirted around the outskirts of their genre here, adding some pop sensibilities to the chorus of 'The Motivation' and even flirted with dubstep with the wobble bass that creeps in towards the tail-end of The Confrontation. There's still plenty of breakdowns and riffs-a-plenty, but gone are the cheesy synths and obvious musicianship, everything about This Means War seems a lot slicker, matured and bears all the hallmarks of a band who've been totally comfortable with their sound.
The album itself is touted as a concept album, and whilst the term itself might make a lot of fans run a mile, you wouldn't know this was the case unless you were told. There's certainly some recurring lyrical themes such as mental illness ("There's somebody else / inside my head" in 'The Wretched'), unrequited love ("How can you say you never loved me?", Shomo asks in 'The Betrayal') and obviously, war. In fact, the only real giveaway to this being a concept album is in the track titling (hopefully you've detected a pattern by now). What you've got here is ten extremely solid tracks of blistering hardcore, laced with thoughtful electronics and a modern production aesthetic that could feature as much in any Enter Shikari track as it would in a song by Of Mice & Men.
The trouble with a genre like Crabcore (if it's even really considered a genre), is that it can parody itself very easily. Fortunately for us, Attack Attack! have steered clear of this pitfall and created a third album to be proud of.
Strangers - 'Bred for Breeding' (Single)
Whilst only a fairly young band Strangers have been very busy this year moving up in the rock world, touring all over the country headlining their own shows and opening for legends like Shihad, Trial Kennedy and Unwritten Law. Boasting influences from Nirvana to Led Zeppelin and The Doors, Strangers have created a unique heavy rock sound that will blow you away.
With their debut album due to be released in 2012, the boys are tiding us over with first single 'Bred for Breeding'.
The track literally screams into life, vocalist Ben Britton's powerful voice ripping through the silence and leaving you in a state of awe/gasping for breath as you try to sing along. Guitarists Mark Barnes and Benny K add to the grit of the track with their fast-paced and crunching riffs. Finally rounding out the quintet is soulful bassist Clav and Timmy Hansen providing the heartbeat of the track on drums.
'Bred for Breeding' has a catchy chorus, runs along at a lightning pace and the melody hits you full on, making it everything a damn good rock song should be.
And from the sounds of their other live tracks, Strangers are no one-trick pony, mastering the spectrum of rock with an ease usually reserved for veterans of the genre.
Keep your eyes on this space - Strangers might just be your new favourite band.
5/5
Super Best Friends - Karma Karma [Single]
Super Best Friends are a band that seem to be haunting me at the moment. Underground music scene mentions, playing at local venues - this is a band I had already heard so much about, but have never actually heard play.
Thankfully, latest single 'Karma Karma' landed in my hands this week, and I finally discovered just what I was missing out on.
Clocking in at two minutes and thirteen seconds - the track is full of blistering noise and angst, snotty-nosed punk attitude, and an infectious melody to boot. The snarl of frontman Johnny Barrington's vocals drum up images of the punk days of old, while the simple punk 'three chord' riff, drives that vibe home.
The inclusion of a slight electro beat is a little questionable at the start, but by the final bridge and subsequent chorus, it explodes into a frenzy of noise and mess that pounds through your speakers.
Undoubtedly, Super Best Friends are a band that have definitely caught my interest. If my attention were a person, this single would have grabbed it, shaved its head and pierced its ears with a safety pin.
I will definitely be watching out for these guys in the future.
[4/5]
Sound of Seasons - Sweet Decline [Single]
Sound of Seasons are a band that are impossible to escape at the moment. Opening up any local street press magazine, logging onto any social media site, and you will no doubt have come across this band and their new single, 'Sweet Decline'.
Undoubtedly, this bands appearence is a little deceiving. Expecting to be drowned in animalistic vocals and thunderous guitars, I was pleasantly surprised to discover that, not only does frontman Marcus Bridge actually sing, but it's to a melody that doesn't make you want to hit yourself over the head with a shoe.
The infectious hooks of this single are what sells this band brilliantly - with the rippling melodies sticking in your head, long after the track is over.
What is most appealing about this track though, is the video that has been released along with it.
There is something fascinating, yet slightly disturbing about the video - with the band being 're-taught' how to function. Seamlessly matching the lyrics "you don't know who you are", the video perfectly illustrates just what point the band are making.
Overall, this is a feel good track, that will appeal to a new generation of music fans. As the wind down to the end of 2011 begins, these guys look set to have a big 2012.
[3/5]
City Riots - Matchsticks [EP]
City Riots are a band on the rise. They've had a tremendous amount of opportunity in their short career - clocking up appearences at BigSound 2011, CMJ and also sharing the stage late last year with the legendary, Smashing Pumpkins.
When this little EP landed at Push To Fire, there was no doubt a hint of intrigue as to what this little package would provide. And rightfully, I wasn't left entirely disappointed.
The EP is probably best described as the ultimate Australian summer style. The melodic, rippling, yet strangely calming tracks are beautifully mesmerising, and seem best suited to driving around with the windows down.
Opener, and current single, 'Matchsticks' is a beautifully warm track - that ignites [pardon the pun] an emotionally cathartic experience in the listener. The melody, coupled with Ricky Kradolfer's vocals, dabbles seamlessly in light and shade - demonstrating just why this band are being noticed more and more.
The following tracks ultimately follow suit, blending dream like whimsy with the occassional heavy guitar. This is music that is made to be listened to on a lazy Sunday.
Closer, 'Out Of Time' is where the magic really lies on this EP - with five minutes of soaring melodies that firmly place this little EP in one of the great ways to end 2011.
Overall, if you hadn't already guessed, this is a stunning little EP from a band that is on the rise. Once again, City Riots [amongst other Australian acts], are showing just what our shores have to offer, and I have no hesitation in saying 'these lads will go far'.
[4/5]
Dakesis - Trial By Fire
Power metal may be seen as a rigid genre by many. After all, it was incepted decades ago, yet has never passed through any groundbreaking phases of evolution.
As a whole, the genre is comparable to the home phone, washed away amid the burgeoning technologies across the globe. Sporadically, bands have defied the genre's flailing popularity, with Dragonforce surging to widespread fame in recent years, but followers of the musical style still remain in the minority.
After listening to 'Trial By Fire', it's easy to understand why power metal has been usurped by other metal variants. To cut a long story short, the sound is too stubborn.
Song after song, high-pitch vocals blend into swirling solos, before prog-rock elements come to the fore. Upon listening to the title track, the sound is both infectious and appealing but, like eating chocolate in excess, Dakesis' musical approach soon succumbs to monotony.
This is not to say the album is devoid of highlights, as the galloping riff of 'On Wings of Steel' invalidates that accusation, whereas the outro to '440 King of The Road' is decidedly epic in its magnitude. The overriding issue is that group's formula is difficult to digest for people who are not hardened fans of prog-rock or power-metal.
Consequently, this album is one for purists of the aforementioned genres only.
3/5
Smokey Bastard - Tales From The Wasteland
I mentioned in an earlier review for Smoke Like A Fish the dreaded Curse of 2Tone, bands of the same genre and decent skill shadowed by more famous bands. Smokey Bastard could quite easily suffer from The Curse of Celtic Punk, with the vast majority of music fans only assuming there are two celtic punk bands in the world, the Punk-Band-Who-Do-Folk Dropkick Murphys and the Folk-Band-Who-Do-Punk Flogging Molly. This is, of course, a load of rubbish. Across this great globe music featuring acoustic guitars and/or plenty of traditional Irish instruments from accordions to tin whistles with lyrics revolving around politics, working class unity, camaraderie and, without question, booze.
Smokey Bastard are a UK band playing in this Celtic punk style, one that has started to peak attention amongst the touring circuit with bands such as Bootscraper and The Roughneck Riot alongside them.
Smokey Bastard’s sound is first and foremost a traditional folk underscore of banjos and mandolins, but they blaze away with the punk-fusion of Neck, The Dreadnoughts or Flatfoot 56, more in the Flogging Molly school.
Mongrel a typical rough-and-ready folk-punk anthem, whilst Dear Mol has the Irish jangle of a decent scorned love song.
Inevitably though, with the sheer weight of celtic punk acts boozing all over the world, each band needs to add that extra dynamic element to make them stand out from the usual gruff-voiced booze-swilling punk sound. Whilst some bands resort to songs about pirates, Trade Unions or just dedicating a whole album to alcohol, Smokey Bastard have a nice running story throughout their work. Eden Holme, Boatepitaph and Cheer Up, Love (Worse Things Happen At Sea) all form part of a trilogy throughout the album. These songs have a more traditional folk feel and break up the albums, and alongside the shanty My Son John they balance out the more punkier and bizarre tracks, like their cover of Abba’s Mamma Mia and gruff-rough-tough Wasteland tracks.
But if you ever choose to introduce a mate to Smokey Bastard, I imagine you’ll start with Yuppie Dracula. A strange little story about a vampire, the video on youtube is fantastically made for a song that never gets boring due to being so fresh and fun.
Smokey Bastard’s album is a nice slice of celtic punk, but has enough traditional elements to appeal to a large fanbase, with plenty of fun songs and dancebale bite.
Shotgun Effect - Serrated Conversations (EP) and I Dream of You (Single)
Make sure you check out Shotgun Effect at some point. This York band have a lot of potential for decent furious rock music. Like Motorhead, the band are a rock act punks will like and a punk act rockers will like. Their sound is scuzzy rock, a mixture of Queens Of The Stone Age and early 80s punk rock such as Anti-Nowhere League and UK Subs. The song Breaking Free has that Springsteen approach to the spirit of camaraderie. Waster had that dangerous edge of violence and roughness about it, whilst Heart Attack high energy upbeat Ramones-style surfer rock. But all the songs are decent enough in themselves, and the EP feels a nice example of this band’s work. If anything their love for the U.S. rock sound is a little too obvious, their choice of Jimi Hendrix cover Purple Haze doesn’t really add anything to the overall feel of the EP. Given these are their first few recordings and their live show is much more aggressive, I’m sure future releases will have that more organic and sharper edge than trying to emulate rock icons of the past. Nevertheless, Shotgun Effect are a little slice of American-style gruffness in the heart of York and won’t disappoint fans of the genre.
This Are UK Ska #4 - Various Artists
Ska compilations have always been a striving factor in the genre. Any genre I suppose, but it seems that ska has always had a unifying feel. Maybe it’s because it was always such a cult obsession, the Trojan releases then the 2tone label and associated acts of the late '70s being mainly about 5-6 bands. Do The Dog record label (who we have to thank for this compilation) has always promoted and supported the UK ska scene by allowing up-and-coming bands a platform to release their own take on the genre. From Trojan comps, Ska Dance Craze, The Give ‘Em The Boot comps, Ska-Quake, Skaville USA, Moon Ska Records samplers, Ska-mageddon and other such ska-puns, a comp has one aim, to introduce a fan to a variety of bands which then allows them to investigate and discover other music of the genre.
This compilation is a great introduction to Do The Dog’s current line-up of bands, from the old school and long-serving stalwarts Too Many Crooks, Splitters and Smoke Like A Fish to the fresh-faced Miacca and Breadchasers. The majority of the bands have the standard 3rd wave/2-tone beat, the sound of The Toasters, The Specials and Madness diluted, twisted and reformed after several decades. Inter City Crazy Train have that lovely Slackers/Pietasters soulful skankabale sound that inspire you to grab a trilby. Too Spicy and Copasetics provide a more ska-punk sound, faster and with more bouncy energy. Rasta4Eyes and Captain Black No Stars provide the reggae-feel, whilst Jeremiah Ferrari, a relatively new band from Manchester, are that nice UK sound you hear from The Skints, a mash-up of sweet reggae sounds and dancebale ska all packed within a single song.
This album is simply beautiful for fans of 3rd wave ska, fans of 2tone and fans of general ska music. However to be honest it doesn’t quite accurately reflect the current ska scene in the UK. There are no real scathing ska-punk and skacore tracks from some of the more aggressive and raw bands, nor any of the band mixing hip-hop and electro into the mix. Not that this isn’t a great bulk of bands in the UK scene, and proves without question that good old fashioned loveable ska never dies. This is the ideal playlist for a group of skins, mods, punks and ska-kids to dance to and get along splendidly. Grab your zoot suit, lift those knees.
Various Artists - Rewiggled - A Tribute to The Wiggles
For years, the Wiggles have been entertaining the worlds youth with their high-energy, bubbly personalities and colourful skivvys. Now, in their 20th year of ridiculous happiness, local Australian acts have come together and covered twenty of the songs that made the Wiggles so popular.
Now, one might think this was a strange venture, but to be honest, this is probably one of the best covers albums that I have heard in a while. From the grungy, rock stylings of Jebidiah covering 'Getting Strong' to Clare Bodwitch's haunting, mysterious and downright mesmerising 'Georgia's Song' - this album is less about the tracks being kids songs, and more about giving something back to the adults.
Bluejuice's version of the 'classic' ' Wake Up Jeff' draws on a Spanish/Cuban lounge song vibe, beautifully mastered and gorgeously fresh. Whilst Sydney misfits, The Snowdroppers take on 'Wags the Dog' cannot help but bring a smile to my face. Long-time punk rockers, The Living End ['Hot Potato'] and Frenzal Rhomb ['Captain's Magic Buttons'] also make an appearance, branding the tracks with their own established personas.
The variations in sounds, styles, genres and musicians on this album is ecletic and diverse, allowing a 'something for everyone' vibe. To say I had fun listening and reviewing this album would be an understatement. Hearing songs that are made for children being re-worked into something for the adults makes for a ridiculously fun, catchy and memorable album - and let's face it, gives us one last chance to hold onto our youth.
[10/10]
Doomed From Day One - The Wasted World
'The Wasted World' is six tracks of unadulterated metalcore- stripped back to the bones and wrenching your heart out through your mouth. Produced by Andy Hayball, who has worked with the likes of Slipknot and Bring Me the Horizon, Doomed From Day One prove that they are the newest force to be reckoned with in the metal scene.
Warning sirens in first track 'Dfdo' give you the sense of impending doom, the clips from space launches preparing you for the trip into a hopeless world.
Sean Scott rips your head off with his growls, the guitars harsh and unforgiving in second track 'Pretending'. The battle-like 'Depths of Imagination' continues in this vein, the guitars echoing drums of war and clawing your eyes out with angst.
'From Here On Out' mixes things up with an electronica twist before leaping straight back into the lightning speed fretwork of guitarists Charlie Griffiths and Charlie Frederick.
'You Were Meant To Suffer' and title track 'The Wasted World' round of the album with a bang, dragging you further into their world before powering down into the fallout.
Key tracks are 'From Here On Out' and 'The Wasted World'.
The Wasted World is out on November 14th.
6/10
The Karma Heart - Throw Your Light
This female-fronted four piece from the north are spreading an important message with the release of their debut album Throw Your Light. Preaching the positives of overcoming trials and discovering your self worth, The Karma Heart are clearly four people who love what they do.
Describing themselves as an edgier, british version of Paramore and the Foo Fighters, The Karma Heart take the best of these bands, toss them in the blender with a little Killing Heidi and emerge with a rolicking sound all their own. Although a fantastic group effort, the real standout in this record are the outstanding vocals from Jenn Cherene. Soaring and passionate, you can feel your heart almost stop as she screams. Fretwork from Graham Haswell is crisp and heavy, holding his own as the solo guitarist. Lee Tuck on bass and Phil Bell on the drums round out the sound, the essential heartbeat to the riffs.
From 'The Fated' that draws you in softly, the soulful 'King Karma' and the catchy 'The Remedy, Throw Your Light is a solid rock record. Although it gets a tad monotonous at times, on the whole is a mix of solid rock and roll.
This is an outstanding debut effort from a band full of passion and potential.
The Karma Heart are hitting the UK this month - check out tour dates on their website:
http://www.thekarmaheart.com/
9/10
Red Enemy - What We Are Contained In, Is What We Are Worth
Since 2008, Irish progessive metalcore boys Red Enemy have been launching their brand of melodic metal across Ireland. Known for their powerful live shows and featuring an impressive backlog of supporting gigs, including Australia's own Parkway Drive on their most recent tour of Ireland, Red Enemy are fast making a name for themselves not just at home, but all over Europe.
A political commentary on the state of Irish affairs, 'What We Are Contained In, Is What We Are Worth' is a passionate and gritty record. Vocalist Kevin Letford growls to perfection, drawing the listener into the world of anger and pain - each riff from guitarists Robert Powderly and Conor Dockery assaulting your eardrums (in the good way).
After the initial success of their debut EP 'Oustiders', 'WWACI,IWWAW' is a tight, well-paced and hard hitting follow up EP, so much so that it's hard to believe this is only their second record. By far one of the most impressive metalcore releases this year, I will be interested to see what they come up with next.
Key tracks are 'Wolves', featuring Phil Conway and 'Betrayal'.
'What We Are Contained In, Is What We Are Worth' is out now.
8/10
Black Veil Brides - Rebel Love Song [single]
Harking back to classic rock tracks from the seventies and eighties, part-emo-part eighties hair band; Black Veil Brides deliver 'Rebel Love Song', the third single from their second studio album, 'Set The World on Fire'.
'Rebel Love Song' is the perfect choice for a single - completely over the top with epic guitar riffs and catchy lyrics.
Whilst 'Rebel Love Song' lacks Andrew Biersack's signature screams seen in other singles 'The Legacy' and 'Fallen Angels', it's a better track without them. Biersack has such an incredible, massive voice which makes you look at him twice, surprised such a skinny person can produce that kind of noise.
If you like The 69 Eyes, Kiss and Steel Panther, then you'll love this song.
5/5
The Super Happy Fun Club - Go Fun Yourself
One of the best things about this job is finding the hidden gems amoungst the piles of demos that land on my desk. And of course by desk I mean our kitchen table after our humble music and news editor Meghan has handed them to me. And The Super Happy Fun Club is definitely one of these.
As their name would suggest, The Super Happy Fun Club are indeed super happy and fun. The Chicago pop punk rockers remind me of early Simple Plan records, minus the desire to punch the singer in the face. On the contrary, instead of sitting around feeling sorry for themselves, The Super Happy Fun Club make you want to get on your feet and pump your fist in the air and sing along with them.
Life long friends growing up in a city that has spawned some of the finest punk rock in the world, The Super Fun Happy Club have learnt a lot from their enigmatic predecessors. Releasing their new record in November and are celebrating by hitting the road with Madina Lake and touring Europe and the UK.
First track 'My life's a Mess (Yeah Yeah Yeah)' is instananeously infectious, with pop punk hooks, massive choruses and wrenching vocals. Second track 'Victims' is an amusing dig at the music industry. 'London' is the quinessential rock song - soulful in parts, fast chorus and catchy lyrics.
From diddy 'Billy the Entertainer' to 'Invincible', each track ranges from soulful punk to rollicking pop rock. The record has something for everyone and they are all signature tracks without boring you with their monotony.
This is an album that will make you smile and tap your toes.
'Go Fun Yourself' is out on November 7. Check out their website for tour dates:
http://www.thesuperhappyfunclub.com/shows
4/5
Mikelangelo and the Tin Star - The Surf ‘N’ Western Sounds Of Mikelangelo And The Tin Star
A couple of weeks ago, I had the privledge of catching Mikelangelo and The Tin Star at a local music festival. To say I was taken in from the minute they stepped onstage til the end of their set would be a terrible understatement. Thankfully, soon after, their latest album landed in front of me and I rediscovered why this band are so damn good.
Opening track, 'Action [Is My Middle Name]' establishes the bands spagetti western/surf style of music from the get-go, drawing on a time and genre that many people would most likely dismiss. Brilliantly, the timeless appeal of a great surf rock song hasn't gone out of style with the smooth crooning vocals of Mikelangelo winning over your attention from the first track.
The rest of the album closely follows suit, wavering between spagetti western guitar licks to surf style warblings. 'The Armada' encapsulates a breath of Spanish air, perfectly capturing an era of time and music that is at risk of falling through the cracks.
'Midnight Flower' is undoubtedly my highlight of the album. The smooth vocal contrast between Mikelangelo and songstress, Saint Clare is beauitfully dark and delightful. Drumming up comparisons with Nick Cave, the track is perfectly executed in both vocals and melody.
What I noticed most about the album, is the amount of instrumental tracks that are on it. While, normally you may be slightly worried about only hearing someone sing for less than half the album, but the result in this instance is highly commendable. The band lets the music speak for itself, rather than complicating it with lyrics and vocals. In a way, the music and the reaction it creates in the listener, sells itself.
Without doubt, the band deserve all kinds of praise simply for doing their own thing. In an industry where you apparently can only be noticed by following the masses, MATTS are winning more attention for being different - and that deserves a certain level of respect. Well done guys. Well done.
[8/10]
The Hype Theory – Glory Days (Album)
The first thing that has to be said about The Hype Theory is that they are very image conscious - this is a band who care a lot about how they portray themselves. Everything here is served up as a feast for the eye. The promo shots are all big smiles, comically open mouths and squeaky clean clothes. The artwork for the lead single was classic bubble gum art and some of the song titles are very materialistic; ‘Rich & Famous,’ ‘These Are The Times.’ It appears that they need more than their music to get by, however I suspect the band know this, as demonstrated by their tongue-in-cheek, but nonetheless intelligent name.
So what can be said for the music? Well sadly, as suspected, it takes second place to image, and doesn’t really ever rise above average pop-punk. Although it’s a temptation to compare every female-fronted band in this genre to Paramore, it has to be said that they Hype Theory really are the spit of them. All the usual techniques are here, so much so that by the end of the album you would bet money that each song treads the familiar structure; frenetic instrumental opening, palm-muted verse, anthemic chorus, palm-muted 2nd verse, anthemic chorus, palm muted bridge, anthemic chorus with the first line sung A cappella. And save for a few changes that is largely the pattern it follows.
However the biggest drawback is that the album is, well, not really an album. I wouldn’t say that every song sounds the same because that isn’t true, each song has individual merit even it they are built over a basic skeletal structure. But by not really stretching themselves, the band has just released a collection of songs instead of a cohesive whole. I warned that this may happen when reviewing lead single ‘Kid At Heart’ and I’m afraid to say it’s happened. Put it this way, the first and final track could be anywhere on the album and it wouldn’t make a difference; such is its lack of direction. A second album doesn’t really hold any appeal if it will be as disjointed as this.
Yet this all seems a bit negative, so to focus on the positives, there IS undeniable charm here. I interviewed the band over the summer and they’re a great bunch of guys who clearly love every minute of what they do and are putting all their passion and time into making it work. And in fact the band are good at what they do, writing fun songs for fun times. And hey, why can’t they just release an album of 3 minute feel good radio friendly tunes if they feel like it? Well they can and have, but I fear that whilst they went down well on the festival circuit due to their catchiness and easy going songs, there may not be enough on this album to draw people in any further than that.
3/5
Thrice - Major/Minor
Moving on from the stripped sounds of 2009's 'Beggars', 'Major/Minor' is more in your face, without being over the top. Not a band to shy away from experimenting with their sound, rock veterans Thrice deliver with their new album.
First single 'Yellow Belly', originally released as a free download, caused the Thrice website to crash with the mass fan downloads. And with good reason. With a Kurt Cobain-esque growl, 'Yellow Belly' is a haunting and poetic start to 'Major/Minor'.
Throughout the whole album the vocals are grunge perfection, the guitar solos sending chills down your spine every time. 'Promises' and 'Blinded' at times trick you into thinking you're listening to a bizarre mix of Niravana and Rise Against, with singer Dunstan Kensure at his best.
Whilst musically none of the songs grab your attention, Major/Minor is 11 tracks of pure poetry. Consistence is the key, with the guitars and the heartbeat of the drums drive the record, with Kensure's exquisite vocals tearing through the melodies and owning them completely.
All in all a great album, more easy-listening than grab you by the throat, but by no means monotonous.
Key tracks are 'Yellow Belly', 'Treading Paper' and 'Cataracts'.
Major/Minor is out now.
8/10
Twin Atlantic – Make A Beast Of Myself (Single)
I’ve professionally reviewed every release by this Glasgow quartet on their most recent album cycle (‘Free’) and they have never dropped below anything other than magnificent, and this single is no exception.
In fact in many ways I think this is the strongest single they’ve released. The whole album is a masterpiece and the tracks fit seamlessly together, but as a stand alone single this displays everything that’s great about Twin Atlantic.
Front man Sam McTrusty’s vocals range from anguished and abrasive to euphoric and full bodied and his lyrics are as ever, stark, bold and gritty. The band are on top form, all frenzied guitars, pounding bass and crashing drums in the choruses, whilst bare, stripped back and rustic in the verses. Although these are two extreme styles of playing the song never feels disjointed and they blend together beautifully.
The band deserve all the acclaim coming their way, and need to tour this album a bit more to bring its unique sound to the masses it deserves. But you have to wonder, how will they ever top this? Outstanding.
4.5/5
Rise To Remain- City of Vultures
As the son of Iron Maiden’s lead singer, Austin Dickinson is both blessed and hindered. Maiden’s faithful probably expect him to revolutionise metal just like his father did, so finding out that he is, in fact, the voice of a metalcore act may come as a disappointment of incomprehensible proportions.
The truth is that, as cliché as it sounds, there is only one Bruce Dickinson, and once listeners can internalise that fact, then City of Vultures can become an enjoyable record.
Meshing As I Lay Dying’s vitriol with the melody of Bullet For My Valentine, the album does just enough to avoid plagiarising the sound of either band and features some truly memorable moments.
One of these in particular is ‘God Can Bleed’, where the band showcase their instrumental prowess to devise a track that purveys modern metalcore with a classic metal twist, provided in the shape of a soaring guitar solo.
Then, in ‘Talking In Whispers’, Rise To Remain shift their focus to clean vocals and it pays dividends, as the song slots into the album seamlessly.
Unfortunately, it is when the band attempt to interchange between clean vocals and screams that they appear to come undone. This is exemplified on ‘The Serpent’, where the song’s uncompromising tempo is subdued by the inclusion of a chorus that is neither catchy nor sonically impressive.
However, ‘Bridges Will Burn’ concludes the record in style, harnessing all of the musical elements necessary to make fans of Trivium salivate.
Even though City of Vultures is marred by a few flaws, Rise To Remain have shown enough promise here to suggest that their next release could elevate them into British metal’s big leagues.
3/5
Rise To Remain-Power Through Fear [Single]
Metalcore is now so ubiquitous that even commendable purveyors of the genre can find themselves greeted with critical intolerance. However, this latest single from Britain’s own Rise To Remain is certainly better than many of the scene’s less imaginative outfits.
The track is easily comparable to As I Lay Dying’s recent material, as rasping screams are juxtaposed with catchy riffs and melodic vocals, creating a song that is equally as heavy as it is catchy.
4/5
Octane OK – So Alive (E.P.)
The buzz surrounding this band at the moment is nothing short of monumental. Battling their way into the public eye and continuing to win fans left, right and centre, this young Birmingham rock quartet have already played a sold out tour early this year, and were nominated for a prestigious Best British Newcomer Award at the annual Kerrang! Awards, missing out by a whisker to Asking Alexandria. But still the future looks bright for these lads.
The first thing that’s apparent about this band is the raw talent of their lead vocalist (Paul Tandy) who manages to transgress a vast range of styles and techniques in just 5 tracks - whereas most bands at this level need at least a debut album to cover the ground he has already passed. More than that though, is the presence and vitality that they convey, never for a second sounding tired or weary. “So Alive” is indeed a very apt title. What’s also refreshing is the way that they can be forced without breaking into aggressive vocals, an all-too-tired cash cow these days. The confidence and belief in his voice makes Tandy reminiscent of Aled Phillips (Kids in Glass Houses) or even a young James Dean Bradfield (Manic Street Preachers.)
The music itself is confidently delivered and well executed. And whilst it isn’t exactly groundbreaking in its technique, this isn’t necessarily a bad thing, as the band clearly has a comfortable enough setup that any hidden potential should be allowed to blossom uninterrupted on future releases. The percussion and bass provide a solid foundation, and the guitars harmonise well together, though it must be said that this is the part of their game that Octane OK need to work on the most.
Another noteworthy feature of this is E.P. is the production. Helmed by Romesh Dodangoda, it is slick, polished, and at times gloriously theatrical. Opening track ‘The One’ begins with a combination of a synthesiser, drum machine and a piano, before exploding into a marvellously upbeat riff before allowing the vocals to shine through. Of course with Doangoda on board, any band has a huge advantage – the man has kick started more bands careers (particularly in South Wales) than I can ever hope to list here!
However what really makes this E.P. stand out from the crowd is the final track. Dropping the electric guitars and stripping their sound right back, the band access a whole new depth with the beautiful piano-driven ballad ‘Parties Over.’ It is slow, heart wrenching and sincere, without ever becoming overly sentimental. Similarly the studio effects used on the vocals (making them echo and cascade over each other) works perfectly without ever sounding gimmicky.
A fantastic debut effort – if they can keep this up then their debut album could be something very special.
4.5/5
New Found Glory- Radiosurgery
For many bands, pop-punk only resonates with them at the start of their musical careers, before ambitions to become experimental take over and they mature into entirely new commodities. In some cases, this evolution allows bands to make a larger impact on the mainstream (we’re looking at you, Brand New) while, for others, “maturity” may as well be a synonym for “boring” (hi, Blink 182).
With this in mind, it is with great jubilation that I can report that New Found Glory haven’t followed Blink 182’s fate. In fact, better yet, they’ve actually released one of the year’s best pop-punk records.
Many of NFG’s members are now approaching their thirties, so it is even more impressive that Radiosurgery manages to maintain the band’s overriding lyrical themes of relationships and self-discovery without sounding utterly cringeworthy.
Undeniably, you can’t expect extraordinarily intellectual lyricism on this release, but if there’s anyone who wouldn’t be able to relate to the emphatic ‘Dumped’ or ‘I’m Not The One’, then it has to be questioned why they are listening to these pop-punk titans in the first place.
Both tracks feature insistently catchy choruses and the same bounce and vigour that transformed the band’s Sticks And Stones album into the genre’s pinnacle in 2002.
‘Anthem For The Unwanted’ carries the same high-tempo approach of the aforementioned tracks and is certain to be a live favourite. However, the album’s real peak is shown in ‘Summer Fling , Don’t Mean A Thing’, which will be engrained in listeners’ heads until the end of time.
To add to this, ‘Map Of Your Body’ is loaded with a terrific riff that helps to close the album in wonderful style. It also does so without resorting to the pop-core sound that was prevalent in NFG’s ‘Catalyst’ and ‘Not Without A Fight’ albums.
Radiosurgery is further proof that, while Blink 182 garnered the mainstream attention, New Found Glory have always been the undisputed kings of pop-punk.
5/5
Kill City Creeps - Self Titled [EP]
Influenced by the many rock n roll genres from the mid fifties to today, Kill City Creeps were already grabbing my interest long before this EP landed in my hands. Their music has been described as 'unhinged, 60s psychedelia and 70s glam' - and from the opening drum/bass combo you know you've stumbled onto something special.
'I Got A Letter' is a perfect introduction to the young Sydney four-piece, with frontman Daniel Darling's vocals ranging from haunting to killer within a short space of time. The accompanying melody is perfectly matched, opting for a subtle, slow verse, brilliantly contrasted with the loud, belting chorus that follows.
Shifting sound and style, 'Drivin' Sideways' demonstrates the bands versatility - showing listeners that they are anything but one trick ponies, whilst following track 'Mustang Mama' keeps the bands 'old school' influence flowing beautifully.
Closing track 'La La Blues' is undoubtedly my favourite on the EP. The melody is simple, the vocals refreshing, the style easy. Quite simply put, this EP is perfect because it doesn't require you to think. It's simply a matter of throwing it on and becoming lost in the music. And personally speaking, those are the best kinds of EP's.
[4/5]
Huron- Mary Celeste
In recent years, a vast number of subgenres have been spawned from metal, but if you want to hear the genre in a raw, unadulterated form, then Huron’s latest album will be sure to please.
There is a variety of bands that Huron could be compared to, though the most conspicuous of them is certainly Pantera. From the raucous ‘Branded’ to ‘Eternal Sea Pt 2’, Huron’s vocals sound unquestionably similar to Phil Anselmo’s delivery.
Instrumentally, the album generally carries an eighties metal sound, with unrefined production that steers clear of the polished nature of many modern acts.
For instance, ‘Disperse Or We Fire’ is structured in a similar vein to Metallica’s Ride The Lightning output, yet it unfortunately sounds more akin to the cringeworthy ‘Tallica impersonations heard on Trivium’s third album.
The pivotal flaw that blights Mary Celeste is the lack of variety on offer, as each track merges with the next sans the acoustic ‘Eternal Sea Pt 1’. Mostly, the individual tracks are more than passable but, when listened to in its entirety, the album’s rigid sound can quickly become monotonous.
2.5/5
Evile – 5 Serpent's Teeth
Amongst the bands that have been touted in the revival of thrash metal in the British Isles, Evile are one of the pack leaders. Hailing from that most rock n' roll of heavy metal havens, Huddersfield, they stormed onto the UK scene with 2007's Enter The Grave, promptly gathering a reputation as a top-flight thrash brigade, folding in output from the giants of the past, and galvanizing it with an edgy modern style- only without going all Bullet For My Valentine.
Having to stay hot on that rep isn't easy, and the sad death of the band's bassist Mike Alexander whilst on tour in Sweden in 2009 could have been enough to put and end to the band. Instead though they're now back with their third record, and again ready to make you bow down to the thrasher.
5 Serpent's Teeth does nothing to defecate on the band's CV. The title track blasting out of the starting blocks at a perfect neck-snappng pace and boasting riffs other bands just can't touch is a perfect start, and it gets better. There's tons of this shit on show. Frantic riffing and glinting solos whirl about, and it comes through emphatically on tracks like 'In Dreams of Terror', 'Origin of Oblivion' and 'Descent Into Madness' they've still got it.
Amongst the gold there's some bronze though. Tracks 'Cult' and 'Xaraya' have a fair amount of quite pedestrian walking pace progressive trappings, not too far from the tempo that put me off a large part of Metallica's ...And Justice For All. The nods to Metallica are still present and obvious, meaning as well that the album fails to surprise many who will say they've heard much of this before back in the 80's.
'In Memoriam' for example will equally excite some with it's spine tingling atmosphere, and get on the nerves of others who will say we already have one 'Welcome Home (Sanitarium)' and we don't need another. Matt Drake's vocals, whilst covering lyrically the familiar territory of religious control, war and technological take over, is something of an acquired taste. He adds a theatrical empowering melody, more so than other contemporary thrash vocalists, and there's times that this big echo-y epic style works. Other times it seems too languid, and 'Centurion' with it's over repeated chorus line causes the whole thing to slip down a gear, reminding that you can't afford to let things drag in thrash.
Large amounts of awesome exhibited should be the bottom line though, finished off in pure ballsy style with the brilliant closer 'Long Live New Flesh'.
If you weren't too fussed to start off with and think they've strayed too far into the replication of past thrash titans this'll do nothing to cure those woes, but 5 Serpent's Teeth meets expectations for lovers of the shred and will add to Evile's standing as the go-to British thrash band. Plus given Metallica's latest output with Lou Reed you could do a hell of a lot worse.
This makes and crushes.
The Hype Theory – Kid At Heart (Single)
This snappy summer anthem does exactly what it says on the tin; makes everything seem joyful and multicoloured, and guarantees to leave you with a smile on your face. Its verses inevitably lead up to big anthemic choruses that are fun and easy to sing along to.
The lyrics are what really make it a winner though – for an easy listening song like this, the promise of a return to childhood when everything was so much easier is blissful and quite fitting.
Though I’ve given the single a high score, it is only on the merit that I am reviewing it as just that – a single. When the album drops, the Hype Theory will have to show some variation and progression, it can’t just be 10 or 12 different versions of this song.
But for the moment this is great fun, and a perfect lazy afternoon summer song.
4/5
Awolnation- Megalithic Symphony
Have you ever heard one of those albums that are completely out of your musical comfort zone, yet simply will not leave your head?
Awolnation’s new release is specifically one of those. Part indie-rock, part-dance, the record has the sole modus operandi of providing infectious hooks and eccentric vocals. ‘Soul Wars’ is an obvious example, which takes Mindless Self Indulgence’s dance-rock stylings to a higher, poppier pantheon of catchiness.
‘People’ follows the track with a lower tempo and a more concise focus on pop, containing a chorus that is tailored for the masses. Meanwhile, ‘Burn It Down’ sees the band illustrate a penchant for pure electronic rock, but serves to highlight that Awolnation only excel when they exercise their pop sensibilities.
Discernibly, the band realise this too, as the majority of this album exudes with pop bravado. ‘Not Your Fault’ could easily be mistaken as a track from Panic! At The Disco’s latest opus, whereas ‘All I Need’ offers the kind of overblown rock music that was Queen’s speciality during the eighties.
It is unlikely that Megalithic Symphony will instantly impress music listeners of a staunch alternative disposition but, when viewed with an open mind, it could become an addictive guilty pleasure.
3.5/5
Xtra Mile High Club Vol. 3
Another compilation from bands on Xtra Mile records, an independent record label promoting a veritable galaxy of talent. Plenty of the tracks come from Xtra Mile’s motley crew of acoustic solo musicians, each here providing soulful and insightful songs. Even Beans On Toast, known for providing a handful of comedy songs in his sets, has committed a heartfelt and honest little tune about touring. Frank Turner is represented with an acoustic solo version of Redemption, a song tinged with sadness. Chris T-T, Jim Ward, Ben Marwood, Dave Hause and Franz Nicolay all provide their folk-country-rock-punk tracks. These are some very talented solo singer-songwriters, mixing various genres and influences together to create music that has a candid and authentic feel to it, stripped of a preciousness which feels fresh amongst a sea of unhealthy pop and R&B. On the band side are a mixture of acts who fall under the heading of punk rock, but beyond the simple studs and boots of a basic ‘punx’ tag. Worldonfire and Fighting Fiction have the controlled energy of Lawrence Arms, direct and powerful in approach but not unnecessarily aggressive. Crazy Arm provide Ambertown, with all the vigour of Against Me! alongside other strong bands Ghost of A Chance and The Xcerts. In the recent London riots, Xtra Mile lost a lot of stock and rare releases so if you want to pick up a album of intelligent folk/country solo music as well as strong punk rock which go hand-in-hand beautifully then get hold of this compilation.
The Bristol Reggae Explosion 2 - The '80s
This is the third Bristol Reggae collection I’ve had the pleasure of reviewing, and at first glance there seems very little else to add other than clearly Bristol was clearly a huge melting pot for reggae artists of all varieties, from the feel-good pop songs to the viciously political. But this second collection focuses on tracks from ‘The 80s’, that strange period in music which gave birth to the music video, the charity single and the dreaded mullet. But socially, the '80s were also a time in the UK of mass unemployment, a hacking away at civil liberties and the very real threat of nuclear war which hung over the air throughout the end of the 20th century. This subject matter flows through the collection like a fine thread, opener Rise Up by Joshua Moss is a necessary and overt call-to-arms. Hot on its heels are Times Are Getting Harder by Bunny Marrett and Alfred McIntosh’s Wicked Men (dub version). These songs enter into the tradition of '60s Jamaican Trojan ska/reggae, conscious of the social world, and the sort of song that can influence a young man’s mind. Songs like Cool Running’s Robin Hoods of The Ghetto and Way Out West by Zapp Stereo have that sense of responsibility to nod towards social problems. That does not necessarily mean the songs are overblown huge political rants, they retain the enjoyable tempo and pack plenty of bounce and sway. However the fact remains this album proves reggae has always had the political backbone behind the lovely sweet sounds, blending politics and decent music. This collection also backs a minority of love songs, Little Eyes more akin to Aswad’s evolution into the band that released Don’t Turn Around in 1988. Ragamuffin Girl by Dan Ratchett & Teknikal rounds off the collection and the 1980s, a pop tune and perhaps precursor to M People or Soul II Soul of the early '90s. Overall another fine release from Bristol Achieves, not just because of the way this collection reflects the '80s superbly, but also because many of these tracks are rarities, either never being released at the time or were lost until today. They sure beat late-UB40 and The Police for that plinky-plonkey watered-down Top Of The Pops ‘reggae’. Try out Bristol Reggae Explosion 1 first, but once you’ve fallen in love with that burst of reggae music then move onto this '80s collection and keep your eyes peeled for their next magnificent find of buried treasure.
Down The Machine - Know Your Place [Single]
A catchy bass rhythm led track that hints at what to expect from Leeds band Down The Machine in the future. Gravel infused vocals and a 'hum it 'till Tuesday' chorus ensures that the major record companies will soon be clambering all over them for that drop of rock 'n roll blood on the contract. Certainly, for fans of atmosphere laden rock with rough edges.
White Wizzard - Flying Tigers
For those that yearn for a return to the golden era of eighties metal, White Wizzard are sure to be enjoyed.
All of the foundations of the time period's metal output are deployed in the band's music, with 'Fight To The Death' boasting vocals that hark back to Metallica's Kill 'Em All epoch and acting as a step back to the venerated eighties.
Seeing a band of White Wizzard's ilk on Earache Records comes as a surprise, as the Los Angeles shredders' sound marks a drastic departure from that of their roster mates At The Gates and Morbid Angel. Still, it's refreshing to see that the record label is embracing musical eclecticism.
It is just unfortunate that 'Flying Tigers' does not demonstrate the same quality because, while it is effective at its aim of paying tribute to the legends of yesteryear, there is little evidence of White Wizzard attempting to manipulate the old-school metal formula.
'Starchild' sees the band exercise their melodious muscle with a five-minute ballad that constitutes discernible musical variety, though the galloping drums and traditionally fast-paced metal is restored with 'Flying Tigers' and does not leave until 'Starman's Son'closes the record.
Also, White Wizzard are clearly accomplished musicians, as exemplified in the indulgent yet impressive 'Dark Alien Overture', representing two minutes of musical prowess that guitar experts will be itching to master from their first listen.
In summary, Flying Tigers will be embraced by those who want to see eighties metal emulated in the modern musical landscape. However, people who expect musical experimentation may want to look elsewhere.
3/5
The Devil Wears Prada - Dead Throne
Releasing their fourth studio album, US metalcore kings The Devil Wears Prada are back with Dead Throne. It is a far more creative and cleaner offering compared to their previous work. Not a concept album by any means, it themes around the idea of idols and idolatry, leaving the listener to interpret the lyrics how they see fit.
Leaping over the bar they raised for themselves since last year's EP 'Zombie', TDWP have well and truly stepped up to the plate with 'Dead Throne'.
Rhythm guitarist Jeremy DePoyster has a fantastic 'clean' voice, which sounds even better when it's placed next to the guttural, unintelligble growls of lead singer Mike Hranica. The two form a perfect balance of light and dark in every track.
'Vengence' is by far my favourite track on the album. DePoyster and Hranica are in fine form, the riffs are hard and fast and straight to the point.
'Kansas' is another great track to look out for. This mostly instrumental piece is the perfect mid-album chill track, before throwing you headfirst into first single 'Born to Lose'. 'Born to Lose' is catchy, powerful and the obvious first choice for a single.
'Dead Throne' without a doubt one of the best metalcore albums you will hear in 2011.
Key tracks to look out for are 'Mammoth', 'Vengence' and 'Born to lose'
8/10
Puddle of Mudd - Re:(Disc)overed
The last time I heard Puddle Of Mudd was in 2009 and to be honest, that's where I was happy for them to stay. For a band thats been around for nearly 20 years that don't have any iconographic status I feel completely and utterly baffled by their latest album 'Re:(disc)overed'.
The album is a series of classic covers including Clapton's 'Cocaine' and Ringo's 'With A Little Help From My Friends'. These are two of my favourite songs in the whole wild world, they're classics and there is a big difference between performing covers and recording covers. I do not even know the lead singers name off the top of my head, he looks like a pathetic version of Jacks from Sons of Anarchy minus a realistic jaded quality with lot less conviction.
I saw March Of The Real Fly cover Cash's 'Ring Of Fire' last Sunday, it was beautiful, I enjoyed it. I respected it.
However, I feel that Puddle Of Mudd are making the classic 'rockstar' mistake of trying to be The Rolling Stones, Led Zeppelin or Ozzy Osbourne. When in fact they're not a household name, they don't have the status to pull something like this off.
But boys, will be boys and the band says they're just having fun. The sound is bearable enough, but it pales in comparison to the original from which they are derived. I would never reach for this album over the original record. I have however reached for my teenage angst from 2009 and flown into a violent rage after listening to this and not because the music inspired me, moved me or forced me into some form of political action.
I think the reason I profusely dislike it is because it shocked me that someone would deface such brilliant songs without managing to bring anything original to the table. It's such a shame that the music industry (or Fred Durst) will throw so much money at such a mediocre band instead of finding something with some creativity to invest in.
It's not that Puddle of Mudd are an awful band, they're accomplished platinum musicians, but I still find this album unacceptable. Maybe it has something to do with the fact that there is a sadface in the title, maybe I'm just a stickler for the integrity of the original and if that's a crime then surgically attach a cape to my person and I'll crusade for the classics. The point is that I don't spend my time or other peoples money destroying fond memories.
Apologies for the vitriol.
3/5
Mastodon- The Hunter
Mastodon are arguably one of the most unpredictable bands in the world. Whether its pulsating metal, or experimental seven-minute soundscapes, the bearded Atlanta men seem capable of executing masterful tracks while embarrassing their contemporaries in the process. Therefore, what can be expected of the band's latest opus?
Firstly, those expecting Crack The Skye Version 2.0 will find that their conjecture falls short of the mark as, compared to the prog-metal masterpiece, The Hunter is vastly accessible and could easily lead to an expansion of their ardent fanbase. However, Mastodon have not abandoned the elements that led them to becoming one of metal's most revered outfits. Instead, they've incorporated their prog-metal tendencies, atmospheric guitar work and scathing screams to formulate a record that is ambitious without sounding self-indulgent.
'Black Tongue' opens the album in typical Mastodon style, armed with a seismic riff and the kind of jaw-dropping drumming that makes newcomers to the instrument search for their 30-day money-back guarantee. The album's opening single, 'Curl Of The Burl' sees Mastodon's trademark venom become watered-down incrementally. Yet, it still features several of the attributes commonly associated with their patented sound. Among these is a brooding opening riff, as well as a chorus that manages to incorporate catchiness into their output, which is a word that often isn't linked with the Atlanta titans.
While The Hunter represents a more refined sound for Mastodon, their penchant for frenetic, earth-shattering metal has not evaporated. This is evidenced on 'Blasteroid', a track manages to live up to its exceptional name by recapturing the remorseless aggression of the band's first album Remission while tying it together with better production values.
'The Creature Lives' acts as the most surprising track on the record, Boasting solely clean vocals and beatific guitar work, it explores the band's post-rock sensibilities, culminating in a track that sounds like it could have been penned in partnership with Explosions In The Sky.
Once the prog-metal masterpiece that is 'The Sparrow' brings the album to a close, listeners are truly reminded of Mastodon's unbelievable dexterity.
The Hunter is beautiful and raucous, and could see the US powerhouses reach a new echelon of success, both critically and commercially.
4.5/5
Greeley Estates- The Death of Greeley Estates
The fifth album from Greeley Estates has a very ominous title but if this is the end then they are definitely not going to go quietly. They've changed their sound over the years and their latest release has gone down the more metal-core route. It's pretty heavy, but Ryan Zimmerman's clean vocals keep it interesting and stop it from sounding too generic.
Coming in at just under one hour, 'The Death of Greeley Estates' doesn't quite manage to hold your attention the entire way through, and the inclusion of two interludes doesn't help, as they just disrupt the flow and feel out of place.
Saying that though the record is a pretty solid release, on first listen I pretty much hated it, but giving it time it started to grow on me. The production still is something that doesn't quite work especially on the first couple of songs as the drums sound far too echoey.
Album opener 'Straitjacket' doesn't take any prisoners with its fast drums and intense vocals, the best track is probably 'Bodies' with Zimmerman sounding a lot like Bert McCracken from The Used [which is definitely not a bad thing].
The last track is something a bit different compared to the intensity of the rest of the album, 'December' seems to been written purely for that lighters in the air moment, it's a slightly cheesy and borderline ballad, but it does work and gives the listener a chance to appreciate Zimmerman's vocals.
The Death of Greeley Estates is definitely a grower, it probably won't win you over on the first listen but if you give it time you might just start to like it. 15 tracks though is a little too much as it could have been so much more if they had shaved it back a bit.
Nekromantix - What Happens in Hell, Stays in Hell
Cult favourites, the Danish-American Nekromantix, have been bringing their brand of punk psychobilly horror since their formation in Denmark in 1989. Despite several line up changes and personal tragedies, they're showing no signs of stopping with the release of their eighth studio album 'What Happens in Hell, Stays in Hell'.
Consisting of the aptly named front man Kim Nekroman, guitarist Francisco Mesa & drummer Lux, the Nekromantix have complemented their discography of monster and horror themed albums with their latest album.
Since I'm currently obsessed with rockabilly and blues, the first few riffs of opening track 'Bats In My Pants' were a happy relief, jumping straight into psychobilly perfection and leading the way into Hell in the only way acceptable.
'I Kissed a Ghoul' is an amusing take on the Katy Perry aberration, telling the story of a man who falls for ghost in a bar - 'I kissed a ghoul and I liked it, I kinda liked the bitter taste of her rotten upper neck' - before becoming a happy corpse after getting hit by a truck.
The 13th and final track, the purely instrumental 'Triskadekaphobia' (fear of the number 13) is the mellow and soulful ending to the record, making it the final step into hell.
Complete with gunshots, drinking, ghouls, sky-high flames, serial killers and Bela Lugosi, 'What Happens in Hell, Stays in Hell' is pure fucked up psychobilly perfection. And let's face it, that's the only way to be.
Favourite tracks are 'I kissed a ghoul', 'Sleepwalker with a gun' & 'Monsterbait'.
5/5
The Dirty Youth - FIGHT [EP]
A lot of brilliant talent has come from Wales, and it just makes you wonder if there is something in the water there. The Dirty Youth have been steadily kicking ass in the industry since their formation in 2007, the five piece taking their addictive brand of punk rock all over Europe and the UK.
Whilst we wait patiently for the release of their debut album 'Red Light Fix' later this year, TDY are giving us a taste of what's to come with single 'FIGHT'.
Fast and unforgiving, 'FIGHT' throws you straight into the violence of the night before. Singer Danni Monroe is a breath of fresh air in a genre that has a surprising lack of strong female leads. Completely flooring you with her soaring yet gritty vocals, Monroe is the perfect complement to the bands heavier sound.
B-sides, the heavy 'Crying out for you' and the mellow 'This is for you (live & stripped)', showcase the bands versatility perfectly, proving they are no one trick pony.
Seriously addictive and seriously talented, The Dirty Youth are without a doubt the most impressive band to come out of Wales since Funeral for a Friend. Gritty, real and powerful, TDY will assault your eardrums but you'll just scream for more.
FIGHT hits stores on September 5.
5/5
What The Night Brings - Bound by Apathy
The first thing that strikes you about this record, is the sheer amount of aggression that strikes your ear drums when you first put it on. Whilst being far from original, it does however provide more of the same for fans of contemporary metal, with down-tuned guitars, double bass pedal hits and screams. It is everything you would expect from a typical metal album, with the vocals baring very similar comparisons with Pantera.
This is a very violent album and evidence of this can be seen in "The Barren", the intro riff of which contains circling metal guitars with very atonal chords thrown in for good measure - a style of playing made very popular by bands such as Sikth.
What I really enjoyed about What The Night Brings is the way they were brave enough not to fall into the same trend that many metal bands fall into these days. Unlike many metal artists, there are no anthemic choruses on this album but this is no bad thing. It separates WTNB from the mass and gives them more appeal to hardcore metal fans. This really is the sort of music you want to listen to on your way to a Meshuggah concert to prepare yourself for the onslaught.
The album is produced very well, with beastly guitar tones (although they do occasionally overlap into each other making them hard to separate). The drums are not high in the mix as you'd expect with most metal records, they do not jump out at you. Instead the take more of a backseat but have no problem coming into the limelight when elements of syncopation arise. This works out very nicely for the listener as there are far too many metal albums that reply on the drums for power. On Bound By Apathy, the guitars bring the majority of the power and brutality, allowing a nice sense of space which is adequately filled by the drums and bass.
Overall, I found this a very enjoyable listen. Although it's not the style of music I would buy myself, I would recommend it to any metal fan who is growing tired of the 'screaming verses and melodic chorus' trend that is emerging within the genre. WTNB would be an incredible band to see live, I can imagine the raw power and brutality hitting me just thinking about it.
Hildamay - We Loved, We Lost - EP
Hildamay start out strong on their E.P with opening track 'Parachutes', sporting a catchy bass and drum sequence. Then kick in the raspy, harsh vocals. This contrast is what the boys like to call punk 'n' roll. The track is convicted with skill and precision, whilst the bands stylistic cohesion is what makes this album a praiseworthy exhibition of their work.
The catchy elements similar to that of Hell Is For Heroes are delivered with more grunt that make for a brilliantly addictive sound. 'This War Is Over' seems to capture all these sounds whilst crafting a fast-paced song with explosive lyrics - delivered in time to smashing guitar rhythms, that would make any live performance noteworthy.
If this little EP is anything to go by, this band appears to have big things on their horizon.
4/5
Chthonic - Takasgo Army
Chthonic's latest offering is steeped in the traditional sound of their native Taiwan, essentially not that different then any of their other works.
Yet what lends a freshness to this latest blast from one of metal's very unique practitioners is the twang and sighing grace of their cultural heritage from the native traditional instruments which aids with the albums concept of Taiwanese history.
The Er-Hu violin has had it's stake upped more so than on previous albums, and the addition of the mournful guest Taiwanese vocals on the track 'Kaoru' and a Taiwanese chanting section on 'Takao' has let the doors open to more of the sounds from the East.
Some will undoubtedly find the use of cultural Asian staples a little off-putting, and when the rest of what's going on is held up for close examination there isn't too much beyond thrashy metal riffs being used to drive everything forwards; in what some will, equally undoubtedly, consider clichéd and uninteresting.
But Chthonic aren't Sigh and they never have been, and whilst to some the rather traditional metal guitar work and format will finally sound the death-knell to any pretence of black metal in their sound it is of no consequence.
Takasago Army is a brilliant album, committed to recording with a fresh clarity and coherence, and given a touch of the rare and exotic added by the traditional Taiwanese twists throughout and liberal use of keyboard; happily as a whole staying furious enough to stay out of Dimmu Borgir territory.
Chthonic's mix of beauty and punchy is what has always marked them out as having a sound apart from others and has made them a great live band, unafraid to hit with heavy or bitch-slap with the melody.
Applied with grace and some grimness, Takasago heralds a great step forward for a group who bring native beauty and epic head-banging seamlessly in one lushly pleasing package of down-right cracking.
Beast from the East!
Frenzal Rhomb - Smoko At The Pet Food Factory
It's been a while between drinks for Australian punk rockers Frenzal Rhomb. Their previous album, 'Forever Malcolm Young' was released in 2006 - so it's fair to say that fans and music lovers alike have been waiting quietly in the wings for their new album, 'Smoko At The Pet Food Factory'.
Much in the same way their debut album caused a stir amongst the youth of the 90s, the latest album has all the hallmarks of a solid punk rock album. Fast-paced, highly energetic riffs tear in from the get-go - grabbing you by the hair and shaking you violently - and they don't stop til the album is over.
Keeping the punk rock genre as it was always intended, each track clocks in around the 1.30-2.00 minute mark, hardly allowing for a moments breath before the next onslaught of heavy riffage pummels out of your speakers. This is what punk rock is about. And this is what Frenzal Rhomb do best.
'Knuckleheads' is without doubt, only one of many great tracks on the album, and is currently enjoying some high rotation across local radio stations. The earth-shattering melody, blistering tempo and the Rhomb's own angst fuelled delivery is a feast for the ears - an album that not only lives up to expectations, but excedes them.
Without doubt, Frenzal Rhomb are still one of the country's most fearless punk rockers. Throughout the years, the band have remained grounded, and true to their punk rock roots, never allowing the effects of the mainstream string of the genre to change their ethos. This is a band that know their shit, and are willing to put everything on the line to show that they do.
Overall, I am willing to place all bets on this album being one of the stand outs of the year. This is one album that you simply cannot avoid.
[5/5]
Smoke Like A Fish- Blood, Fish & Bone
I had a brief conversation today with a bloke who clocked my ska t-shirt. He praised the old 2tone bands of the 70s/80s but bemoaned the lack of that music floating around these days. In an interview with Vive Le Rock magazine, Roddy Byers (guitarist of The Specials) said he felt ska bands these days were just "pop bubblegum". Clearly not yet clocked Smoke Like A Fish. Their new album is a slice of upbeat and danceable ska in the style of 2tone, or more accurately post-2tone like The Loafers or Too Many Crooks. There's nothing wrong with the sound, the band have lost none of their pace or charm. The album isn't too 'punk' to be ska-punk, and thankfully keeps it's unique and captivating sound with jazzy brass and a true offbeat sound. This SLAF album has a positive political vibe, not overtly raging like anarcho-ska-punk but still the same driving energy of early Specials. 'Subvert' is an explosive full-force number like a runaway steam train, whilst 'The Opera of Dickie The Third' is a jangly well-paced Mark Foggo dancebale tune, whilst closer 'Blow The Whole Thing Up' is a uncompromising and well-driven track full of energy.
Maybe SLAF suffer the Curse of 2Tone. They could be a hugely popular band, if only their target fanbase didn't think ska ended circa. 1982. The fact is these guys are very good at crafting that skankable, upbeat and instantly enjoyable ska music any fan of the genre will love. Fans of political ska music that isn't too tied to left-wing groups, specific actions or ideologies will enjoy this stab at honest song-writing.
Everything We Left Behind- Our Ears Are Bleeding
A band that wouldn't be out of place at Slam Dunk Festival, Everything We Left Behind are the sons of Blink-182 or Sum 41, pop-punk but with the tone jacked up further in a bid to defend the genre they love. 'A Place Called Nowhere' could have come from the late 90s-early 00s with all the hallmarks of a Goldfinger or Bouncing Souls song. 'Don't Be Hasty' has the feel of a lighter Hot Water Music track, 'Guillotine' like very, very early Offspring. The overall feel is unashamedly American but still packing decent enough songs that click into the genre. The combination of the Rees brothers gives us a quick-fire joint attack up front, Josh's main vocals keeps apace of the fast guitar work and speedy drumming. Some tracks really have an enormous amount of bite, 'A Place Called Nowhere' highly anthemic, 'No friend of mine' flies past in a raw snap. The pace continues throughout the album, each track a real snippet of this band's talent for their genre. The only problem most people will probably find them too deeply rooted in their genre, but are nevertheless stalwarts of a fast and energetic lineage.
The band's name seems mildly ironic, the sound is clearly not something that they left behind, fans who stay loyal to the punk of America from a few years back will really click with this band. Opener 'Generica' a look back at youth and never wanting to return to the same old world. It seems reflective of the band, they do return back to a sound some would called generic punk rock, but the fact is they do it very, very well.
Black Iris-Self titled
There are some releases that hint at greatness, but just miss the mark. One of these is Black Iris' new E.P, which is far from being an undesirable offering, but merges Five Finger Death Punch's brand of accessible metal with impressive melodies and rip-roaring solos to leave listeners with mixed results.
'It's Only Just Begun' reeks of Killswitch Engage from an instrumental standpoint, but doesn't quite pack the same punch as Howard Jones' troop. Nevertheless, it's a praiseworthy effort, featuring a tremendous guitar solo that complements the track in excellent style.
After the promise of the opener, it's a shame that 'The Tangled Web We Weave' is such a ponderous follow-up. With a slightly slower tempo, the song never accrues enough momentum to leave a lasting effect. Also, while impressive, the breakdown and solo featured in the song merely sound misplaced and can't salvage what is an easily forgettable offering.
Although not a major departing from the previous track's formula, 'Better Luck Tomorrow' is a major improvement from it. Bullet For My Valentine's patents are easily noticeable in the track, though this isn't a disparaging comment, as Black Iris blatantly put their own stamp on the Welshmen's formula by prioritising strong musicianship over contrived choruses.
Closing the release, 'Heart Still Beats' boasts the kind of guitar work that made Trivium's Ascendancy one of the most successful metal albums of the last decade. However, with mostly clean vocals and a less heavy approach, it's difficult not to feel like you've been given metaphorical Quorn when you desired a juicy steak.
3/5
La Mancha Negra - Curse of the Black Stain [EP]
For a band in 2011 to encapsulate all the elements that made 1920s blues and 1950s rockabilly swing a formidable and timeless genre is no easy task. Thankfully, there are bands out there such as La Mancha Negra - a dynamic quartet from Sydney's inner suburbs who are grabbing the tried and true blues genre by the balls and throwing it well into the modern arena.
The bands 5-track EP, 'Curse of the Black Stain' is brilliant from the get go. From the opening bars of standout track, 'Amigo', you know you are on one special, dirty, fucked up ride. The thudding bass lines, coupled with the slick, infectious rhythm of the guitar make for a perfectly executed dirty blues ditty - topped off by frontman Akira Alvarez's growling, gnawing vocals.
'El Mole' begins in much the same style as the previous track, however the subtle tempo and melody changes warrant a completely different feel and personality to the track.While the sound lends itself to a more rockabilly style, the breath of fresh air that has been filtered into this genre is commendable, and perfectly crafted by this young band.
Third track 'Suicide Blues' switches tempo and mood once again, with a rockabilly blues melody that instantly puts a smile on my face every time I hear it. The calling of the harmonica throughout the track is quiet haunting, but brilliantly incorporated into the sound - drumming up images of a generation and time, long since past.
'Deathroll' delivers a thudding bass and guitar line with a slow, driving tempo that embodies everything that made early blues and rock 'n' roll amazing. The sound composition in the track is arguably at its finest, and demonstrates just how much this band has got to offer.
Final track, 'Dig All Night' sees the lightning pace return - with what I can't help but describe as a 'scratchy' element to the guitar and its feedback - a small element that is so full of character, that you can't help but be ridiculously impressed.
Without doubt, this EP has been one fantastic listen. There is a quality to this sound that strikes every part of your psyche - warranting you to get up, dance and arguably pray for all your sins the next day. To embody the spirit and style of a genre that was around long before this band were even born is astounding, and deserves relentless amounts of praise.
The year may not be over yet, but I'm willing to put all my eggs in one basket, and say that La Mancha Negra's EP is the best you are going to hear this year.
[5/5]
Jim Ward - Broken Songs
As far as musical resumes go, Jim Ward has one to rival the very best. After performing in the seminal post-hardcore group At the Drive-In, Ward went on to gain success with Sparta before penning solo material and committing time to the alternative country group Sleepercar.
With such vast musical experience, it's difficult not to have high expectations for this single but, thankfully, Ward delivers in supreme style with a tremendous folk track, oozing both passion and earnestness.
Capturing the candor of The Gaslight Anthem and combining it with his inimitable voice, Ward has crafted 3 minutes and 26 seconds of magic, including a chorus that is tailor-made for audience participation.
4/5
Envy The Fallen - Hoist The Colours
'Hoist The Colours' may not be the most inventive release heard this year, but it is certainly a praiseworthy exhibition of metalcore.
With gang chants and an unwaveringly aggressive pace, the release's title track boasts everything that makes The Ghost Inside such an effervescent force in the metalcore scene.
Importantly, the song holds a certain catchiness that can be challenging to find in the genre. Also, its piercing vocals and a spate of breakdowns will be sure to leave fans of As I Lay Dying more than satisfied.
'I Will Prevail' and 'The Brave One' continue the same musical motif, though if the band are proficient when it comes to their niche, why deviate from it? When listeners approach metalcore records, it's obvious that hopes for musical innovation are thrown out of the window and, at a total length of six tracks, Hoist The Colours ends before it can outlast its welcome.
Noticeably, Envy The Fallen have clearly put a concerted effort into the E.P's production, as 'This Is Not Goodbye, It's a Fond Farewell' would not sound misplaced on the latest Parkway Drive record.
'Until Lambs Become Lions' evokes comparisons to fellow Brits While She Sleeps and affirms itself as the release's highlight, with gang chants, relentless drumming and motivational lyrics merging to form a track that the band's conspicuous influences would be proud to call their own.
4/5
Departures- When Losing Everything Is Everything You Wanted
The debut album from the Glaswegian band Departures is prime example of melodic hardcore done well. It's dark, atmospheric, aggressive and emotional; the frenetic guitars coupled with the tight drums and the impassioned vocals definitely make an impact on the listener. The record sounds like a cathartic release for vocalist James McKean as his pained screams of anger and loss spill out of the speakers.
Opening track 'Fear of Falling', with its acoustic guitar and atmospheric screams builds up the tension until things kick off properly with the fast paced 'Swallowed Up'. 'Disappointment' has a very punk backbone but still remains melodic. Jay Maas's (Defeater) production is spot on; it's polished but still maintains that raw edge. 'The Last Drive' with its echoing drums, driving bass line and despair laden vocals is one of the album highlights but when it comes down to it every track sounds killer.
The comparisons to bands like Defeater are inevitable but Departures have released an extremely accomplished album that can stand up and be counted as one of the best hardcore records to come out this year.
Aliases - Safer Than Reality
Rising from the ashes of SikTh, guitarist Pin continues to push the boundaries of metal in this new venture Aliases. Very much in the genre of experimentation/technical metal the songs are well crafted pieces of chaos that would slot right into the Djent category.
The vocals are brutal; sometimes a hint of melody is thrown into the mix to break things up somewhat, however, the eight tracks of pure aggressive madness draw you in. Yes there are plenty of time changes, which even Dream Theater would find hard to keep up with.
'The Reality Of Beliefs' & 'We Should Never Have Met' are probably the most accessible tracks on the album and shroud you into a false sense of security before the remaining adrenalin fueled album kicks you hard. The bass is proud the drums incredible, combined with scatty guitar interludes this will certainly grab the attention of fans with a liking of Meshugga style time changes.
Aliases are breaking new boundaries, trying something different is always a ballsy move time will tell if they should have gambled it all on red instead of black!
Feud - Waterdog
Hailing from High Wycombe, rock/grunge quartet Feud are building up to their debut release, 'Waterdog' - a 12-track album that is packed full of raw, lo-fi grunge melodies that reflect a generation raised on 90s bands.
Opening track, 'Dying To Meat You' feels reasonably unproduced and raw, but essentially that is what is most appealing about the band and it's sound. The grit and growl of vocalist Greg Combrinck's abrasive voice echoes early Nirvana, whilst the guitar riffs drive the bands personality and sound home.
Fifth track 'Sick and Tired' demonstrates the bands ability to vary tempos and shift the sound of the band in a different direction - however, in the grand scheme of the album, the track seems to work well regardless.
'Blame Me' is a clear highlight of the album. The infectious, dirty melody of the track is well executed, and perfectly showcases just what this little band are capable of sound wise. Following track 'Don't Care' continues the comparison to early Nirvana tracks, mixing the childlike songs, soft verse with crunching riffs during the chorus.
While this album has its moments, occassionally you can't help but feel that the sound, at times, becomes a little too forced - and is in danger of sounding unnatural. In retrospect, there are elements emerging amongst the tracks on the album that show a band on the brink of creating something special. Only time will tell if the band reach that next step.
[3/5]
Fall Against Fate - If Not for Ourselves
It's been two years since post hardcore/metal five piece Fall Against Fate first CD 'Signals' graced our soundwaves, and after touring their asses off and getting a solid new line-up they're back with second album 'If Not For Ourselves'.
For most bands a complete line up and attitude overhaul would destroy them, but these guys have risen to the challenge and are back better than ever.
Lulling you into the record with soft starting introductory track 'Inauguration', it spirals downwards into the electro riffs of 'All the World's a Stage' before you even realise what's happening.
Every track is lightning fast, hitting you with the force of thunder. High-powered and straight to the point, each track is reminiscent of the last, with the exception of final track 'So Real'. Screaming with true pain and anguish, 'So Real' has one of the few moments of true singing in the album, which is a rare treat indeed.
A high-powered record that will get you on your feet and head banging to the chorus of five guys making their own mark on the metal scene and loving every minute of it.
Favourite tracks are 'So Real' and 'I Hate Godzilla, He Destroys Cities'.
3/5
Heartsounds - Drifter (Album)
Heartsounds' opening track title hits the nail on the head when it comes to making waves in the punk-rock genre these days - Every Second Counts. Fortunately for them, they've packed enough into this, their second release, to cement their place as a band worth following within the SF punk scene.
Taking Yellowcard's penchant for killer harmonies and Punchlines habit of playing fast and fair, Heartsounds have carved themselves a sound well worthy of your listening ears. Ben Murray and Laura Nichol's vocals sit comfortably above their frantic guitar-work (best displayed on the verses of title track 'Drifter') whilst bassist Kyle Camarillo and drummer Trey Derbes hold down an incredibly tight rhythm section - the cornerstone of any modern punk-rock band.
It's most certainly punk-rock by numbers, and tracks like 'I Have Nobody To Betray' and 'Echo' have the tendency to sound a little pedestrian at times, but all in all, this album is pretty killer. From the shred-fest that is 'Race To The Bottom' to the huge choruses of 'Don't Talk With Your Mouth Open', Heartsounds definitely know how to pen a good punk-rock number.
Towards the tail end of the album, tracks like 'You Are Not Your Body' and 'Uncomfortably Numb' seriously see the pace picked up and the band exhibiting just how tight their musicianship really is. They've certainly justified their place on such a prestigious scene and Drifter definitely leaves fans who've only heard them on record yearning to see them live. Great, great stuff.
Kerplunk - Mend Your Ways EP
Kerplunk are a local band from Chesterfield, and this EP shows their skills as a rock/alternative rock outfit foraying briefly into elements of light metal and melodic punk. Some Yellowcard/Green Day/NoFx influences, other more rock/metal elements come into the music. The band have a lot of potential, there’s nothing wrong with the construction of the songs or the biting vocals. A Nasty Eye a grungy little metal track, All The World Unites has relevant song lyrics and very raw and engaging vocals on Life’s So Blue (Around You). The EP’s not the best quality recording in the world, but that adds to the band’s simple but effective appeal. It’s a homegrown defiant stab at versions rock genres fused with energy and direction. At a mere £3 directly from the band themselves, if you’re looking for some new rock/punk music go check these guys out and keep an eye on them for future gigs and releases.
Drewvis - Disposable Pleasures and Meaningful Pursuits
|