Queens Of The Stone Age - Rated R (Deluxe Edition)
Reviewed by Captain Morgan
It’s hard to escape the allure of Queens of the Stone Age music. Combine equal parts rockin’ guitar, dance-tastic bass lines, sing-along choruses and pour over ice. What you’re left with is a brand of rock ‘n’ roll that only a small handful of bands have created, well, in the past.
A re-release of QOTSA’s breakthrough sophomore album includes a second disc of six B-sides and live tracks from their performance at the Reading Festival in 2000. I’d go into the gory details and speak about the originality of Rated R based on the albums initial 11 tracks, but that’s been done to death, I’m sure.
Instead I’ll highlight the bonus disc. Ripe with covers, including a modern-day sleaze fest of Romeo Void’s “Never Say Never,” The Kink’s “Who’ll be the Next in Line” and a tongue-in-cheek take on Carly Simon’s “You’re So Vain” with “You’re So Vague,” Josh Homme and company effortlessly apply their signature sound and turn these tired tracks into something brand new.
The band’s Reading Festival performance is pretty wicked, too (with the exception of the repeated Homme intro of, “this is a song for YOU” before each song). It’s a shame that the band doesn’t let the drums breath more on original release as live they sound monumentally better.
Although Homme will never have his true partner in crime—bassist/singer Nick Oliveri—to help continue to craft the “better” QOTSA songs, it’s good to know that there is still material out there by this dastardly duo for the original fans to appreciate and cherish.
7/10
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Devil Sold His Soul - Blessed and Cursed
Reviewed by Rachel Hand
Devil Sold His Soul, like *Shels and all the bands signed to Shelsmusic, are another success story from the Mahumodo think tank. Including three members of that tragically short-lived band, they use the same techniques, producing electric atmosphere and blending fragility with gargantuan force.
Their new album 'Blessed and Cursed' comprises of post-hardcore so understated and effortless that their contemporaries must be baffled. How do they make so much noise sound so beautiful? How do they keep a 70 minute album so intense and engaging throughout? How can your whole body feel blown apart by leading single 'Callous Heart'? And how can anyone, anyone, write a song like 'Frozen'?
Non-Mahumodo vocalist Ed Gibbs has opened up his screaming voice slightly, making it less throaty and more prone to emotion. Frequent melodic breaks, harmonies and group vocals are put to good use too, because unlike many 'atmospheric' bands, DSHS have too much to say to resort to instrumental tracks. The variety of tone within each track is like a symphony, and the loud melodic build-ups are so powerful they're orchestral. By the time 'Let the Rain In' closes this epic album, the throbbing bass and ambient guitars have built to a climax that highlights what must be an exhausting vocal performance.
Trademarks such as 6/8 timing, bodyrocking breakdowns, and recurrent themes are reminiscent of Mahumodo, but overall, this offering sounds more like a slowburning, spacious version of Architects. Fitting, considering they're touring with them (and Norma Jean) this autumn; now what a show that will be. If there has been limited evolution since 2007's 'A Fragile Hope; and they stick to a sound they know, well, that's because it ain't broke, and there's absolutely nothing to fix. In Mahumodo we may have lost one of the most pioneering and cult bands of the 00s, but from their ashes are born great things.
9.5/10
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Divinity - The Singularity
Reviewed by Freddie Harrison
Calgary metallers Divinity sure know how to write a good prog-metal album. Want some proof? Take a listen to The Singularity.
From the moment you hit play, opening track 'Abiogenesis' keeps you on your toes with its jarring rhythms and shred-filled lead guitars. In a little over two minutes the band have jumped between a couple of time signatures and thrown in a few chilling synth leads to boot.
Beg To Consume sees the band getting all militant against a consumerist society whilst lead guitarist Sacha Laskow keeps all the tech-y fans on their toes with some fancy fret work during the songs few solos.
If you're looking for something more than a few flashy solos, don't worry, it's all here. Lay in the Bed You've Made, whilst having an essence of a pop sensibility, is full of the kind of time-signatures that separate the professionals from the amateurs in this genre.
There's not really a weak point on this album, tracks like Emergent and Transformation all feature a massive variety in rhythms and structure, with a hearty dose of synthesized orchestration, and that seems to set the tone for the whole of The Singularity.
Monsters Are Real is in places, so haunting, it's almost convincing of the title, whilst Embrace The Uncertain's piano intro provides a welcome break from the intensive chugging rhythms that feature so heavily on the album, but it's not long before we're back into the heavy stuff with this song easily worthy of a single release.
Closing tracks Formless Dimension and Approaching The Singularity both exhibit a lot more melody than the rest of the album, with the band's proggier side shining through. Frontman Sean Jenkins' vocals on these tracks really add a poppier edge which could see Divinity appeal to a much wider audience than your average hardcore metal fan.
The Singularity is an impressive release from the Canadian quintet, and with this only being their second full-length release, there's potential for this band to get better and better.
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Enuff Z'nuff - Dissonance (Album)
Reviewed by Freddie Harrison
Reunions are a catchy illness these days. Go on, walk into HMV, take a look at the charts and I'll put money on 50% of the bands gracing the shelves being ones that have reformed after a few years break. The result? Well, most of it is money-fuelled tripe right? Well, sort-of. Fortunately for us, Enuff Z'nuff's comeback album isn't tripe, it's just nothing too new.
'Dissonance' was catalysed by the recordings the band did for a VH1 pilot show that never took off, and after fans decided to bootleg the songs, it only makes sense to turn them into an album right? The resulting 13 tracks are nothing less than 80s rock revival at its grandest.
Opening and title track 'Dissonance' explodes with enough classic rock riffage to take you back to the glory days of the genre, it's more than worthy of single status, with singer Donnie Vie contemplating a broken relationship: "No longer friends we're all dissonance."
'Fine Line' is perfect justification for roping in ex-Ozzy Osbourne guitarist Jake E. Lee on axe duties, with his lead parts finely splattered all over the track. 'Lazy Dazy' slows down the pace of the album and provides some cringe-worthy lyrics: "We make it down and groovy / Makin' dirty movie." I mean, come on guys, you're getting on a bit now, I don't think anyone wants to see your dirty movies.
Roll Away provides a token ballad, which no hard rock album would be without right? Synth strings ahoy! Then it's straight back into the high-octane rock with a lyrically-confusing 'High'.
Glazing over the extremely sexually inappropriate lyrics of 'Playground' the band leave on a high with an ode to their windy city of 'Chicago'.
They also manage to throw in a Prince and Beatles cover as bonus tracks and you can't fault them for the sheer volume of material they give you, pretty much putting to shame any modern band who call seven tracks an album.
So Enuff Z'nuff have gone some way to prove that not all re-union albums are that bad. It's classic rock Jim, but just as we know it, and I guess that's the only problem. It's not exactly ground-breaking stuff here, there's no danger of it making chart history anytime soon, but if you're a fan of the good stuff from the 80s (yes, some of it exists), this may just be your thing.
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Imperial Vengeance - 6th Airbourne Division (Special Edition DVD)
Reviewed by Freddie Harrison
Metal might well be a bloated genre, but every now and then there's an artist or a band that stands out like a sore thumb....in the best of ways. Ladies and Gentleman, I give you Imperial Vengeance - the Steampunk-wearing, Absinthe-loving, Madness-covering, extreme metallers who are bringing back good metal, in the most patriotic of ways.
As a special release prior to their second album 'The Black Heart Of The Empire', the band released a DVD of their single '6th Airborne Division' and their cover of Madness' 'Night Boat To Cairo', and what a spectacle it is.
'6th Airborne Division' almost literally plays out like a metal soundtrack to an airborne war battle with archive clips of fighter planes interspersed with studio footage of the band in all their Steampunk glory. But don't think for one second that these guys are just a gimmick, oh no, they mean business. Double-bass-filled frantic drumming, shredding guitars and rhythmic chugging are all present and hallmarks of great metal, frontman C. Edward Alexander's vocals are also on top form throughout the four and half minutes of what they call 'dark aristocratic metal'.
And if '6th Airborne Division' wasn't enough, Imperial Vengeance pull a Madness cover out of the bag to prove to any cynical ears that they're not just a one-trick pony. 'Night Boat To Cairo' retains its original charm whilst being given a new lease of exteme metal life. The video's pretty damn good to.
They're touring in August with Sabbat and their album is expected to follow soon after, keep an eye out for these guys, they might just take you by surprise.
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Blood Of Kingu - Sun In The House Of The Scorpion
Reviewed by Meghan Player
Blood of Kingu's latest album is easily summed up as 8 tracks that are very loud, very heavy and very intense. And what more is to be expected from the Ukrainian black metallers?
Album opener 'Herald Of The Aeon Of Darkness' sets the mystical, tribal-like pace that ties the album neatly together. While 'Those That Wander Amidst The Stars' is a feast to listeners ears - almost to the point of becoming partially deaf, as the sound builds at tremendous levels. The intensity of the melody, is matched by the driving growl of frontman Roman Saenko - whose menancing vocals can be, unfortunately, drowned out by the roar of the instruments.
Special mention has to go to 'Incantation Of He Who Sleeps'. A brilliantly devilish track that has intensity and a pounding melody to boot. The bands artillery is out in full force on this particular track, and manages to engage the listener for its entireity [albeit 10 minutes and 24 seconds worth].
Undoubtedly, this album is best left to the most diehard fan of the black metal genre. The dark, chaotic mass of noise should surely inspire mosh pits to ignite with pounding fury. If black metal is really not your thing, then this album would be in your best interest to avoid at all costs. It could get messy.
[7/10]
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Rosaline- The Vitality Theory
Reviewed by Frankii Torok
Rosaline are a six piece post-hardcore band from Chicago. Since they formed in 2005, they have released the 'We're All Just Passing Through' EP (in '06), a studio album, 'A Constant North', in July 2009, and this, their sophomore album- released exactly a year after the first.
It's straight into the melodic guitars and singing layered over screams with this offering. Track two 'London Lost Its Fog', is slightly heavier than the one before it, and features some gang vocals that are a common thing from hereon in.
'Model Ships' is a catchy, light track, with more singing than screaming. A sound that suits the band more- Cody has a strong, powerful singing voice, which is downplayed by Madison's (albeit impressive) screaming.
'The Disasterist' features the traditional 'post-hardcore' chugging guitar rift, under shouty gang vocals, but is spoilt with a poor sounding low growl towards the end.
Tracks six and seven are also very light, with not much screaming in either. 'Repeat After Me!' is nearly entirely acoustic- think old Taking Back Sunday.
It then gets heavier from track eight to track 10, the latter two made up of almost screaming only, but there's still the melodic guitar riffs, creating a sound that's somewhere in between Bring Me The Horizon and The Academy Is....
The last track is an instrumental one, heavily made up of piano, which leads into another piano led track, this time with faint, echoey vocals. A melancholic way to end a light, but sombre album.
The Vitality Theory is very reminiscent of the early 2000's (dare I say it) emo bands. It'll be a bit of a nostalgia trip for anyone that was into that scene, as there's not many of those bands around now. It might make you smile thinking back to the days when your only worry was running out of eyeliner, but it's not a record that would cheer you up or get you in good spirits- but hey, in all respects, that makes it the perfect emo album.
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The Cajunga - Dancing With The Boys
Reviewed by Meghan Player
Collectively, The Cajunga have been a band for almost ten years, with 'Dancing With The Boys' being their debut album. The quartet from Finland have been especially busy during that time, playing over 100 live shows, appearing on national television, as well as releasing four previous singles and an EP.
The album instantly strikes you as 'old school'. This is a band that has adopted the music of yesteryear, and weaved it through a more modern approach. What is similarly striking about the overall feel of the album, is how 'american' the band sound. The driving riffs, and 70s rock melody style, the vocal delivery - all sound distinctly American. This is most likely through the influence of producer, Brian Fitzpatrick - and is by no means, a negative point. The bands adaptation of this sound makes for an interesting album, and one that is completely accessible.
The honest approach to the lyrics and vocal delivery, combined with a more pop inclined niche create a batch of 'straight-forward' rock songs that are, above all, an easy listen. While this style of song/album is generally not one I follow, it was a breath of fresh air from the dribble that you can encounter in today's industry.
[6/10]
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I Am Forever - The Tragic Tale of Jonny Pumpkinhead
Reviewed by Meghan Player
This mini-album offering from I Am Forever is a collection of sing-a-long, radio friendly infectious rhythms that are sure to inspire. Each track manages to hold its own merit amongst the others, and the natural progression and flow that delicately builds, creates an emotive soundscape almost effortlessly.
'Seasons' is a blissful melody that sounds strangely familiar. The changes in tempo are crafted beautifully, and the underlying intensity with the track is undeniable. Rippling guitars weave together seamlessly and maintain the bands' strong sense of sounds natural progression.
However, 'Silence and Sound' is the standout track on the album. The sound is completely different to the previous tracks, and builds on a solid, hard-rocking base that still relishs and expands with the underlying pop sensibility.
The only fault I could manage to find with the mini-album is that to the casual observer, the tracks seem to blend a little too well, and are at risk of sounding a little too alike. While this is by no means a hugely negative aspect, the band have enough of a good thing going to see them past this minor fault.
I can only hope that in future releases they will trust themselves that little bit more and pull something completely out of left field.
For now though, this little taste of what is to come, is enough to satisfy.
[7/10]
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Steel Panther - I Want It That Way [Single]
Reviewed by Meghan Player
As far as pointless nostalgia goes, Steel Panther's cover of the Backstreet Boys hit, 'I Want It That Way' takes the cake. A band that is roughly in the same league as Bowling For Soup, with a glam heavy metal overtone - they somehow manage to deliver a high octane, irresistible blend of decades past albeit with big hair and tight spandex pants.
The track kicks in immediately with a melody that sounds like Mötley Crüe have stepped into the recording booth once again. Front-man,Ralph Saenz vocals howl and yell like its 1980s - leaving the kids that experienced the Backstreet Boys era to wonder, 'why in the hell was it never recorded this way originally?'.
While the motive behind choosing this particular song to cover is not to my knowledge, the end result is an infectious, enigmatic, dynamic display that you can't help but take a liking to.
[7/10]
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Pama International - S/T
Reviewed by Henry Raby
Now that Pama International are into their 7th album release, it's a perfect time to re-release their 1st self-titled debut. But Pama don't quite fit that label as an 'old school band from a bygone era'. Certainly members at the time of this release had also featured in bands such as The Special Beat, The Loafers and Steel Pulse, and this influence does shine through. But Pama's first release hit the shelves only in 2002, cementing them as a ska/reggae band for the 00s. The album is a smooth ride from start to finish touring the various worlds of rocksteady, UK reggae and Trojan 60s tunes. The band have the feel of reggae and ska before the evolution into a more political, dub-orientated animal.
Upbeat and happy, the tunes are the perfect accompaniment to any delightful summer's day, at the time fresh music in a scene where ska usually titled towards the more punk-infused style. Elements of the US soulful sound of The Slackers and The Aggrolites merge with English Mod culture of 2tone. Highlight for me is the track 'Earthquake' which sits smugly in the centre of the album showing some nice production skills from Fuzz Townshend in a busy, bustling track. This re-release also contains some nice little nuggets in the form of G.Corp versions taken from their 2005 'Dub Store Special' EP which fulfil the needs for any fans into more dub-styled music.
This album isn't Pama's best release, their later albums are much more catchier, but this is a valiant album every true fan of reggae and ska should own. Elitism is one of the dirtiest words around, and anyone that tells you 'ska' ended in the early 1980s can be proven wrong by a simple treat of 'Truly Madly Deeply' or 'Life Circus'. This is the pure, basic reggae simplicity that any casual fan can enjoy, but the deeper expert can still find pleasure in each song being a well-knitted, individual cool number.
Brimming with enthusiasm and cool, Pama International's self-titled release is a lovely accompaniment to any collection, but, more importantly, a lovely accompaniment to a summer's day.
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Little Caesar- 'Redemption'
Reviewed by Frankii Torok
Since the late 80s, Little Caesar have been making the kind of classic rock your dad would enjoy. They never really gained any popularity (apparently due to the heavily tattooed image of the band), but still had two albums released on major label, Geffen, in the early '90s. After an 11 year break, they're back with 'Redemption'.
From the off, it's clear this is a typical southern rock offering. A very competent one at that too. It's also striking just how catchy this music is, whether it's something you usually listen to or not, I guarantee your toes will start tapping. The subject matter is very typical for the genre; all about women, drinking and fighting- the rock and roll lifestyle. 'Loving You Is Killing Me' is a prime example lyrically: 'found a pretty lady at my local bar'.
The title-track marks a change from the hard rock, in the form of a very bluesy ballad. There's a few tracks like this one, showing Little Caesar aren't one trick ponies, and are capable of country rock, as well as heavier classic rock. The highlight of the record is 'Sick And Tired', which is heavier than all the other tracks, a sound that really suits their biker image. 'Woodstock' has a very strong underlying element of country, while closing track 'Just Like A Woman' is a purely acoustic country ballad.
'Redemption' is the perfect album to play air guitar to after a few beers. Little Caesar is made up talented musicians that don't need instrumental intricacy and pointlessly long solos (there are a few solos, but nothing garish). Each track contains hard rock, blues and country in different measures, to create 11 unique(ish) songs.
[7/10]
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Stone Temple Pilots- S/T
Reviewed by Frankii Torok
This is the 6th album from the Stone Temple Pilots, a band that seems to have overcome more side projects and hiatus' than any other. And each time they return with strong compensation for their absence. This self-titled album is no different.
The opener 'Between The Lines' (take a guess what it's about) sets the scene for the sleazy, drug fuelled world the band, and their many fans, live in. The lyrics are somewhat confusing, and the first couple of tracks could be better structure wise, but don't dismiss it just yet.
The first taste of improvement is track 4 'Hickory Dichotomy', which also welcomes the refreshing introduction of a 70s glam rock feel. Scott Weiland has admitted his singing style is heavily influenced by David Bowie, which is pretty obvious on songs like this one.
Track 5 'Dare If You Dare' marks another minor change, this time a more old-school indie sound, the reason why lots of today's indie bands name STP as an influence.
Another '70s style on this album is the pop rock of 'Cinnamon', the very Bowie-esque (even the name) 'First Kiss On Mars' and closing track 'Maver'. These are perfect chill out tracks, light and uplifting, without being cheesy.
Other than the first track, the only other sleazy track is 'Hazy Daze', but it's more of a psychedelic rock sleaze, than the hair metal played by Weiland's other/ex band. This psychedelic sound is also prominent on the trippy 'Peacoat', on which Scott couldn't sound any more like David Bowie.
Track 10, 'Fast As I Can' is the heaviest on the record, but still nowhere near metal. Like the rest of the album, it's difficult to define the genre.
What stands out most about this album is the obvious 70s influence, yet even though it's present throughout the entire album, there's still a huge variety of sounds. The album definitely gets better as it goes on. Stone Temple Pilots is all about Scott Weiland, the other musicians are very talented, but nothing spectacular comes from them. They do, however, help create a perfect showcase for the singers vocal talent, and in all a very enjoyable album. Highly recommended to anyone that's a Bowie fan- and let's face it, who isn't.
[8/10]
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Rolo Tomassi - Cosmology
Reviewed by Rachel Hand
I'm not going to waste space trying to define or describe Rolo Tomassi; you either get them or you don't. Let's just say they're messy, brilliant, and are on the absolute cutting edge of music today. What's even more confusing is that this unholy din is not made by long-haired Finnish grease monsters with head-to-toe tattoos, but by five fresh-faced indie-looking Sheffielders, who seem articulate and, well, normal.
Their sound, however, is far from normal, as recently-released second album 'Cosmology' proves. The opening trio of songs ('Katzenklavier', 'Agamemnon' and 'House House Casanova') is like electro-tinged jazz fusion, and is about as comprehensible as Fantômas masterpiece 'Amenaza Al Mundo'. Their sound is manic and the vocals demented, but it can spin on a hairpin with the utmost precision.
'Party Wounds' first song that actually sounds like a song, and it's nice to hear the return of those grating, grinding chords and psychadelic arpeggios like some possessed church organ, and Eva Spence's haunting singing voice. This and 'French Motel' are perfect examples of that Dillinger-meets-HORSE excellence that made their debut a seminal work.
But just as you're beginning to think the band has not evolved since 2008's 'Hysterics', along comes the jewel in this album's crown, 'Kasia'. It's as beautiful as Brian Wilson's stylophone and the ghost of a little Victorian girl accompanying the most modern and violent metal, creating a heartbreaking epic. It's a theme revisited in 'Sakia', as though this centrepiece were the orchestral vision of a mad scientist.
Of course, Rolo never stop defying expectations: title track 'Cosmology' pulses away like the sad ending to an 80s science fiction movie, a perfect slow fade away, when you so expected a sudden burnout. Perhaps the painful shortness (35 minutes) is a blessing in disguise, as the body of the album is so carefully crafted. It smacks you in the mouth then gets you jiving, before getting you all emotional, then cooling off as it fades to dusk. As I said: messy and brilliant, and oh so 2010.
[9/10]
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Amy Meredith - Lying [Single]
Reviewed by Emma Dean
Instantly upbeat, Amy Meredith has been making waves in the Aussie music scene with their infectious eighties inspired pop rock. Reminiscent of early Fall Out Boy with more synths, Amy Meredith are a five piece from Sydney, Australia.
'Lying' has a steady beat throughout, instantly hooking the listener. Hitting the chorus, singer Christian Lo Russo's vocals are in their element, soaring to a lyrical cliff-hanger that leaves you on the edge of your seat before pulling you back in.
Whilst the lyrics are no surprise, they ring true for everyone. Lo Russo's vocals have a hurt and haunting quality, mixed in with a unique pop sensibility. It sounds like a strange combination, but it works very well with their style of music.
It is a relatively short track at 2.57 minutes, and I would've liked to have seen a longer version, however ending with the cliff-hanger note was a brilliant move and leaves you wanting more.
It is a fun, upbeat track that will get you out of your seat and dancing around the room.
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Voltera - The Birth Of The End Of The World
Reviewed by Meghan Player
It's been a restless wait for fans of Melbourne industrial metal band, Voltera. But the wait is finally over, and the band have delivered their first punishing, full-length album.
'The Birth Of The End Of The World' focuses on and encompasses the bands' motto - 'Save The Earth, Kill Yourself'. An ideal that deals with the issue of overpopulation in our world.
Comprising a blend of songs that have been tested, tried and true - 'Do What Your Daddy Say', 'Black Sheep', 'It Beats For You' and 'Captain' - with a new dynamic range of melodic soundscapes, warrant Voltera a definite nod from the metal community.
Frontwoman Jessica Koch's vocals are in fine form - ranging from the melodic, enchanting singing to a deep, dark and disturbing growl - proving that women can growl just as hard in the male dominated genre.
The albums tracks border on the complete avant garde, artfully becoming an extension of the energy of their live performances. The production and development of the bands sound is also very apparent through each ensuing track - with pounding drum beats, rumbling bass and guitars combining to create a fuller, more dramatic sound.
'Rocking Horse' is just one brilliant display from the quartet. A ringing sound - much like an alarm going off - blends effectively into a sinister, industrial melody that demonstrates just how much this band has to offer.
Overall the album is a delicious feast of intricate melodies, punishing riffs and killer vocals that undoubtedly encompass everything that Voltera stand for - dark, relevant and real.
[7/10]
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Mount Fabric - The Crow EP
Reviewed by Captain Morgan
It takes a certain level of musicianship to craft tunes that effortlessly float between bouncy, pop-rock to smart, introspective rock. Many bands have tried their hands at it but only a handful has done it well, namely Minus the Bear, As Tall as Lions and now Mount Fabric.
Combining the dreamy atmospheres of Blind Melon and Radiohead with the ear candy of Muse and Hot Hot Heat, Mount Fabric's The Crow EP is a delicious sampling of the bands bright future. Tight, danceable rhythms and guitar tones reminiscent of a Technicolor daydream provide a solid backdrop to the bright and charming vocal work.
Mount Fabric is one of those rare bands that anyone can get behind without having to be a manufactured "act" pawned off as entertainment by the music industry. They could write a song about drowning babies and make it sound pleasing to the ear. Even your grandma would be tapping her foot to it.
And that's their biggest selling point: a calculated level of madness is readily inherent in their material--much like the pleasure people get out of seeing a horrific train crash. Certainly they're horrified on the surface, but there's a sick fascination that keeps them from looking away. It's a unifying bit of crazy that is easily digestible.
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Killing Joke - In Excelsis
Reviewed by Mark Plummer
For a band who have been around for more than a fair few years I'd have expected a lot more. 14 albums, 5 EPs and 7 Live albums and what we've been given is what can only be described as a demo at best. The lyrics are lost, barely understandable and the drums far away struggling to reach the mix. With the lyrics drowned out it almost begs the question, is there any point in them being there?
While there's fullness in the songs, it's not really defined and just feels like a lot of noise with no idea of what's going on. Unfortunately the first three tracks all have the above problems. The fourth is still very demo like but the lyrics start to make a bit more sense. At six minutes thirty it's also the longest track on this EP. At this length you'd probably expect a little bit more, maybe some musical variations to keep interest up, but alas it has that same beat on a loop making it a tad tedious.
Whilst there's no stand out track, the final song 'Ghost of Ladbroke Grove (Dub)' holds better quality and is more listenable than the rest of this disappointing EP.
(1 out of 5)
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Veil of Maya – [id] - LP
Reviewed by Rob Barker
Like many bands that are herded in to the deathcore genre, Veil of Maya are either praised as saviours or dismissed outright by those who see anything with a ‘core suffix as worse than Limp Bizkit reforming with Peter Andre on vocals.
Putting all of that snobbery aside, the band have already shown that they’re not just jumping on the bandwagon, having already produced two accomplished, if slightly drab albums. Their third release, [id], retreads the path set out on its predecessor, ‘The Common Man’s Collapse’, mixing genre trademarks like contrasting vocals and a breakdown in every song with tech and prog inspired guitar work.
While guitarist Mar Okubo sets the band apart from the pack with his inventive, disjointed lead lines and jarring rhythms the rest of the music is just too formulaic, showing a band that hasn’t done much to change their sound since the release of their previous album two years ago.
One of the band’s downfalls is their vocalist, Brandon Butler, who, while competent , doesn’t bring anything distinctive to the table, instead relying on the usual deathcore clichés without venturing out of his comfort zone in favour of some more inventive sounds that would really give Veil’ a unique sound.
Thanks to a laser-precise rhythm section the technicality of the guitars is supported by the kind of thunderous beats that would make for a great live show, but with multi-tracked and layered guitar parts being used too frequently the band could struggle to reproduce the depth shown on their studio recording.
Overall, [id] shows what Veil of Maya do best, combining sledgehammer rhythms with technical guitars, but this technicality fails to bring any real progression to the band’s sound.
7/10
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A Rose By Any Other Name – One For My Master And One For My Dame (LP)
Reviewed by Rob Barker
Listening to the punishing hardcore of The Chariot, it’s hard to believe that their vocalist has time for anything but ear splitting screams and pure brutality, which is why Josh Scogin’s latest release under the moniker ‘A Rose, By Any Other Name’ comes as such a surprise.
The two projects contrast so starkly that it’s hard to believe the same man is behind them, but Scogin’s diversity is a testament to his talent.
‘One For My Master…’ is an assortment of heartfelt tracks, relying mostly on singer-songwriter-esque melodies and simple strummed acoustic guitars, rather than the distorted chaos the vocalist usually has a hand in. While you might not expect somebody with that reputation to be capable of showing the softer side of their emotions, Scogin does it with aplomb, and while his vocals and sometimes flat, and often fraying around the edges, this often adds a sense of vulnerability to the music.
Certainly, some songs stand out from the rest, namely the album’s second track, ‘Unfather’. Following in the footsteps of the album’s opener, the track is stripped back to its core, with just acoustic guitar and vocals present before opening out into a more complex, but equally gentle arrangement. One of the biggest surprises is the lyrical depth shown in the song, with lines like “Love hard and long, And give it all away, For some day when you’re standing all alone, You’ll realise you couldn’t be saved”.
‘A Rose…’ could be accused of showing a lack of diversity, staying safely in the world of loosely strummed guitars and pop melodies, occasionally venturing into other realms, like the rockabilly / surf tones heard on ‘God, The Devil, Me’, but playing it safe overall.
The exception to this safety is the album’s closer, ‘A Poet With An Empty Page’ which takes the crooned vocals seen throughout the record and smothers them in a deep radio-static like fuzz, complete with artefacts from other broadcasts. This more experimental approach suits Scogin’s voice to a tee, playing on the imperfections to create something that’s more beautiful than could be created with an acoustic guitar alone.
‘One For My Master…’ won’t be to everybody’s tastes, and those who appreciate The Chariot for their Converge style fury will undoubtably be surprised by the tenderness shown on this record. While the vocals are far from perfect, and at times the lyrics feel clichéd, this is still a record worth listening to, and it’s ideal if you want to wind down after a long bout of hardcore.
8/10
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The Dead Weather - Sea Of Cowards
Reviewed by Meghan Player
The Dead Weather made a bold move when they decided to release another full-length album within a year of their debut offering, 'Horehound'. Clearly, the band felt that the previous album was onto something, and rightly so, didn't want it to get away.
'Sea Of Cowards' picks up where its predecessor left off, but this time around, the tracks are seemingly smoother, gritty-er and above all, cooler. While the first album seemed to run with a lot of ideas, in a exceptionally well-balanced way, SOC is all about the sound being perfected and expanded. This is a band that has undeniably come into its own.
Opener 'Blue Blood Blues' calls upon the bands' blues inclinations and masterfully reels you in right from the first moment. The familiarity of the riff - somewhere between dirty blues and Led Zeppelin - is perfectly executed, proving the band are still right on track with sound progression and technique. The track almost bleeds into the next, ('Hustle And Cuss'), where enigmatic front-woman Alison Mosshart delivers her astounding haunted vocals once more. It is in this track the band have clearly expanded on their original sound, and have become more experimental with their sound production. Mosshart's vocals are perfectly matched and emphasised by the music's melody, and the overall effect is highly commendable.
'The Difference Between Us' draws once again on the avant garde of the previous album. The opening sound technique is completely unexpected, but seems to warrant a more 'mainstream' appeal, and albeit, more universal accessibility. The haunting quality of the melody is strangely infectious, and the sound collaboration throughout the bridge feels like you are listening to a completely different band.
First single, 'Die By The Drop' is one of the standout tracks on the album. Upon first listen, you automatically associate the sound with The Dead Weather - and deservedly so. The very heavy, very underground, very distorted but very cool track is sure to warrant some well-deserved attention on the alt.rock scene. The coupling of Mosshart and drummer Jack White's vocals is a key collaboration on the tracks overall sound - and is without doubt, one of the most infectious tunes you will hear.
Album closer 'Old Mary' is a perfect example of The Dead Weather's originality. The slightly sinister element to the piano, accompanied by White reading aloud the lyrics is astoundingly stirring and effective - and a further testament to the bands unwavering desire to create a sound that is uniquely their own.
Overall, the album is a stunning example of The Dead Weather's originality and remaining true to their underlying blues' sensibility. The most interesting thing will be to see where the band go from here. Do they keep on rolling and go straight into making another album? Or do they leave well enough alone for the time being? Either way, The Dead Weather are worth keeping an eye on. Even if it's just to see what happens next.
[8/10]
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I Am Hope - The Fabrication of Secrets
Reviewed by Captain Morgan
There are always earmarks of a song or album that makes the listener walk away with a warm, fuzzy feeling. Typically these include vocal harmonies, guitar lines that reach for the sky and a percussive pace that keeps one's head nodding.
I Am Hope have probably chosen the world's most perfect band name to encompass the description of their sound. Combine the aforementioned elements for warm, fuzzy tunes with an atmosphere that suggests a level of intensity experienced previously by Romeo and Juliet. Passion and an urge for youthful immortality create a craze that historic culprits Jimmy Eat World, OK Go and Say Anything have been able to manifest previously.
The Fabrication of Secrets is picture perfect music for the young--or young at heart--who want nothing more than to spend every waking moment with those they love most, experiencing new and exciting things each day and fully intend to go out in a blaze of glory. "Because we live on top of the world, every day brings more bright lights," is the rallying cry in the anthemic "On Top of the World" and you want to believe them. You want to be a part of what they have going on, no matter what it is.
I Am Hope is the complete opposite of the Twilight faithful (or the Twiheard). Full of life and ready to live; not spending it pining away for a fabricated infatuation that only exists in Fiction. I, for one, welcome I Am Hope's fervor. It's good to know there are still musicians out there who want to instill a sense of, well, hope in the listener.
7/10
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Off With Their Heads - S/T
Reviewed by Hannah Sebestjanowicz
'Off With Their Heads' are the latest band to be added to Epitaph's impressive roster and their debut for Epitaph is 'In Desolation' their follow up to 08's 'From the Bottom'
Ryan Young is an angry guy, his lyrics are depressing the record is even called 'In Desolation' but this is far from a depressing record. It's an upbeat, fast tempo punk rock record with anthemic and melodic songs. Young has bared his soul on this record with reference to drug abuse in 'Trying to Breathe' and being broke in 'All I Can Do'.
You may feel slightly guilty having a smile on your face while listening to 'Off With Their Heads' but they have perfected the combination of writing frank, open lyrics and putting them against an optimistic musical background.
The lyrics are the thing that truly stands out on this record; 'Drive' sets the tone for entire record with a husky voiced Young singing "I've been watching myself turning from bad to worse" and 'I'm not alive, I'm just as good as dead, I can't find a reason why I should even get out of bed".
Closer 'Clear the Air' is a killer tune with Young growling "God damn it I'm falling apart' - a cathartic end to an intense record. Play it loud and put it on repeat because you won't help but love this record.
9/10
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Detroit Social Club - Prophecy
Reviewed by Amy Southby
Beginning with an almost tribal-sounding a capella chant, the Newcastle-upon-Tyne group's latest single strikes a decent balance between spaced-out dizziness and indie-disco dance-ability, underpinned by simple but effective guitar hooks and droning, reverb-heavy vocals. However, it's a trick that's already been executed deftly by other groups specialising in a similar tone - such as fellow indie rockers and fictional 'club' founders Black Rebel Motorcycle Club, or Detroit Social Club's one-time touring mates, Kasabian. Lacking the characteristic swagger of the latter group, this track veers nearer towards 'background noise' than the 'anthemic' it might have been aiming for.
With this in mind, the single's B-side - an instrumental version of 'Prophecy' - seems a slightly odd choice. Its mildly tense synth chord progression, tinny beat and similarities to other indie groups make it sound as though it could possibly feel at home providing a soundtrack to scenes of youthful hedonism on 'Skins', but even fans of the band are unlikely to have much use for it.
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Judas Priest - The Making of British Steel
Reviewed by Amy Southby
Three decades since the release of the definitive sixth album from heavy metal icons Judas Priest, this re-release and DVD give an insight into its inspiration, conception and recording. The title of one of its tracks, 'Metal Gods', came to be used as a nickname for the group's subsequent worldwide success and their influence on the sound of metal - helping it to evolve from its roots in blues traditions and taking on a rich, stadium-filling feel. Popular single 'Breaking the Law' has also been suggested by some as a hint at vocalist Rob Halford's later coming out as one of the few openly gay men in the metal scene.
However, for such an influential hit record, the accompanying interview is refreshingly low-key. Musicians seeking in-depth technical explanations of equipment and technique are likely to be disappointed, as are those hoping for classic rock star tales of backstage excess; it's more a personal, affectionate reminiscence of the stories behind each track. Seated in a distinctly un-rock'n'roll living room, the band give a track-by-track background to the album. It was written and recorded in John Lennon's former home, Tittenhurst Park, a location already steeped in rock legend. Yet it seems that the most important inspirations for the album came from the band's earlier experiences of growing up in West Bromwich, where their only career option seemed to be working in the steel industry - bassist Ian Hill jokes that one way or another, they were going to end up working in metal - and the feelings of rebellion and ambition that environment fostered.
Interspersed with footage from a recent live performance, the band describe the writing process behind each of the album's tracks. As guitarist Glenn Tipton explains, they never set out with a clear theme, but let the ideas fall together. From the explosive energy of opening track 'Rapid Fire', to the off-beat, reggae-inspired bass opening of 'Rage', the innovative nature of the album is clear. This seems reflected in the band's stories of the recording process, which Tipton describes as 'less clinical, more hands-on' - the heavy footsteps at the beginning of 'Metal Gods' were created from the sound of a cutlery draw being dropped.
The less experimental sing-along style of tracks such as 'United' and 'Living After Midnight' demonstrate a similar sense of fun, while the accompanying live footage clearly demonstrates that the album has lost none of its power since its release - the band perform with attitude and vigour, without a hint of weariness from having played these tracks many times.
Halford also gives an insight into the making of the unapologetically cheesy video for 'Breaking the Law', adding that people might have underestimated their 'British sense of humour' and ability to make fun of their own image.
Overall, the DVD provides an interesting look, both musical and personal, at the making of a landmark in metal history.
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Far - At Night We Live
Reviewed by Kate Nagy
After a 10 year hiatus, post-hardcore legends Far have return with an epic new 5th studio album 'At Night We Live' cementing their place as one of the best bands in history.
Despite their time out, the band has been cited as an influence by bands over the years such as Biffy Clyro, Jimmy Eat World, Hundred Reasons, Funeral For A Friend and Thursday to name but a few.
'At Night We Live' was recorded at The Airport Studio and was produced by guitarist Shaun Lopez whom during the band's hiatus recorded albums for Will Haven, Giant Drag and the Deftones.
The album is rich with songs that will no doubt be instant hits with fans and new comers. All the songs have classic melodic appeal and beautiful lyrics that never get old, no matter how many times you listen to it.
Stand out songs on the album include 'If You Cared Enough,' 'fight song' and the classic remake of Ginuwine's 'Pony.'
The album'At Night We Live' is out now.
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Hellyeah - Stampede
Reviewed by Frankii Torok
The true meaning of a supergroup, Hellyeah comprises of members of Pantera, Mudvayne, Nothingface and Damageplan. Their self-titled debut took the rock world by storm, entering the US Billboard charts at number 9 and going on to sell over 365,000 copies in America alone. Their new offering, Stampede, has the potential to do the same.
From the off, it's clear the roots these guys came from. The whole sound is very much reminiscent of Pantera in particular (possibly because Vinnie-Paul not only drummed on the album, but produced it too), as well as it's other predecessors, but has a hint of a new edge to it. Likewise, it's evident that this isn't just going to be a well created metal masterpiece, but also a brilliantly catchy record. An instant favourite for any fan of real heavy metal.
As obvious as the members talent is from their previous work, it's still showcased flawlessly on this record. The title track is a prime example of this, and is sure to be a huge hit at this years festivals with its distinguished chorus, perfect for crowd sing-a-longs. Another stand out track is the partly acoustic 'Better Man', this time for different reasons. This one is the absolute epitome of what a rock ballad should be, heartfelt (the lyrics tell the story of growing up with an alcoholic father), but still has attitude.
Of course, as with any old-school metal album, there's going to be the element of sleaze. Some get it wrong, and end up sounding awfully cheesy, whereas some, including Hellyeah, get it spot on. The sexy touch stands out mostly in the suitably titled 'Pole Rider'. The subject of this song is clear, so it's only right that it should have a downright dirty sound.
Probably the best thing about this album, is the diversity. It shows the full capabilities of these musicians by differing from their previous work, as well as each track being different from all the others. Yes, it is mainly solid, guitar thrashing, drums crashing metal, but there's also some slower songs, as well as a ballad. Take note, young bands, this much variety should be expected of any album, no matter what genre.
Hellyeah show talent in their lyric writing abilities as well, stepping it up a notch after their debut was criticised for having repetitive lyrics.
Hellyeah are just all round great musicians, they can pen some good words, and have mastered how to write amazing music with clever intricacy, but without the need for long, drawn out guitar solos. Hopefully, they'll bring back proper heavy effin' metal!
[8/10]
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I Am Hope - The Fabrication of Secrets
Reviewed by Captain Morgan
There are always earmarks of a song or album that makes the listener walk away with a warm, fuzzy feeling. Typically these include vocal harmonies, guitar lines that reach for the sky and a percussive pace that keeps one's head nodding.
I Am Hope have probably chosen the world's most perfect band name to encompass the description of their sound. Combine the aforementioned elements for warm, fuzzy tunes with an atmosphere that suggests a level of intensity experienced previously by Romeo and Juliet. Passion and an urge for youthful immortality create a craze that historic culprits Jimmy Eat World, OK Go and Say Anything have been able to manifest previously.
The Fabrication of Secrets is picture perfect music for the young--or young at heart--who want nothing more than to spend every waking moment with those they love most, experiencing new and exciting things each day and fully intend to go out in a blaze of glory. "Because we live on top of the world, every day brings more bright lights," is the rallying cry in the anthemic "On Top of the World" and you want to believe them. You want to be a part of what they have going on, no matter what it is.
I Am Hope is the complete opposite of the Twilight faithful (or the Twiheard). Full of life and ready to live; not spending it pining away for a fabricated infatuation that only exists in Fiction. I, for one, welcome I Am Hope's fervor. It's good to know there are still musicians out there who want to instill a sense of, well, hope in the listener.
7/10
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The Dead Weather - Sea Of Cowards
Reviewed by Meghan Player
The Dead Weather made a bold move when they decided to release another full-length album within a year of their debut offering, 'Horehound'. Clearly, the band felt that the previous album was onto something, and rightly so, didn't want it to get away.
'Sea Of Cowards' picks up where its predecessor left off, but this time around, the tracks are seemingly smoother, gritty-er and above all, cooler. While the first album seemed to run with a lot of ideas, in a exceptionally well-balanced way, SOC is all about the sound being perfected and expanded. This is a band that has undeniably come into its own.
Opener 'Blue Blood Blues' calls upon the bands' blues inclinations and masterfully reels you in right from the first moment. The familiarity of the riff - somewhere between dirty blues and Led Zeppelin - is perfectly executed, proving the band are still right on track with sound progression and technique. The track almost bleeds into the next, ('Hustle And Cuss'), where enigmatic front-woman Alison Mosshart delivers her astounding haunted vocals once more. It is in this track the band have clearly expanded on their original sound, and have become more experimental with their sound production. Mosshart's vocals are perfectly matched and emphasised by the music's melody, and the overall effect is highly commendable.
'The Difference Between Us' draws once again on the avant garde of the previous album. The opening sound technique is completely unexpected, but seems to warrant a more 'mainstream' appeal, and albeit, more universal accessibility. The haunting quality of the melody is strangely infectious, and the sound collaboration throughout the bridge feels like you are listening to a completely different band.
First single, 'Die By The Drop' is one of the standout tracks on the album. Upon first listen, you automatically associate the sound with The Dead Weather - and deservedly so. The very heavy, very underground, very distorted but very cool track is sure to warrant some well-deserved attention on the alt.rock scene. The coupling of Mosshart and drummer Jack White's vocals is a key collaboration on the tracks overall sound - and is without doubt, one of the most infectious tunes you will hear.
Album closer 'Old Mary' is a perfect example of The Dead Weather's originality. The slightly sinister element to the piano, accompanied by White reading aloud the lyrics is astoundingly stirring and effective - and a further testament to the bands unwavering desire to create a sound that is uniquely their own.
Overall, the album is a stunning example of The Dead Weather's originality and remaining true to their underlying blues' sensibility. The most interesting thing will be to see where the band go from here. Do they keep on rolling and go straight into making another album? Or do they leave well enough alone for the time being? Either way, The Dead Weather are worth keeping an eye on. Even if it's just to see what happens next.
[8/10]
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Ayin Aleph - Ayin Aleph II (Album)
Reviewed by Emma Dean
Very different to your usual alternative fair, Ayin Aleph has created her own genre of Barock Metal, adding to the multitudes of subgenres that come with metal these days. Hailing from Russia, but settling in Paris twenty years ago, the French influence is obvious in her music, which also claims influences from 19th century German romantic music.
Ayin Aleph's second offering "Ayin Aleph II" has a very distinctive sound overall, however all of the songs on this album sound very similar, sticking with her genre track by track. It is a good sound, but gets a bit repetitive half way through the record.
As a whole the album is very dramatic, the songs reminding you of the soundtrack to a French arthouse film, and have a Tim Burton/Danny Elfman 'Nightmare Before Christmas' feel to them.
Aleph's vocals are impressive, very breathy and operatic enough to send shivers down your spine. Haunting chorus vocals are combined with dramatic quintessential French piano, you feel as if you've landed in a mystic world. Use of organs and acoustic guitar add to the cinematic atmosphere.
Tracks are broken up throughout the record by short interludes, giving the listener a chance to absorb the tracks thoroughly.
Stand out tracks are 'The Purchase of the Cathedral', 'Es Muss Sein' and 'My Bloody Marriage'.
A very distinctive album that will give you goose bumps and a new appreciation of opera (if you weren't a fan before).
6.5/10
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Junius - The Martyrdom of a Catastrophist
Reviewed by Frankii Torok
Since 2006, Junius have been working on 'The Martyrdom of a Catastrophist', a concept album in every sense, based on the life and theories of controversial scholar Immanuel Velikovsky.
The album is introduced with a quote from the scholar, setting the scene for this eminent offering. The next striking thing is how much the vocalist sounds like Robert Smith. It's clear that The Cure are a big influence on this band. In fact, there's some serious 80s elements in the first half of this record (particularly track 2, 'The Antediluvian Fire'). The dreary, but in a good way, sound is reminiscent of The Cure and, to a lesser extent, The Smiths. It's clear this album was made in the noughties, though, thanks to the epic instrumentals, boundaries are being pushed further now than ever. There's also the eery-ness of the first few tracks, which hints at gothic metal, such as Nightwish, Evanescence, etc, adding to the modern feel.
The spoken quotes by Velikovsky, in between and introducing most of the tracks, break up the album nicely and add to the story being told throughout the album.
The second half of the record is slightly different, as it's closer to the genre they label themselves as. But this isn't the kind of so-called indie/alternative rock the British population are obsessed with, this is true melancholic music, much more personal than the radio-friendly 'she broke my heart' songs that are considered indie nowadays.
The only fault with this album is the minor lack of diversity. There is the mixture of 80s goth-pop and alternative rock, but they're just underlying influences. These combine beautifully to make Junius' unique sound, but some variety wouldn't go a miss.
Junius play grown up, proper alt. rock music, not like the over-played pop music the industry's bombarded with of late, and for that, they should receive recognition and praise.
[8/10]
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Wyldsky - S/T
Reviewed by Rachel Hand
Self-styled 'guitar virtuoso' Tyler Nelson, formerly of Great White, has been crafting an ensemble of gifted musicians since 2006. With the addition of a drummer and bassist, Wyldsky released their selftitled debut last year.
But what is the result? Well, opinion is divided on the likes of Guns N' Roses, Aerosmith, Motley Crue et al. To some, these bands are the ultimate in rock n roll attitude and masculine glory, but to others they were tacky to start with and quite frankly embarrassing to look back on.
As my mum would say, this is very 'old hat'. There's an unpleasant self-indulgent edge to the drawn-out guitar work on songs like 'Rendezvous', and the string and harpsichord sections sound a bit Casio. The vocals and lyrics bring tears to the eyes for all the wrong reasons; 'Wild Honey' is pure cheddar, whilst 'Goodbye Good Riddance' closes the album with a dose of good old rock n' roll misogyny with the line "So long, bitch", leaving the unpleasant taste of leather and hairspray on the tongue as you realise you've just lost 50 minutes of your life.
On the other hand, you'd be hard pressed to find anything more classic-sounding this side of grunge. Ballads such as 'Holding On' feature luxuriant guitar solos and husky heartfelt vocals, and sound as though they could fill a stadium with lighters in the air. Meanwhile 'Coming On' makes brilliant use of an acoustic introduction descending into throbbing heaviness. Songs like 'Dog Daze' or 'My Baby' have that all-American sound perfect for a road trip, thanks to meaty riffs and soaring choruses. This is a stirring and butch album with a definite retro feel.
To sum up, Wyldsky sounds like it belongs in the 1980s and it's difficult to believe it's not a comeback of some sort. However, the fact that Aerosmith are wrapping up this year's Download Festival proves that some people think the old stuff has never really gone out of fashion.
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States of Emotion - The Unsung
Reviewed by Frankii Torok
Playing Glastonbury '09, recording an album with the Manic Street Preachers' producer and getting The Inbetweeners James Buckley for their new video, this group of Essex lads, who have been playing together since the age of 14, and look set to take the world by storm.
Idealising their music as 'pure, anthemic, honest, pop songs', if this new single is anything to go by, that's another dream achieved.
The track gets straight into the radio-friendly indie-pop, but there's evidence of a unique streak. Vocalist Olly's distinctive cockney accent adds a human touch to the band that's rare nowadays, thanks to too many singers using American accents.
Less than a minute in, the catchy bridge and chorus hit you making it anthemic, and perfect for playing live.
The instrumentally polished and professional sound shows the band have talent in abundance, even if it is very typical to the genre.
Everything about 'The Unsung' makes it clear this band are promoting unity, which is never a bad thing, and likely to be the reason they have such a dedicated following.
If a young band as talented as this can get so far, so quickly, there's going to be no stopping them, granted they keep on releasing sounds like The Unsung.
[8/10]
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Angels & Airwaves - LOVE
Reviewed by Mark Plummer
Many people questioned Tom's loyalty to AVA when Blink-182 reunited and completed a full 3 month US tour. This should put those in doubt to bed, whilst Blink will still be the focus of all three members, Hoppus also went out and said that these side projects eventually all come back to Blink and that it's all positive. With that reassurance in mind, AVA have come out with a free album.
Whilst all the instrumental pieces that link the songs and drag them out to five/six minutes are a nice creation, they're a tad overdone, and it's reminiscent of what was heard back on the previous albums. Sometimes enough is enough, just get on with the song and screw the now overdone intros and outros. Take away these intros and outros and what's left is, disappointingly, an AVA that was heard on both 'We Don't Need To Whisper' and 'I-Empire'. Yes the songs themselves have flashes of talent. 'The Flight Of The Apollo' seems to hold some of what DeLonge took to Box Car Racer, but rewind and this is apparent on 'The War' from their first release. Unfortunately this is repeated song after song. Not only do you have overdone starts and finishes, but also a bunch of songs that could have been put on both previous records. Does DeLonge lack creativity?
This isn't exactly a bad album, however if you're not a die hard fan who is willing to force themselves on every song, it may not stay on your mind too long. Credit where credit's due, Atom Willard really delivers on the drums but overall it's a disappointing effort from a band with so much potential. Roll on the next Blink-182 record!
(4 out of 10)
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Radio Adelaide - ...and on the brighter side of things
Reviewed by Mark Plummer
For the majority who don't know this Canadian outfit, things haven't been easy of late. After releasing their debut they've had some misfortunes over a tour with Rise Against and lost a few members. Needless to say most bands might have kopped it, especially so early into a career, but not these guys! They're back with a reworking of their debut release and it's been worth the wait!
After rejigging the track listing and rerecording the vocals the essentially "new" tracks are better off than before. 'Smile and Wave' is a no-messing, straight-into starter. These guys hold a lot of power in what they do and can get a point across. Even the slower paced tracks like 'Whiplash', 'This Leash Ain't Gettin' Any Longer' and 'Sex On The Side Of The Road' whilst delivering a softer, slower paced side, keep it interesting. Every decent album manages to hold down some form of variety and it is well showcased here. From the stadium style drum ending of 'This Leash...' to the riff laden 'Sex On The Side Of The Road' each of these tracks give you something different to contemplate. Diving back into some of the harder hitting tracks, 'Bas Rutten' seems to have garnered more power and 'Crash of '29' (a song about the crashing of wall street and the start of the great depression) could easily apply to economic events of recent times. 'The Dropout' is a real stand out track with its closing statement "We separate (These books)/The gifted from (Teach us)/Those who are (The art of)/Taking the easy way out" wonderfully highlighted by the acoustic guitar leading to a vocal ending.
What we've been given is 12 tracks full of swirls of emotion and songwriting that may be a little unconventional, but puts a little more emphasis and meaning into each track. Other than some outstanding bass and guitar work, huge amounts of praise need to go to Gabe behind the drums. Huge amounts of technical skill make this a joy to listen to just for the fills he's thrown together.
If you're looking for a new band for 2010 and like your music along the lines of Funeral For A Friend and Rise Against, then Radio Adelaide could well be for you. Their music has been released onto iTunes and is well worth checking out.
This is one of the best albums 2010 has had to offer so far.
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The October Game - Wildblood
Reviewed by Mark Plummer
The October Game have been on the scene for a while now and what strikes first about this band is that they're not another group singing solely about heartache and teenage anxiety. Inspired by everything from nature and poems to films and books, this doesn't only transpire into a lyrically interesting listen, but also rubs off on the music too. Taking influences from post-rock to folk, what The October Game offer up is a listen that whilst drawing comparisons from the slower Jimmy Eat World and Minus The Bear, and even the more gentle yet interesting sides of Brand New's 'Daisy'. Is a listen that is totally unique.
'Greenbacks' is a gentle opener to an album with plenty of mix on it. Whilst it has its harder hitting moments, it retains an essence of tranquility. Whilst 'Right On Time' sounds vaguely familiar to its predecessor, it's 'Concrete' with its big drum intro and claps that add some fresh air. Other than the smooth clean riffs, it's the subtleness of a shaker and claps that whilst sounding a tiny bit lost in the mix, also add a bit more flavor. 'Boxing Underwater' is a true gem of a track. The instrumentation is brought in beautifully and brings together everything from the usual guitar, bass and drums line-up to a more adventurous string arrangement. 'Where The Devil Loses Out' takes the tempo up a notch and brings in a new feel to keep things interesting and far from plain. It's array of instrumentation proves that The October Game are more than a simple band restricted to making an album with all the same instruments. With three of the last four tracks offering up a harder hitting listen along the lines of 'Where The Devil Loses Out' it's probably only fitting that the last track 'Night Vessels' is a mixture of the softer and louder sides of 'Wildblood'. Whilst the drums build up to what you think would be a crescendo of noise, instead it gives way for a killswitch styled guitar part and what can only be the aboriginal sounds of a didgeridoo. This breather then leads into the full band once more. At just over seven and half minutes long, the song is not overdone at all, but a journey filled with twists and turns, building up to meaningful ending.
What this album is brilliant at doing is offering the listener a gentle listen albeit with some twists and turns thrown in along the way. Take some time for yourself with 'Wildblood' and get lost in it.
(7 out of 10)
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Katalina Kicks - 145 [Single]
Reviewed by Meghan Player
The British punk scene has obviously played some part in Katalina Kicks single, '145'. The straight-to-the-point melody as the track begins is a decent opening, but once the ensuing vocals kick in for the first verse, you can't help but wonder what the hell is going on.
The punk-ish style of vocal delivery sees the scene revived - but to a point. At times the delivery can become a little obnoxious and unbearable, but once the chorus kicks in its almost as if you're listening to a completely different band.
The chorus melody and vocals are catchy, infectious and yet, seem completely out of place amongst the dribble of each verse. The warbling guitar solo followed by the final splendor of the chorus round out the last 40 seconds of the track - and arguably is the best glimpse of what Katalina Kicks have to offer.
Unfortunately, this track is going nowhere fast. While their is a tiny spark of what the band could achieve, it sadly leaves a lot to be desired.
[2/10]
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30 Seconds To Mars - Closer To The Edge [single]
Reviewed by Meghan Player
The latest multi-layered feast from US band, 30 Seconds To Mars is a combination of infectious melodies and striking lyricism that sees the band at the top of their game.
The track gradually builds, albeit relatively naturally, sweeping across a well-produced soundscape that demands to be played in the live arena. The tracks blunt lyrics throughout the chorus, "I'm not saying I'm sorry" seem to hit home even more personally with the band, having struggled through a million dollar lawsuit of late.
The decision to include the bands' fans (The Echelon) in the recording of the track is commendable - with the overall sound taking on a decidedly dramatic tone. The feeling of unity and being perhaps involved in something bigger is not an easy feat for a band to achieve through song, but 30STM have managed to hit the nail on the head with this track.
The atmosphere created throughout is the most astounding point of the song. As a listener you can't help but be swept up into the melody, almost hanging on every word.
Overall, the track has clearly shown that 30 Seconds To Mars have still got the fighting spirit in them, and they are not going to back down easily.
[7/10]
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Pin-Up Went Down - 342
Reviewed by Rachel Hand
French duo Pin-Up Went Down consists of multi-instrumentalist Alexis Damien and female singer Asphodel. Their second album, out 28th June on Ascendance Records, is cryptically entitled 342. I was lucky enough to spend a year in France at the tender age of 21; I have to say, the metal scene is not one of my fondest memories. It was like going back in time, and the scene just seemed a little stuck, especially in its love of female-fronted Goth metal bands.
Opening track 'Diapositive' indeed sounds like the soundtrack to a Tim Burton film, with operatic backing vocals and cackles, but thankfully it soon develops into tightly-wound aggressive metal with a surrealist edge. Although their efforts to be different are admirable, it can feel forced and shallow, such as the African influenced section on 'Essence of I' or the cathedral organ introduction and cartoony vocals of 'Khabod Of My Aba'. The silliness continues on 'Home', mixing soaring operatic indulgence, ridiculous falsetto, and whispery pixie vocals.
However, the A Capella 'Escargot' includes Asphodel's voice singing the classic lyric "the snails are dancing" with the richness and intonation of Maynard James Keenan. 'Vaginaal Nathrakh' features Disillusion bassist Andy Schmidt, and changes abruptly from Pokémon-like kitsh electronica to slap-bass funk. 'Murphy in the Sky with Daemons' provides a nice slice of surrealism, whistling and chiming interspersing brutal metalcore moments, again with a tinge of Nintendo to it.
Unfortunately however, Pin-Up Went Down are trying to fit a bit too much in, and the occasional ill-advised vocal style sounds like a cross between a creaky door and the Crack Fox. Otherwise, they sound like the white noise you might get between Kerrang radio and Classic FM. But they're different, they're interesting, and they're very, very brave, which is something I can't fault, especially considering they're bred from the slightly salted earth of European metal.
[6/10]
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Hot Hot Heat - Future Breeds
Reviewed by Ste Anders
'Future Breeds' is the fifth studio album by Canadian alternative-electronic rockers Hot Hot Heat and the first to be cut in the bands own studio, Tugboat Place. As usual, it holds unusual sounds and surprises on every track but it is nothing like the band have done before. Their unique approach to music, however, is once again beyond exceptional.
The entire album is catchy, melodic, rhythmic and just that little bit bizarre. Hot Hot Heat came from humble beginnings, but now they are much more experienced as studio and live artists and this album demonstrates that perfectly. They make music that is theirs; and the unconventional approaches, feels and techniques make the sound all that more appealing.
Title track 'Future Breeds' seems to typify the band's sound, yet at the same time doesn't cover the immense amount of samples and synthesisers that bring the band to the forefront of their own genre. The entire album shows a lot of experimentation, both with sound, vintage gear and delicate ideas to illustrate the whole bands creativity. It also demonstrates the great production talents of vocalist/keyboardist Steve Bays.
This album is a definite huge step forward in Hot Hot Heats career and quite frankly the most honest and true sounding album to date.
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Xiren - Trip-R (album)
Reviewed by Captain Morgan
Somewhere between Yanni, U2 and Dave Matthews lies Xiren. They are equal parts solo artist fluff and world music goofiness all rolled together in a serious artiste package. Trip-R, Xiren’s debut album, is as lame as painting by numbers when you’re 16.
I’m quite sure there is, in fact, an audience for this brand of self-indulgent, new-age-y musical masturbation, and I tried quite hard (no pun intended) to find a silver lining in the otherwise dull, dark cloud of an album. Unfortunately, that lining came when the Trip-R ended. It’s not to say that Xiren isn’t a talented musician, though; there are all types of guitar styles featured throughout Trip-R, and he’s got a mean voice to go with the riffs. The problem is Xiren simply isn’t a good songwriter. Lyrically simplistic (but to a fault), including “world music” elements in an unbalanced fashion and a super slick production does not a master songwriter make.
According to Xiren’s website, Trip-R was written and recorded during two different tours and—apparently—documents the, “love, grief, rage, sensuality and hope” that transpired from bus crashes, scam artists and touring the US. With a synopsis like that, one wants to take Trip-R seriously and listen with the heart as opposed to the ears. In doing so I experienced a wretched feeling of nausea that was difficult to assuage.
For fans of artists such as Peter Gabriel, Sting or any other self-aggrandizing solo artist, Xiren is right up your alley. But, be warned. If you’re looking for material that will stick with you for days on end and melodies that transcend time, you won’t find any of that on Trip-R. If you’re looking for simple songs and modest attempts at hooks, you’re in for 14 tracks of mediocrity.
2/10
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Babyhead - Jungle Law and Think Money (singles)
Reviewed by Suzy Harrison
'Jungle Law' and 'Think Money' are the first two singles from Babyhead's full length album ' Heavyweather' which is due for release in September 2010. You wouldn't guess that this band hail from Bristol as they successfully have achieved a true reggae ska sound.
The two tracks differ a considerable amount; 'Think Money' is simplistic ska with the guitar providing a quiet backing to clean vocals and the brass and organ parts being a welcome, yet not continuous, accompaniment. The trombone solo towards the end is a nice touch. 'Jungle Law' is slightly more upbeat with old school backing vocals reminiscent of a 60s sound. The brass is fuller sounding on this track giving the song a less sparse sound than that heard on 'Think Money'.
I can definitely imagine 'Jungle Law' going down well at a ska/reggae night and getting people on their feet. Personally I enjoyed 'Jungle Law' the most, but both songs show off the musical talents of the band.
The number of instruments on the tracks shows that a lot of time and thought has been put into recording this material. At the moment many of the acts around in the underground scene are opting for a punk and ska mix (it's become the norm of late) so it's nice to hear a band who are going back to the roots. Babyhead's music clearly has been influenced by old school ska acts.
7/10
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