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Lower Than Atlantis - Far Q
Reviewed by Freddie Harrison

Follow Lower Than Atlantis on any number of social media websites and you'll soon realise they're really quite proud of this album. Listen past the first few tracks and you'll sooner realise why.

Far Q is a punk album in every sense of the word, financed by the band (or rather their loans, take a listen to 'I'm Not Bulimic...' and you'll see what I mean) and recorded in an office above a printing factory, it's a brutality honest assessment of life in modern Britain set to the blistering hardcore and soaring melodies of three guys very much in touch with the real world.

Opener and title-track 'Far Q' sets the tone for the rest of the album, a four minute aural assault of hardcore punk encapsulating all the angst associated with an absent father. Elsewhere on the album, tracks like 'I'm Not Bulimic (I Just Wanted To See How Far I Could Stick My Fingers Down My Throat)' dealing with a jobless life in the midst of a recession and 'Extra! Extra! Read All About it!' which looks at the state of the modern news media seem to follow suit.

The lyrics might not be the works of literary geniuses, littered with metaphors and deep meaning, but that's the beauty of this record. Every song is full of angst and honesty dealing with the issues that affect everyone, and that's what punk is all about right? As 'Yo Music Scene, What Happened?' kindly points out to us music journos: "I say what I mean and I mean every fucking word."

Musically, this album is excellent - everything a good hardcore album should be with production values which make it seem like a project of twice the budget. Each song manages to stay as fresh and intense as its predecessor, with hooks-a-plenty and spandex-tight rhythms to match.

It's all too easy for a band to get over-excited over their debut album these days for one reason or another. Most, like Lower Than Atlantis, are relying on it to pay the way for the next couple of months of touring and a further few in the studio for a follow-up. But what sets these three guys apart from the plethora of hardcore releases you'll no doubt encounter over the next year is that you can believe the hype. Lower Than Atlantis have unleashed a strong contender for hardcore album of the year, let's just hope they've started as they mean to go on.

9 out of 10

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Muse - The Resistance
Reviewed by Leo Kindred

Despite how much Black Holes and Revelations was lauded and given recognition from mainstream quarters (my mum got it), it's overall balls-lessness, even for a band who often sing in falsetto, left some cold. Me, more particularly.

No band as singularly unique and possessing such clear talent should ever be written off though. Especially not Muse. On the Resistance the variety continues to wrong foot those who thought they had the debatably best rock band to ever come out of Devon pegged down. That'd be me, again. First track 'Uprising' doesn't exactly cause orgasms; it's synth-line seemingly dry-humping Billy Joel's 'White Wedding' entertains but does not arouse. But when the ethereal 'Resistance' floats in to an almost trance intro it deceptively harbingers powerful material, some of the best from the trio in a long time. Following hot on it's heels is recent single 'Undisclosed Desires', a pleasingly sultry synth pop bitch of a tune, and between these two avoiding doffing one's cap is truly tough. In fact as the record continues it's damn tough enough not to spread your legs and ask it to call you “m'lady”. Aside from some initial slight misgivings about the initially pompous 'United States of Eurasia' the Resistance continues going from strength to strength; oozing a combination of melody, bewitching piano leads and, wait for it...guitar riffs, one of which on 'Unnatural Selection' sounds not too far off 'Newborn'.

There are problems, mostly the last trio of tracks being a 3 movement symphony, which makes you fell you're hearing two shorter albums and can create the impression of feeling a little short-changed.

When taken as a whole though this is one of the finest records of last year. Both thoughtful and catchy it's a triumphantly ambitious effort that reminds sceptics (yet again, me), that Muse are one of the greatest most original musical acts in the land.

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Expatriate - Blackbird (single)
Reviewed by Meghan Player

Expatriate’s debut single ‘Blackbird’ begins with a quiet, defined opening that progressively builds into a radio-friendly blend of guitars and contemporary rock.

While it’s hard to distinguish what the rest of the album will sound like, and the direction the band is heading, this first offering makes a consistent and promising first impression.

The combination of an almost electronic mix of sounds offer the listener a musical experience somewhere between Muse and Coldplay - showcasing the new wave of local talent here in Australia.

Infectious drum beats and an almost '80s style vocal range offer a greater sound appeal to the more pop-inclined listener, but the modern mix of rock guitars allow the track to appeal to a wider audience.

All in all, Expatriate have created a good first impression and hopefully the forthcoming album will continue that experience.

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Converge - Axe to Fall
Reviewed by Leo Kindred

Converge are the best hardcore band in the world. Fact. Also of equal factual infallibility are that this album just utterly conquers and just continues to reinforce the first fact that they are top of the heap. Right through from frantic opener ‘Dark Horse’ Axe To Fall is heaving with more of the bludgeoning and experimenting otherness that has given Converge appeal across genres. A slight pube in the cake is that if you’re familiar with Converge some tracks will sound a little familiar. ‘Worms Will Feed’ sounds a little tried and tested and more than a bit similar to those other ‘long Converge songs’ most fans will know. This aside though the bluesy soulful contribution of Neurosis mainman Scott Kelly crooning on ‘Cruel Bloom’ provides enough counterbalance to any detraction. Plus, if you’ve never heard Converge there is no better place to start than with this exemplary album. If anyone knows anyone better…well fucking link me to their MySpace!

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Devin Townsend - Addicted
Reviewed by Leo Kindred

The second album from the Canadian maestro musician in a year as part of the Devin Townsend Project brand was promised to be a pop yet heavy album that was “danceable”, all claims backed up by this bubblingly fun album. It indeed has indeed proven boogie-able and with plenty of air guitar moments, and with the help from the lovely voice of Anneke Van Giersberg and Townsend’s own varied vocals, plus a keen sense of melody this is easily the catchiest (and possibly only) ambient metal pop album you’re likely to hear. With electronics playfully decorating the all out cosmic cheese fest of euro pop-alike ‘Bend It Like Bender!’, the touching ‘Ih-Ah!’ and the beguiling stomp of ‘Universe In A Ball!’ this is an uplifting and raucously pleasurable album recommended to all; young, old and Martian.

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Youthinasia - Premature Erockulation
Reviewed by Suzy Harrison

Youthinasia are from Brantford, Canada and just looking at their MySpace they have done a lot and are very DIY, with "3 self funded, internationally released albums...festival appearance on the Van's Warped Tour...[and] 5 self booked national tours". They also self-engineered their most recent 6 song sampler. You wouldn't guess it though as the tracks are professionally produced and are easily on a level with more high profile punk bands around at the moment.

The general sound is pop punk, with the emphasis on the punk side of things. 'Mr Blisters' and 'Stolen' both show that the band also enjoy a bit of ska punk, with 'Mr Blisters'offering a nice contrast between ska and heavier punk throughout, and 'Stolen' with a more reggae feel. The vocals on all the tracks are clear and sound great, and the backing vox provide some good harmonies. 'Free' starts acoustic but punk soon kicks in. Similaries with Lagwagon are not out of place here, in both the music and vocal sound. 'Miss Magdalene' is a great track, fast paced and well written; probably one of the catchiest on the sampler. The sampler makes me think that Youthinasia would also be a good band to see live.

Whilst the music on the album isn't anything new in terms of breaking the boundaries of modern punk rock, the songs are catchy and enjoyable and I would definitely go and see them if they came to the UK. Definitely looking forward to hearing their full length album which will be released this spring. If you're in Canada, make sure you catch the band when they support This is a Standoff in March 2010.

(8.5 out of 10)

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Sworn to Oath - Don't Fuck About (EP)
Reviewed by Suzy Harrison

Sworn to Oath are a UK metal three-piece from the Midlands. 'Don't Fuck About' is their latest EP and features three tracks: City of Lies, One Split Second and This is Hell. They bring us screeching guitars and punchy drums and generally more of a classic metal feel rather than the typical metalcore sound on the underground scene at the moment. The vocals are melodic and clean on the whole and show off the lead singer's voice. The recording is well produced but it's a shame there are only three tracks, because I couldn't help wondering what their other material was like. They had on last count 96,512 listens on their MySpace page which is pretty impressive so it's clear that people are interested in what this band have to offer.

City of Lies brings a great impact to the start of the song - heavy guitars, pounding drums and strong vocals tell us that Sworn to Oath have arrived. This track is the longest track on the EP, lasting just over 5 minutes and I felt that it dragged a little bit in places due to the repetitive nature of the vocal lines - perhaps not the best choice of song to open the album. The guitar riffs however, are played well and make the song interesting. Generally, the band opts for a medium tempo on their songs which allows their complex guitar lines to be performed perfectly and showcased effectively on each song.

As I listened to 'One Split Second' I was beginning to hear similarities between this track and the others, highlighting that there is consistency throughout the EP and Sworn to Oath do have a characteristic style in terms of their song writing and sound. 'This is Hell' is a bit different and I may be wrong, but there seems to be two vocalists on this track. The second vocalist has a slightly lower voice and I think if we had more of them on the other songs it would give the tracks an extra something.

I couldn't help feeling that Sworn to Oath still have room to grow in terms of their song writing abilities. I think they are currently working within their 'comfort zone' but have potential to be more impressive if they just try something a bit more complicated like a faster speed or different style of vocal lines such as an second vocalist. A good EP generally, but still room for the band to grow.

6.5 out of 10

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Bigtopp - Speakeasy (selection of tracks)
Reviewed by Suzy Harrison

Bigtopp are an 8-piece 'prog reggae' band originally from Portsmouth. The thing that first struck me about their music was the lead singer's voice, which has a nice tone to it and is shown off to its full potential across the record. In parts the singer does head towards to the 'ska accent' typical of reggae tracks (e.g. in 'Flex') but it's nice to hear that he sings with his own accent for the majority of the time.

Each track is different to the last and the band seem to be quite experimental in their use of different instruments and styles. 'Rule of 3' has a latino feel and Bigtopp's song also feature a piano rather than the typical use of an organ. As well as the reggae vibe, there are also heavier guitars (e.g. Flex) and latin style drums and piano lines (e.g. Rule of 3, Speakeasy).

If we're going to make comparisons, I could hear definite similarities on 'Bucketman' to Catch 22's The Spark. It's clear that Bigtopp enjoy to play old school slow paced ska. Their style is less inkeeping with the ska we hear from other UK ska punk bands but that could work in their favour as they are bringing us something a bit different.

It's clear from this recording that Bigtopp are good musicians who write good music. The only thing letting them down is that the recording is too clean sounding. I couldn't help thinking that if it had been a bit rawer in places it would make this EP even better. The use of the piano is a great touch but because of the clean recording it can lead to areas of the record sounding a little bit 'cheesy' (e.g. the intro to Bucketman) and I can't imagine that this was intentional. I'd be interested in seeing what Bigtopp bring us in the future.

7 out of 10

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Cobra Starship - Hot Mess (album)
Reviewed by Suzy Harrison

Recently a pattern has been emerging - the UK charts have been flooded by synthy, vocoder-saturated pop/hip hop songs (think 3OH!3, Ke$ha, JLS, Timbaland); people can't get enough. But there's a chance that eventually we're going to get fed up of it. However as a band who were one of the first to experiment with this style, Cobra's latest takes this trend to a new level, sticking with the electro-sound but veering more towards the pop-punk side of things. The alternative slant to their music gives it something different and makes it stand out above the rest. With a lead singer who used to be in pop punk band Midtown and a guitarist and bassist who were previously in indie band 'This is Ivy League', it's not really a surprise that Cobra Starship's music has a slight alt edge to it.

'Wet Hot American Summer' was one of the tracks that most impressed, with its catchy riffs and awesome chord sequences throughout the chorus. Single 'Good Girls Go Bad' (feat Leighton Meester of Gossip Girl) is also a feel good track that makes you want to dance and despite hearing it over and over I've not tired of it. And 'Move Like You Gonna Die' is sure to get stuck in your head whilst 'Living in the Sky with Diamonds' is just beautiful. 'You're Not In On My Joke' had me frustrated for ages as it was reminding me so much of a Fall Out Boy song but I couldn't remember which. A quick look at the CD inlay told me that Patrick Stump provides guest vocals on the track - that explained everything.

The songs differ from each other in terms of style and pace. 'Pete Wentz is the Only Reason We're Famous' shows that Cobra can play good fast paced music. This track in particular also shows off some great guitar chords, group vocals and keytar lines. On the other hand there's 'The World Will Never Do' which is a slower track, displaying some strong vocal lines and plenty of vocoder. There are some similarities to Black Kids material in places such as 'Move Like You Gonna Die' but I wouldn't say that's a bad thing..

All in all this is a great album full of tracks that are sure to fill the dance floor. Hot Mess is scheduled to be released in the UK around 15th February 2010.

(8 out of 10)

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All Time Low - MTV Unplugged
Reviewed by Mark Plummer

All Time Low are undoubtedly becoming one of America's hottest bands, following in the wake of Blink 182 and Fall Out Boy. Having completed one sold out tour of the UK back in the autumn, followed by a tour through the US and a headline slot on this year's sold out Kerrang! Relentless Energy tour, life has been pretty non-stop. Couple this with radio play and they've become one of the bands for 2010 that you must listen to! Whilst this MTV Unplugged set doesn't offer anything you wouldn't have heard before, what you get is a look at a band who don't only sound good on stage and on record, but acoustically too. Everything balances beautifully from the vocals to the guitars and crowd. The production quality is nothing short of what you'd expect. As for front man Alex's vocals, they're flawless. If there were any doubts about auto-tune on 'Nothing Personal', this record shows his voice for what it is. The choice of six songs offers up two from each album and 2 from their 'Put Up Or Shut Up' EP and it's these two that really stand out. Whilst every song is worth a listen it's 'Coffee Shop Soundtrack' and 'Jasey Rae' that are worth the download if you're not going to buy the entire EP. The DVD comes with the videos to accompany the CD tracks, a short interview which will give you a vague insight into All Time Low and the last record and a short set of out takes. The only issue with this small collection is that it is small and you can't help but want that bit more. Put this aside however and it's well worth the buy. Keep a watchful eye out for All Time Low in 2010 and expect a lot more to come!

(8 out of 10)

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Triumph Or Tragedy - We Put The Fun In Funeral
Reviewed by Mark Plummer

This five piece screamo-rock outfit from Peterborough have the potential to make something of a music career. 'We Put The Fun In Funeral' is certainly full of promise and might cary some influences you'd recognize from the likes of Lostprophets and Senses Fail. What lets this six track EP down however is the quality in production. The drums sound almost MIDI programmed and whilst the rhythm guitar and vocals are certainly distinguishable, the lead guitar is drowned out in a poor mix. The vocals themselves, whilst anything but drowned out sound like they don't belong. They don't blend into the tracks, more just sit uncomfortably on top and out of place. Whilst the lead vocalist doesn't sound terrible, a strong point is found in his screaming more than anything else, the potential's there, but it needs teaching. This, therefore, is nothing more than a demo and is worth streaming but not purchasing. There are signs of musical direction that should be praised. The interlude in 'Restless Killer' from 1:45 - 2:35 gives the listener a breather from the full throttle pace and is well balanced with a mixture of acoustic notes and strings. They sound like they could have more potential live, but at this stage money and time with a producer is what's needed before anything worthy of buying will be ready. Don't knock this quintet off on the negatives, keep an eye out, and if they show up in your local area give them your support, they could surprise you.

Listen to 'When She Says She'll Love You Forever, She's Full Of Shit' & 'Restless Killer'. For the time being 5 out of 10, invest some time and money on a professional sounding recording and there might be something a bit more hopeful on the horizon.

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You Me At Six - Hold Me Down
Reviewed by Mark Plummer

They've conquered the underground, and now with a sold out tour ending with a date at London's Brixton Academy, You Me At Six look set to cement themselves with mainstream success. Along with a slot on this year's Vans Warped Tour across America and Canada, you can expect a bright year ahead for this English quintet.

Opener 'The Consequence' comes with fat crunching guitars a plenty and irresistible hooks paving a way through the chorus. It's harder hitting than 'Take Off Your Colours' and a lot less pop focused. The screams towards the end take the whole song into the days of Lostprophet's 'Start Something'. Credit goes out to drummer Dan Flint for pounding the hell out of his kit and giving up some inspiring fills for any drummer to pour over. It's rare these days to find the drums so high in the mix, but it's welcome and top marks to producers John Mitchell (Funeral For A Friend & Enter Shikari) and Matt O'Grady (The Blackout & Hexes). Some of his best work can be heard on 'Playing The Blame Game' and 'Safer To Hate Her'. Six tracks in and the albums still on the same pace it started, 'Take Your Breath Away' has been worked in such a way that each verse is different musically and always has something going on. The lead guitar work, whilst short but sweet in the interlude is not over done and balances well in the mix. If there was a song that could be labeled to a band such as Nickelback, Hinder or Daughtry then 'Liquid Confidence' would be it. Slowed down with cliched "oh-ohs" and a hint of big arena rock attached, it certainly shows off the more mainstream side to the album. 'Hard To Swallow' doesn't feel like anything new next to this, so it's 'Contagious Chemistry' with it's hooks and stop-start drums that go back to the more mature sounding side of You Me At Six. 'Hold Me Down' ends on the high note it started. 'Trophy Eyes' is full of the power and crunch that you might expect from a band such as Papa Roach, it's given a more pop-rock makeover however and is a welcome experience.

Whilst You Me At Six's last effort held promise and plenty of catchy songs, it came with no definitive direction and left it an album with plenty of holes to be capitalized on. With 'Hold Me Down' they've taken the harder hitting roots and produced an album with a definite sound and direction. Whilst some songs may start to get a little wearisome after a while (mainly the more mainstream rock-ballad styled pieces) it's worth purchasing for the tracks that lie around these. Whilst it may not be anything new, what rarely is these days? What You Me At Six are doing instead is not jumping on the coattails of bands like New Found Glory and Blink 182, instead their doing things their way and in their own style, you've got to appreciate how it's turning out. If you're looking for an album complete with pace, catchy hooks and the odd slower one here and there, this could be it.

(8 out of 10)

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AFI - Crash Love
Reviewed by Suzy Harrison

AFI are a band who have been active since the early 1990s and are globally successful yet still remain relatively underground. Crash Love is their 8th album and the fifth record released since 'Black Sails in the Sunset' back in 1999. Being a big fan of AFI I was looking forward to hearing their latest offering.

The album opens with 'Torch Song' which has the 'wailing' vocals typical of Davey Havok, lyrics that tell a story and heavy guitars. The first time I heard it, this track didn't make a massive impact on me, but having relistened to it, it's grown on me. In fact this is what I felt about the whole album; it's better the more you listen to it.

I got the impression that perhaps AFI want to appear more mainstream and win a new breed of fans. The sound on this album is certainly less dark than previous material and doesn't have such a punch. For instance 'Darling, I want to Destroy you', despite its Misfits reminiscent title, is actually pretty poppy. And 'Too Shy to Scream' is quite cheery sounding which doesn't really reflect the story in the lyrics. There is a choir on 'Beautiful Thieves' and bells during 'Cold Hands' - two things we could probably have done without. Despite this, there are stand out tracks and these are definitely 'End Transmission', 'Okay, I Feel Better Now' and 'Sacrilege'. 'Medicate' and 'I am Trying Very Hard to be Here' are also worth a listen, especially if you liked Decemberunderground.

'Veronica Sawyer Smokes' I can only imagine is referring to the character from cult film 'Heathers' - therefore inkeeping with the typically dark image of AFI. It does remind me of a track on a film soundtrack and it wouldn't have been out of place on a soundtrack such as 'Jennifer's Body'. It's a good track, catchy and pop-punky. If you go to veronicasawyer.com you can download a extra free track by AFI called 'Fainting Spells'. The free download actually blew me away more than the album. It's more 'AFI' soundwise and it's fantastic! It starts off acoustic and then halfway through breaks into heavy guitars and features strong backing vocals for the remainder. I just wish the whole album was written in this style.

Crash Love doesn't have the instant likeability that say, Sing the Sorrow, had. Revisiting previous work by AFI it struck me what the problem with this record is; it's just too polished. It sounds like AFI are trying too hard to do things in a certain way, simply because it worked before. It doesn't feel like a natural progression from their other records. It's too forced and it's as if they are being something they think they should be, rather than being who they are. I recently saw a new press photo of the band and gone was the gothic image; black clothing replaced by bright colourlyed shirts. I think the old gothic punk style worked so well for them; I loved the whole image and sound they produced and I hope that they return to that should they produce another record in the future.

6/10

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This City - We Were Like Sharks
Reviewed by Suzy Harrison

As soon as opener 'We Move' kicks in and the vocals start you'd be forgiven for thinking this was At the Drive In collaborating with Bloc Party. The vocals are so closely similar to Cedric Bixler-Zavala in parts that it's scary. In places they also remind me of A, who they recently supported on tour. But these similarities aside it's quite impressive for a band to combine the sounds of post-hardcore, with indie and modern power pop.

The whole album has a good momentum and sounds clean recording wise. 'Picture This' is pretty much a pop punk with great lead and backing vocals, the chorus in particular has a great sound. 'Moving Parts' was a track that I really enjoyed as the drums are interesting and vary throughout the song. The chorus again has good backing vocals. Another track to pay attention to is 'Middle Ground' which has a catchy chorus and nice guitar lines during the verses.

'We Were Like Sharks' is a good album which blends several genres together successfully. The sound works really well and just by listening to this record I can imagine that this band must be pretty good live; their enthusiasm and passion for what they do is evident just from the music.

8/10

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Karen O and the Kids - Where the Wild Things Are (OST)
Reviewed by Carrie Wilson

Seeing the film of ‘Where the Wild Things Are’ was actually a thoroughly disappointing experience. Well I probably could have guessed that transposing a kids book of less than 40 pages into a full length film would have resulted in something that felt over-long and draining. Since there was no way any kids would have sat through that, I’m guessing it may have been made by and aimed at people who wanted to relive the simpler times of childhood. The times when all you wanted to do was dance and cause a ‘wild rumpus’... or is that just what other people my age do with their time?!..

Anyway, in case you hadn’t noticed this isn’t a film review; as the credits rolled and a familiar voice started singing I realised I was pretty keen to check out the soundtrack. Karen O does seem to have a preference for the weirder things in life, (as some of her stage outfits clearly indicate) and this particular project is no different. The children’s choir and the spelling bee theme are odd (Capsize, All is love), yet loveable, as is the almost inexplicable shortness of the tracks, not to mention the Daniel Johnston cover (Worried Shoes).

Together as a whole though, this is a beautiful record to genuinely cheer you up and make you feel less weighed down by the world. Which is made all the more ironic by the failure of Jonze’ film to do that which it intends!

11/10!! Plus 10 gold stars and an ice cream.

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Outgroup - Bad Apostrophe (EP)
Reviewed by Aimee Taylor

'Bad Apostrophe' is a debut collection of tracks from Outgroup, an electro artist hailing from Newcastle. It is six tracks of breaking beats and sounds of an '80s feel with a modern twist and peppered with vocals bearing a broad accent. From the funky sounds of "Wish Upon A..." to the intrumental "Next River", Outgroup's debut is a heavy EP with a massive sound. It concludes with "Beams" a fast paced track that slowly morphs into an ambient beauty. 'Bad Apostrophe' is a hard hitting record from a highly talented artist packing a very high impact.

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Speakyourheart - This Is How We Communicate
Reviewed by Mark Plummer

Self described as playing 'energetic music packed with acoustic melody', Speakyourheart are a band who offer something a little different with 'This Is How We Communicate'. The opener may be a little unconvincing, but push past it and 'This Is The Call' finds you in a more 'Set Your Goals' sounding piece. Underneath it all this may not be anything new, but the acoustic and clean guitars are something which isn't often heard and it's not enough to keep the interest alive. 'Werewolves And Night Skies Are The Reason I Can't Sleep Anymore' is sandwiched between two instrumental tracks. Whilst these instrumental tracks hold a certain amount of beauty, reinforced by the harmonics used, it's 'Werewolves...' that is the hidden gem. Sometimes you can't help but wonder what tracks like these would sound like if it was brimmed with electric guitars and smashing drums, it'd probably feel like a punch in the face. 'Living Like A Car Crash' is everything the title suggests and reinforces the energy that's been flowing from the start, but might have been lost on some of the more gentle tracks. It is with some relief that 'This Is How We Communicate' ends on a higher note than it started. 'Tell The Men We're Sinking' is another song packed full of promise and melody, but just like 'Werewolves...' you can't help but wonder if a certain amount of the power is lost in not utilising an electric guitar.

Despite what could be seen as promising and certainly something different to listen to, it's all short lived and the album lacks a certain punch. Maybe this is due to a lack of distorted guitars, but it fails to leave a sizeable impression. This is a good record and holds flashes of Set Your Goals and Canterbury, but they might need to be seen live to appreciate fully. Check out these tracks: 'This Is The Call', 'Werewolves And Night Skies Are The Reason I Can't Sleep Anymore' & 'Tell The Men We're Sinking'.

(6 out of 10)

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Deaf Havana - Meet Me Halfway, At Least
Reviewed by Graeme Brown

The latest album from Deaf Havana (Meet me halfway, at least) is sure to be a huge success. With their first single release for the new album, ‘Friends like These’, the band have sky rocketed.

The new album is a lot different to their older songs. Having moved away from the Alexisonfire vibe of the last one, they seem to have picked up a lot more hardcore aspects of their instrument working, with an Every Time I Die style of songs. They bring in a lot more ‘dirty’ riffs that American rednecks would be proud of, and which any young musician will be dying to learn. The vocal work in the album is exceptional, the heavy screaming/shouting (Ryan Mellor) and the melodies of the singing (James Veck-Gilodi) mix perfectly. With the older albums concentrating on a heavier aspect of the band, this new album works well alongside many other bands.

The music video for Friends like These has been voted no.1 on Skuzz TV’s Most Rock chart a number of times, so be sure to watch your TV screens for more viewings! Keep an eye out at for more updates and tour dates!

10/10

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Motion City Soundtrack - My Dinosaur Life
Reviewed by Mark Plummer

Many bands claim to have raw energy, few ever execute it quite the way Motion City Soundtrack do. Right from I Am The Movie all the way through to My Dinosaur Life they show what sets them apart. Whilst some may argue that they lost themselves along the way with Even If It Kills Me, most will agree that they are back, fusing together their old with the new. My Dinosaur Life brings together raw, dark, complex sounds and thrown them in with the more recognisable of late pop-punk. What we're left with is a concoction for success and variety. Where Even If It Kills Me failed My Dinosaur Life succeeds. MCS have proven that they can keep all the melody that keeps them catchy, yet also throw in raw energy and agression in between.

Justin Pierre keeps his reputation for writing quirky lyrics that seem to spend hours on your mind. "I got a job at uncommon grounds/I finally shaved off that beard/Sold my Xbox to Jimmy down the street/Hell I even quit smoking weed/I'm taking an online course/I'm learning to speak Japanese", is one of the discs best moments in 'Her Words Destroyed My Planet'. The most agressive track comes four tracks in. This alcohol fueled number is as dark as they get and lyrically brilliant. The chorus's "I can disappear/Any time I want to, time I feel you/Shoveled through my Skin/I am with you 'til the end" proves just how catchy something dark amd sinister can get.

This isn't just a lyrically brilliant album, it's also musically genius. Whilst there are many praises to be made, you have to give it up for Tony Thaxton's inspiring drumming. Somewhat lost on 'Even If It Kills Me', he's brought it back to the standard that made 2005's Commit This To Memory a joy to listen to. Mark Hoppus (New Found Glory, Motion City Soundtrack, The Matches) has produced another record that should be added to any collection. Unlike 'Commit This To Memory' which was very mainstream happy, he's done a complete turn around and let the songs take their natural course. Whilst a lot of people may wonder about the lack of synths, take a second listen and you'll hear them subtly goog in the mix, adding texture amd warmth. You could argue it's merely a background part, but don't be fooled. It's made the record all that much better and technical. I could go on for days listing everything that deserves praise on My Dinosaur Life, from the brilliant ('Her Words Destroyed My Planet') to the imaginatively named ('@!#?@!'), Motion City Soundtrack have served up possibly the album and comeback of the year, 2010 is already theirs. Download it, get a physical copy, and if some bastard steals it, go out and replace it!

10/10

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Brand New - Daisy
Reviewed by Lee Brown

Brand New have just released their best album to date and if I heard right and this is to be their last studio release then it’s a great shame. It’s amazing to think this is the same band that released ‘Your Favourite Weapon’ nearly ten years ago. The band have gone from strength to strength with every release and this shows on opening track ‘Vices’ with its hints of Glassjaw and Blood Brothers along with what is a more volatile sound for the band. They soon get back to the sound that they have been progressing with on previous albums ‘Deja Entendu’ and ‘The Devil and God are Raging Inside Me’. The tracks ‘You Stole’ and ‘Bought a Bride’ are outstanding. ‘Be Gone’ has a very country feel to it in a similar vein to Sea Sick Steve, but more experimental. This is definately an album that should make its way into your record collection,

10/10

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Weezer - Raditude
Reviewed by Lee Brown

Weezer return with their 7th studio album Raditude which surely has the best artwork from any release in the last ten years.

As a big Weezer fan I always look forward to any new material, sadly I was not thrilled with this latest offering. Tracks like ‘Can’t Stop Partying’ and ‘Love is the Answer’ are not the strongest. The majority of the album seems to be aimed at a more mainstream audience with each track slickly produced and a guaranteed radio friendly hits. Tracks on this album like ‘(If You're Wondering If I Want You To) I Want You To’ and ‘The Girl Got Hot’ are the more stand out ones. There are hints of classic Weezer on this album but if you're expecting anything like ‘Pinkerton’ or even ‘Maladroit’ I wouldn’t hope for too much. But Weezer are one of those bands that for every bad release you will still find something good about it and look forward to the next album.

4.5/10

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Artist Vs Poet - Damn Rough Night EP
Reviewed by Mark Plummer

With 2 previous EPs and a debut album due out March 1st you'd hardly think Artist Vs Poet were new to the scene. Picked up by Fearless Records in 2008 (a year after their creation) and the futures already looking bright. Damn Rough Night acts as a prequel for their forthcoming album. Full of smashing guitars and ripping vocals, this could be seen as another Forever The Sickest Kids. True, all the right ingredients are there but there's something more distinctive in their sound that sets them apart. From 'Damn Rough Night' all the way through to 'To Hell With The Letdown' the recipe rarely changes, save for the odd programmed drum here and acoustic guitar there. Despite it being a four track teaser, it'll keep you hooked and along with the £1.99 price tag on iTunes, it's more than worthy of a place on your computer. For fans of Forever The Sickest Kids, Houston Calls and The All-American Rejects. Keep an eye out for this catchy quintet from Dallas.

(8/10)

Damn Rough Night was digitally released 14th December 2009

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Forever The Sickest Kids - The Weekend: Friday
Reviewed by Mark Plummer

Friday is the first serving in a three-part seven-track album series. Big expectations are to be expected from a band who's first album 'Underdog Alma Mater' was not only a success, but also cemented them as one of the best underground bands around. 'Friday' picks up where 'Underdog...' left off, big choruses garnished with plenty of keyboards and auto-tune. The first four tracks are full of this in every sense, it's not until 'Hip Hop Chick' that you get something slightly different. It could be mistaken for a neon-pop version of an Avril Lavigne track, start thinking 'Girlfriend' or 'Sk8r Boi' and you're in the zone. If this is your sort of thing then fine, but it's pulled off in a terrible fashion, keep this track locked up. 'What Do You Want From Me', is back to what they're good at and it's with wishful thinking that they'd keep it this way for the final track. 'Hawkbot' begs the question "just what the hell were you smoking?". This 3OH!3 styled piece along with 'Hip Hop Chick' brings down a mediocre (but promising) EP. Be glad that not everyone has jumped on the 'Don't Trust Me' band wagon, songs like this destroy records. Worth downloading the first four songs, other than that don't bother. Whilst they've tried to make some sort of advance on 'Underdog...', they've tried to do too much all at once. Hopefully 'Saturday' (due for release Spring) and 'Sunday' (due for release late Summer) will offer a more listenable experience.

4 out of 10.

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Plan B - Stay Too Long
Reviewed by Rachel12

If you're expecting the strum of an acoustic guitar and some gritty South London vocals to start rapping, then don't hold your breath. Better still, return to the debut 'Who Needs Actions When You Got Words' until you're willing to come to terms with artist progression. Because Ben Drew (that's Plan B in the music world) doesn't hang around for anyone. Since his 2006 release, Drew has had his fingers in both musical and film pies, dabbling in different genres and producing an array of demos for eager fans whilst trying his hand as an actor in films like 'Harry Brown' too. If we've learnt anything at all from Drew, it's to expect the unexpected - which pretty much describes this record to a tee.

New single 'Stay Too Long' opens with a rocky, up-tempo, almost soulful tune and the sugar-sweet singing of - yes, you better believe it - Plan B. Once you get over the initial shock of hearing a former gritty rapper doing a tune your grandma would have a dance too, you can start appreciating the song for itself. It's poppy without being cheesy, catchy without getting irritating, familiar whilst also original - it is, essentially, a hit. And don't worry, Plan B does rap in the song eventually and, in a way only Plan B knows how to do, makes it sound even better.

There's a reason this guy is on our ones-to-watch for 2010; and this is it.

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Fall Out Boy - Believers Never Die
Reviewed by Mark Plummer

Fall Out Boy will always be a band for teen-girls around the world and a guilty pleasure for the boyfriends who grudgingly go along to the shows. Whatever they are to you they'll always be a band who can write one hell of a catchy pop-punk riff. 'Believers Never Die' isn't exactly packed with surprises. With a prolific five album back catalogue the fans are likely to know the album inside and out before it's release, that's not to say this isn't a good compilation. It's a brilliant reminder of just how good this band from Illinois is, from the opener 'Dead On Arrival' to the previously unreleashed 'Aplha Dog' you have a plethora of hits that haven't grown old. Forget the "emo" tags that go along with them, their straight up pop-punk and nothing showcases that better than these 18 tracks. If you really want your monies worth then buy the CD + DVD deluxe version, it's only a few pennies more and you get more value for it. All in all this is a perfect Fall Out Boy playlist, catchy all over and will leave you wanting to hear it all over again.

(10/10).

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Kenai - Closer
Reviewed by Rachel Hand

Finding that Essex sextet Kenai’s new single ‘Closer’ is in fact a cover of Ne-Yo’s single of the same name initially induced a massive cringe. But on further analysis, this synth-metal Enter Shikari-style belter reveals itself to be surprisingly good. They turn a rather insipid ringtone favourite into what sounds like an emotive and original track, full of riffs and glitches, getting quite inventive with the rhythms they use. Best of all, they give you an excuse to know all the words.

Of course, this genre lends itself well to pop covers; uses the same catchy melody and harmonies, just adding heavier beats and a breakdown. They’re adopting the same policy as Attack, Attack! when they covered ‘I Kissed A Girl’ or Day to Remember’s ‘Since U Been Gone’; half parody, half celebration of the quality and catchiness of the original song. Sadly, the ‘joke’ might outshine their true abilities, and having a ‘live favourite’ this recognisable puts them in danger of becoming a one-trick pony.

Kenai’s new album is coming soon; whether ‘Closer’ is a gimmick or not, it’s undeniably catchy, and upcoming track ‘Say What You Want’ on their Myspace is promising indeed. ‘Closer’ is out now on Redfield Records, available for download from iTunes and Amazon.

(8/10)

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Fightstar - A City On Fire
Reviewed by Rachel Hand

A very promising beginning of storming riffs soon descends into mediocre melodies and half-hearted lyrics. A bit like Fightstar’s career, really. Grand Unification was such a fantastic bolt from the blue, so full of potential and fantastic song writing, that their subsequent releases have been disappointing despite their multiple merits.

The song’s blend of subtle verses and ‘rocking out’ make it perfect Radio 1 fodder, with Simpson’s distinctive voice attractive as ever. The “is this all that you want” sections remind of earlier glory, and the understated guitar solo is strangely touching. However, the big riffs and quiet verses just aren’t quite cohesive, the lyrics aren’t quite believable, and the ending just fizzles out. The contagious chorus is bound to make it a hit, but ultimately, Fightstar can and must do better.

'A City On Fire' is available for download on 7th December.

(5/10)

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The Answer - Comfort Zone (single)
Reviewed by Rob Barker

The Answer are back and as backwards looking as ever, this time with a lighter waving ballad, if venue health and safety rules allowed such things.

The Answer’s latest single sounds like a Led Zeppelin / Creed album track, so no surprises there, and the lyrics are just as uninspired as the instruments, by the time you’re done hearing the song your answer to “Can I embrace a moment with you” should hopefully be “please god no, I’d rather see a Journey covers band than have you embrace anything with me”. Unfortunately the band seem to be staying in their ‘Comfort Zone’ far too much and dishing out the same old tracks.

The single’s B-side, ‘Here to Stay’ would actually have been a far better release, sitting in the usual Wolfmother-y / Aerosmith based groove that The Answer have formed for themselves over the years, but doing so admirably thanks to searing guitar tones and pounding drums which will have listeners on the edges of their seats rather than lapsing into comas (as is the case with Comfort Zone).

5/10

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Kingskin - Slug - LP - Sounds of Caligula Records
Reviewed by Rob Barker

For most of the world the ‘90s ended nearly 20 years ago (there’s a scary thought) but Kingskin are still stuck in that decade, most likely wearing flannel shirts and torn stonewash jeans while complaining about big corporations and MTV.

While Kingskin are an adequate grunge / funk band, they don’t offer anything different from what was happening all those years ago, indeed their album sounds like a selection of out-takes from the likes of Soundgarden, Jane’s Addiction and RHCP.

While being associated with those bands might seem like a good thing the musicians involved with them went on to develop their sound, while Kingskin’s latest effort sounds distinctly dated.

Despite all of this, there are still some good songs, particularly for the nostalgically minded, the album’s opening track, ‘Shotdown in a Small Town’ has some great fuzzy guitar lines, reminiscent of the likes of Dinosaur Jr, while the vocals have a definite Velvet Revolver era Scott Weiland feel to them.

It seems as though Kingskin are suffering from something of an identity crisis, undecided about whether they’re a grunge or funk band, and at times they’re something completely different, as shown on ‘The One Everyone Hates’ which sounds like a Stereophonics / Rod Stewart track that they’ve attempted to ‘rock up’ by using a half-cocked wah tone on the guitars. (Speaking of which, I hope you love how wah-wahs sound because it seems as though the guitarist just found one and decided to use it on everything he can).

Slug is far from being flawless, indeed it has more flaws than positives, but it does show some good ideas, if only the band could hone them they might be on to something.

4/10

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3OH!3 - Want
Reviewed by Mark Plummer

Some people could be fooled by seeing 3OH!3's name appearing on the 2009 Vans Warped Tour, I myself thought this was some new punk-rock/pop-punk band, and was more than surprised when I got hold of their album 'Want'. Whilst it is an electronic dance music album, it seems to sit very well with the Warped Tour lot, the band having played in both 2007 and 2008.

'Want' is full of songs that could resemble a more aggressive and yet more danceable Eminem. After a seemingly pointless one minute intro titled 'Tapph!' (If you're going to make an introduction track at least do something with it) the bulk of this second album is made up of aggression mixed with some dance. Save for their multi-platinum 'Don't Trust Me' & 'Still Around' it's all the same song after song. In 'Photo Finish' the line "Sush baby shut your mouth" resembles the previous "Shush girl shut your lips" from 'Don't Trust Me', so lyrically, variety seems to be escaping these guys half way through. 'Still Around' is a 3 minute saving to just chill out to. Abandoning their electric dance for a softer pop-punk ballad, complete with piano and programmed drums, this is a track worthy of a download. 'Holler Til You Pass Out' is straight back into that electronic dance whilst 'Colorado Sunrise' still shows everything you've already heard. It's less in-your-face, starting off with promising acoustic guitars and a little more piano before introducing those synths and programmed drums. The 'Don't Trust Me' remix is nothing more than the same song but with Kid Cudi adding some vocal parts on the first verse and breakdown, nothing special. Same goes for the 'Still Around' remix, with nothing major being added, you're better off sticking to the original.

Individually these songs are catchy and a good listen, however that's the problem. These are good individual tracks, but put them on an album and by five or six songs in you might find yourself getting bored and skipping to the next, just to find the same result. A nice try, but not enough variety to keep my interest. 2 out of 5. But recommendations for download would be 'Don't Trust Me' and 'Still Around'.

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The Twilight Saga: New Moon OST
Reviewed by Aimee Taylor

The next installment of Stephenie Meyer's Twilight Saga has finally arrived one year later, and so has the hype to go with it.With a bigger budget comes a hoard of bigger artists. With names such as The Killers, Lykke Li and Radiohead's Thom Yorke jumping on the gloom and doom bandwagon, the soundtrack bears very high expectations.

True, the bill looks amazing, but in all honesty, its a bit lacklustre. However, it does have its highlights, the sultry sound of Lykke Li's "Possibility", and Death Cab For Cutie's "Meet me at the Equinox" a tune with a pulsating beat not unlike that of a 14 year old girl's heart purely at the sight of Edward Cullen. Sea Wolf's "Violet Hour" is totally diverse, a happy tune with a sweet vocal and The Editors shine with "nO sound but the wind" a stripped down track but still clings on to the charm of Smith's amazing voice.

While the majority of the record is pleasing, The Killers' contribution is less than satisfactory, sounding too edited and monotone in places. OK GO's "Shooting The Moon" is also displeasing, with an odd synth sound and limp vocals.

New Moon is sure to please but considering how much hype there is, the soundtrack doesn't triumph like we would have hoped. However there are a few little gems in there that do it justice but lets just hope that the film lives up to those sky high expectations and isn't so patchy.

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Trash Talk - Shame
Reviewed by Freddie Harrison

Trash Talk take you on a half-hour journey on 'Shame'. A journey spanning four years of releases from the Sacramento hardcore quartet. But this is no stroll in the park, oh no. Trash Talk's music has that special something that makes hardcore music so compelling - the ability to grab you by the balls, show you a good time, lull you into a false of security, and repeat the whole process over and over again.

Trash Talk's peddling of blistering hardcore might not tickle everyone's pickle, but if you go to gigs to be whipped up in a frenzy of angst and adrenaline by four guys from California, this is probably going to keep you happy. There's enough variance between the different albums featured to stop the 30 tracks from blurring into one lightening-fast mess - so it works for those who haven't yet experienced the aural hurricane that is Trash Talk over the years, and the die-hard fans who want to hear it all again.

The only problem with 'Shame' isn't the music itself (it's great) - it's the format, and the release. Whilst it might've been an idea to take every pressing of every past release that's sold out and roll them into one big hardcore wedding cake, where's the problem in putting a new track or two on it? Don't get me wrong, if you're wanting a fast and dirty way of checking out Trash Talk before they release their forthcoming LP then this is great, but if you want more bang for your buck, you don't really get it.

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Draygo’s Guilt - Pulse
Reviewed by Rachel Hand

Self-produced bedroom recording it may be, but there’s nothing amateur about Draygo’s Guilt’s debut single ‘Pulse’. With obvious influences such as Joy Division and Oasis shining through, it’s initially a bizarre proposal: think Britpop anthemic and melodic vocals over a post-punk rhythm section and atmospheric guitars.

The London-based trio is led be Jon ‘Clewsie’ Clews, whose attention-grabbing voice and lyrics make the single stand out. The intro stomps out full of bassy sensuality, before being joined by jangling distorted guitars. The track plumbs new depths of sinisterness with the use of a blasé spoken break razorblades, before coming back full force with the chorus. A mature debut, which bodes well for forthcoming album Trust Me… in 2010.

(7/10)

Pulse is available now on www.dragosguilt.com or out on 14th December on Model’s Own Records.

www.myspace.com/draygosguilt

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Billy Talent - Billy Talent III
Reviewed by Suzy Harrison

Some people might think it lazy to self title your studio albums and add a number, but I think it's actually quite unique. Billy Talent III is therefore, unsurprisingly, the third offering from the Canadian band. I actually first heard tracks from this album live and I really noticed that even though I didn't recognise them, the sound and style is typical of Billy Talent. If you like Billy Talent's old stuff you're bound to like their new stuff.

This said, there are many similarities between the tracks on their new album and its predecessors. 'Rusted from the Rain' is a slow track and a little like 'Pins and Needles' from Billy Talent II. Whilst 'Saint Veronika' - reminds me in parts of material from the first album such as 'Voices of Violence'. I often found myself listening to the new songs thinking that they sounded similar to older material, but couldn't quite place my finger on what was the same. The jump from Billy Talent's first album to second album was definitely more notable than the jump between the material on the second album and this one.

However it could be argued that these similarities could be put down to Billy Talent's trademark style rather than simply repetition. And there are also tracks which highlight a progression in BT's sound, for example 'Diamond on a Landmine' with its upbeat tempo and less heavy sound and the slower paced, more anthemic 'Sudden Movements'. Stand out songs on this album, for me, are 'Definition of Destiny', 'The Dead Can't Testify' and 'Turn Your Back'.

The album is sure to be a hit with current BT fans as it brings the catchy lyrics and impressive guitar riffs (e.g. Dead Can't Testify, Veronika) that typify Billy Talent. The distinctive lead vocals from Ben Kowalewicz with Ian D'Sa's raw sounding backing vocals make this band stand out from others around at the moment. Not entirely new ground, but after three years it's nice to finally hear some new Billy Talent material.

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Jennifer's Body OST
Reviewed by Suzy Harrison

A couple of weeks ago I went to see the film 'Jennifer's Body' and I came away not entirely convinced by the plot, but very impressed by the soundtrack. On the OST there is a selection of 15 songs which feature throughout the movie. There's some more mainstream indie pop from Florence and the Machine ('Fist With a Kiss'), light hearted electro pop from Black Kids ('I'm Not Gonna Teach Your Boyfriend How To Dance With You') and pop punk from the likes of All Time Low ('Toxic Valentine') and Panic! At the Disco ('New Perspective'). It's alternative but not overly heavy and the tracks fit in well with the screenplay. This soundtrack is definitely indicative of the music that's popular right now - plenty of electro pop and pop punk.

Being partial to a good old punk cover, my personal favourite track on the OST is Chicago band Screeching Weasel's cover of 'I Can See Clearly Now'. The heaviest song on the soundtrack is the instrumental track 'Celestial Crown' by The Sword which has a really powerful and impressive sound even if it's only 1 min 58 seconds in length. The Sword's song sharply contrasts with Little Boots - 'New in Town' which is probably one of the most mainstream tracks on the OST. The most played track throughout the film however is 'Through the Trees' by Low Shoulder, which is possibly, I feel, one of the weakest songs on the compilation. Paramore fans may be pleased to know that Hayley Williams sings a song called 'Teenagers' on this soundtrack, but slightly disappointed to only hear the track briefly being played on a radio in the film; this compilation therefore gives you a chance to hear the song in full. 'Teenagers' is more acoustic sounding than Paramore's usual offering but Hayley's voice is as strong as ever demonstrating that she's capable of performing more than just pop punk tracks.

Of course, there are more songs contained in the film that there are on this soundtrack but I think this OST is a good reflection and a good selection of the music from 'Jennifer's Body'. It appeals to the right audience as well as offering an appropriate accompaniment for the episodes in the storyline. A great listen.

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Elsewhere - Then Nothing EP
Reviewed by Rachel Hand

This three-track EP is Elsewhere’s second release, recorded in their native l’Aquila, in Italy. Lacuna Coil aside, I’m not that well up on the Italian metal scene, so I had no idea what to expect.

Elsewhere make slow melodic metal, which can get rather doomy at times; there is a gothic tinge to it, and certain sections are laden with epic atmosphere. The band will also stand out because of their use of piano as a main instrument, which softens and improves their songs incredibly. It enhances the gothic mood, and brings movement and light into the music at the most unexpected times. Overall, their sound reminds of a less industrial Paradise Lost, or a more experimental Opeth, and shows potential.

Unfortunately, the vocals aren’t quite up to scratch, and distract from the talent displayed in the musicianship and song writing. Their singer is of the Bruce Dickinson ilk: singing loudly, powerfully and with lots of character, to mask the fact that he can’t really hold a tune. It wouldn’t be quite as offensive if they were mixed down a little, because at the moment they overpower the eerie piano and clever shifts of tone.

Not that the singer is hopeless; one break mid-way in ‘Worthless Corpse’ is resplendent with devilish lows before morphing to a low croon, which overlays a beautiful guitar section. Meanwhile ‘Forsaking’ is not unlike an orchestral piece in its structure and in the scale of what it attempts, climaxing in a guitar solo and a big wolfish growl.

Hopefully, the power of this music will shine through, or perhaps some people will enjoy the vocals. Judge for yourself at www.myspace.com/musicfromelsewhere.

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The New Regime - Coup
Reviewed by Mark Plummer

The New Regime is the brainchild of 20-year old Ilan Rubin, if you think that name's starting to ring a bell, here's why; This is the guy who's opened Woodstock back in '99 aged eleven, making it into the record books as the youngest person to play the festival. After this he played for Denver Harbor (a merging of his band F.O.N and Fenix*TX). Next he shot into the UK limelight playing for Lostprophets and recording their massive number one 'Liberation Transmission', as well as touring with them. His latest venture was probably his biggest to date, becoming the touring drummer for Nine Inch Nails on their final 'Lights In The Sky' tour. So there's the history, and now comes his own "Nine Inch Nails"-esque project, not in how it sounds, but how it's been released and produced. Rubin is the sole contributor to this project playing every piano, every guitar, every bass, and of course every drum beat.

The sound is anything but Nine Inch Nails, first impressions strike of a Muse meets The Black Maria. Whilst it's no Muse copy cat, it's the wonderful piano parts that give it this comparison more than anything else. These delicate and light tones are rarely heard in any piano playing, save for more classical arrangements, it's a refreshing change. Opener 'The Collapse' gives you a first hand experience of this, it's not an in-your-face opener that seems to be the norm of late, but a weird taster of what's to come. Rubin's first real vocal challenges are laid bare on this track and given it's the first time he's taken up vocal duties, it's a solid effort. Highs and lows are convincingly reached without any real complaints. 'Order Restored' shows a darker side of 'Coup'. Some of the lead work sounds drowned out by the more "in your face" guitars and distorted bass, however rather than take away from the song it adds to it, showing that in this case, wondering what's going on behind it all and aching to hear more isn't a bad thing. 'Time Erase' is one of, if not the best, song on the album, the classical piano arrangement is a testament to what made Muse so diverse, having the ability to write songs that bring a different element of writing to the table. If you want to see the similarities then listen to 'Space Dementia' off Muse's Origin Of Symmetry. This style isn't used enough and with few artists seeming to hold this talent, it won't become stale anytime soon. In between all the heavier hitting tracks, it's songs like 'Time Erase', 'The Credit "WE" Deserve' and 'Somethings' that really make this album an outstanding debut. Anyone could write a hard hitting album from start to finish, the challenge comes with being able to make that an interesting listen rather than the boring "heard it all before". These lighter, and sometimes simpler tracks give 'Coup' an edge that keeps the listener wanting that little bit more, mixing it up well. 'Tap Dancing In A Minefield' has Rubin showing off his fingers skills on the guitar rather than the piano. The solos are very "Rock 'n' Roll" and take me back to tracks like 'Johnny B. Goode' crossed with the more metal/country solos of John 5 (Marilyn Manson/John 5). 'Somethings' is an appropriate ending, rather than going out with a bang, Rubin gently brings the listener down with this piano-rock piece.

All in all this is an intriguing listen, if you're sick and tired of hearing one band sounding like the next and need a change, this could be your answer. Whilst I could make many comparisons to bits and pieces from 'Coup', comparisons don't do the record justice. It needs to be heard in its entirety and then picked apart to find these subtle comparisons. To make things better it's also available as a free download. Whilst there's a CD package you can buy (If you're old fashioned like me and still believe in a CD collection), if you head over to http://dl.nin.com/regime/signup, in exchange for an email address you get 10 high quality tracks. The New Regime is a hidden gem, Ilan Rubin deserves many congratulations for it's creation and end product, and all this from a guy who's just 20-years old.

Coup was digitally released November 2008

CD released November 10th 2009

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Klaus Kinski - Happiness, Happiness/Caesar EP
Reviewed by Rachel Hand

Combining the strangeness of The Birthday Party with the unhinged rawness of Rolo Tomassi, Klaus Kinski often sound like a nightmare about clowns. Their music is of the utmost simplicity and seemingly made purely by instinct, teetering on the edge of the unbearable. The lyrics, meanwhile, are as poetically vivid and surreal as Patti Smith or T.S. Eliot, but spat out like plague juices.

‘Happiness, Happiness’ is a screeching, honking, groaning, wonderful disaster, with guitars like sirens and drums like a marching band falling off a cliff. It seems to be a vicious lament, themed around hedonism getting confused for happiness: when you ‘stick it in you’ one too many times in pursuit of that joy, it can all go horribly wrong. It also attacks any pretences of being more than an animal with animal needs, letting the words "you are not anybody, you are just some BODY" closing the song. ‘Caesar’ on the other hand is a sinister and threatening drone, featuring disjointed verses and an onomatopoeic chorus about stabbing. Switching in a heartbeat from dream-like angular ballet to drum rolls and screaming bloody murder, you never know what to expect; however, the saxophone solo comes as a complete surprise.

This EP is dirty and wild, and possibly the most original thing you’ll hear all year. But as to whether it’s enjoyable or not, the jury’s out: it’s uncomfortable, dark, noisy, and more than a little bit dangerous. But then, sometimes the world needs music like that.

Freshly signed to Welsh label Ankst Musik, Klaus’s EP is available as a 7" from the label’s website, or as a download on www.play.com.

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Heights - The Land, The Ocean, The Distance (EP)
Reviewed by Freddie Harrison

'The Land, The Ocean, The Distance', the debut offering from Hertfordshire hardcore quintet Heights reminds you of why, with popular genres, you have to keep the faith.

The refrain on opening track 'Empires', "Let's build Rome in a single day / Then watch it burn to the fucking ground", couldn't go much further to illustrate the ambition that these boys from Welwyn Garden City have. In a little over a quarter of an hour they spit out three tracks of blistering hardcore laced with chilling electronics. Everything that makes this genre is here - jarring rhythms, a singer clearly downing gravel at an alarming rate, and overall, an impeccable sense of what'll send limbs flailing and circle pits forming.

Heights might be called generic by some, some with a stubborn refusal to scratch past the surface and see a band who've got big ideas, and they might be right. Whilst this EP may leave your average hardcore affectionado wanting a little bit more, you get the feeling you haven't quite heard the best from Heights yet. There's little gems lying within these tracks that hint at a band with so much potential - a tasteful use of strings and programmed beats, references to Rudyard Kipling, and an attention to detail not often found in such a bloated genre. Keep your eyes on Heights, they're a very exciting prospect indeed.

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Fearless Vampire Killers - I Am Gonna Leave You (single)
Reviewed by Rachel Hand

This London band’s debut single seems a few months late; it would be a perfect summer hit. Multi-layered harmonic vocals sing tongue-in-cheek and bright lyrics, while the drums are a nice blend of crashing cymbals, Keith Moon rolls, and a danceable march beat. There seem to be hints of the macabre as used by MCR or Alkaline Trio, but done in the latter’s half-serious, punk-poppy style.

The development of the song reveals quite a lot of talent, shifting from sunshine Beach Boys-influenced choruses, to spiteful-sarcastic indie verses, to the half-tempo, wailing bridge. All of this is masked by the simplicity and catchiness of a sure-fire dance floor killer, coming to your local indie-pop night very soon.

The fact that it’s not very original, or that ‘Leave’ is pronounced ‘Layyyyyve’ will do nothing to hamper this popularity; songwriting this flawless and production this glossy (by Paul Tipler), all done with a sense of humour, is a recipe for success.

Check the band out at any of their many gigs in London this winter or now on www.myspace.com/wearefearlessvampirekillers, where it is obvious they have come on in leaps and bounds with their new material. ‘I Am Gonna Leave You’ will get stuck in your head from 30th November.

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Them Crooked Vultures - Them Crooked Vultures
Reviewed by Rachel Hand

So-called supergroups have a nasty habit of being disappointing. The much-hyped Audioslave weren’t a patch on their constituent groups, Transplants couldn’t cut it, and Velvet Revolver were about as exciting as a wet fart.

But as soon as the music community heard rumours of a Queens of the Stone Age, Led Zeppelin and Dave Grohl hybrid, anticipation began building. After all, here is one of the world’s most inventive and talented drummers, a front man with the charisma of Elvis but the darkness of a mass murderer, and an old bloke who used to be in one of the best bands ever to have walked the earth. Granted, John Paul Jones was ‘the quiet one’ in Zep, but his multi-instrumental skills and composing genius helped make them the legends they are today.

Describing just how fantastic this album is will prove difficult. Admittedly, because of Josh Homme’s distinctive voice and guitar style, it is of QOTSA that this album is most reminiscent. But of course, due to Dave Grohl’s unparalleled drumming, it’s most like their Songs For The Deaf album, which most would agree is one of the best albums of our times. Now, imagine the best songs off that masterpiece and the Nick Oliveri-free Lullabies to Paralyze, and imagine they’re better. Sexier, sultrier, heavier, and just screaming with bluesy attitude. Yes indeed.

Highlights include the just-like-‘Skin On Skin’-but-better ‘No One Loves Me & Neither Do I’; the standout vocal performance and oompa brass outro to ‘Mind Eraser, No Chaser’; Grohl let loose on ‘New Fang’; the stomping intro to 'Elephants'; 'Scumbag Blues' channelling Led Zeppelin’s funkier songs, like ‘Trampled Underfoot’ or ‘The Crunge’; the Fear and Loathing themed ‘Reptiles’ with it’s Western hillbilly guitar sound; ‘Interlude With Ludes’, which sounds like bin men having a salsa dancing lesson; the creepy helium choir and balls-out swagger of ‘Warsaw…’; and the weird disco elements of ‘Gunman’.

Some riffs would not sound out of place on albums from Led Zeppelin’s blues heyday, that is, their first two albums; and certain sections like the second half of ‘Warsaw…’ or ’Spinning In Daffodils’ are as howling and epic as their jams like Dazed and Confused. There aren’t many other traces of Zep; but the bravery of their experimental and rhythmic style, and the diversity of their sound from one track to the next, speaks volumes about John Paul Jones’s presence and his continuing awareness of what makes good and innovative music.

What really makes an impression however is the sheer sumptuous sensuality of the album, as humid as a swamp and as crotch-thrusting as rock n roll. As Homme sings, “It’s like cleaning up after an orgy/ When it’s over”.

In fact, the only thing remotely disappointing about this band is that all 20,000+ tickets for their upcoming tour sold out months before their album was released on 16th November. Now that’s the sign of a real supergroup.

(9/10)

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30 Seconds to Mars - Kings and Queens (Single)
Reviewed by Mark Plummer

With new album 'This Is War' due to be released December 7th, in 'Kings and Queens' we're given a taster of what to expect.

The sound is big, but then again what would you expect? This is a band who've given us some massive videos with a massive sound behind them, so expect it to sound like something that could have come off 'A Beautiful Lie'. Whilst this isn't a new sound for them, it doesn't come across as stale. The layers and variety is enough to keep it interesting. Wasting no time, it launches straight into some big sounding drums with crunching rhythm guitars and a flowing lead before gently retiring for the soft piano verses. The drums bring you right back into the song for another powerful Chorus, much like the intro. Some subtle variety on the next verse keeps up the strong flow before you have a chance to relax in the soft interlude. The vocals dominate the song, and some of the heaviness in the rhythm guitar work is lost due to this, but Leto's vocal performance is good enough that this becomes only a minor problem.

Whilst this may not be new ground for the band, it's a decent effort and leaves you wondering what else is going to be showcased on 'This Is War'. Might not be everyone's cup of tea, but certainly worth a listen or two. 3/5 for this effort.

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Paul Dempsey - Ramona Was a Waitress (Single)
Reviewed by Emma Dean

Not since 2007 have the Australian indie soundwaves been treated to the dulcet tones of 'Something for Kate' singer Paul Dempsey. Two years after SFK, Dempsey is back attempting to do it all and succeding with his own debut solo album, 'Everything is True'. The second single 'Ramona was a Waitress', was released in August. Sadly, due to my refusal to listen to the radio, I didn't discover this gem for a while, finding it by absolute chance one rainy saturday morning whilst watching 'Rage'.

The song itself starts off fairly fast-tempoed, dominated by drums and piano. It speeds up during the chorus, adding an infectious pop sensibility to the song. Dempsey's signature vocals resonate throughout the song, giving a poppy song an unusual sombre twist, which will stay stuck in your head long after you've heard it.

The music video fits in well with the lyrics - showing only Dempsey on the keyboard and a lone woman in a red dress, dancing in what appears to be an RSL ballroom. Lyrics appear on a typewriter, the woman mimicking them with her movements. Dempsey remains on the keyboard, giving an almost seizure-like performance.

All in all a fantastic debut effort from one of Australia's most talented songwriters.

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Dividing The Line - At Least It's Not Light
Reviewed by Rachel Hand

There seems to be a lot of hype around this freshly signed underground band, but this is the first I've heard of them. Worcester five-piece Dividing The Line have been together since 2006, releasing an EP and touring tirelessly, including their upcoming December tour with Proceed. Previous single 'The Cost Of Living' was impressive, yet this is their first full-length release, on A Wolf At Your Door Records. Of course, it's hard to review a relatively new band without reference to others; not that these comparisons define Dividing The Line, because overarching all these shades is an epic and hollow atmosphere rarely heard elsewhere.

The band's riffs are sometimes reminiscent of early Funeral for a Friend - they're shimmering and warm but beefy, and as varying and beautiful as the sun through clouds. Other times their drum-roll build-ups and sustain sound like Underoath, as do the roaring then laid-back clean vocals. The dark and light combination of Dean Hickton and Jack Hughes is a bit like Sonny Moore-era From First To Last, but doing away with the emo lyrics and nasal vocals that made Moore rather annoying despite his brilliance. This contrast is crucial to Dividing The Line's sound, a contrast not normally achieved even by dual vocalists: the angel and demon schizophrenia of top quality post-hardcore. Their songwriting structure is also full of splits, reflecting Underoath's moody comedowns and manic breaks, or Biffy Clyro's sudden changes of style and tempo.

The album takes you on a journey from curiosity and calm seas to stormy emotional songs, definitely getting better as it proceeds. New single 'Ticking Boxes' features a melancholy chorus, and a tinkling and twirling background that adds to the feathery layers of the track. 'Weight Of An Echo' evolves and blossoms, closing with a haunting vocal performance overlaid with a sunset-pink guitar. 'The Man With No Tongue' seems about to lapse into electronica, but returns to a powerful riff and a more gruff approach than in other songs, which contrasts nicely with next track 'Hooves For Hands' in all its ambient instrumental glory. Standout track 'A Lighthouse Is More Useful Than A Church' is unforgettable, effortlessly blending blustering metal riffs with glitches of electronica, conjuring up a huge void of loneliness with its closing refrain. Overall, they manage to make this immensely complex and diverse album sound like the most natural thing in the world, letting their sound immerse the listener without assaulting them.

Dividing the Line have proven themselves as serious contenders, with standout tracks and a subtlety of tone and style normally reserved for much more experienced bands. At Least It's Not Light is a cracking debut; the only problem is that it still sounds like a debut. Although their sound is fresh, they somehow need to become a little less like a few fantastic (yet pre-existing) bands rolled into one. Maybe if they work on that heavenly reverberating atmosphere they touch upon in tracks like 'Weight Of An Echo' or 'A Lighthouse Is More Useful Than A Church', they might achieve the Holy Grail of being 'incomparable'.

(6/10)

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We Are Fiction - We Are Fiction
Reviewed by Rob Barker

Somebody really needs to send a memo out to the Peterborough based We Are Fiction, telling them to get out of the screamo scene before the genre breathes its final breath, which should be any day now.

As screamo acts go We Are Fiction are fairly generic, two singers, one shouty one, one singy one, riffs that sound like Iron Maiden rehashs run through slightly dirty amps and some splashy drums.

That said, the band do have some strengths, both vocalists have excellent voices, and could most likely start a strong band each to keep themselves busy. The guitar work, while generic is competent, mixing the usual power chords and octaves with some lead passages that could almost be called flashy.

At the end of the day though, We Are Fiction are offering nothing new, and while their influences such as Alexisonfire and The Used are constantly evolving and seeking out new styles, this band is playing music that’s around 3 years out of date.

Feed ‘Em The Right Hook would be the standout track on the album, high energy throughout with a great blend of melodic and screamed vocals, but it’s let down by one part, the dreaded ‘megaphone vocals’ 3/4 of the way in, where the vocals become an unintelligible mush in the mix.

However, and this is a fairly big however, the group have only been around for 2 years, and as such their EP is most likely a culmination of their written work so far, meaning that there may well be a future for We Are Fiction, provided they bring a bit more creativity into the mix rather than aping their favourite bands.

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Canterbury - Thank You
Reviewed by Mark Plummer

Hailing from Surrey, Canterbury are a band that have been popping up quite a bit recently. Having just finished supporting Billy Talent on their UK dates and supporting Hundred Reasons, they're making sure that they're staying in the public eye. The release of debut album "Thank You" brings with it a slice of success and after getting a feature in the December issue of Rock Sound, the future looks bright for this quintet.

Thank You opens with "Peace & Quiet" which is anything but what the title suggests. A fast paced, in your face opener sums up a decent first album. With synths thrown in for added variety, it's not over done, but flavoured and interesting. Flowing into the previously released "Eleven, Twelve", the only disappointment - and this is repeated throughout - is the mix in which everything sits. Whilst you can hear the intricate riffs that sit underneath the strong rhythm guitars, I find myself aching to hear more of them. A personal preference, maybe, but for me it detracts from the chance to really make this album go from pretty good to excellent. "Diver" is a beautiful creation, leaning away from the distorted rhythm guitars that have dominated so far. The clean guitars, drums and bass in the verses sing of Minus The Bear, but the chorus and interlude keep this from being a copy-cat song. "Hospital" may come as a bit of a shock after the first five tracks. It brings out another creditable side of the band, showing that they have more than one writing style in them. The breakdown brings out a very Beach Boys style and gives the listener a chance to recover from the previous pace. With a slice of Piano-Rock resembling a slightly harder hitting Jack's Mannequin maybe with "Take Me Out Of The Wall" it's back into the pace and style heard at the start of the album.

To finish off it's back to that piano-rock style. "Hometime" might not seem like a closing piece, but it ends an unpredictable (in a good way) listen, making sure you stay on your toes and keeping things interesting. From a year that's been tossing out mediocre follow ups, finally there's a band who are willing to impress and are not afraid to shake things up and keep you wondering what will happen next. This is a refreshing listen. Maybe not everyone's cup of tea but definitely worth a listen (especially since it's free, follow the links on their myspace). 4 out of 5.

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Paramore - Brick by Boring Brick
Reviewed by John Greene

Any music follower would have been hard pressed to completely avoid the media hype and promo that surrounded Paramore’s release of last album ‘Brand New Eyes’.

Looking to maintain the momentum of the album’s first single ‘Ignorance’, ‘Brick by Boring Brick’ doesn’t stray too far from Paramore’s well-trodden path of accessible pop-rock led by the hypnotizing voice of Hayley Williams. As one of the best tracks from the album to put forward as a single, the song really highlights a vocal strength that stands up to instrumentation that would threaten to overpower a lesser voice.

A personal highlight has to be Williams’ "bada ba ba bada ba ba da" (text doesn’t do it justice; you will have to listen to it). Yes, it isn’t a thought-provoking extended metaphor concerning the consequences of neoliberalist attitudes - but this isn’t what Paramore fans are looking for. If you are a fan of their tried and tested formula, get ready for another song that will invite you to try your hand at a duet with Ms. Williams. In 99% of cases, let’s hope that no one else is around to hear the results... If you are prepared to brave the touts, Paramore are embarking on an arena tour of the UK in December.

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