I Am Abomination - To Our Forefathers
Reviewed by Ste Anders

One of the greatest introductions to an album I have encountered on the underground scene. 'Since 1776' is an extraordinary song. Beautiful vocal melodies are placed over musically interesting and truly rocking backdrops.

The highlights of the album are the sweeping guitars, which are all perfectly executed and complimented by the rhythm guitar, and the creative bass lines that bring so much to the composition of each song. The musicality of the breakdown sections suggests a greater understanding of each band member's respective instrument which commands a level of respect for the bond that the band shares. The ideas bounce off each other and it produces excellent results.

I Am Abomination have a passion for what they do, and it translates through their music. There is no juxtaposition between their lyrics and the music, which a lot of bands who produce this level of music can suffer from.

At its core, I Am Abomination is a metal band, hinted in their drum beats and riffs, but there is more to them than that. Their sound is very difficult to place into one genre. They are developed, exciting and musically brilliant. Every so often, a band encompasses a variety of genres to produce a gem, and I Am Abomination seems to be that gem.

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The Glitterati - Are You One of Us?
Reviewed by Ste Anders

Many bands attempt to build on success of high voltage rock artists, and many bands fail. The Glitterati however do not. This band prove track after track that they know how to rock with the best of them. Brilliantly executed riffs with the perfect matching cutting Marshall/Les Paul tonality.

For a large majority of the album, the songs are massive. 'Are You One of Us?' is nonstop right up until the track 'Shanty', where it slows down very slightly before taking off once again. It's this mentality and energy that boosts The Glitterati beyond all of the wannabe rock stars. It's incredible to experience this level of stamina for an entire album. Most artists would 'chuck a few slow ones in' to keep some sort of balance, but the Glitterati have this power that is uncontainable in this way.

Mixed in with all the string bends and straight rock beats are some very enticing vocals. A lot of Stereophonics style vocals are littered throughout, and it all fits. It's a very clean cut recording, which may disappoint some classic rock fans who are used to the muddy recordings that were prominent in the '70s/'80s rock era. It does demonstrate that technology does not constrict this genre of music. It's vigour and message comes through no matter how it's recorded.

The Glitterati keep a style of music alive that has been distorted and changed over the years, and they do it with a great passion. Who could ask for more?

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Pearl - Little Immaculate White Fox (Album)
Reviewed by Ste Anders

For most people, stepping out of your parents’ shadow is one of the most important experiences to ever go through. For the daughter of rock legend MeatLoaf, I guess this couldn’t happen soon enough. A lot of people judge you on the careers of a famous parent until you step out with something that is completely your own, and this is what Pearl has managed to do. That being said, the apple rarely falls far from the tree and Pearl truly knows how to rock it old school.

With guitar riffs that ZZTop would be proud of and aggressive vocals that have the individual stamp of Pearl Aday, this album demonstrates an immaculate lyric writing ability. The music however falls to the credit of Anthrax guitarist Scott Ian (Rosenfeld) and famous session guitarist Jim Wilson. It is undoubtedly the mix of Ian’s heavy guitar style and Wilson’s incredible blues influence that lays the perfect foundation for Pearls rough and ready blues-rock vocals.

A definite highlight of the album is an appearance from Classic Rock legend Ted Nugent on the track ‘Check out Charlie’. It’s raucous and raw Rock at its best and it shows that Pearl is stepping into a role of keeping Rock music alive for this generation, and proving that she is more than capable.

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My Uncle The Wolf - Flush (Album)
Reviewed by Ste Anders

My Uncle the Wolf, or MUTW, have a certain dark elemental rock sound to their music. Opening their album with a four minute instrumental track is a risky strategy, with a lot of people waiting for a central melodic hook to keep their interest focused on the music; however MUTW seem to pull it off using interesting guitar parts and changing elements continually throughout the track.

When the vocals do appear in the second track ‘Big Darkness Soon Come’ they don’t stand apart from anything, they are a means to an end to create a certain ambience alongside the guitars, bass, synthesisers and drums. A lot of vocal processing is used, a little too much for my taste in places, but the intention of the band is definitely reached in most cases.

A lot of the tracks have an essence of ‘Rage Against the Machine’, Tom Morello musicality but without the political rap element. It blends a vocal style that made bands such as Radiohead famous with dark and heavy crunching guitar parts in order to give the band a unique sound that is a few time signature changes away from Prog.

MUTW have an experimental and dark sound that is completely to taste. Every song is well thought out, arranged and constructed to form a broad spectrum of emotion for the listener. It is compelling to hear what MUTW have created using a vast array of modal theory, studio techniques and unusual instrumentation. Each song entails something new, yet is brilliantly in keeping with the band’s sound.

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Brendan Perry - Ark (Album)
Reviewed by Ste Anders

Brendan Perry is nothing less than a talented and seasoned musician. It is a lifetime of experiences and a self proclaimed ‘hands on’ approach to his music that gives it such a striking and rounded sound. Ark slides gently into the alternative/ambient genre, not bowing to popular trend but exploring deep emotion and political anguish through music.

The opening orchestration in ‘Babylon’ set high expectations for the rest of the album, and this beautiful melodic sound does not fall short of anything throughout the album.

The album has aspects and characteristics of culture that represent Perry’s life in music. His haunting vocals weave through every track with grace and elegance, which complements the music perfectly. At times, the album can sound a little bit programmed, but the inspiration, sounds and composition of the album as a whole is nothing short of musical genius. All the instrumentation fits together and results in a complete and full ambient experience.

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Die So Fluid - The World Is Too Big For One Lifetime (Album)
Reviewed by Rachel Wade

Hayley Williams’ (Paramore) monopolisation on female-fronted rock bands who can bring it as fiercely on stage as they can on record is about to come to an abrupt end (and about time too).

Die So Fluid's delectable female vocalist cries and croons her way through eleven feel-good anthemic rock songs backed by a hugely competent band who, throughout the album, demonstrate both individual skill as well as the ability to complement one another in a coherent and concise sound.

Tinged with metal, industrial and gothic elements, Die So Fluid have been able to achieve that very peculiar thing in music - an individual and recognisable sound. Yes, there are quite clearly parallels to be made with other bands of this genre and set-up but, nevertheless, the album illustrates a confidence in their music making that many bands inevitably lack. Production should be given due credit on this album and, luckily, despite it's near perfection in recording and editing it still retains a sense of live energy and passion which is so crucial with this type of music. A release to applaud, this could very well mark the rise and rise of Die So Fluid.

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The Humour - You're Gonna Pay (Mini Album)
Reviewed by Rachel Wade

It's an exciting day when a local band who've previously played to crowd numbers you could count on one hand start getting the seal of approval from the likes of Bruce Dickinson and see themselves on the bill of the country's most loved festivals.

For Wakefield's The Humour - who, by the way, will be playing Download Festival this year, no less - it's an unrivalled joy that they never fail to appreciate. Their love for the music, the shows, and for the ever-growing number of fans who've taken the band to their hearts shines through in their feel-good tracks, six of which have been released in this alluring little mini-album release.

Like their fellow contemporaries, The Humour are a band who need a live atmosphere to convey the full effect of their music and, understandably, the tracks miss a certain something without the screaming of fan-girls, thrusting of air-fists and stamping of part-dancing and part-moshing feet. But then maybe The Humour have got the idea right here - release some well-produced tracks that display the band's catchy lyrics and catchier riffs, then watch the queues for the live shows get longer and longer, the tickets sell out quicker, and the Red Bull tent at Download Festival get crammed to bursting with people longing to hear these songs live.

It's an introduction to a band who are bigger and brasher than a CD recording and, somehow and for the better, this rather understated release proves it.

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Hot Chip - I feel Better (Single)
Reviewed by Rachel Wade

Taken from their latest and, quite frankly, cracking good album 'One Night Stand', this single is a shining example of Hot Chip's unique and frequently impressive skill at creating an utterly brilliant crowd pleaser of a tune.

Suitably quirky with its 90s dance vibe coupled with some soft, echoed vocals and a bizarrely appropriate string-based riff, 'I Feel Better' couldn't be more accurately titled, guaranteeing to be a dancefloor favourite and leave thoroughly contented grins in its wake. A song worthy of maximum volume and repeated plays.

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Slaves To Gravity - Good Advice (Single)
Reviewed by Rachel Wade

You can't knock Slaves To Gravity for persistence; this band seem to be on a never-ending schedule of song writing, releasing and playing, and latest single 'Good Advice' is one in a long line of material hoping to propel this hard-working band to surely well-deserved fame.

Unfortunately though, while featuring all those elements of hard rock that we've come to love - sultry male vocals, epic guitar solos, and contagious riffs - it's almost too polished, too planned to be any good.

Every element is text-book band-rock and because of this it loses that sense of exhilaration and spontaneity fans have come to love about the genre and about the band's live performance. This single isn't going to make Slaves To Gravity a household name this time, but still leaves you in the hope that they've got something special up their sleeves yet to come.

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Thirsty Merc - Mousetrap Heart (Single)
Reviewed by Emma Dean

Three years since their last album, Thirsty Merc’s latest offering has been eagerly awaited. Since their self titled debut album in 2004, Thirsty Merc have risen to the top of the Australian music industry with their quirky take on rock and roll.

Third album ‘Mousetrap Heart’ is set to hit the shelves next month, but until then title track will definitely tide you over. ‘Mousetrap Heart’ jumps straight into a jaunty piano tune, accompanied by vocalist Rai Thistlethwayte. It is very catchy, with a much funkier sound than previous singles, almost reminding one of a seventies piano bar ditty.

For fans of their first two albums don’t worry, as Thistlethwayte’s signature lyrical style remains unchanged. Still sharply witty and cynical with a tinge of humour and romance, they suit the new musical direction the band is moving in without changing their iconic style. Uniquely Australian, Thirsty Merc’s latest single is bound to appeal to fans both new and old.

The album ‘Mousetrap Heart’ will be available in Australia and online June 18.

4/5

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IKnowAGhost - Deviations(Album)
Reviewed by Dominic Sharman

It is always difficult to listen to any artist with material described, in essence, as escaping a scene of doppelgangers or carbon copies. From the outset there is very little about ‘Deviations’ by Lincolnshire band IKnowAGhost that actually satisfies this description.

A fairly disappointing recording with regards to levels; it fails to ignite at any stage and instead meanders through an uneventful and distinctly average passage with occasional deviations from the genre annoyingly dubbed ‘deathcore’.

This band would have fitted in a thriving deathcore scene back in, say, 2005 but this music has declined somewhat in the past 5 years and bands like this now rarely make any sense in the contemporary scene that appears to denounce bands exactly like IKnowAGhost. In the defence of IKnowAGhost, there are moments at which Deviations does exactly that and strays from the typical ‘beatdown’ that one may expect from most bands within the genre but, other than ‘This Is Madness’ which is distinctly more progressive and ambient than the other tracks, this is rare.

A dull and uninspired effort from the band provides little by way of inspiration but should the band explore the post-rock elements of this release there may be potential yet.

3/10

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Framing Hanley - A Promise To Burn (Album)
Reviewed by Freddie Harrison

There must be something in the Tennessee, water because post-hardcore quintet Framing Hanley have clearly been drinking the same stuff as their peers in Paramore. It's the kind-of water that produces an infinitely catchy and super-slickly produced sophomore album in the form of 'A Promise To Burn'. It's a 48-minute slice of emo-infused post-hardcore pie, except this pie is so polished you can see your own reflection it. Herein lies the problem, 'A Promise To Burn' sometimes plays out so polished it seems like it's restricting a band more than capable of writing hook after hook after hook.

Opening track 'The Promise' is a deceptively slow starter, perhaps better placed down the track listing, it's a great song, but sets an unjustifiably slow pace for the rest of the album, easily surpassed by the following 'Wake Up' with its sing-along choruses and vocal harmonies to boot. Like many of the songs on this record it features many of the hallmarks of the tried-and-tested American emo genre, duelling vocals, big breakdowns, and hooks-a-plenty.

'You Stupid Girl' marks a change in pace of the album, displaying a much darker side to the band. Unfortunately the musical shift does nothing for the lyrics with frontman Kenneth Nixon spouting clichéd similes like, "You're like an angel but with broken wings". 'Weight of the World' doesn't do much to redeem the situation either, an 80s-inspired power-ballad seems to be the best the band can offer here.

There are some great moments on the album though. The opening riffs to Livin' The Dream and the vocals during the acoustic intro to 'You' both hint at a band who are more than capable of writing a good tune, but like the rest of 'em, fall victim to the cookie-cutter nature of the American emo industry. It'll please the masses, because it is good, but scratch past the surface and you'll struggle to find too much originality.

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Lostaura - The Hiding Place (Mini Album)
Reviewed by Rob Barker

There are all too many bands out there that are a composite of their influences, and while these may combine differently there's a definite lack of originality present, leaving a sound that's more like a mashup than a new song.

Essex's Lostaura undoubtedly owe a large debt to their predecessors, with guitar parts reminiscent of modern rock and indie contemporaries Editors with just a hint of Foo Fighters' softer moments.

The influences of the band's vocalist, Dave McCormack, are harder to pin down, and this really sets the band apart from the sea of other pop tinged indie bands. Doing away with regional accents in favour of a strong sense of melody and an enveloping warmth that's guaranteed to fill larger venues.

While the band's songs are certainly well written, and performed without fault, they lack originality and at times seem like examples of how to write radio-friendly rock tracks rather than exercises in musical creativity. Just listening to the album's second song, 'Beside You', it seems as though Bono has decided he's even too good for U2, leaving the rest of the band to rope in a singer from the local open mic night.

Though it's easy to spot that 'One in a Million' and 'Chevron' were intended as singles, they are far from the best tracks on the album. While the songs nail the 90's stadium rock feel it seems as though Lostaura's true strength lies in producing more delicate, introspective tracks like the mini-album's closer, 'All It's Worth'. From the song's rhythmic piano opening to its final bars, Lostaura demonstrate that they're not only talented musicians, but that they really know how to put their emotions across, something that's sorely missing from the rest of the album.

In essence, Lostaura are, at the minute, a competent band. However, although the vast majority of the album lacks creativity, there is a spark present, hopefully it's just a matter of time before they find it.

6/10

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Trash Talk - Eyes & Nines
Reviewed by Manoj Koeri

The release of 'Eyes & Nines' by Sacramento's Trash Talk comes on a spate of dates with Rolo Tomassi and Throats, where the band have literally destroyed venues across the UK and been thrown out venues such as the Garage in London in support of Cancer Bats. This is another short and relentless offering from the band which lets you discover the substance behind the aggression in studio form.

Working with Joby Ford, guitarist with The Bronx, he has helped the band progress by mixing together the various styles of previous albums "S/T" with its slow and sludgy nature with the frantic short paced blasts of "Plagues... Walking Disease." It sounds and feels different without forgetting about the band's fundamental violent sound.

In the album's opening track "Vultures" his production style is evident with an instant, simple fuck shit up track formed on the basis of a basic riff with drums rolls linking it all together, which gets you bouncing along in appreciation.

"Explode" is the album's single which is accompanied by a very well shot live video documenting their live performances which have become so legendary and controversial at the same time. If you still haven't experienced Trash talk it gives you a taste of what you are letting yourself in for. Its circle pit inducing drum beat isn't for the faint of heart. Vocalist Lee Spielman's bark is ferocious and piercing as ever. And just when you think it is safe, Spielman is joined by Matt Caughthran, also of The Bronx fame to make his mark with his distinguishable LA voice. But oddly enough this is about as stable and groove laden that Trash Talk get.

"Hash Wednesday" is a throwback to the sound of 2008's self titled Steve Albini produced album. It's slow, despondent and mesmerising five minutes which is easy get lost in and get transported to another world.

Trash Talk don't do fancy and with this collection of much longer tracks than we are used to, the band don't want to throw you about for a few seconds anymore but give you a pounding and to test your stamina.

Like their contemporaries' Ceremony and Trap Them, they are producing a wave of Hardcore punk which just doesn't just grab your attention but hits you around the face with it. Combining traditional punk fusing it with the hardcore and rage of Black Flag and Minor Threat, Trash Talk are keeping the spirit of DIY and punk rock alive.

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Monarch - If You Dance/Lose It All/ Peform
Reviewed by Meghan Player

When you think of Seattle, you are hard pressed to find someone who doesn't think of the birthplace of grunge in the early 90s. Its hard to imagine how much times have changed since then, but local band Monarch are showing that Seattle is still a mecca when it comes to music.

'If You Dance' begins with a contemporary combination of drums and piano - an opening that you don't really expect, but is by no means annoyingly obscure. The slow tempo track progresses with the piano taking on an almost child-like quality, and the distorted vocals creating a hypnotic vibe to the overall sound. The swell of the bridge into the chorus drums up parallels to the Owl City song 'Fireflies', but its Monarch's own prescence that keeps you listening.

'Lose It All' furthers the bands case of being able to create imagery and atmosphere with nothing more than a simple melody. From the opening bars of the track, a warm, honest soundscape is beautifully arranged and executed to stir even the deepest emotions. The track and its pleasing melody are stirring, but not haunting - and lend the listener a certain amount of intrigue with each ensuing note.

'Perform' instantly has the refreshing, yet again relatively simply melody that you may find in early tracks by Las Vegas quartet, The Killers. The relaxed atmosphere to the sound allows the chorus to build and grow into its own, creating an even more dramatic impact on the listener. The tried and true innocent sound to the track is commendable, and contrasts astounding well with the bands deep lyricism.

Overall, Monarch are a band going places. They have discovered a way of channeling the deepest emotions, all without resorting to being mediocre or predictable. If this is the level of talent that Seattle is still continuing to nuture, then we should be enjoying more music from the windy city for years to come.

[7/10]

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The Little Black Hearts - S/T [EP]
Reviewed by Meghan Player

Rock is still alive and kicking, and it's thanks to bands such as The Little Black Hearts. Their self-titled album is six tracks of throbbing guitar and bass combos that are instantaneously infectious and defy conventional methods.

Opener 'Better Off Dead' features rich tones which are perfectly matched with intense vocals. The formula of quite verse, loud chorus drums up images of early Nirvana [and to a lesser extent Green Day] and allows the song to progress flawlessly throughout.

Tracks such as 'Sexy Little Bitch' and 'Guess They All Need Loving' remain faithful to the bands rock core, but are still astoundingly different overall. While the band is born and bred English, you cannot deny the strong American rock influence that is apparent in each melody.

'Rebecca' and its subsequent video demonstrate a live show enthusiasm. The track, as with all tracks on the EP, sound familiar - but not in a way that makes the band the same as every other rock band.

The addition of a rockabilly underbelly during certain parts of the album is a clear indication of the direction in which music, and indeed rock music is heading at the moment. But enjoyably, it is TLBH's different take on a similar genre that makes them wholly enjoyable, and above all, interesting.

Final track 'Two Fingers' is a delicious piece of dark melody - slower, but as intense as the proceeding tracks on the album. While being the longest track, clocking in at just over 5 mins, it is a masterful display that will keep this band on your mind for a while to come.

Overall, a brilliant effort from TLBH and this is only but a taste of the potential the band have for future releases.

[7/10]

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AFI - Beautiful Thieves [Single]
Reviewed by Meghan Player

Following on from the mainstream success of 2006's Decemberunderground, 'Beautiful Thieves' (taken from latest album, Crash Love) follows suit in AFI's vast, yet versatile career.

The signature sound of crunching bass notes, rippling guitar effects and frontman Davey Havok's powerhouse vocal delivery are all present and polished here. The infectious chorus will no doubt stick in your head, hours after the track is over - and the sheer talent of the bands ability to write the most thought-provoking lyrics are beautifully crafted and perfectly executed during the track.

While fans of early AFI will most likely not relish in the bands continuing journey and success within the realms of the mainstream, the sound is surely another step towards the band becoming more mature as the years and albums wear on. Speaking as a fan of Sing The Sorrow days, the band still manage to create an artistic array of sounds and melodies, that most bands today struggle to even scratch the surface of.

After all, music is all about change - and AFI are completely capable of adapting to anything that is thrown at them.

[8/10]

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The Cahier Collection - The Leading Role/Islands
Reviewed by Meghan Player

TCC have been creating quite a stir in their native Ireland, and this little sample of their work gives a strong inkling on why that is.

'The Leading Role' is experimental in texture and tone - with an almost 50s rockabilly style quality to the ensuing riff. Echoes of Sonic Youth's much hailed surreal and exacerbated yet sharp and realistic sound, work their way neatly into the track. While a modern, alt-rock vibe warrants the track relevant and accessible by today's standards.

'Islands' follows in the same suit, opting to edge that little bit faster tempo wise, with a more intense and rich sound on display. What is most noticeable is how all the combined elements of vocal and musical melody, continue to play off each other in what can be best described as a 'pleasantly bleak' style. The song holds its own, with lyrics that arouse a certain amount of attention, and continue to engage as the track wears on.

After hearing these two tracks, it has become a little clearer as to why this band is attracting alot of attention, and undoubtedly it is for all the right reasons. This is without doubt, a band to keep an eye on in the future.

[6/10]

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FACT - In The Blink Of An Eye
Reviewed by Dominic Sharman

You may not know this band by name but you may recognise them as they regularly wear Nobu (Japanese) masks on stage and are put out by the excellent label Hassle in the UK.

The band hale from the Tokyo area and some may say that this comes across in the intrinsic pop qualities of this album.

In The Blink Of An Eye is refreshing with a definite pop punk feel and a frantic quality that makes it difficult to follow but oddly aurally pleasing (despite the fact that, at times, you may find yourself wondering where one song on the album finishes and the next begins).

There is a melodic hardcore vein running throughout and this heavier tone is complimented by the melody of Hironobu's excellent vocals.

A definite feel of acts such as Enter Shikari exists at points but that is not doing FACT justice as they are often stranger and testing more boundaries in a less contrived manner.

In fact it is true to say that some of the tracks are much heavier than others on the album and employ metal standards such as double kick pedal and palm muting whereas a few verge on 'pop' tracks and are often so infectious that you would doubt the word 'hardcore' could ever be used in the same breath as FACT.

The variations in this album and its pure random nature will appeal most to people who are keen on the frenzied nature and contagious hooks together with uncharacteristic but incredibly catchy gang chants.

The band obviously draw on many different genres and are blatantly reluctant to stick to one in this album that is probably still most accurately described as 'post hardcore'.

I would strongly recommend that people give this band a chance and try to check them out when they are next over in the UK on their tour in late May/early June 2010.

7/10

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Darko - Darko EP
Reviewed by Captain Morgan

More often than not, history tells us that bands from the States claim influences by UK acts. It's rare for the opposite to be true. Darko is a turbo-charged, punk rock example of the latter.

With all of the spitfire and West Coast hardcore fervor of bands like A Wilhelm Scream and Strung Out, the lads in Darko churn out gas pedal-to-the-floor anthems on their debut EP. Gang vocals, twin guitar fret-burning and a rhythm section that refuses to quit; Darko is the quintessential heirs apparent to continue on the tradition of melodic hardcore from bands like Death by Stereo and Rise Against.

The vicious line of, "like a knife to the jugular" on the track, "Knives" it's clear that the sonic attack is going for the throat. Even if you've only heard the music for the first time, "Yet We Breath" is driving enough to make you put your fist in the air and mosh in place. Here's hoping that these cats can put enough scratch together and become a part of the Warped Tour in the U.S. in the near future.

For fans of any of the aforementioned bands, early AFI, Thrice or Funeral for a Friend take note of Darko. They're bound to be blowing the roof off of your neighborhood venue in the very near future.

8 out of 10

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Max Raptor - The Great and The Good [Single]
Reviewed by Katie Nagy

Max Raptor, the Midland conceived 4 piece are back with a new single, 'The Great and The Good.'

Having cut their touring teeth landing support slots with The Zutons and Canadian punk-rockers Billy Talent, the Max Raptor boys embarked on a UK tour supporting British punk legends The Stranglers in February this year, to riotous applause.

'The Great and The Good' was produced by Sam Bell, whose studio credits include Bloc Party, REM, Snow Patrol, Weezer and Editors, and is a ballsy, slap in the face song, made up of brilliant modern guitar sounds , anthemic gang vocals, a chorus that you cant help but die for, and a lashing rhythm section that reeks of the most pungent post-gig sweaty tee, Max Raptor is the Arctic Monkeys, on steroids!

'The Great and The Good' will shake you to your core and make you want to scream for more

Max Raptor will be playing Download festival this year and a number of UK dates in Nottingham, Norwich, and Bath. They have been building on their recent tour success with The Stranglers and the powerfully.

'The Great And The Good' is available to download from 26th April 2010 from iTunes, 7digital, Amazon and in full CD quality FLAC from NaimEdge.com.

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ReVerbed - Run [Single]
Reviewed by Katie Nagy

ReVerbed are a four piece indie band who formed in November 2008 in Doncaster and have been playing gigs all over Yorkshire for the last 2 years. ReVerbed are currently working on their second studio album, with the first single 'Run' being released on May 24.

Run is a fast paced, guitar heavy, rock song with catchy lyrics that will make you want to mosh. The vocals are raw and add a cool vibe to the overall indie sound. The mix of male and female vocalists makes it different from most indie rock bands and allows the song to be instantly appealing to a wide audience.

If you are an indie rock fan and looking for a song you can go nuts to, then ReVerbed's 'Run' will get you in the mood to mosh.

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Tides Of Virtue - Malevolence
Reviewed by Frankii Torok

Essex lads, Tides of Virtue, are nothing new to the eyes or ears. They share their poster boy look with current stars of the so-called 'alternative media' (Kerrang!, Rock Sound, etc) Bring Me The Horizon, Black Dahlia Murder and I Killed The Prom Queen, to name a few. Even the artwork for debut album, 'Malevolence', looks familiar. And their new logo, simply the band name in an unreadable font, isn't a fresh idea.

The album gets straight into the intricate instrumentals, and typical BMTH style vocals. Something isn't right though, the drumming just doesn't sound professional, especially for a band that are releasing not a cheap home-made EP, but a full album.

The vocals aren't right either. The mix of incoherent growls, throat destroying 'screaming' and gang vocals just doesn't work. It's like they can't decide if they're playing death metal, or hardcore. When screaming is done properly, the words can be made out from listening carefully. When it's done like TOV, and many others, its just noise based on the sounds the lyrics make.

The title track, and track 5 on the album, doesn't improve things. Play it to a friend and I guarantee they'll ask 'Is this the new one from Bring Me The Horizon?'.

Track six, the instrumental 'Felo De Se' takes the record in a whole new direction. Well, for three minutes at least. From the rest of the album, you'd expect this track to be just one big finger chaffing-ly fast guitar solo, with headache inducing double kick drumming. But that couldn't be any further from reality, for 'Felo De Se' starts with a sweet, melancholic guitar intro, followed by a beautiful melodic hardcore sound. If they're capable of, and like playing, this kind of heartfelt (if admittedly slightly emo) hardcore sound, why bother with the BMTH rip-offs? This track works for them so much more than the others, and the guitarists' talent really shines on this one, shame it has no place on Malevolence.

And we're back into the crazily fast guitar riffs and screams that'll make your ears bleed. More songs like track nine, 'Burning Away Our Consciousness', would redeem the album. No such luck though. This one has more of a defined sound to it, the screams are almost understandable, because they're done properly for once. This metalcore sound suits them more than the thrash sound they've settled for.

This debut album is a big disappointment. There's too many bands doing this already, it gets boring fast. If only they could see the 'pretty boys making manly music' bandwagon is already overflowing.

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Godsmack - The Oracle
Reviewed by Rachel Hand

After a four year gap with nothing but a Greatest Hits to sustain them, Godsmack fans will be glad to know new album The Oracle will be released on May 24th. It has already reached number 1 in the US Billboard 200, the third to do so in fact; on this side of the pond however, they are perhaps best known for the single 'I Stand Alone' used in the soundtrack for nasty prequel The Scorpion King (starring none other than The Rock). How could there be such a disparity in the perception, and reception, of Godsmack in the UK and the US?

This is especially perplexing as Godsmack are so, well, classic… they use a tried and tested formula in their songwriting and image, with faultless musicianship and production. It's reminiscent of Pantera, Alice in Chains, or Disturbed (without the twattiness), all clean but snarling vocals and driving riffs. Being heavy but accessible and musically skilled is what made bands like Metallica so popular, but it has also lead to accusations of selling out; it's a dangerous line to tread. Godsmack's appeal is further increased by their overt masculinity, in appearance, lyrics, and sound; those riffs are butcher than a biker gang.

Opener 'Crying Like a Bitch' is an explosive start, 'Saints and Sinners' carrying on the trend before 'War and Peace' gets a bit more inventive, sounding a lot like a warcry at times. The imaginatively titled 'Love-Hate-Sex-Pain' features a more melodic guitar solo, whilst 'What If?' provides a much-needed atmospheric build-up, managing to hold back on the anthemic chorus for a whole three minutes. 'Devil's Swing' is probably the standout track of the album, with interesting lyrics and a wonderfully complex riff structure, lapsing into an erotic harmonica-worthy guitar wail halfway through. Final track 'The Oracle' sounds more like what you'd expect from seeing the album artwork, turning out to be a masterpiece of building tension, haunting strings, soundbytes, and a thrashy breakdown. It's a stroke of genius that makes the rest of the album all the more frustrating.

Perhaps the only problem here is a lack of subtlety, the aforementioned 'Crying Like a Bitch' being a prime example. That much testosterone and swashbuckling arrogance can't be healthy. The art of atmosphere is almost absent, and there is very little variety in tone between songs and in the lyrics, all merging into one angry and self-righteous ball of wall-punching strut. Unfortunately, the redneck and slightly nu-metal aspects of Godsmack's sound drag down the rest of it and make them very… Kerrang TV. You know the type; commercially viable and very exciting, but not what you'd call particularly clever or emotionally involving.

[6/10]

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States of Emotion - Fight Them on the Beaches
Reviewed by Emma Dean

The dulcet tones of Winston Churchill greet you as soon as you hit play, reciting his iconic speech from World War II. A strange beginning for a pop rock song, and one that works surprisingly well with a steady beat behind it.

The four UK southerners in States of Emotion have created an anthemic track with strong lyrics and soaring vocals from singer Olly.

It is a song without the bells and whistles so many rock bands are resorting to now. Sure it has synths, but they're not over the top and don't detract from the lyrics. The track ends again with another excerpt from Churchill's speech, rounding the song off nicely.

A catchy track to chill out to, 'Fight Them' on the Beaches will stick in your head for a long time.

[3.5/5]

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Restruct - Built Back Up from Self Destruction
Reviewed by Mark Davies

The American market for Alternative Rock bands is absolutely saturated, so to rise above all the mediocre bar bands out there you have to be very good indeed. Restruct have somehow caught the attention of many people mainly due to their live show and relentless touring, playing venues time and again. Now I'm quite 'up' on my American bands having discovered Shinedown way back in 2003 and the likes of Breaking Benjamin, Operator, and Sixx AM way before this side of the pond were aware of them.

Restruct come from the same mould and album opener 'Change' is certainly a statement of intent. Crushing riff, killer chorus, harmonies and hooks aplenty however it then goes a little mushy from there on in. Probably in an attempt to score that one 'radio friendly ' hit they just get a bit soft trying for the rock chick vote.

'Fading Away & Dream' reek of self pity induced, I need attention overtures, while lead singer Freeman Belmont swathes in pools of sorrow and destruction. Luckily there are quite a few positives to be redeemed from 'Built Back Up From Self Destruction' , when Restruct rock they kick some ass! 'Sex Slave, Alcohol and Peeling Skin' all pump from the speakers in fist clenching approval.

Stand-out track has to be the fantastic 'Rain To Snow' which has a wonderful guitar hook meandering constantly throughout the track. On the whole a good effort for a debut album, time will tell if Restruct reach the success starved heights of their counterparts hopefully it won't be long until they reach these shores.

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Four Year Strong - Enemy Of The World (Album)
Reviewed by Freddie Harrison

There's a certain degree of irony in the title of the opening track to Four Year Strong's sophomore effort 'Enemy Of The World'. It really can't suck to be Four Year Strong right now.

Ascending to the dizzying heights of world tours with some of pop-punk's finest off the back of their second album 'Rise Or Die Trying', the Massachusetts quintet threw a bit of a curveball with their third official release, a 90s covers album. Back to original material now, 'Enemy Of The World' is an accomplished effort by a band still finding their feet in a hugely competitive genre. It's not perfect by any means, but sure as hell does try.

Opener 'It Must Really Suck To Be Four Year Strong Right Now' is perhaps slightly misleading, following straight on from 'Rise Or Die Trying', it's three minutes of tight, chugging rhythms and soaring vocals, not to mention FYS' trademark breakdowns, it's everything you'd expect from the second record really, but the songs that follow don't quite hit the same mark.

There's a sheen to some of the tracks on 'Enemy Of The World' that takes away from that raw, hardcore pop-punk goodness on 'Rise Or Die Trying'. 'On A Saturday' and 'Wasting Time (Eternal Summer)' are perfect examples of this. Both amazing songs in their own right, they just seem to be lacking the edginess that made Four Year Strong unique. That said, both songs also display a quantum leap in terms of vocal quality with Dan O'Connor, Alan Day, and Josh Lyford battling for lead throughout before coming together in unison for a set of perfectly executed gang vocals.

If you're yearning for a more old skool FYS sound, fear not, it does exist! Lend your ears to 'Nineteen With Neck Tatz' or 'What The Hell Is A Gigawatt', the latter featuring one of the heaviest breakdowns the band have offered to date thanks to the guest vocals of Jay Pepito of Reign Supreme fame.

It's not that 'Enemy Of The World' is a bad album, not by any stretch of the imagination. It's a snappy half hour slice of everything that's great about the middle-ground between pop-punk and all-out hardcore, in fact it's more than enough to get them through a couple of headline tours with the likes of Set Your Goals, New Found Glory, et. al. But there's just something missing from this offering - an edginess that made your ears prick up every time you heard a bit of 'Rise Or Die Trying', so whilst this album is more than worthy of your hard-earned cash and listening time, you can't but help but feel the best is still yet to come from Four Year Strong.

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There For Tomorrow - A Little Faster
Reviewed by Meghan Player

Mainstream pop rock is once again revisited in There For Tomorrow's latest album offering, 'A Little Faster'. The bands fresh-faced approach to their album and sound is commendable - a blissful melody of music and vocals, that would feel right at home for fans of Anberlin.

Opener 'The Remedy' is a fast-paced track that draws on the rock music influence, but doesn't encompass the lifestyle - and for the most part, the rest of the album follows this mantra.

Title track, 'A Little Faster' reveals a slightly more aggressive edge to the guitars melody, and infectious rhythms make sure that this song will spend a long time on the playlists of the Myspace generation. Memorable lyrics, melody and a likeable vocal delivery give an air of Patrick Stump (of Fall Out Boy fame) to the sound, and leave the album with an undoubtedly polished feel throughout.

By the time you reach 'Backbone' however - a riff that sounds astounding similar to The Matches 'Papercut Skin' - you begin to realise that, while you have been listening to the songs on the album, sadly you haven't really heard anything. Tracks are in danger of becoming too similar to every other mainstream pop rock band on the market, and while the genre is a strong one, the band are at risk of falling into the cracks.

Strongest track on the album has to go to 'Sore Winner' - a gritty radio-rock song that is brilliantly darker and more furious then any other track on the album. It's power and gusto are inklings of a band experimenting with sound to see which feels right - and this should definitely be an area that the band continue to build on.

Overall, the album is a fine example of the genre, but is a little hard to relate to if you were born pre-1990. That being said, the album will probably be discovered by the 'intended' audience (namely 14 year old girls) and will no doubt resonate and relate to that particular generation of music listeners. As for us pre-1990 kids, we can only sit and watch as music heads off in yet another new direction.

[5/10]

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This is Hell - Weight Of The World
Release date: 14th June 2010 on Rise Records
Reviewed by Suzy Harrison

'Weight of the World' is This is Hell's third album. It follows Warbirds EP which came out last year; 'Weight of the World' builds on this previous release in terms of style and construction and is the first release from the band since a change in bass player and drummer.

From opener 'No One Leaves Unscathed' we are treated to fast paced, passionate, heavy hardcore punk with metal influenced technical guitar riffs and strong lead vox. If you've ever seen the band live you will know how much energy and enthusiasm they put into their live performance. Thankfully this album has managed to capture that passion. At the same time it's amazing to think that a band can replicate this sound in a live situation whilst all band members are running and jumping across the stage.

There's a definite 'trademark' sound on this album and many of the songs have similarities in terms of chord sequences and guitar solos. Unfortunately at times it can be slightly repetitive with elements of some of the tracks (including the key signatures) sounding a little too alike.

However there is some variety between the songs. For example, we are provided with a dramatic drop in tempo on instrumental track 'Eagle of Justice' and we are soon launched back into the fast punk sound on the following song 'The Death of World Class'. 'Destroyer' also offers half time tempo and is one of the stand out tracks on the album. 'The Search' has some awesome guitar solos and definitely brings a metal element to the record, whilst later tracks such as 'Worship Syndrome' continue to offer interesting lyrics.

It was noticeable that there aren't quite so many gang vocals as on previous records, the band opting for more harmonic backing vocals (e.g. Snake Eyes). And this also marks the move from a hardcore punk sound to hardcore metal. Guitarist Rick Jimenez stated that lyrically the album "is more fierce and aggressive as well as empowering and honest than ever before. We really let our crossover and metal influences come through on this record just as much as our hardcore roots." And this is clearly evident on the record.

This is Hell is a band at front of the current underground hardcore scene. This album shows that they aren't afraid to experiment and merge genres. If you want to experience modern hardcore, you need to listen to 'Weight of the World'.

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Skyforger - Kurbads
Reviewed by Rachel Hand

Latvian pagan metallers Skyforger have just released their fifth album, 'Kurbads'. Like previous releases, it's a concept album exploring the pre-Christian history and legends of Latvia, this time describing the deeds of Kurbads, a fairytale hero born from a white mare.

As you might have anticipated, it's an outlandish and - to my mind - unprecedented set-up. Skyforger blend Scandinavian black metal and thrash sounds with the influence of Baltic folk music, including the use of folk instruments. That's right; think Satyricon go Morris dancing. Devilish lows and speed riffs are accompanied by a kind of bagpipe, seemingly taking the place of lead guitar, with some acoustic interludes such as at in 'Bewitched Forest'. The key and some snatches of melody are decidedly folky, as you could interpret from the likes of Amon Amarth or Opeth. Meanwhile, 'In The Yard Of The Father's Son' is a gruff folk chant with bells. Overall, it's quite a brutal sound, enhanced by the visceral vocals being in Latvian… or something… well, it's not English (except upcoming single 'Son of the Mare'); it's far more suited to metal.

When it comes to rating this album, I'm at a loss. It's well crafted and intriguing, but it sounds like the soundtrack to World of Warcraft, and it's like nothing I've heard before. If black metal and bagpipes is your bag, go ahead, but I suppose if that's the case you'd be reading something other than Push To Fire. Sorry Skyforger, it's just all a bit bizarre for me.

Kurbads is out now on Metal Blade Records.

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Fighting Fiction - We Will Not Forget
Reviewed by Ste Anders

In the midst of the 2010 elections, opinions are thrown about and a sense of apathy has gripped the youth of the UK. There are few who stand against it, and fewer still who feel passionate enough to create a chance for change.

Fighting Fiction bring together messages of a serious political nature blended fervently with energetic instrumental parts. The vocals are reminiscent of Terry Hall of The Specials, very British and very relevant. FF's single "We Will Not Forget" stamps a message of political awareness over very befitting crunchy guitars and unusually, but brilliant, acoustic guitar. It's a new and refreshing sound that not many people are brave enough to do, but with the passion that FF have, they can definitely pull it off.

Being produced by Mark Williams (of Biffy Clyro and Bloc Party fame) has given FF's music a bright and edgy sound. Fighting Fiction are tight unit, and have a really catchy persona implied directly through their music. The music doesn't pull away from the lyrics and everything is executed perfectly, both musically and lyrically.

Fighting Fiction write music with a great purpose, and they back themselves up with their music. Their single is released on May 6th, and is a definite must buy for anyone who's interested in the future of the UK music scene.

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Our Last Night - We Will All Evolve
Reviewed by Hannah Sebestjanowicz

Our Last Night are back with their third full length 'We Will All Evolve' a fitting title as the band have definitely matured and evolved since their last record. The screamed vocals from Trevor Wentworth have come on leaps on bounds and the fact he's only 17 just makes it all the more impressive. Channelling energy from the likes Saosin, Underoath and The Bled 'We Will All Evolve' is record that showcases great vocals, soaring guitars and crushing breakdowns.

Opener 'Elephants' is hard and fast paced with nice guitar work and with piano parts running through. The scream/clean vocal dynamic has been done so many times it can get stale but its not the case on this record as brothers Trevor and Matthew pull it off so well. Trevors screams are calculated and can be understood and Matthews vocals are amazing. 'The Devil Inside' featuring lyrics 'your just a symphony made up of violins that don't make a sound' is a killer tune with soaring clean vocals and a cool breakdown, this tune will definitely get the heads banging!

There's a change of pace for 'Into the Future' with its pop-punkesque intro and mostly clean vocals it's probably the closest Our Last Night are going to get to a ballard with some very New Found Glory sounding guitar work. Ending with title track 'We Will All Evolve' Matthew sings 'this is how we aspirate, there's still progress to be made' a strong statement to make and a great way to end a great album.

9/10

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Audrey Horne - S/T
Reviewed by Meghan Player

With a plethora of music on the market today, and the problem facing bands of being lost in the masses, Audrey Horne can rest assured that their music is in a safe place. The bands self-titled album is a remarkable find amongst the masses of the ever growing industry - and undoubtedly sets them apart sound wise.

Album opener 'These Vultures' begins eerily, yet innocent like, with a pan-pipe warbling sound - while guitars enter and pound in over the top. The sound strikes you as being slightly abnormal, but it's the tracks that follow that really allow the band to thrive with their unique sound.

'Charon' rolls with the punches, a song that has an ever so slightly punk feel to its anthematic atmosphere. The vocal delivery is astounding, and drums up parallels to System Of A Down frontman, Serj Tankian. The distorted effects added to the track, unleash a haunting quality to the overall sound, whilst the cascading guitars make it wholly interesting.

Warbling, warped guitars and the addition of what sounds like a harpsichord, gives track 'Circus' an old school horror movie quality to the sound. The dark, haunting atmosphere and melody captures the essence of a more underground sound style, but is wonderfully effective and stirring.

What is most noticeable about the album, is the bands' undeniable risk with a good portion of their songs. By track four, it is apparent the band have overwhelming confidence in what they want to be heard and achieved.

Subsequent track 'Blaze Of Ashes' takes on an even more dramatic, grandiose tone. There is something un-mistakenly hypnotising about the vocal melody, and a pause in the ensuing music warrants the tone even more unsettling, yet sublimely striking.

While I could go on and on about the tremendous talent on display in Audrey Horne's album, it is best left for the music community to judge for itself. Undeniably, the band are a showcase of originality, confidence and passion that is only going to get stronger and stronger.

Keep your eyes peeled for these guys!

[8/10]

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Chimp Spanner - At The Dream's Edge (Album)
Reviewed By Freddie Harrison

If you lend your ears to just the first three and a half minutes of Chimp Spanner AKA Paul Antonio Oritz's album 'At The Dream's Edge' you'll have heard enough justification for listening to what is probably one of the most compelling prog-metal albums to leave an Essex bedroom in years.

Opening like a soundtrack to Disney's Space Mountain, the ethereal synth swells of 'Galaxy Rise' soon give way to a metal assault of guitar, bass and drums in 'Supererogation'. There's a hearty mixture of chugging rhythm, intricate solos and start-stop time signatures throughout the record and what really impresses is Paul's ability to keep everything tight and snappy. Despite being a bedroom record, this isn't some kind-of amateur job.

Title track 'At The Dream's Edge' starts slow, with a piano and guitar-led solo, a few minutes the track segues into something a lot heavier, with a chugging metal rhythm to underpin the soaring solos. It's these transitions on the album that make it so compelling, each track takes you on a sort-of futuristic prog-metal journey, easily a soundtrack to an 80s sci-fi thriller flick.

Tracks like 'The Mirror' and 'Harvey Wallbanger' really encapsulate what this album is all about. An equal mix of hair metal, modern thrash, and technical wizardary all coming together to make for a collection of 13 musical epics all of which tell a story in their own right. The retro synths and 80s stylings might not suit some, at points it makes the music seem a lot less serious, but they do give it its originality and that's what counts here.

Closing with the uplifting 'All Good Things' you can't help but agree with sentiment. 'At The Dream's Edge' is a technically impressive and surprisingly compelling album and it goes a long way to address the naysayers of home recordings. If the words 'prog' and 'metal' put you off and you've skipped to the last paragraph of this review hoping that I'll provide you with a one-line summary of this album, read this all again and then listen to it. This album might just surprise you.

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Someone Like You - So Much For Being Subtle
Reviewed by Hannah Sebestjanowicz

There has been an insurgence of great pop-punk bands in the last couple of years with the likes of Four Year Strong breaking the mould and doing something fresh in an over saturated genre. Someone Like You are trying to do exactly the same and they have succeeded in producing a solid debut 5 track EP; 'So Much for Being Subtle'.

Opening with 'Don't Count on Me' kicks things off nicely with a cool little piano intro and then builds up into a great sing-along song. 'Anchoring Me Down (The Pirate Song) is a quality pop-punk song with gang vocals aplenty and 'Soundtrack to Our Summer' is as catchy hell. There's not a bad song on this EP, its only let down slightly by some 'Cher-tastic' auto-tuned vocals in some of the songs which just isn't needed as the vocals are already great.

No doubt about it the songs are catchy with gang vocals, great piano parts and some breakdowns thrown in for good measure. With summer just around the corner and with the sun already shining this EP will definitely help to brighten things up; it's far from being subtle!

8/10

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The Ocean - Heliocentric
Reviewed by Leo Kindred

The Ocean have become synonymous with a number of things. A fluctuating line-up is one which is no more it would seem, but the changes don’t stop there.

From talking to head man Robin Staps some time ago his thoughts on the new album put the tone as being progressive and backing away from the heavier shit and on this record the cultured ruthlessness of the European collective has been slightly modified into a subtler sound.

Heliocentric can be described as a slightly tense record, practically promising the storm and depth-plunging heaviness that has been, mostly, expected in the past. Now, complete with new singer Loic Rossetti, the mode of the album is actually aimed at exhibiting a style more glowing, the promise of power never far away. The album starts off almost sleepily albeit with the monumental progressive blockish guitars we’ve come to know through songs like ‘The Firmament’, with Rossetti the main star of the show throughout. Possessed of a very cultured set of pipes and combined with Robin Staps’s respect for Thrice’s later works we get thoughtful tracks like ‘Metaphysics of a Hangman’, all with bluesy use of vocals combined with some great atmospheric guitars and very earthy piano.

The album gradually gathers pace and as we enter the latter portion of the album we hear more familiar tracks like the atmospherically charged ‘Swallowed by the Earth’, and the crushing final two tracks ‘The Origin of Species’ and ’The Origin of God’, fully reinstating the Ocean’s progressive rolling core-toned metal sound.

Even here though can be found the soft nuzzling piano and string inflected ‘Epiphany’, and it typifies what this work will be remembered for: the ability of this band to continue to stretch the boundaries of their raison d'être. Quieter but with still the same tone, classical instrumentation (even saxophones!) and occasional bludgeoning moments, this is a very intelligent album that grows with it’s heart and soul the more you listen to it, and with the follow-up promised to be released in October the tide is rising.

The Ocean will engulf us all!

[8]

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The Spyro - Untitled [3-tracks]
Reviewed by Meghan Player

Causing a stir in their native Finland, The Spyro are ready to take their sound to a new audience with this 3-track sampler.

'Braces In My Brain' gets straight to the point, with a little bit of adrenalin kicking through the tracks melody. The vocal delivery from singer,........... is one of the more unique styles, and results in a sound that could be likened to fellow finns, The Rasmus. It's in this track that the band establish themselves in the alternative rock genre, and subsequent tracks ultimately follow suit.

'Waterfall' has a greater appeal in the melody, delivering another infectious rhythm that gives but a taste of the bands clear potential. Here the band work their way into the more UK style of alt-rock, drawing on the effortlessly modern, yet proudly retro stylings of Franz Ferdinand. While the overall sound is not anything high-tech or 'in your face', its the simplicity and direct focus of the melody that sells the song over.

'We're The Libertines' is no doubt the standout track for these young musicians. A cheeky pop sound, that has a rockabilly undertone, will undoubtedly get the crowds feet moving. The upbeat, fresh style of the melody is commendable, and feels like a clear expression of the bands personality. One could look at this song and get a little punk-pop vibe from its delivery, but the track relishes in its unique, rockabilly melody.

Overall, the band is a far cry from any of Finland's biggest exports, and is a welcome addition to the alternative music scene. With fresh, original tunes that could inspire an entire dancefloor to pack to the hilt, The Spyro should certainly have no trouble introducing themselves rest of the world.

[7/10]

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Imicus - Animal Factory
Reviewed by Amy Southby

Recently confirmed to play at 2010's Download Festival in June, Imicus's combination of solid, epic choruses and moments of enigmatic hush should fit nicely among the diverse range of acts sharing the stage. 'Animal Factory' often demonstrates an almost Eastern sound through its minor keys and twisting scales; the songs sound original and polished, but after a while they appear to be sticking to the same tried-and-tested procedure.

Single 'Visceral' stands out as a strong track; the confident pounding of its opening gives way to a desperate, screamed refrain of 'Is this what you've become?'. A shift to a relaxed tempo and spacey atmosphere two-thirds through, all spare chords and vocal reverb, adds the perfect amount of respite from its solid chorus, which it slowly mounts back towards to end on a victorious note.

Title track 'Animal Factory' takes on a graver tone, with its slower pace, odd time signature, and mix of muted choruses and processed screaming, but still displays the same soaring chorus style. This principle is repeated for much of the rest of the album - each track appears to alternate between sections of subdued, mysterious ambience and assured, stout choruses; a similar structure is apparent on 'Wither', with the balance tipped towards a classic metal sound.

However, several tracks use this template in inventive and striking ways. One of the album's catchier numbers, 'Inveigle', opens with a sly, bluesy riff and well-judged vocal harmonies. The moody, echoing beginning of 'An Isolation Dawn' rises to a classic-sounding riff, interspersed with a persistent hiss of crash cymbal, while a mellow and interesting verse and poetic lyricism match Singer's rich melodic vocal style.

'The Butterfly Effec't is set in a dark, tense key, and again softly spoken verses are countered by an epic chorus, with an icily pared-down end section building in intensity to its finish. The discordance and odd time signatures of 'Veiled Oedema' are balanced by the type of towering chorus now familiar on the album, but military-sounding drum rattles mark a slight change of pace.

Keep Your Halo marks a return to mellow, soft vocals set against a backdrop of synths and delicately plucked strings; a contrast to the more aggressive stridency of the chorus with its refrain of 'You can keep your halo... I was never perfect, or claimed to be.' A heavy yet upbeat chord progression ends the song on a triumphant note. 'The Icarus Principle' invokes the famous Greek myth as a metaphor for a tale of hedonistic risk-taking; its pensive tone is matched by atmospherically muted verses, although the ending is perhaps too drawn-out.

Overall, Animal Factory's combinations of musical textures are aurally pleasant, but become a little predictable halfway through the album.

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Four Year Strong - Wasting Time (Eternal Summer) (Single)
Reviewed by Freddie Harrison

'Wasting Time (Eternal Summer)' is the second single to be cherry-picked from Four Year Strong's highly-anticipated sophomore effort 'Enemy Of The World' and it's not hard to see why. A departure from first single 'It Must Really Suck To Be Four Year Strong Right Now' it's infinitely more poppy - a three-minute ode to summer's past.

Despite the reminiscent lyrical content, the song is unsurprisingly upbeat with Jackson Massucco's dreams keeping a hearty pace throughout. It's good to hear the synth creep through on this track too, something that sometimes gets lost amongst the onslaught of guitars.

Four Year Strong may have thrown a bit of a curveball with their latest single, parading pop sensibilities over the epic beatdowns and hardcore breakdowns they exhibited on their first album, but by the time the gang vocals kick in you know you're still listening to the same old band.

Welcome back boys, welcome back.

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Detroit Social Club - Existence
Reviewed by Frankii Torok

This debut album from UK six-piece, Detroit Social Club, is nothing out of the ordinary, its your typical indie pop album. Not that that's a bad thing though, considering how popular that genre is at the moment. Right from the beginning, with the 2 minute intro to opening track, 'Kiss The Sun', it's clear this is one epic pop band. It's also noticeable that DSC have cleverly mimicked the popular indie bands, and tweaked their sounds to make their own. The vocals already sound very Kasabian-esque. The next track, 'Northern Man', also seems to pay homage to chart- topping indie, this time its Coldplay. Violins and a slow tempo, combined with a sad melody and atmosphere create this effect. Third track 'Black & White' is a bit of a cheesy-cheerful number, almost Fratellis- like, with a bit of a T-Rex feel to the bridge. Then there's the piano breakdown, that adds to the 70s pop feel of this track. The other major influence, that stands out more than the others, is Beck. The dreary, yet moving and powerful sound to this album, is something that' s rare nowadays. Bands seem to care more about having top ten singles, than actually having a true impact on their fans emotions. Listening to all the weird and wonderful noises created by DSC, you can see their a force to be reckoned with. It's like this band could pull off anything, from sleazy guitars in 'Sunshine People', to a Punjabi sound in the intro of 'Silver'. Even though there's loads of bands that sound just like DSC, listen to them carefully and you'll see that not many could create true, heartfelt, honest, and catchy, songs like the ones on 'Existence'.

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Blitz Kids - Scavengers (EP)
Reviewed by Freddie Harrison

On first listen, you'd be forgiven for thinking that you might of heard Blitz Kids before. Maybe you have. Maybe you haven't. But perhaps the most likely reason for feeling this way is because of their ability to take the best bits of lots of bands, stir them up and create a sound that's comfortably familiar yet brilliantly original. Opening track 'Sell Yourself' is packed to the rafters with the kind of riffs that a certain Mr Simon Neil would be envious of, invoking some of Biffy's best light and shade moments. But there's a pop sensibility to the choruses that steer them away from ripping off anyone else. Frontman Joe James' tell-tale vocals bounce lightly over the stop-start drums and guitars, and by the time to the refrain kicks in you know you're listening to a band who are onto something. 'Maybe We'll Die, Maybe We Wont' displays the fancy fretwork of guitarists Jono Yates and Billy Evanson, before erupting into a pop-rock number that's easily single-worthy. 'In Each Others Eyes' is a glowing example of Blitz Kids' abilities to craft a decent pop song, hook-laden with a jarring breakdown thrown in good for measure. 'Answers In Monaco' is a pacey number, with the band at their most cohesive, it's certainly a stand-out track. Finally, closer 'Raise Your Glass' is bound to get the kids at the shows throwing shapes with its jerky disco rhythms. Throughout each track Joe James' confident vocals are just a little reminiscent of a young Ian Watkins, promising right? What's clear from Blitz Kids' latest five-track offering is their innate ability to write hook-laden pop-rock whilst retaining the intergrity that most bands lose when they try to write catchy songs. They're cohesive, they're intelligent, and they know how to write a good tune. Scavengers could well be the start of the ascent which could see Blitz Kids belting out their songs in stadiums. They certainly wouldn't be out of place.

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Brain Drill - Quantum Catastrophe

Reviewed by Rachel Hand

Back from the brink of extinction, technical death metal band Brain Drill have released their coming-of-age album 'Quantum Catastrophe'. It comes over two years after the critically acclaimed 'Apocalyptic Feasting' and features founding members Dylan Ruskin and Steve Rathjen with a brand new rhythm section.

The album is blistering, furious, and forward looking, a far cry from any other form of death metal, and certainly not for the faint-hearted. But fans of more avant-garde metal, such as Beneath the Massacre, Decapitated, or the noisy parts of Dillinger, better take note. Brain Drill's tech-metal is as technical as an architect's blueprint: often incomprehensible, almost unnecessarily labyrinthine, but building up to something awe-inspiring. We just have to trust the expert's vision, and believe that the innumerable screeches, seizure-inducing drumming, and unpredictable song structure will all make sense at some point.

The musicianship is absolutely flawless, the production great, and the vocals perfectly balancing ferocity and audibility. Ruskin's guitar skills rival those of Psyopus's Chris Arp, especially on tracks like 'Nemesis of Neglect' or 'Beyond Bludgeoned'. It sounds as improvisational and free as a jazz trumpet solo, juxtaposed with rumbling rhythm and grizzly lows… deary me it's addictive. They could probably do with losing the five minutes of pointless ambient noise that closes the album and pushes it over the 40 minute mark, as it detracts from an otherwise wonderful finale, the eponymous and onomatopoeic 'Quantum Catastrophe'.

There are just two very minor problems, and I say this at risk of angering the heavier-than-thou genre purists. Firstly, the speed sections are so unrelenting it can sound frantic; like a record attempt for most notes played in a second, which in this case, is probably at least 4. Also, their material lacks real variety within the constraints of this particular album. Let's just say, playing your instruments perfectly and incredibly quickly is only half the battle, and the genre as a whole needs to realise that.

7/10

Out May 11th on Metal Blade Records.

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Those Who Lie Beneath - An Awakening

Reviewed by Ste Anders

Crashing head first into the world of blast beat, TWLB have created a powerful concoction of striking drums, crushing vocals and sweeping dark guitar parts. With a literally thousands of bands claiming this level of brutality, TWLB have exemplified their genre to thousands of fans in an album that has some truly amazing songs on it.

The songs stay within the realm of Death Metal, but with stretch into some progressive licks and beats before returning safely home to vicious, exciting metal riffs. This experimentation within the songs just adds a whole new level to their music. It's difficult to be unique when you're surrounded by clones, so credit where credit's due, TWLB have something new and refreshing about their sound.

The guitars interweave with the drums, truly complementing each other leaving neither battling for space in the mix. The musicality of the songs are quite dark, and with quite a lot of bands there can be a lot of mismatch between music and content, but TWLB know the serious nature of their lyrics and reflect each syllable in every note.

Time, passion and dedication has gone into this album, and recognition of it may go unnoticed because of the sheer amount of bands doing similar things in the same scene. That being said, the material that Those Who Lie Beneath brings to the table is a stunning contribution to death metal.

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The More I See - Tread The Darker Path

Reviewed by Frankii Torok

The More I See started in 2003, by Gizz Butt, former member of The Prodigy and punk/metal crossover band, English Dogs. They've already been described as 'A gleaming modern Metal monster' for their first two albums. Greatness can be expected of the third, too, especially now they're armed with new vocalist, Peter Ellis, dubbed as 'one of the best Metal frontmen to come out of Britain in the last 20 years'.

History lesson over.

'Tread The Darker Path', already popular in the HMV pre-orders chart, is a 10 track epic of true classic heavy metal. If you're sick of all the new genres that keep cropping up, and just fancy some old-school tunes to mosh to, look no further than this.

Album opener 'Veiled By Greed' gets straight in with intricate riffs and angry vocals, that stay present throughout. A catchy, live-crowd friendly chorus makes this a perfect song for the upcoming festival season. It's obvious from this one (and half the album), that Metallica are a huge influence.

The whole album is one big showcase of the bands influences. Track two, 'The Siege Is On' is heavily Iron Maiden inspired, but that too can be said about a lot of tracks on this record. It has more of a sing along, almost operatic, chorus than the track before it, just like Bruce's boys.

The riffs and solos, that make up this album, are very stereotypical for the genre, but they pull them off flawlessly. Showing off their incredible talent in the only way a metal-head can, shredding the hell out of your guitar. It works as well as it always has.

Don't think TMIS are one trick ponies though. They aren't only capable of songs so heavy you'll get a nosebleed head-banging to them. Track eight, 'Empty' is a ballad. Well, a metal ballad, obviously. But it shows a bit of diversity and that they're capable of more than just thrashing guitars. It has a softer melody to it, whilst still being a distinguished part of their new offering.

Closing with a cover is usually a daring venture. The More I See, though, pull it off with perfection. Not only is their rendition of 'Smack My Bitch Up', a cover, it's also paying homage to the band that were a major part of Gizz's career. This has to be the highlight of the record, just because it's played so well it's possibly better than the original.

Not that TMIS's own tracks are inferior, they couldn't be further from it, but this last song makes 'Tread...' go out with one hell of a bang.

Overall, 'Tread The Darker Path' is a very typical metal album, but in no way is that a bad thing. TMIS have what it takes to create a fan base from many generations, and become the new kings of thrash.

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Marbled - Milk Teeth (EP)

Reviewed by Kate Nagy

'Milk teeth' is the first of four EPs to be released by York based singer/ songwriter Marbled who has previously supported acts such as John Power, Fionn Regan, Grammatics, Glasvegas, Jack Penate and Howard Elliot Payne as a former member of bands Alpha Wave and Dream of Apollo. Since making the decision to go solo, Marbled has been working hard with producer Sam Forrest to create what he calls his, "best work to date."

'Milk Teeth' is a beautifully unprofessional mix of acoustic recordings and brilliantly crafted songs that showcase not only Marbled's amazing talents as a songwriter and musician, but his soul as well.

The opening track 'I Make My Home (Work),' has a wonderfully melancholy feel and is driven by equally lovely guitar playing, while the following tracks, 'The Robin,' 'Milk Tooth Years' and 'A Pony That,' continue to showcase Marbled's string and percussion talents while also managing to surprise you with hints of, 'dEUS' Rudy Trouve'esque noisescapes," giving the record a slight futuristic sound within the acoustic vibe.

Marbled's second EP 'Cheap Stylus' is looking to have an early summer release date and is set to have a straight up guitar pop, hooks and choruses sound. Look for Marbled to be taking his music to the people with live performance planned throughout the year. For more details on Marbled check out his MySpace http://www.myspace.com/marbled.

If you like acoustic guitar driven music that's easy to chill out to while delivering lyrics that pull at your heart strings, then 'Milk teeth' is worth checking out.

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Mirrorkicks - S/T

Reviewed by Meghan Player

Johnny Rotten of Sex Pistols fame used to say to bass player Sid Vicious, "Boring, boring, boring". The Mirrorkicks could indeed come under the same header: boring, boring, boring.

While I did have high expectations for the band - with an album that promised 'mildly furious rock anthems and enigmatic heartwarmers', I was only left with luke-warm leftovers served with unenticing condiments.

Attempts at displaying passion, emotion or even fire fall flat compared to other bands of the same genre - and risk the band being one of the unfortunate 'lost in a sea of new bands'. Sadly, the Mirrorkicks have opted to play it too safe, with tracks lacking that certain spark that wins you over.

At times, the vocal melody can be a little uncertain and confusing - a cross between Sting and Jared Leto, it lacks the honesty and intensity that has made these artists successful.

Flashes of brilliance are few and far between, with the greatest triumph for the band coming in the final track, "You". Here, the band have stumbled onto something that they should persue. The track is a solid, indie rock example. Hard rocking with tight guitar licks and enigmatic drumming. Unfortunately it is too late to save the entire album.

Overall, the album shouldn't been seen as a failure, but more of a learning curve. If the band take a little time to focus on who they are, what they want the audience to take away from their songs and which direction they should take, then their could be something special on the horizon for them.

For now it's back to the drawing board.

[4/10]

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Mills - Decoder

Reviewed by Meghan Player

Somewhere between hearing it all before, and making a solid contribution to the rock genre, you will find Mills and their latest offering, 'Decoder'.

While not being overly familiar with the band previously, I am still not sure what to make of them with my first listen. Opening track 'Exhaust' kicks in as soon as you hit the play button. A hard-rocking track, with equally hard-rocking, gravelly vocals - that at times drum up images of Dave Grohl (Foo Fighters) belting away on his guitar.

While the sound isn't wholly different from any other band out there - vocal deliveries accentuated by memorable choruses and melodies catch your attention for a better part of the album - and will no doubt warrant interest amongst new fans.

'Hello Mellow' crosses into a more mainstream rock song, where the tempo and vocals change briefly. The formula of the soft verse, loud chorus is incorporated perhaps a little too neatly - but still effectively conveys the bands sound.

The album continues in mostly the same way. Tracks continue to change in tempo and sound, but not enough to deny the 'all too safe' sound of the album, and the underlying 'bang-on' consistency that doesn't allow the band to break out of its tight-knit shell.

'Who's Your Friend?' shows the restricted versatility, again reverting back into a pop/rock sound that seems surprising amongst the other tracks. Vocals seem to fade in and out of the track, at times being crippled by the musical melody - whether this is intentional or not, I'm not sure - but it can either be seen as a work of brilliance, or a glitch in production.

'Platonic Lovers' is probably the biggest change on the album. A stripped back acoustic track allows the vocal delivery of Richie Mills to work its magic and sell the song over.

If only a little too late coming, this track has saved the album from being a complete waste and demonstrates the band has the right stuff to make it work, just not on this particular album.

Overall, if you have a soft spot for mindless-generic rock that requires no thinking, then go for it. Otherwise, just hope that Mills can pull it together and deliver an explosive album next time around.

[6/10]

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The Breathing Process - Odyssey (Un)Dead

Reviewed by Meghan Player

"If that makes me evil, then so be it."

This is your first introduction to The Breathing Process' latest offering - 'Odyssey (Un)Dead'. What follows is an onslaught of sounds, seemingly crafted out of the fires of hell - punishing, relentless, archaic, loud.

Opening track 'Hours' and follower 'Grimoire' are a fair indication as to how the rest of the album will sound - though by no means the exact formula. Orchestral string sections and piano undertones, cascade almost unnoticed behind the machine-gun style drumming - a dramatic soundscape that sounds similar to black metal godfathers, Cradle Of Filth.

While atmosphere isn't the first thing that usually comes to mind when you think of 'metal' - the dramatic tension, the 'screams' of restless animals, the impending, almost melodramatic sound of the building guitars create an unquestionable sea of imagery and landscape that listeners can relish in.

'Vultures' is a highly rated track on the album. Powerhouse melodies and stirring vocal growls are met with almost angelic-like singing that gives a certain chill to the air. Haunting, but very atmospheric. It is this inclusion of elements that sets The Breathing Process apart. Songs have rich tones - highlighted by contrasting sounds - that scream depth and character.

'Metamorphosis' is another clear frontrunner on the album. With the title meaning "..any complete change in appearance, character, circumstances.." this is undoubtedly evident in the change in tempo and sound. Thunderous guitar solos sound as if Haedes himself stepped out of the Underworld, grabbed a guitar and started shredding like there was no tomorrow.

Overall, 'Odyssey (Un)Dead' is clearly one of the better metal albums of late - the sound is fresh, without breaking new ground. Original, without straying away from the genre completely. And dark, just the way we like it.

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Jackie Leven - Gothic Road

Reviewed by Frankii Torok

Finally, some honest music, the perfect soundtrack for the state of Britain today. 12 tracks of beautiful melancholy, desperation and despair.

Greatness should be expected from Jackie Leven. Over 30 years ago, he was making unusual, amazing music in Doll By Doll. And he's still got it. It's clear from the title's of the songs that they're going to be pretty ambient. But no words can prepare you for how moving it really is.

Opening and title track, 'Gothic Road', is ghostly, yet catchy. The captivating backing vocals create the dark atmosphere perfectly. It really does make you think of walking down a long, dark, gothic road. Not many musicians have that power nowadays- to capture the imagination. The gloom continues into track 2, and is present for half the album. Certain lyrics really add to the creepy effect- 'blood', 'bone', 'death' and other similar words are used to tell the morose stories of this mans life and experiences.

On a brighter note, the other half, is a mixture of catchy, poppy and fun music. Track 7, 'Absolutely Joan Crawford (With A Bit Of Tilda Swinton On The Side)', and track 10, 'Hotel Mini Bar', couldn't be any further from the sombre opening tracks.

It's good to hear so much diversity on the album. Leven manages to capture emotions beautifully, a feat not easily achieved by today's singer/songwriters.

A vast array of collaborators appear on 'Gothic Road'. Every single one of them is superb. Their voices go well with Jackie's, and they add even more to the feel of each track.

As well as being hugely talented as an instrumentalist, Jackie Leven writes some of the most enchanting, honest lyrics I've heard in a long time. Lyrics like this don't exist in the pop/chart world. Whether it's a morbid tale of modern society he's telling -

'I see the dead men shuffling in their bones, young girls laughing on their mobile phones' - Last Of The Badmen (Track 2) -

or reminiscing about touring back in the day -

'Mini bar, makes you feel like a bit of a star, costs quite a bit but you don't give a shit' - Hotel Mini Bar (Track 10)

he tells it flawlessly. The honesty shows his punk roots, even if this is a completely different direction.

'Gothic Road' is like nothing I have ever heard, I don't know if that's because I've never looked into this kind of music, or if there is nothing like it out there. I'd go for the latter. I'd recommend anyone, no matter what music you usually listen to, to check it out. Listen because it's so unique. It should be heard by everyone, but kept a secret. It's way too good for the mainstream.

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Lasse Brawn - S/T

Reviewed by Frankii Torok

Nothing should annoy a fan of punk rock more than how loosely the genre is tossed around nowadays. Every man and his dog are calling themselves punk, and bands need to learn that just because they play their instruments fast, and shout instead of singing, they're still not punk rock. Lasse Brawn's self-titled EP is a prime example of this.

Opening track, 'Kim', gets straight into the crashing guitars, with the first 30 seconds sounding promising. Then, it all goes sour. It's like each instrument is playing a different song. Enter the vocals. The two singers seem like they can't decide whether to shout/scream or sing, so instead do some kind of out of tune compromise. Half way in, the second vocalist goes solo- but he's so all over the place it comes as quite a shock on first listen. Both of them seem to wail rather than hit each note right, if this is meant to be what makes them 'punk', they've really misunderstood the genre. The song has 2 verses, both containing the same lyrics. The opening track doesn't exactly fill you with hope. It's like something from a nightmarish hallucination scene in a movie.

'Can'tUnderstandNotTalking' has more conventional structure. Sadly, they overuse the structure, making the verses too repetitive. The vocals try to bounce off each other on this one, but the two lads don't compliment each others singing styles. The choruses and the end are more bearable, when the main singer manages to scream, it sounds so much better. At just under three minutes, the track is a bit like an almighty punch to the face- you don't have a clue what the hell just happened, and before you can work it out, it's over.

Third track, 'Mary' uses only one vocal primarily. This works better for Lasse, there's no trying to bounce off each other and failing, and there's no drunken sailor voice from the other guy. The singer also uses more of a scream on this one. This sounds so much better, like he's finally found his voice. The second vocalist sounds a little bit better too. Unfortunately, the repetitive structure's here again. And this is the longest track, so it really hits you. Instrumentally, this track is good. There is a lot of talent there, but trying to show it in their 'unique' way seems to hide it more than emphasise it. This track would sound great live, when its harder to pick up on the faults.

'Itch', the final track on this EP, has more of the punk ethic than the rest. It's raw, rather than all over the place. The verses spoil it though. The choruses are catchy, both vocalists shouting a repetitive set of lyrics over fast guitars and crashing drums. The verses, however, are really slow and make the second vocalists out-of-tune-ness stand out more. A slow verse and heavy chorus may work for pop punk, but Lasse Brawn are definitely not that. If only they'd matched up an equally chaotic verse to the chorus, they'd have one hell of a good song. Especially with its short length, again, just under 3 mins, the perfect length of a good old-fashioned punk song.

One thing I will say about the songs on this EP, is that you can understand what they're signing most of the time, more than a lot of other bands anyway. With their lyrics though, I'll let you decide if that's a good thing or not.

The trouble with Lasse Brawn is, it's clear they're talented, they just don't seem to have figured out what sounds good together and what doesn't yet.

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March of the Defiants - The Sign (single)

Reviewed by Captain Morgan

With a sound that harkens back to Techno's heyday, March of the Defiants continue to carry on the tradition of programmed atmospheres (think The Chemical Brothers or Orbital) that fuel long nights of wrecking the dance floor.

The most intriguing difference between MotD and the genre's forefathers, however, is the actual live vocal work of lead singer Craig Richardson. In bands like this, it's almost standard to use a random studio wannabe or a hired gun to provide the melody. Not so in this case as Robinson pens the lyrics and provides the entrancing voice to the throbbing groove. It's refreshing to know that there's an honest attempt at a live element to an otherwise synthetic based band.

It's doubly impressive to note that, upon visiting the band's MySpace, that they utilize actual musicians to recreate the work live. Much like the highly underrated American act, Innerpartysystem, March of the Defiants utilizes the human element to generate the digitized tunes they craft; certainly a respectable way to approach the process.

Stay tuned to your local club DJ's as I'm certain 'The Sign' will be remixed beyond belief and fast become a staple track for you to grind up against other inebriated strangers in the dark.

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Secret and Whisper - Teenage Fantasy

Reviewed by Captain Morgan

Let me take you back a few years. It's 2003 and some post-hardcore bands aren't quite satisfied with the tried and true clean vocals paired with grunts and growls. Bands like Saosin and The Beautiful Mistake utilizing angelic style, high soaring vocal work with their otherwise hammering sound and all built around intricate songwriting.

Fast forward six to seven years. There have been other bands in the same vein that've taken that musical bull by the horns and claimed it as their own. Secret and Whisper is the latest to pop up touting that formula. Although it's nothing new to the ears of teen girls and hopeless romantic guys, it is still a solid effort.

Secret and Whisper is comprised of rather talented individuals. Charles Furney (who received an A+ in the Anthony Green (Saosin, Circa Survive, Sound of Animals Fighting) school of vocal-work) providing the heaven reaching voice; the twin, intertwining guitar work of David Ecker and Jason Ciolli and the wicked rhythm section of Jordan Chase on bass and Ryan Loerke on the drums.

The band's sophomore release, 'Teenage Fantasy', is built on top of prog rock similar to Dredg paired with post hardcore/screamo acts like Circa Survive. There are some particularly head-bang worthy tracks like the song "Warrior (Southern Arrowwood)" that swings a mighty hook with gnarly guitar and drum interplay.

Unfortunately, for all of Secret and Whisper's musical and vocal acrobatics, it's tough to take them too seriously. In fact, I imagine it becomes difficult even among their peers with a band name more akin to a Disney sitcom or the unreleased novel in the Twilight series.

The lyrical content certainly lives up to the album title. Lines like, "I am made up of silver moon beams" definitely take the rock and roll wind out of their sails. But for all of the dreamy talk and "out there" themes, Secret and Whisper still bring some pulverizing undercurrents to their near hippy songwriting ("Famous for a Century," "Tiny Sparkle").

It's not to say that Teenage Fantasy is too much or not enough of one thing or another. What it is good for is a momentary trip down memory lane. It takes the listener (one who was born pre-1996) to a place when this brand of music was new and exciting. It's great for a quick look back into history, even though the release is brand new.

The better tracks to make out too: "Bedroom Galaxy," "Tiny Sparkle" and "Whale Bones."

6.5 out of 10

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Steelwing - Lord of The Wasteland (LP)

Reviewed by Rob Barker

With the '80s once more rearing its hair-sprayed head in the pop world, thanks to an excessive use of synthesisers, everybody who spent their time in the metal world poured into spandex pants and destroying the o-zone layer will be happy to know that there is a band taking classic Iron Maiden style metal seriously.

Formed just last year, Sweden's Steelwing have now released their first album, Lord of The Wasteland, and it's a classic metal fan's dream. From the start of the intro track to the final note 48 minutes later, L.O.T.W. is an onslaught of twin guitar harmonies, crushed groin vocals and chafing leather.

Like oversleeping bears, Steelwing have seemingly awoken from a hibernation that they entered circa 1985, with their music completely devoid of any modern influence aside from the polished production used.

Though many argue that slick production can be the death of a record L.O.T.W. benefits hugely, with every guitar lick and ear-splitting shriek jumping out of the mix, giving air guitarists and Rob Halford fans alike something to take notice of.

The guitar work, provided by Robby Rockbag and Alex Vega is exactly what you'd expect, power metal gallops, screaming lead lines and harmonies galore. Though it isn't the most technical playing in the world (no sweep picking or extended tapping sections here) it suits the style perfectly, even if the guitarists do seem to be playing on the safe side.

While the band certainly sound dated compared to those at the forefront of metal, their nostalgic sound is bound to bring a smile to any true metal fan's face, unless they turned their back on having fun around the same time that Kerry King lost his hair.

If you're after a dose of mid 80's style classic metal, complete with leather, spikes and lyrics that don't necessarily make much sense then Steelwing are the band for you.

9/10

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Save Your Breath - Nothing Worth Having Comes Easy

Reviewed by Meghan Player

Pop rock rhythms, with a tiny mix of punk licks are the order of the day for Save Your Breath's EP 'Nothing Worth Having Comes Easy.'

Your first introduction to the band is EP opener and teaser, 'xRYx Almost Died At A Foam Party' - a tasty 45 second pop rock piece, that instantaneously reels you in with hooked riffs and upbeat melodies that are not a far cry from Fall Out Boy.

'Holy Shit! Fortune Teller, Miracle Fish' continues the radio-friendly vibes - with vocals that sound angsty, but not angry. Rhythms that are infectious, but not predictable.

Whilst at times, the sound is at risk of going stale, or falling a little flat, the consistency and overall fresh-faced approach to the tracks keep you listening to the album entirely.

'I Am The Ticket!?' and 'You've Got Lizard Blood' maintains the consistent sound, opting to keep on with the short and sweet tracks that get the point across in relatively simple fashion - something that new bands tend to overlook.

Save Your Breath's finest moment comes in final track, 'Rhys-O And The Legend Of The Big Phone'. While the track titles may be a little confusing for some, or off-putting for others, the change in riff and tempo makes this track the most promising. A high octane drum beat and shredded guitar combo bridge, inspire images of clenched fists punching triumphantly into the air.

Final chorus lyrics '..never give it up!..' couples beautifully with this live arena image, and leaves you with a promising taste of what is to come from the band.

Overall, the album will definitely sit highly amongst the worlds youth, resonating and relating to them with each ensuing note. Only time will tell how well people will respond to Save Your Breath, but if the tradition continues, they should certainly have no worries at not being heard.

[7/10]

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Third Eye Blind - Ursa Major

Reviewed by Hannah Sebestjanowicz

Third Eye Blind are back from a 6-year hiatus and have finally released their fourth studio album; 'Ursa Major'. 6 years though is a hell of long time to wait for new material and a big risk to take as band as expectations are going to be pretty high.

Third Eye Blind are probably best known for their big hits in the 90's with the likes of 'Semi-Charmed Life' doubtlessly being their most well known. They have released some quality pop-rock songs in their time, however 'Ursa Major' unfortunately lacks that edge with more filler than killer. That's not to say it's a bad record - it's an enjoyable listen - but their aren't any moments when you are blown away. Unfortunately, they have definitely played it safe.

Opening with 'Can You Take Me' with its upbeat poppy edge and sing-along vibe is a promising start. The lead single 'Don't Believe a Word' follows in a similar vein, with a cool groove running through it. Unfortunately though from 'Bonfire' onwards it's a more chilled out affair with little spark. 'One in Ten' is a slightly odd song about pursuing lesbians that just doesn't seem to fit in with the rest of the record. All in all 'Ursa Major' is a perfect summer evening roadtrip record - something to have on in the background - because after the first two tracks it definitely will take a backseat.

6/10

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Obsessive Compulsive - Dreams of Death and The Death of Dreams (LP)

By Rob Barker

Rock has long been the music of rebellion, and Manchester's Obsessive Compulsive are happy to use the medium to show the world their anti-authoritarian stance.

Taking a thoroughly DIY approach since their formation in 2003 the band are all about bringing their blend of rock and metal to the public while avoiding big business at every turn. Having previously released two EPs, 2004's 'A Demon For Every Occasion' and 2007's Corpses For Thought' O.C. have already proved themselves to countless listeners, distributing their music both at shows and on their website.

As their first L.P. 'Dreams of Death and The Death of Dreams' is an admirable effort, demonstrating the band's ability to mix genres and influences to create an identifiable sound. Unfortunately the L.P. sees this sound repeated throughout, and while angsty lyrics like "I won't be swallowed by the system" may appeal to disaffected 13 year olds up and down the county, even they will be reaching for the stop button before the half-way point of this 11 track album.

Instrumentally the album is solid, especially as this is the band's first full length offering. While the band's influences sometimes come through slightly too strongly, such as the mid-section of 'A Cocktail Of Toxins' which sounds uncannily like Marilyn Manson's 'Coma White', their blend of trashy rock and attitude laden metal really makes O.C. stand out.

The band's vocalist, Kelii comes across as being caught halfway between rock and metal, with some songs calling for a harsher sound while her voice sits just on the verge of breaking up, somewhere between Skunk Anansie, Hole, and the quieter parts of Otep.

When it comes to home grown bands, the UK is spoiled for choice, and while Obsessive Compulsive would love to see the world rise up against the corporate machine, there's really nothing revolutionary about them.

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65daysostatic - We Were Exploding Anyway
Reviewed by Leo Kindred

65daysostatic - We Were Exploding Anyway

Sheffield's finest soundscape experimental post-rock band 65daysofstatic have done it again on this release. With a rather electronica and beat heavy album, the instrumental rock band of the city of steel have come up with an fantastic sound for their latest work.

Philosophical in tone, 'We Were Exploding Anyway' takes in a tone of melancholy through its almost sad undercurrent. One gets the impression that there is a tender, sombre edge to what is been delivered. And yet somehow within this there is simultaneously an active and laid back sound that works to set the tone of the main body as a celebratory sound. A party. A dance floor on a night out. A euphoric festival where you feel akin to bloke from Germany next to you- whom you met in queue half an hour earlier and for the life of you can't remember the name of. A smile, yet a sad one, is definitely the MO; a dance in a club in the present against the sombre troubles of the everyday that remain out of sight, temporarily forgotten, and put on hold whilst you have a great time having a right old knees-up with your friends.

'Come To Me', the only track with any discernible vocals in the form of sampling, is a perfect example of this sound and has me dragged back for more over an over. The sound of Sigur Rós-style post-rock energized with electronics and the danceable synths throughout tracks like 'Weak04' and the aptly titled 'Dance Dance Dance' should be more than enough for this meaningful, thoughtful, enjoyable album to reach the accepting ears of further fans.

One of the album's to hear this year, hopes for 65days future success has never been more justified. Fantastic.

[8.5]

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The White Stripes - Under Great White Northern Lights (CD/DVD)
Reviewed by Meghan Player

In 2007 The White Stripes embarked on their first extensive tour of Canada - designed to encompass every province and territory in the country. In 2010, we get a chance to witness the masterful live performance of the 2-piece from Detroit.

'Under Great White Northern Lights' is a compilation made in music fan heaven. Disc one features a documentary that captures the essence of the White Stripes live performance, and presents Jack and Meg's offstage personas under a microscope.

While most bands stick to the primarily 'conventional' venues when taking on a tour, the White Stripes keep the music and atmosphere spontaneous - opting for 'sideshows' created on a spur of the moment. At various stages throughout the doco, the band are seen frolicking at the local pool hall, packing out the bowling alley and at one point, riding the bus (albeit whilst singing a rendition of 'The Wheels On The Bus').

All this is done in true White Stripes style - something that has continued to propel them over the last ten years. It is this very notion that has kept them remaining fresh and original, and above all, interesting.

Disc two is made up of some of the live performances the band performed on the tour through Canada. Each track is beautifully amplified - a stunning mix of all the sounds and noise that have been quintessential of the White Stripes ethos.

As Jack White accurately describes, each song is "different [and demonstrates different] personalities" - each more different and unique then the last.

Jack and Meg's chemistry, both on and off stage, is heartwarming - and after 10 years working together, is a testament to their passion and dedication to their craft. Whilst the latter is more inclined to speak very little during interviews, Jack's words seem to speak entirely for the both of them - almost as if they simultaneously share the same thought process.

The most compelling of these moments is beautifully captured in the final 'scene' of the documentary. Jack plays the piano, while Meg sits quietly beside him. As the song continues, Meg is overwhelmed with emotion, quietly shedding tears. At the end of the song, Jack and Meg embrace. They say nothing. It's not because they have nothing to say, it is more that they don't need to.

[9/10]

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Cancer Bats - Bears, Mayors, Scraps and Bones
Reviewed By Simon Harrison

'Bears, Mayors, Scraps and Bones' is the third release from Toronto heavyweights Cancer Bats, I say heavy not cos they're fat, but their music is.

The album kicks of with 'Sleep This Away' and begins as it means to go, with punchy riffs that come to be expected from Cancer Bats, along with some brutal vocals from Liam. These themes are continued through the album in most tracks including 'Doomed To Fail' and the more up-beat 'We Are The Undead'. 'Fake Gold', although close to the end of the album is one of my favourite tracks, with a fast tempo intro and verse and a solid breakdown halfway through a real stand out track for me.

It's certainly clear that Cancer Bats have put a lot of thought and effort into this release as each track is as punishing as it should be, right through from the guitar sound to the scream-a-long choruses of tracks like 'Dead Wrong'. The band have been playing a few of these new tracks on recent tours and they sit right at home with the rest of the tracks on the album, as they did live with older material. I'm sure fans of the band will be waiting with baited breath to hear more of these tracks live, confident in the fact the band will do them phenomenal justice.

This album is definitely typical of Cancer Bats' sound and style, and although they have said they doubt they'll convert many new fans with this record they've really put their heart into it, and it is a true gem for die hard fans of the band.

The album finishes with a track viewers of Kerrang! TV and the like will be familiar of: a cover of Beastie Boys classic 'Sabotage'. I'm slightly undecided about bands doing cover versions, but this one works - they've taken the song and made it their own by playing it in true Cancer Bats style - precisely how covers should be.

[9.5/10]

(The Album is release on April 12 in the UK via Hassle)

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65 Days Of Static - Crash Tactics
Reviewed by Mark Davies

I always get a little concerned when a band uses the word 'experimental' for the description of their music, it usually means that they haven't yet settled on a direction or are too polite to turn everyone's ideas/influences down. 'Crash Tactics' is from the newly released fourth studio album 'We Were Exploding Anyway', and pretty much follows the same formula of guitar driven drum and beat instrumentals. Very much in the same vein as Pendulum or the Prodigy I'm sure in the live arena this will have people going mental and pointing skywards in appreciation with glow sticks blazing. If this sort of thing gets you off then I'm sure it will appeal, and I'm positive if it's not your thing you'll be hearing it pumping out of a Vauxhall Corsa near you very soon.

www.myspace/65daysofstatic

www.65daysofstatic.com

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Advantage -The Beat (Get Up!)/Wait, Is This Love?
Reviewed by Amy Southby

The new single from acclaimed Stafford punk-rockers Advantage opens as it means to go on: with a punchy riff, coloured by ska-flavoured brass, as frenetic as it is upbeat. Tightly packed with energetic hooks and punctuated by raw but melodic vocals, the song appears to be a rallying call-to-arms for having fun. A well-timed breakdown, tense and sinuous, explodes into a pounding, triumphant revival of the chorus, concluding this sparky, spunky track without being a moment too long.

B-Side Wait, Is This Love? , an appeal to a sulking lover, shows the group to be equally capable of tender balladry while retaining their ska-punk zest. Its somewhat predictable rhymes - 'I asked you not to lie... /...as you watched a single tear fall from my eye' - may verge on saccharine, but a brass section and off-kilter beat add a sunny buoyancy to the high-school poetry, while vocal harmonies sweeten the chorus, which builds to a rousing finish. Again, a satisfying track with some real depth beneath its glossily-produced packaging.

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The Futureheads - The Chaos
Reviewed by Simon Harrison

"The Chaos" is the fourth studio album from Sunderland's finest export The Futureheads, and their second full length on their own label Nul Records. The album begins with title track 'The Chaos', which sounds very much like the sound we've come to expect from The Futureheads. 'The Chaos' like tracks later in the album (including 'Stop The Noise') features a more electronic / synth sound, and with the rest of the album is a little bit more polished than earlier recordings. There are great instances throughout the four part vocal harmonies that are characteristic of the band, including tracks 'The Connector' and 'Struck Dumb'. For the most part their accent comes across very prominently another trademark of The Futureheads' sound, and something I'd personally like to see from more UK bands.

To say this is the bands fourth release many of the tracks would feel as much at home on any of the earlier releases as they do here on "The Chaos". For me tracks 'This Is The Life' and "I Can Do That' are the biggest reminders of their debut self titled album. With this said, if I put on "The Chaos" and the songs sounded completely different I'd be wondering why they'd changed what evidently works for them. This being the second album the band have used their own money to fund it's clear to see this is something they are passionate about, and will do all they can to have as many people as possible enjoy their music. The album closer 'Jupiter' is another stark reminder of where the band have come from in terms of sound, filled with energy and melody, a perfect send off in my view.

For those who don't know what The Futureheads sound like…. I'd try to describe them as stripped down, up-tempo, power pop with soaring 4 part vocal harmonies. Worth checking out if you like indie, worth checking out if you like pop, worth checking out if you like punk and can appreciate great song writing.

A certain buy for existing fans of the band, potential to get a few new fans through the more poppy tracks like 'Heartbeat Song', but unlikely to convert anyone who didn't get onboard with 'Hounds Of Love'.

[9/10]

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Fozzy - Chasing the Grail
Reviewed by Amy Southby

Few covers bands can claim a string of successful studio albums featuring a former WWE wrestling star to their name, but Fozzy have come a long way since their days of rehashing classics by Kiss and Iron Maiden under the comical alias Fozzy Osborne - although both the influence of their heroes and a good measure of innovation can be heard on 'Chasing the Grail'. The album's Biblical overtones lend it an air of grandiose ambition, reflected in its appropriation of progressive rock and metal technical prowess, but it's not afraid to dabble in more accessible genres either.

Opener 'Under Blackened Skies' bursts into a warlike Black Sabbath-style verse, building to a victorious chorus. Standout number 'Let the Madness Begin' is carried along on the swell of a dirty, bluesy bass groove, which grows to a strong Metallica-like chorus, while muted Hammond organs echo the religious allusions of the lyrics without veering into overtly cheesy territory. Other songs build on various areas of influence: 'Pray for Blood' is a relentless stream of blast beats, its primal hammering reflecting the bloodthirsty imagery of its lyrics. The grand synth-laden opening of Revival evokes the bombastic prog-rock of bands like Dream Theater, while 'Paraskavadekatriaphobia (Friday the 13th)' - or for those not familiar with Greek word roots, the phobia of the unlucky day - matches its wordy title with intricate Iron Maiden-like riffs. Its bridge of ominously descending chords is suitably menacing, and organs are again put to good use here.

'Broken Soul' demonstrates a far more melodious sound, its cheery power chords and sing-along chorus recalling the Nineties teen-rock of Wheatus. This comes as a surprise following the previous tracks, but it's executed well. Another unexpected foray into more poppy terrain can be heard in 'New Day's Dawn'; in the album's sleeve notes, vocalist Rich Ward jokes that he had to hurry in order to record the song's opening before he hit puberty. His falsetto keening on the verses certainly marks an interesting diversion from the more traditional metal sound prevalent on the album, with atmospheric, almost dance-y beats and a stark keyboard solo making this track reminiscent of Linkin Park's more sedate moments. However, the effect is cheapened by 'Instant ambience, just add' MIDI choir voices in the bridge.

The album's final track is quarter-hour, Old Testament-inspired six-parter 'Wormwood'. Beginning with sinister incantations from the Book of Revelations, sparse Opeth-like acoustic elegance gives way to a dizzying mix of paces and styles - frenzied shredding, soaring guitar solos, gravelly metal vocals, spoken-word intervals - as epic and exhausting as its subject matter and a grand ending to the album, but perhaps outstaying its welcome by a little.

'Chasing the Grail' is an entertaining and varied record; it shares enough traits with its forebears to keep the more purist fans happy, but is inventive enough not to bore either.

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Loki's Motif - So Be It
Reviewed by Dominic Sharman

On hearing the name of this band I fast worried that this band would be truly awful and, be honest, from hearing the name I am sure you would too.

I can reveal that this is the most pleasantly surprised that I have been in an age with a fairly random EP from a up and coming UK band, especially one hailing from the incredibly civilised Kingston-Upon-Thames.

This sound-scapey and progressive pop record incorporating brass elements is both pleasing on the ear and a change from the normal cloned pop music currently available.

The EP will not necessarily change your life but it will be provide you with a very catchy and aurally pleasing treat for the ears.

'Now Sigh On, Scion' is the stand out track on the album from a band that doubtless have big things ahead of them. I wouldn't be surprised to see this group on Big Scary Monsters (for me the forefront independent label for progressive music of this genre) in the not-so-distant future.

For fans of Tubelord, RX Bandits, Blakfish and Colour.

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G. U. Medicine - Lords Of Oblivion
Reviewed by Amy Southby

'Lords Of Oblivion' dispenses with gimmicky drawn-out intros, launching straight into a convincing showcase of its classic heavy rock pedigree. Opening track 'Pure Motorized Instinct' is an arresting maelstrom of tight, chunky riffs, pounding beats and chaotic cymbals. Lead singer Lee Storrar's throaty vocals display impressive flexibility, switching from Bruce Dickinson-style vibrato to guttural death-metal growling in the transition from verse to chorus.

Subsequent tracks follow in a similar vein - all crashing percussion, powerfully bellowed vocals and simple, meaty but memorable riffs. Despite its consistency, some interesting moments stand out against the backdrop of red-blooded thundering: a hazy breakdown on 'Shut Up (Take What's Coming Your Way)', the discordant notes and shift to a more desolate tone in 'Lighting Up The Skies'.

At times, the album can seem like a Spinal Tap-esque parody of heavy metal clichés. From the almost formulaic structures of its driving rhythms, to its lyrics - Storrar tells his 'Dirty Little Girl', 'I wanna see you going down on me', while on title track 'Lords Of Oblivion' he shares his plans for the evening: 'We're gonna get wasted, we're gonna get high, do so many drugs' - in keeping with the sniggering-schoolboy naughtiness of the band's name, subtle it ain't. Just when the testosterone-drenched trudging shows no signs of relenting, 'Take Everything, Give Nothing Back', with its cleaner vocal style and tuneful riffs, hints instead at the stoned desert-rock of Queens of the Stone Age. A mellow instrumental motif carries the listener to 'Done Far Too Many', where a deceptively sombre opening leads into a dose of bleak metal pummelling.

'Alcoholocaust' returns to the familiar ground of Motorhead-style classic rock, delivered at a breakneck pace. 'On The Hangman Has Been Hired', Storrar again invites comparisons to Josh Homme, with a melancholic verse set against an awkward, jarring beat and chords, echoed by macabre piano tinkling and a sinister trumpet solo. These touches give a surprising taste of creativity beyond the predictable plodding, making the track all the stronger for it and proving that G. U. Medicine can not only continue the traditions of heavy metal, but add to them as well. The band clearly have a solid grounding in making good-time head-banging anthems, but deviating from this blueprint could be where their most interesting ideas come from.

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Never Mind the Stars - Holiday
Reviewed by Emma Dean

Electro indie pop Dutch band Never Mind the Stars has once again presented the world with a catchy dance track in the form of their newest single "Holiday".

With a pounding bassline, "Holiday" sounds like it's out of the eighties, complete with synths and electronic keyboards.

Vocallist aka Simon Little is a bit tongue in cheek with his lyrics, but the beat will have you out of your seat and wishing you were dancing in the eighties too.

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Komatyzed - Your God Won't Help You
Reviewed by Rachel Hand

If an EP starts with a sound byte from a news report about the Ipswich murders of 2006, it's a pretty safe bet it's going to be death metal. And death metal it is indeed: frantic bass pedalling, shrill guitar solos over earthy riffs, and lows like gorilla mating calls are the order of the day.

With Cannibal Corpsey track titles like 'Hung, Drawn and Quartered', lots of superfluous hair, an uncomfortably intense and fast build-up of noise, and rare bursts of melodic guitar, it certainly ticks all the boxes. If this is your preferred genre, it might be worth a listen.

Unfortunately, it's all just a tiny bit derivative. We've all heard the murder-themed thrashy Carcass-on-a-shoestring stuff before, and it's hard not to judge it too harshly. The audience for this kind of thing is sadly limited, especially faced with the more (believe it or not) accessible sounds of deathcore, sludge, or technically-brilliant bands like Suicide Silence or Job for a Cowboy.

Their perfection contrasts with Komatyzed's muffled recording where the drums get a little cowbell-like, and the vocals sound murky and strangled- which is a shame, when lyrics are obviously so important to give meaning to the songs . There are also, however, flashes of innovation that need to be worked on, such as the riff structure of 'Dissected and Ingested', the acoustic intro to the title track, and examples of great musicianship like the aforementioned 'Hung, Drawn and Quartered'.

In short, it's an unsurprising example of an acquired taste. But everyone has to start somewhere, and this is a damn fine place to start.

5/10

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Black Francis - Nonstoperotik
Reviewed by Ste Anders

This album brings one or two songs that cross a few genre borders, much in the same way as bands like The Doves have done so many times before. It feels like that kind of album, anthemic songs mixed with a low industrial synthesiser tones, making it very new wave British music. Having said this, Black Francis is from Portland, Oregon and influenced heavily by The Pixies. Bizarre as this may be, Black Francis seems set on keeping Rock 'n Roll alive.

The vocals have elements of Coldplay's Chris Martin in places and Stereophonics' Kelly Jones in others. The gruffness of the vocal is sometimes exactly what the track needs, but in a few songs the vocals are dragging in the opposite direction. This becomes very hard to listen to, and lyrically the repetition is quite awkward in places.

After a brilliant start with song 'Lake of Sin' the album starts to drag out. All songs fall into either the rock and roll category, or slow acoustic ballad. There seems to be a strict style divide between songs, and this becomes really tedious throughout. A well produced album by producer Eric Drew Fieldman but the lack of differentiation and mismatch vocals makes this album quickly forgettable.

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Glass - The Sound of Glass
Reviewed by Ste Anders

Glass bring refreshing, new wave pop music to the York music scene, with poetic nature and elegance this sound is difficult to find in most places. Haunting vocals sit beautifully atop tight drums and simple bass, which build and climax with brilliant accuracy.

Well programmed and fitting synthesiser sounds fill out the 3 piece backing band, but I can imagine at the heart of this band are some truly well written songs that are brought to life through excellent arrangement. Each song has its own deep and ambient sound, which fits so well with the ethos of the band, nothing at all feels false or forced.

Each instrument is given its place throughout the album, meaning that each song sounds new and fresh. There is very little change to guitar tone throughout, but the bass is chopping and changing all the way through, a quite different and individual approach which challenges conventional song writing techniques. The drums do a great job of mixing up beats and are consistent reminder of familiarity throughout the album.

Glass have mixed creativity, poetry, and striking lyrics and pulled out a wholly distinctive sound to a music scene that is stuck in its ways.

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The Suzukis - Built In
Reviewed by Captain Morgan

With a sound reminiscent of mid-'90s U.S. alternative, Brit-pop and a splash of Rockabilly and Horror Punk--The Suzukis have arrived to steal your drinks and potentially your girlfriends.

Their song "Built In" has a post-apocalyptic feel that is picture perfect for a Japanese horror film. Front man Chris Veasey's mournful vocal work sounds like a phantom in search for a house to haunt. Robert Warnes' bass lines keep your foot tapping, even as you're on the look out for the shadowy figure that's conjured from Adam Bamford's part surf-rock, part rockabilly guitar sound. The full sense of foreboding is rounded out by the persistent and steady percussion of Stuart Robinson.

It's good to know, as an avid dark rock fan, that the creepy music torch is still burning bright and carried proudly by The Suzukis. The best part about their music, though, is the lack of theatricality that can sometimes be present with a sound like theirs. All of the sinister atmospheres are generated by the music on its own--no elaborate theme or cast of characters in makeup is needed. Watch the video for "Built In" on YouTube and you'll see for yourself. All dastardly visuals aside, the song makes for a hooky vibe and it sticks with you for hours.

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Thirty Seconds To Mars - This Is War
Reviewed by Meghan Player

It's been a wild ride between records for US trio, Thirty Seconds To Mars. Troubles involving recording contracts and deals, bomb scares at gigs, and having to find a new label all threatened to spell the end of the band. However, third studio album offering, 'This Is War' has seen the band rise from the ashes of the past, and fight strongly into the future.

Album opener, 'Escape' sets the tone for the rest of the album. With its awe-inspiring melody, that increasingly builds with no less than an orchestral string section, and a chorus of singers that passionately scream, "THIS IS WAR!" you are immediately drawn into the album and its powerful presence.

Lyricism is undoubtedly one of the bands' strong points - with the album continuing the tradition of creating songs that will strike very strongly at the heartstrings of the worlds youth. Frontman Jared Leto clearly has a knack for expressing his emotions and moods into songs, and some of his best are put on display throughout the album.

Single 'Kings and Queens' is a perfect example of the bands' ability to create atmosphere and presence in their songs - instead of becoming one dimensional. As an eagle calls over the beginning of the track, a sweeping melody effortlessly builds - beautifully capturing a near perfect harmony of elements with each ensuing note.

What is striking about the sound, is the simplicity of the melody. Tracks allow the listener to focus on what is in front of them, and not be drowned in unnecessary elements.

Standout track '100 Suns' is a beautiful display of honesty, perfectly executed by Leto's clear expression of self. Clocking in at just under 2 minutes, it is the shortest track on the album, but delivers the most powerful, yet poignant moment.

Following track 'Hurricane' continues the dramatic sound of the album, with the combination of melody and lyricism weaving strangely emotional imagery that manages to stay with you, long after the track (or even the album) is over. Astoundingly, it is by this point in the album that you realise that the tracks have not lost any intensity or passion, which is highly commendable.

'Vox Populi' strongly reinforces the 'united' feel of the album. Hands and feet, clapping and stamping respectively (ala Queen's 'We Will Rock You'), the chorus of singers screaming 'this is a call to arms..brothers and sisters..its time to go to war..' gives an overwhelming feeling of unity, and the overall encompassing feeling of just how epic this album would sound in the live arena.

Finale 'L490' is a grand finish to a stunning album. The instrumental track making you feel that it is the end of something big. You can't help but feeling a little sad when hearing it - almost like something is gone, and its not coming back. It is in this almost poetic instance that you realise how much the album has stirred you emotionally, and there is no denying its effects.

Overall, an astoundingly mature album from TSTM - and one that should warrant them no problems in continuing on their musical way.

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Dillinger Escape Plan - Option Paralysis
Reviewed by Leo Kindred

'Option Paralysis' comes at what is thought of to be a true turning of the tide for the genre re-defining metal/mathcore experimentalists.

It's their quickest turn-over for a new album, they've got the freedom of their own Party Smasher Inc label on Season of Mist, Greg Puciato's brilliant vocals have now become truly unshackled, and the electronic glitch-y elements on previous output 'Ire Works' were tried-out to our oo's and ah's- all ear-marking DEP to become ever more capable at writing blasting songs and kicking algebraic ass.

Opener 'Farewell Mona Lisa' gets this across from the get go - an utterly classic chunk of Dillinger bristling - and punctuated with the trademark dense, sporadic, blustering chaos- vicious as it is catchy. It keeps on coming as the clattering, minor-yet-melodic toned guess-again extravagance in 'Good Neighbor', 'Crystal Morning' and 'Endless Endings' provides provocative enough listening to make even the most pit-shy bookish type want to go after a giraffe with a shovel.

The huge captivating numbers 'Gold Teeth On A Bum' (despite an irritatingly premature fade-out) and piano led builder 'Widower' (despite an irritatingly short-lived climax) are also great flashes of audio leg, albeit not perfect.

Initial worries about this release get more than halved on further listening, and whilst there are some failings as listed- plus the swinging 'Chinese Whispers' suffering from a briefly mark-missing vocal melody line- the preliminary disappointment at what is absent gives way to enthusiastic pleasure at what is present.

The wonderful insane mathcore-jazz fusion attack of 'I Wouldn't If You Didn't' and the blues/down-tempo closer of 'Parasitic Twin' (another hasty fade out...WHY?!?) brings down the rains on the wreckage of another party smashing album.

Savage, diverse, sublime.

[8.5]

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The Dead Weather - Horehound
Reviewed by Meghan Player

Welcome to Jack Whites' other, other band. Breaking away from The White Stripes and The Saboteurs, White unleashes his talents on a darker, more textured sound with current band, The Dead Weather.

From album opener, "60 Feet Tall" you are immersed in a distorted, Nashville sound-scape. The track rattles and hums like a tape recorder that has been left on, the drum sticks click together, and the haunting vocals of Alison Mosshart begin - calling to your soul from some dark, unsettling place.

Essentially a blues album, the overall sound is undoubtedly heavier and more dramatic then you would first imagine. Tracks are beautifully textured with dirty guitars, sharply picked bass chords, and stylized drumming. While most tracks strike you as avant garde, it is this originality of sound that allows the album to stay strong throughout.

Tracks such as "Hang You From The Heavens" and "Treat Me Like Your Mother" are crafted in such a way that the band manage to create not only mood, but feeling - with no more than a few strums of a guitar, a key moment of distorted vocals, or an intricately layered, blended feedback.

Strikingly, each song conveys a well-structured amount of attitude and personality - at times, sounding disconnected through the distortion - but seemingly creates an interesting effect.

Special mention should go to "3 Birds" - an instrumental interlude, if you will, with multi-faceted layers of instrumental brilliance, that showcase the bands versatility and immersion in creating a unique blend of heavy blues.

While The Dead Weather will not appeal to everyone's musical tastes, they are definitely worth checking out if you want to hear an album that is original, honest, and stretches musical boundaries.

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Gluttons - S/T
Reviewed by Hannah Sebestjanowicz

Hailing from Cleveland, Gluttons self-titled 5 track EP unleashes dirty riffs and brutal drumming onto the senses. Featuring members of hardcore band, Ringworm (vocalist Human Furnace and drummer Chris Dora), Gluttons blend the likes of punk, metal and rock with heavy riffs and fast and hard drumming. It’s not really that big a step away from Ringworm, Gluttons just have a more stripped down sound.

'Morning Queen' is probably the highlight of the EP with a more punk/hardcore edge, lots of double bass and an old-school riff running through it reminiscent of bands like Motorhead. Coming in at 1.33, 'Shell Shock' is short and sweet with the unmistakable rugged vocals from Human Furnace - a straight-up punk song.

All in all, coming in at 14 minutes long this s/t EP is a solid record, if like your music loud, heavy and dirty then this should be right down your street.

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Lost Transmission - Fragments
Reviewed by Frankie Torok

Not a set of genres usually seen together, Lost Transmission dub themselves as rock, indie and metal. After listening to new release 'Fragments', I can see their point, even if not every genre is clear in each song. With influences as diverse as Led Zeppelin and A Perfect Circle, a sound as unusual as this was inevitable. However, these major influences aren't the prominent ones on this EP.

Opening track 'Levitate' starts with some very Morrissey-esque vocals during the verse. The chorus then brings in the heavily Muse influenced sound that stays present throughout the entire album. A traditional classic rock guitar solo comes in around half way through. This leads to a strange turn, the song changes so much it could be confused as a different track. This lack of structure spoils the opener, giving the impression anything could happen on this release.

Next up is the title track, and the heaviest on the record. It's in 'Fragments' the metal influences are clearest, if only from the guitars. Another solo, followed by another change in sound. This one isn't as drastic as the track before it, but it still makes you look to see if it's the same song.

'Bad Seeds' is the strongest track, and at just under 6 minutes, it's the shortest on the record. It's the one that sounds most like their influences, featuring Muse style backing vocals. Just a shame these don't work for LP. This track stays the same all the way through, possibly because it's not as long as the others. The solo is the longest, but is a welcome break from the all over the place habits of the rest.

Last track '10,000mph' is by far the dreariest on the album. Even though all their music isn't exactly upbeat, this one's just too slow. Putting it straight after the most powerful doesn't do it any justice. The highlight is the solo, with an array of Muse-y riffs.

Lost Transmission are good instrumentally. Vocalist Mark sounds like an out of tune Matt Bellamy until you get used to his voice. It does grow on you quickly though. Considering the bands' influences are so vast and diverse, there isn't much variety on this record, or anything that really grabs your attention. This along with the mammoth track lengths leads to the mind wandering half way through each song. Maybe if the tracks weren't as long, they wouldn't veer off into the unknown either.

They certainly don't play party music, but Fragments EP is a relaxing listen and LT are worth checking out if you're a fan of indie rock.

For more info and track streaming see http://www.myspace.com/transmission4

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Seraphim - S/T
Reviewed by Rachel Hand

Just so we’re clear, this isn’t the embarrassing Taiwanese power-metal Seraphim. This is the Mississippi Seraphim (www.myspace.com/seraphimms), and they’re mind-blowingly heavy. In my opinion, this is an absolutely stunning debut; but then, my preferred listening includes an awful lot of post-rock, doom, and deathcore. So, if you like a chorus you can sing along to (or even make out the words to), short snappy tracks, guitar solos, or anything remotely uplifting… well, you might as well stop reading.

Still with me? Good. Beardy young trio Seraphim have released this three-track mini album as a teaser for their forthcoming LP. Being so short, there’s not much room for track-by-track development or recurring themes (à la Mastodon), but it certainly showcases their versatility. Opener ‘Unbelieve’ bludgeons the listener with throbbing low chords, a gut wrenching growl, and waves of overwhelming noise. It also features beautifully slow breaks that are alive with luminosity and grace, respites that make the heaviness even more involving. It’s a track that immediately conjures up the spectre of Cult of Luna, and that’s praise indeed.

After all that, ‘Above the Waters’ is a bolt from the blue. It’s so fast and riff-driven that it verges on hardcore, but still utilises the tension and deep register of doom. Final track ‘Broken Teeth’ sounds a bit like Russian Circles, a thundering, galloping slice of awesomeness, which crashes away into oblivion. This blend of ‘slow as possible’ doom, elegant post-rock, and sticky sludgecore is a winning combination, as intense as it is explosive.

Throughout, the muted, distorted vocals are used as sparsely as Isis genius Aaron Turner’s, and the rippling, ever-changing structure of the songs are reminiscent of Mastodon’s 'Crack The Skye'; comparisons such as these are by no means drawn lightly, and it speaks volumes that these newcomers can already be held up against such established legends. Their album will surely be one of the most mature and heavy of 2010, and it can’t come quickly enough.

9/10

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Robb Blake - Ain’t Got No Soul
Reviewed by Henry Raby

Contrary to the title, Blake’s 3rd release has the most soul of all his albums. The tempo is overall much smoother, more a New York/Boston '90s 3rd wave smooth style reminiscent of early Slackers and Pietasters, whilst Blake’s voice almost crosses over into a gruff Dicky Barrett growl.

There’s no hint of the Californian ska-punk element, the album is for fans of the more traditional skankable ska, with the odd element of a slowed down reggae tempo. For the most part, the lyrics are fairly normal expect for a few tracks where Blake’s lyrics shine with an honesty. 'Ain’t Got No Soul', deservedly the track the entire album is named after, is a gem of decent writing and well-crafted ska lyricism.

It’s certainly an album for putting on in the background to create a warm atmosphere, and sits beside ska as early as the rocksteady of the '60s quite pleasantly. One promoter recently described Blake as ‘MotorSka’, a fusion of the metal of Motorhead and ska music. I don’t quite see that on this particular album, it’s got more soul than spit but check out 'Metal Was Metal' where Blake bemoans the lack of decent metal on the scene.

Lyrical themes are often the need for friendship on the road, with The Toasters-esque 'Highway' - a song about battling through fear on tour, whilst 'Hit The Bottle' and 'Warm Me Bones' have well-crafted lyrics and a relaxing groove. But of course it’s the same problem with Blake’s other albums, he puts too much emphasis into recreating the sound of an entire band when really a stripped down one-man solo guitar has proved to be more than an effective way of playing ska thanks to the likes of Chris Murray.

For fans of 3rd wave bands like Let’s Go Bowling, Deal’s Gone Bad and UK bands like Smoke Like A Fish, Too Many Crooks and 2tone bands.

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Frank Turner - Long Live the Queen
Reviewed by Morgan McGuire

The guitar prowess of Dustin Kensrue and the sensitive storytelling of Chris Carrabba make for a truly interesting listen. Frank Turner’s “Long Live the Queen” begs you to scream along, even if it’s your first time hearing the song. With a polite nod to the folk music of his past but keeping a fresh spin on the otherwise exhausted style of music, Frank Turner is a respectable voice in the current generation of singer/songwriters.

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Crazy Arm - Still to Keep
Reviewed by Morgan McGuire

Burning with the same intensity in the vein of The Gaslight Anthem or Ted Leo, Crazy Arm’s “Still to Keep” grabs a hold of your collar, circles around the pit with you until you can barely stand, and leaves you pleading for more. The sheer earnestness of Daren John’s vocal work and the driving force of the guitar riff, paired with the galloping rhythm section, are fuel enough for any high octane vehicle. “Still to Keep” speaks to the tender-hearted ladies and the do-or-die dudes. Truly, your song for the summer.

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Castrovalvo - We are a Unit
Reviewed by Ste Anders

What most bands do with 5 instruments, these guys do with just 2. The drums are sharp, punchy and clean with a bass guitar that provides huge melancholic overtones throughout using every method of manipulation known to mankind.

To change the sound of the bass in every song does add interest, and it is a really unique approach to making music. It's taking less and becoming more. The vocals are raw and individual with few effects added to cover what the bass and drums miss out.

Lyrically, the songs speak of a darker side of life in post industrial Leeds, idolised in the track “Hooliganz „R' Us” and “Thuglife”. There is a harsh reality behind all the songs, but it is portrayed in a new way that breaks away from traditional genres of music. It is this manipulation of genre that gives Castrovalvo their place in the music scene.

Every song is massive, with mega shout back choruses and cutting screams all the way along. Impressive as using just drums, bass and vocals is to create such a massive sound is, it does become tiresome after a while. The album does make good use of spoken samples and synthesiser style sounds to compensate the excess of bass heavy riffage but nothing seems to slow this band down. Riff after riff blasts in each song, not necessarily a bad thing, it defines the causality of this three piece.

This album is hard hitting when it starts right until the second it finishes. It is unyielding and commanding rock blended with scratchy, industrial bass sounds that create as much of an impact as a band with twice the amount of instruments. It is a must have for hardcore and industrial fans alike.

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The Swellers - Ups and Downsizing
Reviewed by Freddie Harrison

It's probably best to describe The Swellers as punk rock. But then again, it's never good to describe any band as anything. Trouble is, for every person that reads the opening sentence of this review, there's another five who see the words 'punk' and 'rock' juxtaposed and come up with the conclusion that it's a metaphor for terrible. The Swellers are far from terrible.

Their sophomore effort, 'Ups and Downsizing', is a perfect example of a band who've brought a genre into the present day, but keeping every little bit of integrity it deserves. Aside from the obvious hallmarks of such a tried-and-tested genre stamped all over the record - the fast and hard riffs, soaring melodies and gang vocals a plenty, there's something that digs a little deeper.

Title track 'Ups and Downsizing' hits the political angle of punk rock right on the head, a rousing tale of wanting to leave a rustbelt hometown lacking in jobs with a hope that things will improve. Elsewhere on the album, opener '2009' is a number with themes of suicide, death, and life after it. At the same time, like many of the other songs on the album, it's full of hope - not only in the lyrics, but in the music. For every straight-up punk rhythm you may have heard a thousand times before, there's a little guitar lick, or a harmony, or a gang vocal that gives 'Ups and Downsizing' an undeniable originality.

Perhaps the most refreshing stand-out track is 'Stars'. A ballad in every sense of the word, opening with an endearing acoustic intro, before exploding into a full band onslaught and slow-time solo. This is where you know the Michigan quartet have really thought a little bit past three chords and the truth - they've tried something that's been done so many times but made it engaging and maybe even timeless.

It's this ability of making something old new that's seen The Swellers tour with the likes of Motion City Soundtrack and Paramore. It's the same ability that presents you with an album you'll love - partly for it's comforting sense of de ja vous, and partly for bringing punk rock up to speed and making it relevant to the kids of today. Now there's something that deserves recognition.

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The Subtle Way - Thus Far, The Channels Speak
Reviewed by Leo Kindred

Plumbing such a derivative genre one could be forgiven for thinking that the screamo/metalcore realm was devoid of something that could provide note-worthy listening.

Not so it would seem. The Subtle Way’s idiosyncratic bent is a skilful ability to somehow drift between pounding metalcore aggression and sugary sweet pop melodies- complete with some electronic trappings. And vocoders.

Some of you (amongst our 12 readers) will understandably already be mentally flicking channels and feeling queasy at this proposition, however, the rest of you should definitely be checking this out.

A truly impressive release, 'Thus Far, The Channels Speak' is peppered with almost pop numbers like ‘Hardwired and Inspired’ juxtaposed against utter quaking, battling numbers like ‘This Ain’t No Fashion Show’, the latter sitting atop a jaw breaking collection of defiance and snarling riffery.

This is more than enough to assure a climb up the fringe community's ladder, and whilst The Subtle Way‘s sickly sweetness and genre sensibilities will no doubt turn off some, the originality, catchiness, and technical flair on offer will deservedly win over many.

[8]

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Famous Class - Make Or Break
Reviewed by Mark Plummer

From the opening synth riff it's easy to think "not-another-god-awful-synth-pop-band", thankfully this isn't the case with that synth sound barley making another appearance. However this pop/synth-punk genre has started to become over-crowded. With the same old thing coming and going and very few bands seeming to set themselves apart, do Famous Class have something to distinguish themselves? No. Like so many of these bands, it's not that their terrible, some actually posses bundles of talent, but it's wasted on hearing that same old sound.

'Emily' contains the monotonous moans from the first track and whilst it does contain some musical flourishes, it fails to leave a sizable impression. 'Jesse' seems to try and break onto the hardcore scene with a confused cheer/scream, and then final song 'Losing The Game' comes across more as a demo than anything else. It sounds incomplete and lacks any sort of texture or originality.

Unfortunately this five track EP doesn't do enough to impress, and I fear an album of the same sort would just bore after four or five tracks. Famous Class need to go back to the drawing board and find something to set themselves apart.

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Daisy Cutter - M.O.A.B
Reviewed by Meghan Player

Hailing from a "sleepy, snowy town in Norway", Daisy Cutter are something more than just sleep deprived and cold.

From the opening seconds of first track 'Sore Knees', the band grinds its way into your rock and roll heart, reviving images and sounds of the early to mid 90s grunge scene. Vocalist Rainer Vasshaug is in fine voice for all key moments of the album - delivering throat-shredding vocals one moment, only to turn it down a notch to create a deep, melodic atmosphere the next.

'Derailed' keeps the sound rolling with the punches. Borderline pop-style rhythms, are re-worked into solid, textured rock stylings that showcase just how promising the bands' ear for composition can be - and potentially how much further it could go.

'Queen Bitch' returns to the grungier soundscape - with the band relishing the opportunity to echo one of their clear influences, The Smashing Pumpkins. Throbbing basslines are the order of the day during this particular track, pulsating and driving the band into a dynamic display and an astoundingly strong performance.

The band, never letting a good thing go to waste - re-invent an almost Depeche Mode/Morrisey signature - pairing an upbeat, strangely infectious rhythm, with a contradictory bleak, angry vocal delivery. 'Clarity' is the appropriately named album track, and without doubt, this band are very clear on how they want to sound, and indeed, want to be heard.

Final track, 'Naked' kicks back into the intial rhythm, driving a much faster sound. Guitar licks are bouncy and uplifting in parts, then heavy and grinding the next - creating a phenominal soundscape, without straying away from the overall, progressive sound.

The greatest appeal of this album is without doubt, the revival of the much absent grunge-style vocals - coupled with the strong,pounding guitars, throbbing bass lines and sharp drum beats, the album re-ignites a scene, without resorting to being annoyingly mediocre.

9 out of 10

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Calling All Cars - Hold, Hold, Fire
Reviewed by Emma Dean

Calling All Cars have already had a very busy few months. First they were picked from thousands of bands to support rock legends AC/DC in their nationwide tour of Australia. They’ve just completed another national tour supporting Grinspoon and they are about to embark around the country again for the third time this year, supporting The Butterfly Effect.

I think it’s safe to say that these guys are definitely on their way up!

Their debut album, ‘Hold, Hold, Fire’, begins with a bang and continues that way for the rest of the record. The songs are punchy and fast paced, sung with obvious passion. Haydn Ing’s vocals have an incredible range, showing that you don’t have to shout in every song to get your point across.

Drawing up images of the Seasame Street monster furiously banging on the drums, ‘Animal’ is the fastest of the songs which is destined to be a hit with mosh pits.

Calling All Cars is ultimately a live band, so you need to see them in the flesh to fully appreciate their music. Singer Haydn Ing is an energetic performer, tossing himself around the stage and getting the crowd pumping their fists in the air with the ease of a master showman.

The performance of the songs leave no doubt in the listeners mind that these guys are very talented at what they do. However on the down side the tracks all take on a very similar tone, making it difficult for any one track to stand out as spectacular. Songs ‘Run Away’ and ‘Not Like Anybody’ are probably the only examples of truly independent tracks.

This debut effort shows that the Melbourne-based trio have enormous potential, and I can only look forward to what they will come up with next.

7.5/10

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HIM - Screamworks: Love in Theory & Practice, Chapters 1-13
Reviewed by Emma Dean

Love Metallists HIM have come a long way since their first album in 1997- they have defined a whole new genre of music and have a cult following all over the world.

Their latest album, 'Screamworks: Love in Theory and Practice', is a testament to their ever evolving sound. Working with producer Matt Squire (of Panic at the Disco and The Used ‘gross pop’ fame) has clearly had a huge impact on their music, with Screamworks being by far the poppiest of HIM’s albums.

The band still maintains its signature charismatic vocals from singer Ville Valo, the song’s lyrics remaining quite dark with a more upbeat 80s inspired sound. The band has clearly put a lot of effort into this album, with Valo commenting in an interview that he could write a book about each and every song.

The album opens with track 'In Venere Veritas', Latin which is translated as ‘In love, there is truth’. Its opening lyrics instantly hook you in and you continue on the journey throughout the album.

First single 'Heartkiller' is an excellent example of Valo’s use of melancholy pop culture references mixed in with infectious rock riffs.

'In the Arms of Rain' is the catchiest of the songs, heavily influenced by music from the 80s with keyboards and crunching guitars.

'Like St Valentine' screams its way into your heart, chosen as the band’s opening song at their Australian shows in February.

Final track 'The Foreboding Sense of Impending Happiness' stands out as it is the softest of the tracks, adding electronic and acoustic to achieve a unique track worthy of an 80s film soundtrack.

A big change from their previous record, Screamworks is a fantastic example of a band constantly evolving their sound and doing so in a way that doesn’t alienate their original fans. The music is catchy and the lyrics surprisingly uplifting despite their dark content.

All in all this is an incredible record that will you’ll play on repeat for a long time...

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Astrae - The Open Heart EP
Reviewed by Suzy Harrison

Having seen this York five piece perform live I was a bit worried that 'The Open Heart' wouldn't live up to their ability to play a great gig. However as soon as I started listening to this record I realised that worrying was definitely not necessary.

The recording itself is very crisp and clear, adequately allowing the listener to hear all the elements and musical layers at work. The number of different instruments being used really make this record stand out from a lot of other acts around at the moment. And what's evident is that Astrae play alternative music but not in the 'heavy guitars and pounding drums' sense; they break from the mainstream and give us something different. In particular I enjoyed 'Outlander' - a beautiful track with wonderful sounding vocals and an interesting structural composition. I also liked the song names (one is called Maturin (The Great Turtle) - pretty unique!) and felt myself listening to the music and trying to understand the reasoning behind the titles.

'The Open Heart' EP didn't remind me of anything in particular that I had heard before, which was extremely refreshing. It's nice to hear a band who are really going in their own direction and not following trends. This approach works so successfully for Astrae and it highlights how talented these musicians are, in that they are capable of coming up with their very own sound and original songs. I felt that it wasn't quite as tight in places as it could have been, but on the whole it is almost there and I still enjoyed listening to it. Great record.

8/10

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Armored Saint - La Raza
Reviewed by Meghan Player

A melodic, enchanting, atmospheric string section builds. You are being willingly drawn in with bated breath, wondering what is going to happen next. This is Armored Saint’s latest album, ‘La Raza’.

Opening track ‘Loose Cannon’ sets the initial tone for the album, grand openings that show promise of grand songs. Unfortunately, half way through the album this grandiose makes an exit, and the album tends to feel a little flat.

However, there are numerous positive aspects throughout the album thankfully. Vocalist, John Bush is in fine voice throughout the tracks, seeming to sound more like Steve Harris of Iron Maiden fame with each ensuing note.

Whirring guitar solos make their timely entrance during most tracks, showcasing the bands’ potential and sound technique is at its peak.

Tracks such as “Head On” and “Left Hook From Right Field” both hit the right spot, with rhythmic melodies combined with church-style organs and bells to create an essential hard-rock album, with heavy metal undertones.

What is sadly disappointing is that as the album treks on, you start to lose interest. Overall the sound is “good”, but it feels as if the band have missed the chance to take a risk here and there and take the album from being “good” to “great.”

Hopefully this just means the band will hit the right note next time around - after all, they have a fair amount of potential.

6/10

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Unleashed - As Yggdrasil Trembles
Reviewed by Leo Kindred

If you’ve ever heard Unleashed, then this continues to tick boxes in very much the same way that hearing a new Slayer album does - e.g. no upsetting keyboard solos or anything.

If, on the other hand, you’ve never heard Unleashed than the lyrics to ‘Wir Kapitulieren Niemals’ tells you what to expect. “VIKING DEATH METAL! YEAH, VIKING DEATH METAL!”- which pretty much describes this 12 track Nordic attack.

Weaving guitars, staccato drumming, and growling bellows complete a combative themed style of fist pounding that would make Thor proudly thrash out with hammer as a substitute guitar.

This for my own money lacks the full, all out, christian-crushing punch of earlier jaunts in the longboat such as ‘Midvinterblot’ or, most recently, ‘Hammer Battalion’, but ‘As Yggdrasil Tremble’s is still an enjoyably colossal, mead-swilling, goliath.

Nothing too intellectually troubling but nonetheless enjoyably jubilant, listening should be done with drinking horn in one hand and the other kind of horns in the air whilst your hair (preferably over 2 feet long) helicopters about you.

This release will ensure that the village will certainly be pillaged. The city with the flammable looking cathedral further up the coast may have to wait till the next voyage.

7.5/10

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The Empire Shall Fall - Awaken (LP)
Reviewed by Rob Barker

With ‘metalcore’ becoming one of the most sweeping terms in metal of late, it seems that just about any band can claim the title for themselves. While some bands, such as Converge, do blend hardcore and metal to great effect, others such as Killswitch Engage seem to just use the title without thinking about what it really means.

The Empire Shall Fall is yet another band to brand themselves as metalcore, despite essentially containing no hardcore elements. The comparison to Killswitch is made all the more easy thanks to TESF being fronted by their former frontman, Jesse Leach.

Having brought Killswitch into the limelight with their breakthrough track My Last Serenade in 2002, Leach left the band soon after and was promptly replaced by vocalist Howard Jones. Meanwhile Leach went on to front a relatively shortlived blues band named Seemless and has now returned to the world of ‘metalcore’ with TESF.

Essentially a melodic metal album, ‘Awaken’ could easily be a part of Disturbed’s back catalogue, complete with the kinds of melodies that give you mental images of Leach throwing a clenched fist into the sky.

While the lyrics are mostly standard fare they do, at times, fall into the ridiculous. While ‘Choir of Angels’ is the heaviest track on the album, almost venturing into death metal country, it is also home to a hilarious anti-authoritarian spoken section. Coming across like a bad Rage Against The Machine parody, Leach informs us that “It’s your right, in fact it’s your duty to question the authority!” take that tyranny!

Instrumentally the album isn’t too shabby, but nothing stands out from the sea of similar bands, with a distinct lack of hooky melodies or riffs TESF just seem to be rolling along without pulling anybody in. ‘We The People’ almost seems to head in the right direction before shifting into a loungey, over chorused soft jazz sound, turning one of the album’s most promising moments into another slice of mediocrity.

With a touch more direction, and by steering away from the ‘soaring’ vocals and drifting through genres TESF could be on to a winner, though only time will tell, and for now they’re stuck in drab band limbo.

6/10

The Empire Shall Fall’s latest LP, Awaken, is available now from their website:
www.myspace.com/theempireshallfall

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Kyra - These Precious Things EP
Reviewed by Dom Sharman

For a number of years, as a boy who has my family home in Kendal, I watched Kyra and wondered when they would find their sound. I can safely say that in the ‘These Precious Things’ they have finally done so.

The EP is brimming with emotion and is wonderfully produced (by Romesh Dodangoda who lists Funeral For A Friend, The Blackout and Kids In Glass Houses amongst his repertoire) and showcases Daniel Bell’s voice.

The title track begins with a deceptively Southern metal intro but progresses into a relatively sound-scaped and progressive sound.

This EP very much develops as the tracks progress and the final track, ‘Somewhere In Between Dreams and Reality’, is a mature and catchy number that will have you singing along and nodding your head with an infectious hook.

My only criticism of this EP is that it is lost in a sea of better bands and better material with more mainstream appeal within the same genre and I would say that, unfortunately, Kyra appear destined to stay in relative obscurity.

This being said the EP demonstrates a great development in their sound and is infinitely better suited approach to their strengths than previous material such as the Kyra EP.

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Blueneck - The Fallen
Reviewed by Carrie Wilson

There is little which could be said about Blueneck’s latest release which would not boil down to cliché ; ‘dramatic, sweeping, melodic’; whatever is said in these sorts of terms would surely not leave anyone any the wiser.

This is indeed a panoramic soundscape destined to appeal to anyone who enjoys listening in a darkened room to Sigur Ros, 65 days of static or perhaps even Explosions in the Sky.

It does, however lack any sense of real ambition to distinguish it from these extremely obvious influences. Demarcation between the tracks is not noticeable, to the point where I struggle to mention a standout track. Or even to name any tracks whatsoever.

This is pleasant enough listening for my heavy head on a Sunday, and I’m sure that their live show is worth the effort, given their influences.

However, there’s a wide streak of pretentiousness in music of this type, and taken together with the fact that a lot of this record is indistinguishable from the duller aspects of ‘kid A’, I can just about give this a 6/10.

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March Of The Raptors - S/T
Reviewed by Freddie Harrison

March Of The Raptors offer a musical treat here - seven tracks (eight, if you count a radio edit) of pacey hardcore with just a few musical nods to the likes of Gallows, Every Time I Die, and He Is Legend.

Before you assume that this is just another hardcore wannabe, with too many reference points and no direction, think again. They hold their own here, and manage to sound fresh with a hearty mix of hardcore musicianship, soaring melodies, and a bit of old-fashioned rock 'n' roll swagger.

It seems in this offering, March Of The Raptors have created a sort-of melting pot of every style and every band they love. The gang vocals are reminiscent of something Mr Frank Carter and co. may come up with, whilst some the rhythms wouldn't sound of place on the latest Of Mice & Men album.

The difference between these guys and every other hardcore act trying to break the scene right now is that there's no beatdown for beatdown's sake, and no forced melodies, just plenty of musical variation to keep your ears on their little proverbial toes.

The result of this seemingly unorganised musical mish-mash? Well, quite the opposite really. March Of The Raptors have produced a bloody good little album - taking the best parts of the hardcore from across the pond and closer to home, crafting them into an average of three minutes, and giving you something you could happily listen to on repeat.

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Burzum - Belus (LP)
Reviewed by Rob Barker

Reviewing a new release from Burzum is no easy task. When it comes to bands there are few that elicit such a large response, whether it’s fanboys declaring that Varg Vikernes is pure black metal in human form, or the details of his lengthy incarceration and personal views that immediately spring to mind on hearing the word ‘Burzum’.

Of course these factors have nothing to do with the actual music produced, and while they are likely to cloud the judgement of certain listeners this is a review of an album, nothing more, nothing less.

Skipping briskly past the introductory 33 seconds of clanking, it soon becomes apparent that ‘Belus’ is a return to Burzum’s past. Although Vikernes has done away with the screeched vocals seen on releases such as ‘Aske’, his voice remains as powerful as ever, with a lower, more controlled growl spreading throughout the album.

When it comes to production values, black metal isn’t know for using the most polished sounds in the world, in fact it often seems to be the case that the fizzier a recording sounds, the more likely it is that it will be accepted. Obviously aware of what his fans want Vikernes has kept the production on ‘Belus’ incredibly lo-fi. While it is an improvement over older releases such as ‘Aske’, Belus still has the feel of a self-produced album, fizzy treble and all.

Instrumentally, Belus continues the tried traditions of the genre, mixing repetitive tremolo picked guitar phrases with the kind of ‘wasp in a jar’ sound that will have tone snobs vomiting with rage. Unusually for Vikernes, especially compared with his initial releases, Belus allows the percussion to raise its head above the mix. With this adding some real depth to songs like the epic Glemselens Elv, a hypnotic, pulsing track that clocks in at just under 12 minutes.

Lyrically, Belus is a hard album to judge, chiefly because it is recorded entirely in Norwegian, and while there are translations in Italian, French and German online there is not yet a solid English version available. In essence, the album is themed around Belus, a god of light and healing, with the lyrics effectively acting as his biography.

Judging Belus on sound alone, it is certainly one of Burzum’s better releases, even when ignoring Vikernes’ synthesised releases during his incarceration. What this boils down to is a matter of taste, the album is either a triumph or a slice of mediocrity, all depending on your standpoint with classic black metal.

If you’re one for crushing bass, heavy riffs and fist-in-the-air choruses, Belus is not the album for you, but, if you’re a real black metal fan, with a love for the Norwegian origins of the music and the pure atmosphere of the music, Belus will most likely be your album of the year.

8/10

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The Stranglers - Decades Apart
Reviewed by Henry Raby

One of the many bands that were unfortunately tagged as being part of the late 70s punk movement despite never really fitting in, The Stranglers could be categorised as ‘new wave’ but, as with all so-called ‘new wave’ bands that label is ill-fitting. Truth is, The Stranglers never quite slotted in neatly with the punk outbreak.

After supporting The Ramones, members of the band once got into a brawl with members of The Clash and the Sex Pistols. Musically their style was raw, but also packs some blues and jazz and pub-rock elements. Controversially, their lyrics often includes political incorrect sexist and racist references which could be defended as absurd lyricism, along the same lines as Dead Kennedys, Captain Beefheart or even Frank Zappa. The Stranglers’ early work explored (and even celebrated) the dirt and grime of the underbelly.

This Best-Of spans their entire career from their early days deep in the darkness of hideous sexuality and ugly cities, right through to their break-through hits like Golden Brown which, characteristically, is still about the underside of humanity.

For a slice of the dark side of humanity, of the dirge and gutter-talk of Englishness check out this Best Of. Many popular indie bands name-check bands like The Jam and Blondie from the late 70s, but these are the upbeat side of the ‘new wave’ momentum, check out The Stranglers for something altogether creepier and slimier. The two new songs on the album, ‘I Don’t See The World Like You Do’ and their recent single ‘Retro Rockets’ still have the musical sound but the sneer of Hugh Cornwell is sadly missed.

This is a good place to start with Stranglers material, but their most sneeriest work has to be the first two albums. All the obvious tracks are on this Best Of, but keep your ears peeled for ‘Nice ‘n’ Sleazy’ and ‘Peaches’.

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Tom McRae - The Alphabet Of Hurricanes
Reviewed by Aimee Taylor

Tom McRae's fifth album in ten years, The Alphabet Of Hurricanes is a beautifully put together collection of loveliness.

The alternative songwriter has compiled a sensitive album of sophisticated and emotional tracks using real instruments to accompany his delicately raw vocal. Opener "Still Love You" is reminiscent of Nick Drake at confession in church. The darkly lyrical "Told My Troubles To The River" adds depth to the somewhat steady album while the stunning ballad "American Spirit" showcases the wide range in McRae's vocal showcasing passion, strength and power.

"Best Winter" is considerably more upbeat than the other tracks, well, this is as about as upbeat as it gets on the album. Closing track "Fifteen Miles Down River" stays true to McRae's signature stripped down acoustic sound. " Sometimes I think I'm flying into the distance, sometimes I think it's you" he whispers over sparse piano and guitar.

The Alphabet Of Hurricanes keeps in theme with McRae's minimalist sound and shows that he doesn't need to be souped up with technology to be great. He lets the music and lyrics speak for themselves and we all hear it, loud and clear.

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Cars on Fire - Sharks
Reviewed by Rachel Hand

Bristol four-piece Cars on Fire are fresh from their support slot on tour with Fightstar, with a gamut of glowing reviews under their belt. New single ‘Sharks’ makes it clear why.

Right from the feedback and pounding drums intro, this track has the pleasant air of British alternative pop-punk from a few years ago, like Million Dead, Reuben, or Biffy before they went soft. Nicely harmonised vocals overlay angular guitars, before descending into the obligatory loud shouty break.

However, the breaks here are blazingly brilliant. The riffs wouldn’t sound out of place on an Every Time I Die track, whilst Ali Ross screams bloody murder like Ghost of a Thousand’s Tom Lacey. This of course makes the refrain “Hope my body goes to heaven, because my soul is with the devil” sound remarkably true, as the juxtaposition here is incredible.

Like previous single ‘Burn the Suits’, this track is perfect for the dance-floor: the catchy sing-a-long chorus fuses with irresistible bouncy bits, and it’s all brought to life with those interludes of mosh-your-face-off mayhem.

Album Dig Your Own Grave was released last year to critical acclaim; hopefully this belter will renew interest in a truly electric new band. Get it now.

8/10

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Trail - City EP
Reviewed by Emma Dean

For a band who only formed in 2007, this EP is a surprisingly mature offering for their debut. Their unusual and intelligent writing style got the attention of US producer Matt Wallace, and from that their debut album 'To the Rest of the World' was produced in LA.

Trail's first EP "City" presents two very different songs which show the band's unique versatility.

First track 'City' is driven by its drumbeat, relying on it throughout the song. Soft guitars accentuate the beat, which is then ultimately complemented by Charlie Afif's vocals.

Afif's Chris Martin-esque vocals give the song a mysterious yet soothing quality. The lyrics "What have you in store for me? Wonder or mystery?" almost remind one of Alice's adventures through the Looking Glass, giving the listener a sense that they too are part of the adventure.

Second track 'Prism' has a much faster, more uplifting tempo than 'City'. The guitars now take a more prominent position, the drums reverting to their usual position of the songs backbone.

Afif's vocals are taken to a new level, still soothing but with more of a soaring quality. The song continues in the line of an epic journey, the lyrics painting a colourful imagery that yearns for freedom.

With a mixture of inspiring lyrics and catchy riffs, Trail are paving their own path into the world of rock. Keep an eye out for these guys.

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Flogging Molly - Live at The Greek Theatre
Reviewed by Simon Harrison

The first thing I noticed about Flogging Molly's “Live at the Greek Theatre” was the cover; a manifestation of the black flag logo, but featuring a bar for each Flogging Molly member, rather than the 4 of Black Flag.

Included in the pack is 2 CDs of the performance and a DVD filmed on the night. The DVD features the whole set filmed from multiple camera angles, seven Flogging Molly promo videos as well as interviews and behind the scenes footage.

The CDs share the content of the live set spread across them. The show was recorded on 12th September 2009 at the Greek Theatre in Los Angeles, California the current home town of Flogging Molly.

The set list for the night is a mix of classic Flogging Molly tracks spanning their twelve year career from debut album ‘Swagger’ through to their 2008 album ‘Float’.

Flogging Molly take to a stage with front man Dave King pronouncing “Good evening people of Los Angeles, we’re Flogging Molly and this is what we do”, and what they do is play a fantastic blend of folk punk, mixing up-tempo tracks including “Rebels of the Sacred Heart” with slower numbers such as “Us of Lesser Gods”.

Highlights of the set for me are opening track "The Likes of You Again", which really establishes the tone for the rest of the show and really gets the crowd moving and singing along.

The classic track "Drunken Lullabies" begins with the crowd being invited to “get their dancing shoes on” sitting at home watching the DVD I almost feel like obliging and joining in!

There’s something very special about “Live at the Greek Theatre”, I’m not sure if it’s the quality of the recording, or just the content, but watching it really does make you feel like you where there, and even more eager to catch Flogging Molly live again. This package is a must for all Flogging Molly fans, or any fan of great live passionate music.

10/10

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Elvis Jackson - Against The Gravity
Reviewed by Suzy Harrison

Having never heard any bands from Slovenia I wasn't quite sure what to expect from Elvis Jackson. But the band have already had an MTV Europe Music nomination (2009) for best Adriatic Act and played numerous sold out shows, so they have clearly been doing something right and have a solid fanbase. So does this reflect in this release?

The artwork for 'Against the Gravity' is bright and cartoon-like and makes them seem like a fun band; the name Elvis Jackson also has an element of (perhaps unintentional) comedy to it. The record itself is exceptionally produced and has a massive 13 tracks. It's clear that a lot of time and effort has been put into this record. But it also feels like the band don't really take themselves too seriously. I'd be very interested to catch them at a show to see how this translates into a live performance.

The album showcases a variety of genres from the wonderful ska based track 'Dry Your Tears' to the fast punk tracks 'Salvation' and 'Against the Gravity', to the reggae ender 'What took you so long'. Another great track is 'Wake me up!' which is extremely catchy and memorable.

The lead singer of Elvis Jackson (David Kovsca aka Buda) has a powerful voice which has a harshness reminiscent of Dave Quackenbush of The Vandals or even Dexter Holland from The Offspring. You certainly can't guess from the sound that this isn't an American band.

Having supported The Vandals, NOFX and The Offspring in the past, Elvis Jackson's sound definitely slots perfectly into that genre and I doubt they sounded out of place on a line up with such bands. It's obvious from this album that they are in league with such major artists, and although some may argue that this sound should stay in the early 2000s, there's something about Elvis Jackson that is a little bit different. It brings the genre right up to the present day and it's an extremely listenable and likeable record.

Relatively unknown in the UK, this release will be Elvis Jackson's shot at breaking the scene over here and I really hope it gets the attention it deserves. I for one will definitely be permanently adding this album to my itunes library.

9/10

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Dropkick Murphys - Live On Landsdowne (CD/DVD)
Reviewed by Simon Harrison

Having seen Dropkick Murphys a few times already, the DVD starts with the familiar chant of "Let's Go Murphys" from the audience.

The set on the CD/DVD is a compilation of songs filmed during 7 shows played over the six days around St Patrick’s day weekend 2009.