Palm Reader - Braille

If you're yet to hear of Palm Reader, this is the perfect time to get yourself acquainted. The Nottingham based mentalists have been knocking about since 2011, but their newest record Braille knocks all their past material out of the park. It's a master stroke of unease, anger, passion, beauty and calm. A frantic journey through the senses. I reviewed their single Swarm a few months ago for Invicta Magazine (you can read that review HERE), so I already had excitement brewing for the release of the full length. But nothing could truly prepare me for what I heard. It is not the record I expected at all.

Swarm completely readied my palette for the record when I first heard it towards the end of February. A whirlwind of manic drums and frenzied riffs, all with an underlying sense of dirt and grit. Married with the enormous chorus melodies, there was nothing to dislike. It sounded, to me at least, like a cross between Every Time I Die, Norma Jean and The Dillinger Escape Plan, which just happen to be 3 of my favourite bands of all time. I mean they've always sounded like that, but the initial listen of this track sucker punched me right in the gut and I was hooked. Then came the release of the rest of the record, and it did not disappoint. Quite the opposite, in fact. It seriously impressed me. The Turn is a modern metalcore slice of genius, flowing in and out of enormous riffs and serene stripped back atmospherics before erupting into a simple yet crushing sledgehammer of an outro. Coalesce is a 6 minute epic, demonstrating the bands grasp on dynamics and flaunting their ability to build suspense. Like A Wave is a thrashy and punishing affair from the get go, featuring breakneck verses, dirty riffs and a dark yet catchy chorus. The standout tracks here, though, are the 2 that close the album. Clockwork is a slow burning ember, gradually growing and rising before exploding into a storm of pummelling drums and gigantic chords. Album ender A Lover, A Shadow is almost like a combination of the 9 tracks that have preceded it rolled into one. Everything that you heard running up to this point is on show here, acting almost like a conclusion. The aggressive and dirty riffs, the soaring clean vocals, the sense of unpredictability, the serene and beautiful calm; its all here, and it's all been expertly woven together. As the final bass note and cymbal crash rings out, you find yourself wanting to listen all over again. And that's exactly what I've been doing. Numerous times. For weeks.

Not only are Palm Reader great on record, but they put on one hell of a live show. They've racked up quite the reputation over the last few years for the ferocity and musicianship they exert when they perform which, as a witness, I can confirm isn't just hearsay. They're touring the UK and Ireland in July and August this year, and I highly recommend that you attend. One of the most underrated bands in the UK scene. Pay attention to these guys, you won't regret it.

D.S

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The Wonder Years - Sister Cities

Have you ever wondered what a pop punk band would sound like if they were really, really sad? Like if instead of writing songs about having cool friends and getting out of your hometown they sang about not fitting in, death and loneliness? If you ever have wondered what that might sound like, check out The Wonder Years. They are, in my opinion, one of the most important bands in their genre right now. Having transitioned from pop punk to a more post-hardcore/emo sound, their newest record Sister Cities is far more dark and melancholy than their back catalogue. I mean their entire back catalogue has elements of sadness and struggle running through it, but that's mainly in vocalist Dan "Soupy" Campbell's lyrics. On this record, the pain in the lyrics is mirrored by the music.

The lead single Sister Cities is probably the most familiar sounding track on the record, featuring their usual formula of fast paced verses and enormous soaring choruses. The rest of the album treads a number of different paths. Pyramids of Salt is a soft and sombre affair, swelling and calming in all the right places to create a moody rollercoaster ride through the senses. Heavens Gate (Sad & Sober) is a boiling pot of emotion that's spilling over the brim from beginning to end. Check out the second verse in particular. If you can't feel the emotion in Soupy's voice then you're probably dead inside (sorry if reading this is how you found out). The Orange Grove is crammed full of vocal melodies that are impossible not to love, delicately draped over tastefully written verses and punchy chorus chords. The tracks that stand out the most here, though, are the softer songs. The passion and feel that's been woven into them is impossible to ignore, and I found myself getting hung up on every single note. Tracks like Flowers Where Your Face Should Be, When The Blue Finally Came and The Ocean Grew Hands To Hold Me are all simply breathtaking. All of them create an atmosphere that completely envelops you, leaving you to drift amongst the delicate guitar tones and soothing vocals. The latter is especially impressive, utilising string sections and atmospheric effects to gradually build towards a mountain of tone and a truly moving outro section. After the final chord abruptly comes to an end, I found myself somewhat speechless. To say that it impressed me is a huge understatement. I was genuinely moved by it.

How The Wonder Years aren't bigger than they are is a complete mystery to me. They're unique, they're always grafting and pushing forwards, continually evolving. With every album they change ever so slightly, each one sounding different yet still retaining their signature sound. This record is no different. This record is truly special. It's one of those records that you can only fully appreciate by listening to it from beginning to end. Don't get me wrong, every single track is strong enough to stand alone and impress, but the journey that this takes you on is so worth keeping your fingers away from the skip button. Sister Cities is yet another diamond to add to their already glistening collection. You should add it to yours.

Shields - Life In Exile

To get back into the swing of things with my writing, I'm going to be posting a bunch of reviews for albums I've been listening to over the months I've been absent from this blog. But, it's been about 4 or 5 months since I've posted anything and a lot of music has been released in that time. Therefore, rather than post reviews for everything I've been listening to (it would take FOREVER), I'm going to post reviews for albums I've heard that I think really deserve your attention. And the first album that I think deserves it comes from the UK's very own Shields.

For those unaware of who Shields are, they're a little London based metal outfit that have been making copious amounts of well polished noise for the last few years. They're one of the hardest working bands in the UK scene right now, and haven't really stopped grafting since they burst onto the scene with I Just Feel Hate back in 2013. They've toured here, there and everywhere. They took some time out to do a spot of writing. And then, in April 2018, they released Life In Exile, the culmination of all their hard work. And let me tell you, it absolutely slays.

From beginning to end, this record is jam packed with pit material. There are riffs scattered through the album that are dirtier than a hoarders house. The first riff in Upside Down is equal parts filthy and bouncy, and also features a breakdown that forces you to scrunch up your face upon hearing. Delilah has an almost Slipknot vibe to its chord heavy verses, accented by gigantic drums that sound like they're being pummelled by sledgehammers. I also dare anyone reading this to listen to Mother and sit still. It's impossible. If I had long hair (well, if I had any hair) I would windmill from beginning to end. The song is an absolute monster. The record isn't all crushing heaviness, though. It is just as beautiful as it is disgusting. Singles It's Killing Me and Black Dog are perfect examples of how to marry melody and brutality together with ease. Both showcase the bands ability to transition from mood to mood, jumping from crushing riffs to enormous soaring choruses like child's play. White Embers is the closest thing on the record to a ballad and is probably the most melodic track on the record, featuring a really well written vocal line that is immediately memorable. There are so many strong tracks on show here, especially (for me at least) In The Grey and the epic album closer Aokigahara.

As well as the quality of the songwriting, this record is also the most professional sounding product that they've released so far in their career. Every single note cuts through and makes itself known, but the whole record maintains balance throughout. Never overwhelming, but always full of clarity. I was hooked after the first listen, and I've been listening to it every week since its release. To say that I've been impressed by it is an enormous understatement. It is, without doubt, the strongest release that I've heard from a band of their level in a long time.

On the run up to the release of the record, the band discovered that their guitarist George Christie had tragically committed suicide. They dedicated the video for Black Dog to his memory, and I imagine will dedicate everything that they do going forwards to him too. The strength that they've shown continuing to push forwards is beyond admirable, and they deserve everything that will undoubtedly come their way as a result of this record. Support this band.



D.S
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I'm Not Dead

Hi all. Yes, it's really me. Your friendly neighbourhood Dave. Although, for a lot of you reading this, I'm probably not in your neighbourhood anymore. Does that just make me friendly Dave? The artist formerly known as friendly neighbourhood Dave? Who knows? I don't. Anyway, I've been a bit quiet on the old blog for a while now. A fair few months. Mainly because I've been super busy. Busier than I've been in a very long time. Lemme tell ya what I've been doing.

Firstly, I got myself a new job. I am now the Assistant Manager of a nightclub called Mosh in Leicester. It has 3 floors (4 if you count the office floor), about 40 or so members of staff, cheap booze and friendly vibes. It also has a sewage pipe that, when open, is easy to fall into if you aren't paying attention to where you're going. It is the most challenging and relentless work that I've ever done, but if you aren't being challenged by what you're doing can you really call it work? Yes. Yes you can. But this job is undoubtedly tough and takes a lot of time, dedication and graft to do well. In the last few months I've become first aid trained, I have an SIA license (I am the skinniest and most un-menacing doorman in the history of doormen), I have a personal license, and I also finally passed my driving test after around 10 years of not taking my test, walking everywhere and regularly swearing at public transport. I've never felt more like an adult. Having this job moves me swiftly onto my second bit of news.

As I said, the nightclub is in Leicester. I was living in Derby. Commuting to and from Leicester wasn't fun at all. Commuting from Leicester at 5 in the morning was, in fact, the polar opposite of fun. I mean, if your idea of fun is sitting on a bus for 2 hours whilst drunken idiots covered in doner meat and garlic mayo periodically get on and off, and are also occasionally joined by incredibly sober and grumpy people going to work or posh people going on holiday, then get on the Skylink at St Margaret's bus station. You'll love it. I do not fall into that category. I therefore moved to Leicester way back in January. It now takes me 10 minutes to get home and life is wonderful. I moved into my own place for the first time. It's small, but it's all mine, so it feels a lot bigger than it looks. It gets lonely from time to time, but I never run out of toilet paper anymore and none of my food ever goes missing so I overlook that bit. It was also marketed as a flat but it has stairs, which either means the landlord has no idea what a flat is or he's scared of stairs and has never actually seen the other floor. Either way, I like it here.

Although I haven't been writing an awful lot on here, I have still been writing for Invicta Magazine. I've been writing reviews for a ton of metal, hardcore and emo releases over the last few months, and I'm still really enjoying writing and listening. If you want to read any of my reviews for them, you can find them by clicking HERE. Definitely read the Tiny Moving Parts review, I talk about cats and doughnuts in it.

My reviewing is going to be kicking back into gear as of now. The amount of free time I have has grown recently, and I intend on throwing myself back into things with immediate effect. I want to be more involved with writing and creating in both my personal and professional lives, and I reckon that striving to make something out of this blog may be a good way to push for that. Fingers crossed ay?


This is the beginning. Again. A new beginning. Or maybe a rebirth of sorts. Picking up where I left off. All of the above are true. Sort of. I'll shut up now.

Peace out.


D.S
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Glassjaw - Material Control

Every genre has influential bands. Special bands that pave the way for so many bands that follow them. Bands that aren't afraid to do things differently and end up becoming so individual that even copycats can never sound like them. Every single genre has these bands. Post-hardcore has Glassjaw. Developing a loyal fanbase very early on that's continued to grow over the years, Daryl Palumbo and crew took the hardcore formula and threw a ton of other influences in, and created music that was as destructive and manic as it was beautiful. Their first 2 records Everything You Ever Wanted To Know About Silence and Worship and Tribute quickly garnered what you could call cult status within hardcore, and have been cited as influences by numerous bands over the last 15 years. They started teasing new material a couple of years back, and we've been eagerly waiting. The new music is finally here, and it's in the form of their first full length in 15 years Material Control. There is certainly hype surrounding this record. Does it live up to it?

This album, as you'd expect, is a rollercoaster ride of adrenaline fuelled madness and the occasional spot of calm to allow you to catch your breath. Lead single shira was the first introduction we got to the new material, and what an introduction. A dark, brooding, energetic return to form. Exactly what the masses of loyal fanatics needed to hear. The vocal melody choices reminded me a LOT of Chino Moreno (Deftones vocalist), and added to the sinister feel of the track. Other tracks that follow this suit are the unmistakably angry golgotha, the white knuckle ride that is new white extremity, and the classic Glassjaw sounding cut and run. They have in no way lost their spark, and they're most certainly flaunting that fact as often as possible. As expected, there are shades of light thrown in to the dark to provide a bit of relief from the madness, and on this record it's in the form of strange hours. A pulsing, gradually swelling lullaby that provides a well needed breather in the middle of the album. When you reach this breather, appreciate it, because it's the only one you'll get. The album bursts straight back into more absolute ragers like pompeii, bibleland 6 and personal favourite my conscience weighs a ton. Musically this album is great, and is just as clever and mind bending as it is simple and tasteful. There's a great balance between both elements, and the musicianship and skill on show is at a high level. I have to give a special shout out to the bassist Travis Sykes for ripping some absolutely beasty basslines throughout the record. Like seriously, every single track has something tasty going on at some point with the bass, be it cleverly placed stabs or musically decorative runs. All in all, this is a great record. Not their best, and definitely not their best produced as it sounds kind of muddy and blurred at times. But that's part of their charm right? They aren't clean cut, they're raw and to the point. And that's exactly what this album is. Raw and to the point.

I can't lie, this album isn't quite what I expected. I mean it is in places. Sort of. But there is a massive Deftones vibe running throughout the entire record. I don't have an issue with this at all, as I love Chino and his merry band of stoned musicians. I just wasn't expecting to hear that influence on a Glassjaw record. That said, they did make a name for themselves by combining a load of influences together. What harm is another ingredient to the recipe, ay? This album is unpredictable in places, and they definitely haven't lost that "edge of your seat" element. It's definitely equal parts destructive and beautiful too. All in all, this is the logical next step for them. It may have taken 15 years to finish the step (which I guess is more of a drawn out stride, or a lunge), but it's so good to hear them finally make it. They're back, and they have some time to make up for. Expect a new wave of solid post-hardcore to emerge. Glassjaw have just breathed new life into it.

D.S

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What I've Been Listening To - November 2017

This year has been a pretty strong year for music. Especially for the alternative scene. The number of bands releasing absolute belters is growing every week, with some bands unleashing what some may consider the best album of their careers. I've been doing a lot of travelling this month, which has given me plenty of time to listen to a ton of new records as well as indulge in some long forgotten ones. Although apparently it hasn't given me plenty of time to write any posts. Erm. Oops. Consider this a sort of written warning to myself, and I'm going to try and get straight back on the reviews in December. Anyway, I digress. This is some of the stuff that's been getting a regular spin on my numerous audio devices (not bragging, I'm just a hoarder).

Like Moths To Flames - Dark Divine

I've been a fan of these guys for a long time, and was fashionably late to the party. At least that's what I call it. Most would just say I didn't pay attention early enough. But at least I'm at the party now, right? I fell in love with their last album The Dying Things We Live For, and this album serves as a natural and obvious next step for them. It boasts radio friendly bangers such as the lead single Nowhere Left To Sink, and still packs heavy and thunderous tracks like New Plagues and Mischief Managed. There's always space at the party for more if you haven't seen your invite yet. Consider this your invite. Get involved.

Polaris - The Mortal Coil

These are a relatively new find for me, but I've been seeing their name popping up everywhere on social media recently. This usually means that they either have tonnes of money and are awful or have label backing and are finally getting the push they deserve. Luckily enough, it's the latter. This album is a modern metalcore banger. Just go onto YouTube and check out the video for Lucid. If that doesn't pull you in, what's wrong with you my dude? They were on the most recent Never Say Die Tour alongside heavyweights Emmure, Chelsea Grin and Deez Nuts, and from what I've seen in reviews they absolutely killed it every night. I highly recommend you remember their name, as you're probably going to be seeing it around a hell of a lot soon.

Converge - The Dusk In Us

Absolute chaos from the band that arguably invented the genre they sit at the top of. Back when they first emerged there was nobody like them, and this record proves there still isn't. I Can Tell You About Pain is classic Converge, soaked in feedback and completely bursting with energy and unpredictability. Arkhipov Calm is strangely catchy despite the absolute madness that develops throughout, which can also be said about Murk & Marrow. But one of the stand out tracks is the title track The Dusk In Us, which is a dark and brooding monster that grows and warps into a variety of different beasts throughout. If you're into bands like Norma Jean and The Chariot and you don't know about Converge, educate yourself. They probably wouldn't exist if it wasn't for this band.

Protest The Hero - Fortress

I discovered these guys on Myspace (yes, I know, I'm old) during their touring cycle for their debut album Kezia. At the time I was into technical music that I had no hope in hell of being able to play, and as a result I latched onto this band very quickly. I mean, I still have no hope of playing anything they've ever written, but at the time it was even less likely. When they dropped Fortress it completely set a new bar for everything else I was listening to at the time, and became one of those records I'd have on repeat over and over again. Absolute mosh anthems like Bloodmeat and Wretch still sound just as mental today. Limb From Limb is still just as catchy, and the video is still hilarious. Palms Read has never stopped being my favourite song on the record, and Sequoia Throne is forever going to be one of those songs I wish I'd written. They recently announced they're doing a 10 year anniversary tour of this album, and I'm praying that it comes to the UK. If any of the band are reading this PLEASE BRING THE ANNIVERSARY TOUR TO THE UK. 10 tracks of catchy, technical gold.

Every Time I Die - New Junk Aesthetic

Every Time I Die are my favourite band of all time. Just sayin'. In my opinion, no band comes close. Like there's no competition. None. Zero. Zilch. Nada. This isn't my favourite record of theirs, but I've been spinning it recently for the riffs. Which, without needing to provide too much information, are enormous. I dare you to listen to For The Record and White Smoke and not pummel anything within reach into dust. I dare you to check out Wanderlust and not pick up your air guitar to pretend-strum those licks. I challenge you to listen to Organ Grinder and After One Quarter Of A Revolution and not fight your twitching limbs, eager to join a pit. Keith Buckley (vocals) hates this album because he had writers block for a large portion of the recording process, but his lyrics are still more thought provoking and intelligent than the majority of bands in the scene today. I most certainly don't hate this record, and if you haven't heard this yet, I doubt you will either.

Dance Gavin Dance - Mothership

One of my favourite records to be released last year, and most certainly my favourite record they've ever released. I held the Jonny Craig records in the highest regard, and didn't think they'd ever find a vocalist that could put on a performance that would trump what he did on the Downtown Battle Mountain albums. Enter Tillian Pearson, an actual angel in human form. His performances on Chucky vs. The Giant Tortoise and Inspire The Liars are impossible to hate. And that high note he hits in the chorus of Here Comes The Winner? It gives me goosebumps every single time. He's something else entirely. No one else has a voice that comes close. His control and range are incredible. AND he doesn't sell invisible Macbooks to kids on Twitter or take heroin. What a guy. Musically, too, this album is by far their most flamboyant and impressive. They're coming over to the UK next year with Veil Of Maya who have also recently released one of the best records of their career. Add it to your list of shows to attend. 

December already has a ton of music I'm excited to check out, including the new Glassjaw record that was released today. Expect a bunch more reviews in the coming weeks. I have a lot of catching up to do. As per usual, if there's anything you think I should be listening to, drop me a message! I'm always up for discovering new music. 

Right, I'm off to go and watch Stick To Your Guns in Birmingham. Peace out.

D.S

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Every Time I Die - Rescue Rooms, Nottingham, 15/11/17

You know the last gig review I did? Where I said I hadn't been to a gig in a long time? Yeah, well, that's been quickly rectified. This show was my second show in 2 days, and who better to spend that time with than Every Time I Die and their their loyal cult of Etidiots. Little bit of personal backstory; Every Time I Die are my favourite band of all time, and have been for well over 10 years. The first time I heard about them was by attending a My Chemical Romance show in Wolverhampton, and they were they main support. Up until that day, I hadn't heard anything that made me feel or react the way their set did. The next day I went to my local HMV in Tamworth (RIP) and bought a copy of Gutter Phenomenon, and the rest is history. I went on to track down the rest of their back catalogue, as well as buy every new record when it comes out. I used to listen to the songs and read the lyric booklet to ensure I had all of Keith Buckley's cryptic, sarcastic and intricate words memorised. More importantly, though, every time they come over to our shores I make sure I attend at least one date on the tour. I've lost count of how many times I've seen them, I just know it's a lot. Which brings me to this show. And I was excited.

Higher Power

Opening the show was Higher Power, a band who I've heard of but never listened to. I made an assumption that they would be a hardcore band, and I was sort of right. Musically they sounded like old school metal with a modern hardcore feel. Even the guitar tone was similar to old Metallica records, which gave the thick chordy riffs an even more classic feel. The vocals were completely unexpected, though. I guess nowadays you just expect new bands in this scene to have a screamer as a vocalist. This was the opposite; none at all. I didn't latch onto it straight away, and found it kind of difficult to get my head around at first. By the time their set had ended, though, they had completely won me over. I was appreciatively nodding along to every riff, scrunching my face at all the dirty bits. It was great. This is exactly the kind of band I expect the boys to bring on tour. Something a little bit different.

Knocked Loose

Next up was the main support, Knocked Loose. These guys have been rapidly developing a fan base both in this country and in their homeland of the USA, and for good reason. They're unique. I joined the party fashionably late, only getting into their most recent release Laugh Tracks a couple of months ago, but now I'm at the party I don't want to leave. 11 tracks of heavy, sludgy, unrelenting noise. I was so intrigued to see if they could pull it off live, and unsurprisingly, they did. In places it was like watching them record the album. Highlights of the set for me were the obnoxiously heavy Oblivions Peak and single Billy No Mates. But I've got to give a special mention to No Thanks going straight into the minute long moshfest that is Counting Worms, complete with loud and enthusiastic barking from the crowd. If that didn't warm the crowd up for the oncoming storm, I don't know what would.

Every Time I Die. Photography by Ryan Winstanley

And so, it's time. The boys. Every Time I Die took the stage. Before I go on talking about their set, it's worth noting a few things. Jordan Buckley (guitar) broke his foot the previous night, but still walked out on stage with a special boot-cast. Their drummer Dan Davison left a couple of months ago, and had been replaced on this run by Norma Jean's drummer affectionately referred to as Goose. Keith also took a moment to let us know that the zipper on his jeans had broken, which although wasn't as serious as the issues previously mentioned, was still an issue. Amidst a wall of feedback and guitar wails, they launched straight into No Son Of Mine without warning. The room erupted with approval; a pit opened up before the first chord had finished and hordes of people were spitting the lyrics straight back at the stage (myself included). They then began playing Floater, another big favourite amongst fans, and the pit just got bigger and wilder. The chaos had already begun.

Every Time I Die. Photography by Ryan Winstanley

They continued to storm through a mixture of both new and old material stretching all over their back catalogue. From the recent belter with a hilarious video I Didn't Want To Join Your Stupid Cult Anyway all the way back to old mosh-tastic Romeo A Go-Go, the latter of which I'd never seen them perform before. Crowd favourites Bored Stiff and Underwater Bimbos From Outer Space went down an absolute storm, with every single guitar note hitting like a ton of bricks, and lighter more party anthem-like tracks We'rewolf and The New Black almost echoed through the venue due to the number of people singing along. They may have been injured, and they may have had some line-up complications, but this was possibly the tightest I've ever seen them. Jordan was still running about and jumping around like his foot wasn't in a cast at all, Goose was faultless behind the kit, and Keith's zipper didn't cause him too many issues. They closed the set with the opener of Low Teens, the heavy and crushing Fear and Trembling. A weighty, wall of noise to bring a chaotic night to an end. I was left speechless. So was most of the crowd. Their longest set I've ever seen, and also their best. They didn't disappoint. But, to be honest, they never do.

The tour left the country for the second time a couple of days back, and now they have the legendary Comeback Kid along for the ride too. If you managed to get to a show, you know how mind blowingly good it was. If you didn't, trust me, you NEED to see these guys in the future. There's no show like an Every Time I Die show.

D.S

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