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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Counterparts - Rescue Rooms, Nottingham, 14/11/17

I haven't attended a show in a while. I mean I KIND OF have, but at the same time, not really. All depends on your perspective. I toured with my band last month, but as I was performing I don't class that as attending at all. I was there because I had to be there, not because I chose to be. I mean I DID choose to be in the band, but I'm only there because of being in the band. Not to say I wouldn't go and watch us. I would. Erm. This got very confusing very quickly. I'll start again.



I haven't attended a show in a while, and I thought it was about time I showed my face and went to something. Seeing as I enjoyed the newest Counterparts record so much, it seemed like the perfect gig to attend. I even said in my review of the album (which you can find on this blog, not sorry for the shameless self plug) that I was intrigued to see how the new material came across live, so this was the perfect opportunity to do so. The last time I saw them was when they supported Architects and Every Time I Die a few years back, and I wasn't the biggest fan of them back then. That's very much not the case now. And I was pumped to attend this show.

Napoleon (Photography by Thomas Smith)

Naploeon kicked off the evening with their unique technical take on melodic hardcore. They were tight and precise as they always are, blazing their way through material off most recent album Newborn Mind as well as a new track and a couple of oldies. Despite their impressive musical display, the crowd just seemed to not respond at all other than with occasional appreciative head banging. This is the second time I've seen them get slept on live, and it completely baffles me. They're one of the best bands of their size in my opinion, I don't know why everybody else can't see what I see.

Polar (Photography by Thomas Smith)

Next to take the stage was London hardcore vets Polar. It's been a few years since I saw them perform, the last time being at my local pub in Derby to about 15 people. They've been working hard the last few years, and it was great to see them perform to a near full room in a much bigger venue than a pub. They managed to get some movement from the crowd too, quickly getting the audience on side and encouraging mass headbanging and the occasional bit of pitting. Their sound was huge too; this was definitely the most polished and professional performance I've seen from them. They nicely warmed the crowd up for what was about to happen.

Counterparts (Photography by Thomas Smith)

And finally, the main event. Counterparts. They took to the stage and immediately burst into Bouquet, and the pace didn't slow down for the entire show. Littered with plenty of material off the new record You're Not You Anymore alongside some golden oldies such as Choke, Burn and The Disconnect, their set was unrelenting and perfectly structured. They played Thieves too, which is one of the heaviest tracks off the new record, and it was the musical version of being punched in the face by a bear. And the bear had worked out. It was so heavy, and more importantly, it was so together. Musically they were unbelievably tight throughout the show, and yet still managed to convey a sense of rawness and ferocity at all times. They had a bit of banter with the crowd too, and looked like they were having fun throughout the show. I love seeing bands having a good time. And the crowd were lapping it up, as was I. This was one of those shows that makes you feel, as a musician, completely void of talent and ability. But, at the same time, it instills you with a desire to be as good as that. To have that exact same impact on others. To put it simply, they absolutely smashed it, and I've left the show an even bigger fan of the band than I entered.

If you're reading this and you're based near any of the remaining dates, I fully recommend going to this show. Their level of musicianship is so high that it genuinely made me wonder why I even bother trying to make music. Even if you aren't into the supports that much, the ticket price is worth paying for Counterparts alone. Do the right thing. Go and do a bit of a mosh to some solid melodic hardcore from one of the best bands in the scene.

D.S

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Stick To Your Guns - True View

Over the last few years, Stick To Your Guns have risen to the very top of the hardcore scene and are widely regarded as one of the best bands within it. Don't get me wrong, they've always been good. But the release of 2010's The Hope Division gained a lot of peoples attention. And then to follow that up with Diamond in 2012? They'd started to ride a wave, and they've been riding that wave ever since. Recently, the released their new record True View. Seeing as I'm going to see them on tour in a few weeks time, I thought it might be wise to check out the new songs ahead of the gig. Part because I like the band and I want to, part because their set is most likely full of new'uns and I don't want to look like an absolute wet wipe that doesn't know any of it.

Stick To Your Guns have this ability to take you on a journey through their records, both lyrically and musically. True View is no exception. It's full of hard and heavy tracks like The Sun, The Moon, The Truth: "Penance Of Self" raging through a collection of dark melodies and pit hungry riffs, setting the bar high for the rest of the album. Single Married To The Noise continues the heavy feel, especially in the verses, but progresses into a mammoth of a chorus that shows off vocalist Jesse Barnett's pipes. Cave Canem is crammed full of dirty and bouncy riffs, and a breakdown with the ability to fold anyone nearby in half. The Better Days Before Me is one of the thrashier sounding songs on the record, and contains both shades of light and dark. Lyrically it focuses on looking back at the past and taking lessons and positives from it to help mould yourself a better now, and the ending section of this song is really powerful due to the weight behind their delivery.

There are some slower and softer songs that provide a bit of relief and pace change, too. 56 is noticeably softer from the off, and immediately changes the vibe of the record. In a good way, of course. It feels like a pop song with more aggressive instruments, complete with an infectious chorus and verse melody that's slathered an upbeat and positive feeling soundtrack. Album closer The Reach For Me: Forgiveness Of Self comes as a welcome surprise too, and is probably the most commercial sounding track on the record. It reminds me of some of the tracks on the most recent Thrice album which is partly due to the similarity between Barnett and Dustin Kensrue's (Thrice vocalist) voices, but also because of how the song has been structured. It doesn't sound like the Stick To Your Guns that we know, but doesn't sound like a completely different band. It shows musical progression and that they're exploring their sound, which I fully back and support. The track is a mellow and slightly sombre end to the album, closing with the lyrics "And if I can't forgive myself for the pain I've caused, it'll always haunt me. I'm so sorry". A powerful end to an impressive album.

I'll be honest; at first I didn't like this record. Not to say I hated it, I just struggled to get into it at first. Diamond and Disobedient were near perfect, and I remember being hooked after the first listen. This record didn't hit me like that. After spinning it a few more times though, it grew on me, and I'm confident in saying that this is a killer record. They've completely followed the suit of their back catalogue and ensured that there isn't a bad song on it. And what I like the most about the album is it's variety. There's a bit of everything on here. There's some absolute mosh ragers. There's slower, more heartfelt, "grab a mate and wipe your single tear on their shirt" kind of songs. There are commercial radio friendly bangers. And the way they're spaced out allows the album to be constantly refreshing, as the pace is always changing. This album is a definitive statement; Stick To Your Guns are just as strong as ever, and they aren't going anywhere soon.

If you're able to go and see them on their upcoming UK tour, I highly recommend doing so. I've seen them before, and to say they pack a punch is a huge understatement. To hammer my point through, I was never that hot on them until I saw them live, and all of a sudden the music made sense and I fell in love with them. They are something else. Plus the bill is incredible, as they're bringing Being As An Ocean, Silent Planet and First Blood along for the ride. I'll be at the Birmingham show with my better half, who is essentially an emo kid that enjoys a good breakdown from time to time. Come and join the party and enjoy good breakdowns with us.

D.S

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ALBUM WORSHIP // System Of A Down - Toxicity

If you're into metal and you don't know who System Of A Down are, where have you been? Like honestly, a genuine question, what have you been doing with your life to not know about them at all? Arguably one of the most important metal bands of the last 20 years, they've released nothing but gold ever since their debut self titled album way back in 1998. Gaining an army of fans on their journey to the very top of the game, they're currently in a hiatus period, occasionally reforming for one off shows at festivals and rare tours. The desire for them to release new material is shared by many, and nobody is really sure whether or not it's actually on it's way or not. Whilst thinking about the possibility of new material, however, I delved into their undeniably strong back catalogue and rediscovered Toxicity. I say rediscovered, it never really went away. That album is arguably their best, and contains a large chunk of their best known and most loved material. You can also say, arguably, that this is the album that made them the band they are today. It was their second album, and it is solid proof that not every band struggles with that stereotypical "difficult second album".

There isn't a bad song on this record. Not one. It's just hard hitter, after hard hitter, after hard hitter. Prison Song right from the off is what I would now refer to as "dumb". I remember the first time I heard it, not being able to predict those opening stabs and being blown away when the riff exploded into my eardrums. Deer Dance is my personal favourite on the record, and favourite System song of all time. That opening riff, man. Seriously. Doesn't matter how old I am. I could be 90 and dependent a zimmerframe. I would launch that zimmer at the nearest unsuspecting person and open that pit up. The softer section in the middle too, and how it builds back into the riff. Perfection. The big opening sludge of X and the ensuing blast beats are impossible to stay still to. This song sits on both ends of the spectrum, featuring frantic paced guitars and drums as well as stripped back and calmer sections. They're masters of the rise and fall, constantly displaying use of dynamics and clever control of the atmosphere in songs. Just before the halfway point of the album, we're presented with Chop Suey. I don't mean that every time you spin this record a Chinese Takeaway turns up at your door with a meal (although I would enjoy that), I just mean that the track Chop Suey is next up. And if you haven't heard it, you're either a corpse or you're deaf. EVERYBODY KNOWS THIS SONG. Even Captain Kale who only listens to underground experimental post-indie (fictional person, possibly fictional genre) knows what this song is. And it's because it's an anthem, without doubt. The verses are just giant hooks. The chorus is a giant hook. The riffs are simple yet powerful, kind of like hooks. The outro is an enormous and unforgettable hook. It's essentially a heavy pop song, and it's possibly their most well known and successful song. Quite rightly so, too.

Bounce starts immediately after, and the first time I heard it I laughed because of how much Serj Tankian says "Pogo". I've literally never heard references to pogo sticks so many times in one song. And the song is infectiously bouncy too, which is probably part of the reason the song got it's name. Science is one of their most well known tracks of this record, and has been covered by numerous bands of varying sizes. Most notably, Periphery have covered it. They've taken songs and completely made them their own before, but this was a straight up cover which signifies to me that they saw no improvements to make. That riff in the chorus, the little ascending and descending pattern at the end of the phrase, is just so catchy. They're so good at making every aspect of a song memorable. Shimmy is the reason I discovered who this band were. It was featured on Tony Hawk's Pro Skater 4, and I remember un-ticking all the other songs on the soundtrack so that just this track would repeat. Despite the vocal instructions I continued to be late for school a lot, but probably because I spent a lot of my early guitaring years trying to learn this infectious track and it's riffs by ear. Toxicity is another mammoth of a track, and is probably the second most well known off this record underneath Chop Suey. Another straight up verse/chorus structure, laden with memorable vocal melodies and simple but enormous guitars, it begins as a relatively slow track until it hits the middle 8 and erupts into a powerhouse of a riff. That riff is reintroduced towards the end of the track, and leaves you both speechless and breathless. The album closer Aerials is popular, too, and is the most musically calm and beautiful track on the record. One of the less heavy tracks on the album, but one of the hardest hitting and anthemic. It's just perfect. The entire album is, in fact. Perfect.

When I first listened in my teens, I didn't really pay much attention to the lyrical content. I obviously listened to the lyrics and learnt them so I could yell them back to the band as part of a crowd, but I never really read into their message or significance until I grew up. The political content and strong messages throughout add a whole other viewpoint to it, and it adds to how impressive it is. No one quite writes lyrics or delivers vocals quite like Serj Tankian. He's truly one of a kind. To say that he puts on a display doesn't really do it justice. He croons, wails and screams his way through the entire album with such character and grace that you wouldn't think this was their second album. And with the music added to the mix? Collectively, Toxicity is flawless. They displayed an insane ability to write catchy and memorable songs that were both commercially sellable and crushingly heavy in perfect balance. It set the bar REALLY high for everyone around at the time and for a horde of bands that followed. An insane number of bands cite this band and this particular album as an influence, myself included. It was an enormous success upon it's release, and is now essential listening for anyone that loves metal.

If you are yet to discover this album, it's never too late. It never stops being good. It never stops being relevant. An absolute classic. A masterpiece.

What I've Been Listening To - October 2017

I haven't posted on here for a few weeks. I've been a busy man. I went on tour for 2 weeks. I've been picking up shifts at my jobs (gotta earn them dollar bills y'all). I've started writing articles for Invicta Magazine, which I'm super stoked about. The latter is one of the biggest factors for me ignoring this blog, which has been completely unintentional if I'm honest. I've just devoted more of my time to Invicta. But, that said, I am going to try and balance my time between both and keep this one alive. I like writing innit. And I like listening to music and telling you, whoever you are, what I think of it. I mean no one could be reading this at all. The website is telling me people are reading it but for all I know it could just be my dad refreshing the page a few hundred times to make me feel good about myself. If you are doing that dad, thank you, it's working. But just in case people actually do read this, I'm gonna carry on. And with that in mind, here's some stuff I've been listening to in October, both whilst on tour and whilst working.

Veil Of Maya - False Idol

After the release of their previous album Matriarch, Veil Of Maya really came into their own. Musically they've always been incredible, but the addition of Lukas Maygar provided them with something they hadn't had before. That something was range. A vocalist that not only had a punishing scream, but an incredible set of pipes on him with the ability to perform intricate and melodically impressive cleans. Matriarch was something special, and False Idol continues to impress. Doublespeak is full of pit-worthy riffs and an enormous soaring chorus. Whistleblower is pure filth, and has the potential to snap a few necks with some infectiously catchy riffs. Pool Spray is heavier than heavy, winding and bending through passage after passage of sheer brilliance. The entire album is proof that they've found their formula and know how to use it. If you aren't a fan of this band yet, now is the time to become one.

Movements - Feel Something

I'd never heard of these guys before until I saw Counterparts tweet about them. The tweet was very complimentary, basically saying that if you don't like the new record you're stupid. A bold claim, I thought, so I checked it out. And it's wonderful. Not what I expected at all, considering the type of music the band that mentioned them dabble with. I'd class it as a blend of pop punk and emo; very emotionally driven but catchy in all the right places, and also very chilled out at times too. Think Boston Manor and La Dispute having a baby, but that baby being brought up by Taking Back Sunday. Don't just take my word for it, go and check out single Colorblind and album track Third Degree. If you like what you hear, you'll love the album.

The Used - The Canyon

This is one of the first records I was sent to review for Invicta, and it's honestly one of the best albums I've heard all year. I've been a huge fan of The Used for a very long time, ever since the release of In Love And Death over a decade ago. Their more recent material was harder for me to get in to. Perhaps that was because my music tastes had changed. Maybe the newer material simply wasn't as good. But, regardless, my first listen of The Canyon made me feel the way I used to feel about this band. It was nostalgic, yet still managed to sound refreshing and current. Single Over and Over Again is a slice of emo pop-tinged gold, with an unforgettable chorus and a super catchy verse riff. Vertigo Cave has got one of those riffs in it that I can refer to as THAT RIFF, because when it happens you'll know exactly which one I'm on about. Moon-Dream is a chilled out orchestral masterpiece. The Nexus is a gospel-feeling southern tinged creeper, drifting in and out of both the calm and the storm. The whole album is just brilliant. If you ever loved this band, or have ever been a fan of emo, this album is completely worth your time. Check out my full review for Invicta Magazine here.

36 Crazyfists - A Snow Capped Romance

Reviewing Lanterns last month reignited my flame for 36 Crazyfists, and as a result I started to re-listen to their back catalogue. For me, the album that gets me into a band tends to remain my favourite. And that is definitely the case here. A Snow Capped Romance is full of so much nostalgia for me, and provides me with visual memories when I listen to certain songs. I remember finishing my classwork really fast one science lesson and listening to Skin And Atmosphere with my friend, sharing a headphone each. I remember sitting in my bedroom and repeatedly pressing pause and play to try and figure out how to play Destroy The Map. I remember the time when Kenai was the heaviest song I'd heard up to that point, and falling completely in love with heavy music. And as for Bloodwork, I honestly can't remember having a song on repeat quite as much as when this came out. This was a really important album for me, and it hugely shaped my musical tastes going forwards. If you've never checked this out and like the heavier side of metalcore, this album is essential listening.

Gideon - Cold

Whilst on tour, we had the absolute pleasure of playing a show with In Hearts Wake, Gideon and Silent Screams. We honestly get so lucky having the opportunity to play shows like these, especially with bands this big in the scene right now. Gideon are a massive influence on our guitarist, Andy, and since discovering them a few years back I'd be lying if I said I wasn't influenced by them too. Cold, their newest offering, is a continuation of what they do best. Writing big riffs and big breakdowns and delivering them with class. Cursed is an undeniable mosh anthem, and can open a pit within the first 10 seconds (which they proved with ease at the show). Freedom is a Hatebreed like hardcore anthem, actually featuring guest vocals from Jamey Jasta himself. Walk Alone is heavy as sin, pulling no punches and hitting hard chug after chug. All the material sounds insanely huge live, and they were easily my band of the night. I like to think of these guys as a way more angry and pissed off The Ghost Inside. If that sounds like it might be your cup of tea, it most likely will be. Drink up.

As per usual, if you think there's something that I should be listening to or something that you think is worth reviewing, let me know! I'll listen to literally anything and I could talk about music literally forever, so nothing is off the card. Just sling us a message and I'll check out whatever you suggest, and I'll be as honest as I can be about what I hear.

As mentioned at the top, I will be actively trying to write more for this blog going forwards and balancing my focus between this and Invicta. Expect to see a rise in the amount of things I post in the near future. Thanks for reading!

D.S

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The Black Dahlia Murder - Nightbringers

If you're a fan of melodic death metal, the chances of you being a fan of The Black Dahlia Murder are pretty high. Regarded by many as one of the best within the genre, their back catalogue is full of sonic onslaughts. Frantic guitars with chilling melodies and blistering leads, fast and powerful drums, Trevor Strnads unmistakable vocal style; they are one of the few bands in their genre that are immediately recognisable. Their latest offering Nightbringers aims to add to their already stellar collection of material. As a long time fan of the band, I thought I'd check it out and see if it made me want to pump my fists in the air or throw my speakers in the bin. I have an obvious bias towards the former being a fan of the band, but also because my speakers weren't cheap and it would be emotionally painful to chuck them. But alas, I will try to be somewhat neutral.

Every album they release tends to begin with an absolute blinder as a first track, and this one is no exception. "Widowmaker" begins by building suspense with synths and atmospheric noises, before launching into a enormous fist pumper of a riff; the exact kind of riff The Black Dahlia Murder are known for. The guitars are nothing short of spectacular, weaving from riff to riff and navigating through solos with ease. Second track "Of God and Serpent, Of Spectre and Snake" doesn't give you a chance to catch your breath, speeding through dark intricate guitars at breakneck pace. The drumming on this track in particular are seriously impressive, with drummer Alan Cassidy really showing off his chops. Just thinking about the relentlessness of the drums makes me feel exhausted. "Matriarch" is more varied in pace, and sounds like pure evil. Some sections are impossible to keep your head still during, almost willing your neck to slowly but surely allow your head to nod in appreciation. All of the tracks have an element of speed about them, but would you expect any less? Tracks like "Jars" and "Catacomb Hecatomb" are masterclasses in the genre and stand as a shining example to why The Black Dahlia Murder are still one of the most respected bands in death metal. But the slower (well, slightly slower) songs are musically incredible and act as the highlights for me. Title track "Nightbringers" features some enormous triplet driven verses and a massive thrash vibe. Album closer "The Lonely Deceased" is like a death metal ballad, showcasing melodies that are both beautiful and melancholic. I mean some sections couldn't be further from being a ballad if they tried, and I don't think any ballads exist with blast beats, but if they did, they'd sound similar to this. "As Good As Dead" is musically amazing too. That intro lead pattern and the chords that sit behind gel together perfectly, and the change of pace that follows hit me like a ton of bricks. The verses and choruses showcase a band in their element, especially the solo section in the middle of the track that jumps from scale to scale and key to key like childs play. By the time I reached the end of the record I was almost out of breath. I am happy to confirm that I will not be throwing my speakers in the bin. Partly because my arms hurt from all the fist pumping, but mainly because this record is incredible.

This is possibly their best release since Nocturnal. Don't get me wrong, everything they've released for the last few years has been great, but they never quite managed to recreate the ferocity and doomy feel they flaunted on that record. With this record, they've done exactly that. The musicianship is astounding, the pace of the record keeps you on your toes throughout and the production is enormous. This record isn't just furious. This record isn't just doomy. Nightbringers is a dark and twisting road through an apocalyptic landscape, with a soundtrack fresh from the fieriest pits of hell. If you are a fan of melodic death metal, you need to listen to this album.

D.S

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36 Crazyfists - Lanterns

I remember the first time I heard about 36 Crazyfists. I remember it being a very important and pivotal part of my musical exploration as a teen. I bought an issue of Kerrang! magazine that had a free CD with it. I used to only buy issues of Kerrang! if it had a CD with it because, well, y'know, more for your money and all that. This CD was called "Ripped" if my memory serves me, and I don't really remember the bands that were featured on it. Apart from 36 Crazyfists. "The Heart And The Shape" was one of the first tracks featured on this CD, and it knocked me for six. The blend of heavy riffing with melodic vocals was an immediate winner for me. Up to this point in my life, I hadn't heard anything that was so punishing whilst also being so catchy and melodic. And that guitar tone, so gain heavy and punchy. I was hooked. The next day I took my paper round money to HMV and bought my copy of A Snow Capped Romance, and my love affair began that day when I completely fell for the album. I've always tried to stay in touch with what they've released, but I haven't been as tuned in since Rest Inside The Flames. I felt the need to focus my attention to their latest release Lanterns, something I feel like I should've done a few albums ago. Let's see if the Alaskan metalcore mob have still got that punch.

Album opener and first single "Death Eater" is a huge statement. They haven't lost their edge. A marriage of heavy riffs, pounding drums, and that catchy vocal over heavy guitar work that I've grown to know and love. This is one of the heaviest tracks on the record, and is a definitive nod to their roots and how they sounded back when they first started. "Wars To Walk Away From" is packed full of grit and power, courtesy of Brock Lindow's vocals, showcasing the lyrical theme of a personal journey, learning lessons from the things that are thrown at you and coming out on the other side. "Better To Burn" is thick and meaty, full of groove and decoratively littered with clean tones, giving a nice contrast to the harder sections. "Damaged Under Sun" is another track that sound like it could've featured on an earlier Crazyfists album, effortlessly merging that heavy guitar driven sound with catchy vocals. The following track "Sea and Smoke" is the first appearance of their softer and slower side, showcasing Lindow's command of his vocal chords and his ability to write strong melodies. It feels almost like a ballad, stripping the instruments back in the right places and allowing the atmosphere to build and put the emotive lyrics at the forefront of the focus. "Where Revenge Ends" gives you a chance to regain your breath after the first 5 tracks, featuring an acoustic guitar and Lindow's raspy and gritty voice lulling you into the calm. Further on in the album, "Below The Graves" is a big chunk of classic Crazyfists with a huge metal edge, equipped with an enormous chorus and some very well structured phrases. The verse riff has an almost southern edge to it, really adding a nice twang to the the vocals. Album closer "Dark Corners" is impressive, too; a dark and brooding way to finish things off. Lyrically the album is an insight into Lindow's struggles, so it makes complete sense to end the album with this vibe and intelligently bringing a sense of resolve to the album.

The album is great. It's everything you'd expect from one of their albums, but it just feels like it's lacking something. The back end of the album, for me, trails off. The first few tracks are all concrete, full of memorable moments and sharp songwriting, but everything towards the end just doesn't pack that same focus. I almost had to force myself to finish listening to the album, as I began to lose interest past the halfway point. It almost feels like half of the album is just filler, which is a shame. The production of the record is great too, but it doesn't blow me away. If you listen to their older material and then skip forward to this release, there isn't a lot of difference, which probably has something to do with guitarist Steve Holt being at the helm of the production process. In places, everything sounds a bit muddy and gets a bit lost. It isn't all bad, though. The guitars do sound just as punchy and gigantic as ever, the drums are snappy, the vocals burst through the mix nicely too. It just isn't consistent.

There was a bit of chatter that 36 Crazyfists had lost their way a little bit with the last few albums. I think that this album definitely shows that if they had lost it, they're back on track now with Lanterns. Although the album isn't a start to finish masterpiece, it has got some stand out tracks and some really memorable moments. Lyrically and musically dark in many places, this shows a real maturity to the bands sound, whilst still holding on to all of the elements that made them great when they first surfaced all those years ago. Definitely worth a listen for old fans and new. Not their best, but still a strong album that deserves a spin if you're fan of any of their back catalogue. They're back.

D.S

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ALBUM WORSHIP // All That Remains - The Fall Of Ideals

Back when metal started to really become popular, we had the big four. Metallica, Megadeth, Anthrax and Slayer. There was always a band that was skimmed over, a band that I always thought should have made them the big five, and that band was Testament. They did everything the four big guns were doing, but with their own identity, and they did it well. They deserved it in my opinion. In more modern metal, I feel like metalcore also had a big four. Killswitch Engage, As I Lay Dying, Unearth and Shadows Fall. And I feel that the band missing from that is All That Remains. And that is mainly based on the strength of The Fall Of Ideals. In my opinion it's one of the most perfect albums from that era of metalcore, setting a very high standard from albums that followed it in the genre, and setting All That Remains apart from the pack as a band that needed your attention.

Opener "This Calling" throws you straight into the oncoming storm at breakneck pace, with thundering kick drums and snares ringing out over the melodic but heavy riffing. The riffing never holds back, dipping its toes in crushingly heavy sections as well as tearing through soaring and melodically complex leads. Phil Labonte (vocals) also shows off his chops here, demonstrating his control of his vocals with a range of different pitches of screaming, and showing off his vocal range with memorable and hook laden cleans. It acts as the perfect appetiser for what's to come. "Not Alone" features more of the same, starting with an intricate guitar harmony before erupting into a choppy guitar riff sat behind the robotic precision of drummer Shannon Lucas. Labonte uses clever vocal phrasing during the verses, matching the rhythms of the choppy guitar pattern which instantly makes it sound catchy. "We Stand" and Guitar Hero anthem "Six" feature more perfect blends of melody and heaviness, the latter showcasing exactly how to play around with dynamics and build suspense in metal. Roughly halfway through the track, the music completely strips back to a beautiful clean section, gradually introducing an octave guitar to the mix. Slowly edging forwards, it explodes into the full band, blazing through solos and then finding it's resolve in the form of returning to the chorus.

There are some much darker shades on this album, especially noticeable on tracks like "Become The Catalyst". Labonte kicks off the track with a long held out low vocal, immediately setting the tone for the 3 minutes that are about to follow. The riffs are all fast and evil sounding, a dark and winding road through a melodically chaotic scenery; without doubt the heaviest on the album. Closer "Indictment" is like a summary of everything you've heard up to this point, slowly moving through both the heavy and light elements of the album complete with brutal vocals, decorative guitar parts, soaring harmonies, crushing breakdowns and enormous walls of chords. The highlight for me is "Whispers (I Hear Your)", an expertly structured slice of riffage and melody. The riffs all progress and develop in the right places, continuously grabbing your attention throughout. The chorus vocals are so catchy too; they're instantly lovable and they sit with the rest of the track perfectly. It's essentially structured like a pop song, repeating certain sections in all the right places, adding a sense of familiarity throughout and ultimately making it memorable. The entire album is structured that way, really, which is probably why I think it's so good. Because it's so memorable. The album is everything you could want from a metalcore album and more. If you've got to the end of the album and you aren't hooked and wanting to listen all over again, you've been listening to the wrong album. This is absolute gold.

The album is, quite simply, a masterclass in metalcore. It contains everything that is good about the genre, and it's delivered with precision, feel and aggression in all the right places and in all the right doses. If you're a fan of the genre and you haven't indulged in this album, you absolutely need to. This sits right up at the top of the essential albums list alongside The End Of Heartache, An Ocean Between Us, The War Within and The Oncoming Storm. It might even be one of the best metalcore albums of all time. They're still going to this day, still releasing solid album after solid album. If you haven't indulged yet, make sure you do. They were pioneers of the genre when this album was first released back in 2006, and they still are today. 

D.S

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Frontierer - The Hairy Dog, Derby, 27/09/17

As time progresses, it becomes more and more difficult to make music that's unique. To make music that has an identity, and contains something that nobody else is doing. As more time passes, more ideas get used, and then a lot of bands begin to start sounding the same. One of those bands is not Frontierer. They sound like if Meshuggah, The Dillinger Escape Plan and Aphex Twin had a baby, and that baby was given lots of drugs. Their debut album Orange Mathematics is a mind-bending whirlwind of disgusting noises, heavy guitars, punishing and erratic drums and more disgusting noises. And I mean that in the best way possible. If you've listened to it and not wondered how they possibly pull it off live, listen again. Because I definitely wondered that. And so, I went to go and see if they could pull it off.

The Hairy Dog is one of my favourite venues in the country. Not just because it's 20 minutes away from my house and sells nice alcohol, but because the place is a community for music fans of every genre. It's got a lot of support, and as a result it has been growing and growing in popularity, bringing bigger and better shows to Derby and getting the residents of the city involved in what it brings here. The turnout was great tonight, with a good number of people here early to catch the first band. That band, Sobriquet, were very impressive for a young band. Packing heaps energy and the vocalist sporting a creepy and un-ignorable stage presence, kicked off the show with a bang. The music was proggy and tight with some real clever and catchy phrases, and showed great potential for them going forwards. Visually they weren't the most together band, all of the members sporting very different levels of enthusiasm towards the show, but with a little bit more focus on their delivery and unity I can see the Sheffield lads becoming way more frequent on the local scene.

Next up was The Predecessors, a band that I hold a bit of a torch for. I used to be in The Predecessors for about a year, tracking some guitar parts for the guys and contributing a little towards the writing process in some areas. My commitment to Skies In Motion grew on the run up to the release of the album and it wasn't fair to the guys to hold them back, so I bowed out. They replaced me with another snapback wearing bearded man, Roy, who's a perfect fit for them, and I was excited to see them play their first show. And man, did they kill it. For a lot of the members, this was their first gig in a few years, so they weren't just getting back on the bike; they were learning how to ride it again. However, it looked like they didn't need to do a lot of learning. It didn't look like they'd been away for a long time at all. They looked and sounded tight and professional, stomping across the stage and engaging in headbangs and windmills, whilst simultaneously hammering out musically complex and technically mental material. The heavy bits were heavy, the pretty bits were pretty, and on a whole it sounded huge. Nathan (guitar) is a musical genius, not just thinking of the riffs, but thinking of all the layers and atmospheric noise to sit behind those riffs. The bigger picture, as it were. And it translated so well to the live performance. I'm proud of the boys for making such a huge statement with their first show, and I can't wait to see them play more.

The main support, Derby/Nottingham based Taken By The Tide, never ever disappoint. But this show was something else. They were tighter than I've ever seen them before. They always have this menacing presence when they perform, especially with Phil (vocals) slowly stalking across the stage as he snarls at the crowd. But tonight, it was impossible to take your eyes off them. Every single note was so piercing and crushing, and the drummer was essentially a human metronome. I said in my review of the Loathe show at the end of August that having two guitarists made them sound bigger, and tonight cemented that for me. There was so much weight behind their sound. I can't explain it any other way than "it was so tight". They're just getting better and better every time I see them.

Lastly, Frontierer took the stage. I had no idea what to expect, but I predicted it would go one of two ways. It was either going to blow my mind and be insanely precise, essentially like watching the album be recorded. Or, it was going to be an incoherent mess, with no discernible notes or sections, just sounding like noise. I am happy to report that it was the former. They were insane. The set was unrelenting, never once slowing down or allowing the audience to catch their breath. The guitarists use so many different effects to create the strange and unusual sounds they've become known for, and I wasn't sure how they'd come across in a live setting. They sounded enormous. It isn't used in an over the top manner, it's used tastefully throughout all the songs, adding a sense of unpredictability and unease throughout. But mainly, it adds to the heaviness. All the weird high pitched effects simply made the heavier bits sound heavier due to the contrast. And Chad (vocals) was angry. So angry. His vocals were raw and gritty, remaining powerful throughout the set, not once sounding like he was running out of steam or struggling. All together, they were an absolute wrecking ball, and by the time their set had come to an end I don't think there was one person in the room that hadn't been hit by it. They were seriously impressive, and from the strength of the new material that they performed, they're only going to get better.

If you're a fan of The Dillinger Escape Plan and are as gutted as I am that they're calling it a day, listen to this band. They aren't exactly the same, but they absolutely satisfy my appetite for unpredictable, relentless and energetic madness. Go and check out Orange Mathematics, available everywhere you can think of. If you head to their bandcamp page, you can pick it up for whatever price you see fit. Even if you think that price is free. This album is a gem, and this band are only going to go from strength to strength. Give them your time.

D.S

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What I've Been Listening To - September 2017

What a month this has been for new music. What. A. Month. An incredible month for hardcore with some of the scenes heavyweights finally unveiling new material, as well as some huge sounding albums from a variety of other genres. Some of those albums have stuck with me throughout the month, snagging my attention right from the first listening and keeping me addicted. Other albums I've listened to are ones I've been rediscovering; revisiting their musical pools and going for a swim. The following albums are where I've done the majority of my metaphorical swimming.

The Contortionist - Clairvoyant

Wow. Just wow. I've been a huge fan of The Contortionist for a few years now, but this album is something else. Their most melodic album to date, but I honestly think it's their best. The way it flows from beginning to end is so smooth, transitioning from soft calm passages to dramatic flamboyant cadences, it's a real musical journey that I want to keep going on. If you aren't familiar with The Contortionist and you like modern prog, do not sleep on this album. A very strong contender for album of the year.

Seaway - Vacation

One of pop punks most underrated acts have released one of the genres best albums of 2017. The album is full of infectiously catchy vocals and bouncy posi vibe riffs that it's literally impossible not to like. If you could pack a sunny holiday into an album, this is exactly what it would sound like. Best listened to with a hatred for your home town and more pizza than your appetite can handle. Maybe listen to it with friends that you don't mind sharing pizza with.

PVRIS - All We Know Of Heaven, All We Need Of Hell

This one has been a bit of a grower for me, but after a few listens I'm in love with it. I was hooked on PVRIS after the release of White Noise a few years ago, and was so excited about the new record, but on the first listen it just didn't hit me in the same way. I left it alone for a little while and revisited it, and on doing so it all just fell into place. Lynn's vocals are powerful as ever, and the vibe of the music is just as brooding and intricate as before, just with a slightly more commercial feel. I don't think they've topped White Noise, but this album is still worth your time.

Northlane - Singularity

Their best album with Adrian, without a shadow of a doubt. Northlane have become a powerhouse over the last few years with the addition of Marcus, adding an incredible vocal range to their sound and adapting their music ever so slightly to compliment his voice. Singularity, however, is an unrelenting beast of an album, and quite possibly the bands best. The guitar riffs are heavy and intricate, their use of dynamics is clever and tasteful, and the vocals are just so raw and full of venom. It's impossible to listen to this and not want to trash everything that's around you.

Funeral For A Friend - Casually Dressed And Deep In Conversation

I have so much love for this album. I grew up listening to this, and pretty much the entire reason I had a massive emo fringe was because Darran Smith did. The vocals are all so catchy and emotionally driven, remaining memorable all these years. The guitar work is sensational, and there wasn't really an emo band around at the time that were writing riffs like that. They were essentially a metal band that were upset about a lot of things. This is one of my favourite albums of all time, and I'll never get bored of this record.

September has been great for music, for all genres. I hope that October proves to be just as fruitful. If anyone reading this has anything they'd like me to review, be it a band I need to check out or perhaps it's your own band, let me know!

D.S

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To Kill Achilles - Anywhere But Here

Scottish metalcore quintet To Kill Achilles have been quiet for a while. But they aren't going to be quiet for much longer. Formerly a sextet, they've undergone a small line up change, with Mark Tindal putting his keyboard to one side to take up lead vocal duties and Kieran Smith stepping in as their full time drummer. The guys have toured the UK and Europe extensively over the last few years, touring with bands such as I Killed The Prom Queen and The Browning, developing a loyal fan base along the way. That fan base is craving new music. In October, that new music will be available in the form of EP Anywhere But Here, containing 6 tasty slices of heavy groove laden gold.

This EP is nothing short of impressive. A full frontal assault of riffs and chugs, littered with decorative and tasteful synth and ferocious heartfelt vocals. They've picked up exactly where they left off with Existence a few years ago, only in that time they've got angrier. They've got way, way angrier. "Make Them Suffer" is an onslaught of aggression, and a definitive statement that they're back stronger than ever. The guitars and bass race through a maze of dark and chuggy passages, whilst the vocals spit pure venom at anyone in earshot. The breakdowns are a great balance of catchy and unpredictable, giving you the desire to bang your head but never really knowing what's about to happen next. This is also evident in title track "Anywhere But Here", which almost folded me in half when the first breakdown kicked in. It's a real white knuckle ride, changing the pace and vibe throughout, eventually bursting into an epic outro, complete with a tasteful reverb soaked lead.

"These Days" is everything you'd expect to hear from a To Kill Achilles track, and sounds like something that (if it was in a higher tuning) would've slotted onto Existence with ease. The breakdowns almost act as a hook in the song, spaced apart by grand chords married with atmospheric synths. Sounding just as epic, "Halved Hearts" is a passionate and pulsing monster of a song, toying with rises and falls in the dynamics and keeping you on the edge of your seat. The middle section reminded me of Architects, stripping back all of the aggression to allow the bass to drive the song along whilst the guitars take a backseat and create some pretty audio scenery. The stand out track for me, though, is the recent single "Chapter", an emotionally driven powerhouse about Tindal's father. The music is both punishing and beautiful in equal measure, and the lyrics are truly heartbreaking in places, delivered with real pain and anguish. All in all, this EP is an absolute corker, and puts To Kill Achilles firmly back at the top of their game.

This EP is the first thing To Kill Achilles have released since 2015's single "You Live On In Me", and the first full length since 2013. What a way to burst back onto the scene. The instruments are all more refined and intricate than they have been previously, especially the drums which are more technical than they've ever been before; they've upped their game in every conceivable way. They've always had a The Devil Wears Prada kind of vibe about them, and that is definitely audible throughout Anywhere But Here. But it's also obvious that they've found their identity. This is a clear evolution from where they were before, and if they keep treading this path, the only way is up. 

To Kill Achilles embark on a UK tour on October 5th in support of the release of this EP. All the details can be found on their Facebook page. These guys are incredible live, and I highly recommend you get to a show if they're playing anywhere near you. You won't regret it.

D.S

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