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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SINGLE REVIEW // Sequoia Throne - Shattered Youth

Sequoia Throne, a group of 5 metalheads from Northampton, have been sat on some stuff for a while. Maintaining a blank canvas on their Facebook page, there is an air of mystery to the quintet, no one knowing what they sound like. I mean, we don't even know what they look like. We do, however, know their names. We know that they're fans of In Hearts Wake, Wage War and Erra. And we know their gameplan; "to bring their raw and aggressive music across the UK with the upcoming release of their debut single". That single is called 'Shattered Youth', and I've been lucky enough to check this out ahead of it's release.

Firstly, the production on this is great. Everything is nice and clear, never sounding like it's over distorted or muddy. Clear, almost glassy production kind of goes hand in hand with this kind of genre, and these lads have got that feel straight off the bat. The guitar tone is nicely balanced; it really has some muscle behind it and sits beside the bass nicely, giving it some extra weight. The track is full to the brim with riffs, with the In Hearts Wake influence being very noticeable. Some of the riffs have even ended up sounding like something the Aussie kings would have written themselves. They're bouncy, they aren't predictable, and they're most definitely worthy of a headbang, the ultimate sign of approval. The breakdowns are tasty, too. Generous scoops of chug, evenly spread out, sprinkled with some venomous guttural vocals and atmospheric drones to taste. The vocalists also put on a good display, merging two very different styles of vocal. The screams sound a lot like Frankie Palmeri of Emmure in places, exerting a real rawness and anger into the delivery. The cleans provided by Jake Barnes (the fella that produced the single), on the other hand, remind me of A Skylit Drive, featuring soaring high pitched melodies and showcasing great vocal control. All the ingredients for a great song are there. I just feel like it's two different songs. The chorus sections when compared to the rest of the track almost sound like they belong somewhere else, reminding me of a more Lacuna Coil style of metal. Don't get me wrong, the chorus is great, the chords are enormous and not overly complicated which really allows the vocals to take centre stage. It's just as a section, it feels like it belongs elsewhere. This could've been the intention though, for all I know, they are a mysterious bunch after all. If they did it on purpose, ignore what I've said, they've nailed it! 

All in all, this song is a great first example of what these guys are capable of. It shows great promise, especially in the riff writing, and if they continue to hone in on their formula I don't doubt they'll start doing the rounds on the UK scene. If you're a fan of early In Hearts Wake, you dig catchy choruses and you can't resist a solid breakdown, I'm almost certain you'll be a fan of Sequoia Throne. The track is released on October 20th. If you want the mystery to become less mysterious, head over to their Facebook page and make sure you follow all their updates. Northampton is about to get a lot louder.

Prophets Of Rage - Prophets Of Rage

The term "supergroup" is becoming more and more popular in music today. When a collection of established and well known musicians all join together to make what is often music we aren't used to hearing from them, it tantalises our musical taste buds and gets us excited to hear what the chemistry creates. Over the last few years we've seen the likes of Them Crooked Vultures (Foo Fighters, Queens Of The Stone Age, Led Zeppelin), The Damned Things (Every Time I Die, Anthrax, Fall Out Boy), Giraffe Tongue Orchestra (Alice In Chains, Mastodon, The Dillinger Escape Plan) and Hellyeah (Pantera, Mudvayne, Nothingface) to name a few. Recently, a new name has surfaced in the supergroup world. One that is turning heads and creating an awful lot of buzz. And that name is Prophets Of Rage; a musical marriage of metal legends Rage Against The Machine and hip hop pioneers Public Enemy and Cypress Hill. After a few years of shows and festival appearances, they've finally dropped their debut self titled album. Does it live up to the hype?

It's no secret that Tom Morello, Tim Commerford and Brad Wilks are fans of hip hop and rap. I mean, Rage Against The Machine were the first band that really hit the mainstream to blend the two genres, so there was no doubt that this combination of musicians was going to work. Tracks like "Unfuck The World", "Hail To The Chief" and "Who Owns Who" and "Smashit" all sound like they could've been on one of the old Rage albums. They've picked up where they left off. Morello's signature single string riffs are just as meaty and catchy as ever, with Commerford and Wilks backing them up and pushing them even deeper into your ears. Lyrically the songs are just as politically charged as Zack's lyrics were, with attacks at the White House and the government, drones and also lyrics that are directed at law enforcement. Their delivery is powerful and compelling, with Chuck D and B Real demonstrating that they haven't lost their touch in the slightest. "Radical Eyes" sounds like a heavier Public Enemy song, with Chuck D's vocal perfectly blending in with the riffs. "Take Me Higher" is a funk influenced, old school hip hop sounding track, and is probably the most unique sounding song on the record. "Legalize Me" is the only track to feature singing, courtesy of B Real, and is surprisingly catchy. Tom Morello has an ability to write memorable riffs, and with a catchy vocal hook over the top it makes this song difficult to not like. There's a lot of good material here, for sure. But does it hit the mark? Yes and no. I mean don't get me wrong, the album is great and it features everything you'd expect from these guys joining forces; there's just something missing. I remember the first time I heard Audioslave and being completely blown away by how well Rage's music and riffage fitted with the late Chris Cornell's voice, and I was hooked. The first time I heard this, I was impressed, but I wasn't blown away. Maybe it's the Rage Against The Machine fan in me telling me that Zack De La Rocha did it better. There is a lot to love here, and the material translates into a sonic wrecking ball when performed live. It just isn't groundbreaking.

If you loved Public Enemy and Cypress Hill, you'll find something that you love here. If you loved Rage Against The Machine and Audioslave, you'll also find something that you love here. Everything that is great about all these artists is included in this album, showing that they clearly haven't slowed down or lost any of their edge. If you're expecting to be blown away, though, you may find yourself slightly disappointed. This album is good, but it isn't reinventing the wheel. It's just setting the wheel back in motion. If that wheel goes anywhere near where you live, though, go and check it out. These guys are insane live. If you can check them out, make sure you do.

D.S

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Mastodon - Cold Dark Place

If metal is your cup of tea and you have ears that have been functioning well over the last 15 years or so, the chances are pretty high that you know who Mastodon are. The 4 piece, hailing from Atlanta, Georgia, have been going from strength to strength ever since the release of their debut Remission in 2002, managing to find their identity very early on and set themselves apart from the pack. They've become one of those bands where if you hear one of their riffs or licks, you know it's Mastodon. Over the course of their career, they've written songs about a giant whale, mythical creatures, deadly monsters, astral travel and desert survival. Written during the recording sessions for their last 2 albums, Cold Dark Place adds another concept to their arsenal, but contains a very personal twist. The cold dark place is Brent Hinds head and heart, and the EP is about "the concept of living and how much it hurts to f*cking be alive".

This EP was entirely written by Hinds, and musically it's quite clear that he's at the very core of the Mastodon writing process. He has a knack for writing really beautiful yet haunting passages, and this is immediately noticeable on EP opener "North Side Star". The songs features a 13 string pedal steel guitar, an instrument that's notoriously difficult to master (unless you're Brent Hinds, apparently). It adds real depth to the atmosphere of the track, setting the tone for what's about to happen before the vocals even have chance to kick in. The vocal melodies are tasteful and are just as eerie as the music sitting behind it, creeping through dark passages before launching into an uptempo, lighter feeling section, littered with a number of impressive licks and solos. One of the most impressive things about Mastodon is their ability to play around with different styles of music without making anything sound out of place, something they display in "Blue Walsh". The song tip toes through an almost ballad like feel at first, with the vocals of Brann Dailor (drums) echoing out over the delicate guitars. Roughly halfway through, it explodes into a southern sounding, almost bluegrass influenced lick, followed by Hinds blaring out the lyrics "Time has caught up with me, taking all my energy". "Toe To Toes" is the shortest song on the album, and is also probably the catchiest too. The pace is easy to nod your head to, and contains some blinding riffs that are easy to bang your head to. The vocal melodies are also hook laden and memorable, and compliment the chord progressions developing beneath them. Closer "Cold Dark Place" sways through a variety of different vibes, painting a very honest and harrowing picture of Hinds' mind. The 3/4 swing tempo gives the song an almost lullaby like feel in places, making the lighter sections sound calming and bright, while the darker sections sound sombre and stirring. The solo is an expressive and emotive slice of brilliance too, bringing an epic close to the EP. 

I read in an issue of Total Guitar once that they were in search of "the perfect riff". Going off the strength of all their albums, I'd say they're going to keep hammering out scorchers until they find it. This EP is no exception to that statement. The way they navigate through songs is second to none. Travelling down a number of different routes and exploring so many different territories, they never feel like they're racing through sections. It's like they drift through, taking their time to admire the scenery before progressing. Cold Dark Place is a beautiful, tasteful and passionate look into one mans mind and his internal battles, and is a must listen for any fans of the band and the genre. 

D.S

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SINGLE REVIEW // Tempest - Remember Me

Hailing from the picturesque coastal town of Eastbourne, Tempest are a metalcore quintet that have been making a lot of noise across the south coast. If you've ever attended a metal gig at Blue Bar, chances are you've seen them about. Perhaps you've even watched them. If you have, you'd no doubt remember it. Their set is packed full of thunderous riffs, ferocious vocals and well constructed melodies that when strung together create an impressive sonic display. They recently released a new single titled "Remember Me" on the 13th of September, so I thought I'd check it out.

The first thing I noticed is the quality of the production. It's been so well recorded. Right from the very first chord, you can tell that every instrument has it's own space within the mix; everything is able to breathe. The guitar tone, especially, is meaty and satisfying, providing thick chunks of chug with every strum. The vocals are great, especially the lows which really pack power. There are a couple of timing issues on a few phrases, but that's me nitpicking. The overall tone and delivery is great, and the emotive content of the lyrics is portrayed really well. The song rises and falls in all the right places, features a nice catchy chorus and a good solid breakdown. Some of the sections are a little on the predictable side, but the general flow of the song overshadows that. It holds your attention from beginning to end, and makes you want to listen to more. Musically, this reminded me a lot of bands like Still Remains, In Hearts Wake and Architects, especially that outro section. The guitar tapping sounded a lot like Hollow Crown era Architects, featuring a decorative melody hovering above a wall of chords. On a whole, "Remember Me" is both punishing and passionate in equal measure, ticking all the right metalcore boxes whilst conveying a powerful and meaningful message. These guys have a lot of potential, and if they carry on progressing the way they are now I have no doubt that they'll be playing shows outside of the south coast sooner rather than later.

Speaking to Steve Collier (guitar/vocals) he told me that this song means a lot to the band and the local scene in Eastbourne, as it's written in memory of a friend. Tragically, he committed suicide, and it shook everybody to their core. They wrote this song to promote the importance of mental health issues, to let people know that they're never alone and that someone will always listen. Mental health is an incredibly important issue, perhaps now more than ever. I completely support the message within this song, and I support this band. You should too.

D.S

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Enter Shikari - The Spark

We're loyal to music, us Brits are. Especially to our homegrown bands and artists. I think that we have a sense of responsibility to support bands that are born here, all the way from them playing to Jolly John and his dog at the local pub to having entire arenas chanting their songs back to them. Without doubt, for my generation at least, Enter Shikari are one of those bands. From the moment "Sorry You're Not A Winner" was released 10 years ago (which makes me feel so old), the entire scene latched onto them and their ethic, their sound. Their sheer uniqueness. And we've been hanging on for years. On September 22nd 2017, they released The Spark, their fifth album, and it's quite possibly their most ambitious release to date.

The first thing you'll notice about this album is their musical approach. It's isn't as aggressive as their previous efforts. They still flaunt their electronic influence, and they still wave their political and humanitarian flag, forever unafraid to talk about the things that others shy away from. But, as far as the music is concerned, this is a different affair. It's a lot more accessible. Songs like "Airfield" and "Shinrin-yoku" really put the spotlight on a more relaxed and chilled out version of the band. They're jam packed full of soft tones and gently swaying melodies, both dynamically swelling into thick hook laden cadences. "Take My Country Back" and "The Sights" are more familiar, giving us their usual package of big guitars, catchy vocals and their signature electronic twists in a brighter, smoother wrapping than we've seen before. Single "Rabble Rouser" is brilliant, drawing influence from a variety of genres like grime and dubstep whilst expertly blending it with the guitar driven attack we've come to know and love. Other single "Live Outside" is a feel-good bouncy number, smothered with hooks and an unforgettable chorus. The stand out track though, for me, is album closer "An Ode To Lost Jigsaw Pieces", a masterclass in dynamics and how to build suspense. The instrumentation and how it's used is spine tingling, especially the string section which actually brought a bit of emotion out in me. And that's usually the sign of a good record, right? If it can make you feel something. And I certainly did.

I think this record is great. It's intelligent, it's catchy and memorable, but most importantly it shows their skills as musicians. You can't pigeonhole them to one particular sound anymore, because they've just ventured out of it and released a record that is very different, yet still unmistakably sounds like an Enter Shikari record. They throw all the same punches you'd expect from them, they're just delivered from angles you don't expect. It may take you a few listens to fully get into, but this record deserves your time. Check out this album.

D.S

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Counterparts - You're Not You Anymore

Counterparts are a band that just keep upping their game. With every single album, they've played around with their formula and consistently churned out good albums, each one better than the last. Today, they released You're Not You Anymore, and it follows the same pattern. This still sounds like a Counterparts record, but it's tighter, it's clearer, it's more polished. And it SLAYS. I'd talk you through my first listen, but I'll be honest, I've been jamming it all day. So, instead, I'll just give you a little insight into my thoughts about what I've heard. I wanted to try to sound completely neutral and unbiased but it's hard not to because I love this record. A lot.

Album opener "Walk Away Slowly" almost acts as a solemn warning. This song is the calmest and quietest part of the entire album. If you don't want things to get any more aggressive, you should do exactly what it tells you. If you do want aggression, however, keep listening. You'll be greeted by first release "Bouquet", a runaway train of hardcore. Without warning, you're thrown right into the eye of the hurricane, bombarded with relentless pace, meaty guitar tone and gritty, bitter vocal delivery. The chorus section is packed full of guitar cadences and gang chants, and even a layer of vocal harmony, really showing off their songwriting. A perfect opener. "Thieves" is 1:16 of pure anger, and is without doubt the heaviest track on the album. Although it's short, it doesn't need to be any longer. Start to finish carnage, a definite mosh instigator. Tracks like "Arms Like Teeth" and "Haunt Me" showcase the bands melodic side. They never fail to provide that hardcore punch we've come to know and love about them, but they really demonstrate their command of melody and take you on a rollercoaster ride through a variety of emotions and mindsets. "Rope" sounds like a continuation of "Choke" from their previous album Tragedy Will Find Us, acting as it's slightly more melodic cousin until it reaches THAT breakdown. The standout tracks here are "Swim Beneath My Skin" and "Fragile Limbs", both of which are something else entirely. Both packed with hooks, intricate guitar melodies and most importantly, intensity, I'll be surprised if these tracks don't end up becoming live favourites. Without doubt, they've knocked the ball out of the park with this one. It's way out of the park. It's out of the stadium. An unmistakable home run.

If you're a fan of hardcore and metalcore, this album should quite nicely wet your appetite. Musically this album is a tour de force of how this genre should be done, and quite confidently puts Counterparts amongst the elite of the genre. They've had a number of line up changes over the last year or so, but if anything they seem to have only strengthened the band, as is audible on this record. Do not sleep on this. Get it inside your ears. I'll be seeing these guys in January supporting Architects and While She Sleeps. If I were you, I'd grab your tickets before they sell out, because with this album under their belts, that show just got even better than it already was.

D.S

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Arcane Roots - Melancholia Hymns

Arcane Roots are a band that I've always been aware of, but never checked out. I always assumed they'd sound a certain way. For some reason, I imagined them to be some sort of indie band, not that there's anything wrong with indie, it just isn't for me personally. Not my cup of tea, as it were. But a few months ago, whilst I was on tour, a sound engineer played some music through the PA whilst we were setting up, and it had riffs, technicalities, melody, a sense of darkness subtly lurking underneath it all. And it was Arcane Roots. I was stunned. I'd slept on them for so long, and had no idea what I'd been missing out on. As soon as I saw they were due a new release, the brilliantly named Melancholia Hymns, I owed it to myself to check it out and make up for lost time. So that's exactly what I've done.

Musically, this is a collection of so many different things. It effortlessly powers through epic and almost evangelical sounding passages, littered with pianos and soothing clean tones, whilst also managing to ensnare you with dark and heavy guitar riffs and the occasional scream for good measure. Album opener "Before Me" is a perfect example of the evangelical, sounding like something you'd hear in a Sunday morning sermon complete with choirs and an organ sounding synth section. It briefly explodes into a barrage of guitars and drums before dynamically calming down again, fading back into the synths and then into nothing. A beautifully written opener, leaving you intrigued about the rest of the album. The tracks "Indigo" and "Fireflies" follow a similar feel, both calmly guiding you through the pretty scenery before exploding into chaos, and then returning you the pretty surroundings. But not all the tracks are quite so gentle. "Matter" has moments of calm, but for the majority of the track it provides us with a sonic assault of dark chord progressions and vocal melodies, with a delivery reminding me of Muse's Matt Bellamy. "Curtains" is one of the heavier tracks on the album, featuring a very distorted guitar and some of the only screamed vocals on the record. It starts off just as relaxed as the album opener, but slowly builds towards an aural assault of tone, evolving and changing with each repetition of the phrase. "Arp" is simply beautiful. The vocals sit right at the front of the mix, and rightly so; the harmonies and melodies are both haunting and stunning. The chorus section soars, and explodes into a Biffy Clyro-esque guitar driven section, pulsing along and throwing some real weight down your ears. The shining star of this album though, is the closer "Half the World". It's perfect. With lyrics such as "I left enough for you to read to try to take it back, but I was hoping I would drown", the emotion contained in this track is at the very brim of the pot, simmering throughout the song and boiling over the closer the song gets to ending. Musically powerful and lyrically honest, the track grows and grows and grows until it becomes a tidal wave of feeling. If you're at the end of the album and you aren't impressed by what you've just heard, you should be.

This is one of those albums you need to set aside some time for. You can't skip your way through this album, you need to listen to it start to finish, because Melancholia Hymns tells a story. A story that takes you on a journey through a variety of different sonic landscapes. A story you want to hear again. It bridges the gap between light and dark with ease, casually strolling from one side to the other throughout. If you're a fan of Biffy Clyro and Muse, and have ever wondered what those bands might sound like if they were combined, that's what Arcane Roots sound like. Only way, WAY more epic. And a hell of a lot darker and heavier in places.

D.S

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ALAZKA - Pheonix

Post-hardcore. A genre laden with passion, emotion, and energy in infectious levels. It's popularity has been on the rise for years, with bands like Glassjaw and At The Drive In paving the way for countless bands to follow. Bands that are appearing in the scene today display the genre in it's current evolved state, with polished production, uplifting melodies, pain-filled screams and equally pain-filled clean vocals. Hailing from Germany, ALAZKA are a fine example of this. Formerly Burning Down Alaska, they've undergone a rebrand, picked up a clean vocalist, and released an absolute corker of an album with Pheonix. One that holds nothing back. One that demands you listen to it.

Right from the very beginning of the album, you can tell that this is going to be an emotional journey. Opening tracks "Ghost" and "Empty Throne" are full of pain and heartbreak, especially in the vocals. The sheer grit and rawness of Tobias Rische paired with the powerful sultry tones of Kassim Auale are painting the same canvas with two separate brushes, leaving you with a colourful and brutally honest picture. The dynamics of both songs are tasteful and complimentary to the vocals, making the emotional delivery of the vocals more emotional and the power of the aggressive sections more aggressive. "Pheonix" and "Blossom" showcase the bands ability to write anthemic material, both boasting enormous choruses and immaculate melodies. Perfectly paced and bursting with heartbreak and agony, it's very hard to not feel something whilst listening, no matter how black or dead your heart might be. "Everything" provides a passionate change of pace in the middle of the album, slowing things right down and showing a musically lighter and more ballad driven side to the band. In a way I guess you could describe the whole album as ballads, as all of the songs are about very honest and heartfelt issues, but this song in particular really strips things back a little and adds some diversity to the album. The entire album is great, but the highlight for me is "Hearts of Gold", a slice of post-hardcore excellence from beginning to end. The chorus has a gang chant vibe about it and sounds enormous, sitting perfectly over the thick guitar chords and pounding drums. Dropping the volume in all the right places, tastefully rising and falling in all the right places and really erupting with feeling on the run up to the tracks close. Although technically not their debut, this album shows real promise and potential. I would be surprised if this album doesn't get them places.

A few years aho, I had listened to Values and Virtues, their album when they were known as Burning Down Alaska, and I can honestly say that I was underwhelmed by it. It was good, sure, but it wasn't anything special. They weren't doing anything particularly different, they were just another good post-hardcore band. But this album tells a different story. This album is leagues above their previous effort. Vocally impressive, musically tasteful and powerful, Pheonix sets them apart from their previous album and allows their reincarnation as ALAZKA to stand very much in it's own league. The Pheonix has risen.

D.S

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Seaway - Vacation

Every genre of music has a few bands or artists that are hugely underrated. Always releasing solid and hard hitting material, but just never really making the same kind of waves as other bands in their genre. As far as pop punk is concerned, one of those bands is Seaway. Armed with a back catalogue of bangers, strong albums and EP's under their belt, they are often over looked and don't seem to get the same recognition as bands such as Brit pop punk heroes Neck Deep or New York giants State Champs. However, their new album Vacation may just change that. They've gone on vacation somewhere with a beach. And that beach has a LOT of waves.

On the run up to the release of this album, Seaway released a couple of tracks to give us a taster of what was coming. The first of these songs was album opener "Apartment", and what a song to start with. A bold statement, completely laying out what they're doing with this album. A nice big slice of pop punk gold, boasting an enormous chorus with an immediately memorable melody and vocal hook. The second song they released was "Something Wonderful", a more pop tinged track; noticeably more uptempo but boasting a really catchy vocal line. The bouncy feel is infectious, and would without doubt command a room full of pizza lovers to raise their slices in the air and get energetic. On listening to the rest of the album, tracks like "London", "Misery In You" and "Car Seat Magazine" all stand out as hard hitting anthems, all boasting pop punks trademark big guitar driven choruses married with hook laden vocals. Others such as "Lula On The Beach" and "40 Over" provide a slightly softer vibe, the latter displaying a real emotional side to the band, gliding through a horde of heartfelt lyrics and swelling guitars executed with precision and real passion. There was also a nice surprise on "Scatter My Ashes Along The Coast Or Don't" in the form of an absolutely stellar guest vocal performance from Caleb Shomo of Beartooth. Already being a very upbeat and bouncy track, the introduction of Caleb's vocals was immediately recognisable and really fitted with the feel, complimenting the track and really making it stand out as one of the highlights of the album. From beginning to end, there isn't one bad moment. This could be the album that really puts them in their own league.

This album is without doubt their most accomplished work to date. It's polished, clean, pristine. The songs all gel together really well. The flow and pace of the album feels smooth, no confusing surprises or loss of momentum. From start to finish, it's very well crafted. The vocals really stand out for me, demonstrating a well balanced mix of both clean and pitched rougher vocals, really driving some of the more heartfelt and powerful lyrics home. All in all, I'm very impressed by this record. This is a vacation that I would go on more than once. This will be on repeat for quite some time, I reckon. Say hello to your new favourite pop punk band.

D.S

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Foo Fighters - Concrete and Gold

I'm not sure that the Foo Fighters know how to make bad music. It just isn't in their bones. I mean sure, there are songs in their back catalogue that stand out more than others, but nothing springs to mind that's a bad track or an experiment gone wrong. They just continuously write hit after hit. It's actually kind of annoying, from a musicians point of view, that they're able to be so consistent. I love them, but also at the same time hold a burning rage and hatred towards their talent and ability. From what I heard running up to the albums release, Concrete and Gold appears to be following their well established formula. The two singles "Run" and "The Sky Is A Neighbourhood" clearly showcase that they haven't lost their edge, both boasting soaring choruses and catchy hooks. "Run" is a pure rock anthem, bound to get a crowd sweaty and running in circles. "The Sky Is A Neighbourhood" boasts a more relaxed bluesy feel, yet still explodes into rock tinged tones throughout, Dave Grohl smothering his trademark gravelly vocals all over the tasteful chords and licks. Both songs are very different, but showcase that the Foo's still have a lot of tricks up their sleeve. And boy, are there some nice tricks on this album.

They haven't done anything particularly revolutionary with this album. But be honest, do they need to? They're known for writing consistent bangers, album after album. You know the saying. If it ain't broke, don't fix it. And it's evident on Concrete and Gold that everything is very much intact. "La Dee Da" is a rock rollercoaster, speeding through a variety of different paces, melodies and overall feels. It reminded me of a Songs Of The Deaf era Queens Of The Stone Age, the overall tone and production of the track sounding very similar. "Arrows" is an anthem, the chords in the chorus providing a sonic wall of sound behind Grohl's unmistakable pipes. Dynamically it's very well executed, the pre-chorus expertly building suspense for the eruption of power that follows it. "Sunday Rain" has a very Beatles like feel to it, probably aided by the fact that it features the legendary Sir Paul McCartney on drums. Almost acting like a bluesy lullaby, it gently sways along, massaging your ear drums and providing a nice change of gear from the rest of the album. "Make It Right" is classic Foo Fighters with a twist. Big bluesy licks, all weaved together into a hard hitting wrecking ball. Taylor Hawkins drum playing is a highlight of this track, littering ghost notes all over the shop and really flaunting his prowess behind the kit. The album truly contains a little bit of everything that we know and love about the Foo Fighters, all rolled into noticeably individual packages. A musical multipack of Walkers, with every packet boasting a different flavour. I didn't mean to write a crisp metaphor, I'm just very hungry whilst writing this. I digress. This album packs punch, it packs variety, and it translates into a very good album. A very good album indeed.

If you've been missing your Foo Fighters fix, nothing being able to quench your thirst since 2014's Sonic Highways, this album will completely feed your addiction. Everything we've come to know and love about them is present on this album. If you listen to this album and can't picture the songs sounding absolutely enormous when performed live, you're either listening to the wrong album or you're deaf. I imagine if you're deaf you wouldn't even buy the album at all, so you must be listening to something else. Make sure you're listening to this album. And then you'll realise that yes, songs off this album are without doubt going to become arena anthems. Another corker of an album in the bag for the modern day rock legends.

D.S

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END - From The Unforgiving Arms Of God

A lot of metal bands get tarnished with the same brush. Generally, that brush tends to be held by people that don't really indulge in the genre. "It's just noise" is a popular one. "All the lyrics are all negative and stuff". "It's all just angry". People that live and breathe metal know that although all those statements are technically true, a lot of bands prove them wrong. A lot of hardcore music is positive and is about picking yourself up and striving for more. A HUGE portion of the genre writes about genuinely relatable issues such as loss, grief, heartbreak, separation, abandonment and so many more. Some bands even push further than that and follow concepts like space, travel, the ocean and consciousness to name a few. It's probably becoming more and more common to stray away from those "old fashioned" stereotypes. But, every now and again, a band crops up that is noisy. That does write lyrics about negative things and sounds like the pure embodiment of anger. END are one of those bands. A super group of sorts, consisting of musicians that either are a part of or have been a part of Counterparts, Fit For An Autopsy, Misery Signals, Reign Supreme and Structures, they have exploded into the ears of metalheads everywhere. Their debut EP has been creating a lot of buzz, and it's quite clear why. It's loud. And it's good.

Opener "Chewing Glass" throws you in at the deep end. The first riff is a heavy headbang approved belter, chugging along and creeping towards a completely unexpected thrashy hardcore onslaught. The breakdown in this song is intense too, slowing from the break neck speed of the previous section to allow those meaty chugs to resonate in your ears. After less than 3 minutes, it launches into "Usurper", hurtling forwards in an unrelenting rage, the vocals snarling and tearing their way through the riffs to ensure their anger is portrayed. Again, the breakdown in this track stands out, and begins at a pace I wasn't expecting, which for me made headbanging irresistible. Lead single "Love Let Me Die" is the shortest song on the record, but it doesn't need to be long. It says everything it needs to say in 1 minute and 42 seconds. Full of feedback and stabs that reminded me of Converge, the entire song is punishment from beginning to end. No hints of light or colour, the tone overall is completely dark and menacing, leaving you almost gasping for air as the feedback rings out at the tracks close. Halfway through the record, the one thing I can predict about these songs is they will create a lot of carnage when performed live. Without a doubt.

Title track "From The Unforgiving Arms Of God" follows the same formula as the previous 3 tracks, thrusting another concoction of heavy riffage, changes of pace and sheer menace through the speakers. I see this track as being their set closer, as the breakdown at the end is pure evil. The thick slices of tone almost get behind you and push you towards a pit. Unless there isn't a pit. In that case, those arms are pushing you to start one. "Necessary Death" is the slowest song on the record, which made a nice change and gives you a chance to regain your bearings and recover from the preceding aural carnage. It doesn't give you too much chance though. Despite the slowing of the pace, it does not hold back any punches. The slowest track, sure, but probably also the heaviest. An absolute sludge-fest, oozing with meaty chugs and giant drums whilst vocally attacking you and making sure your guard isn't completely down. Finally, EP closer "Survived By Nothing" is the perfect round up. Featuring elements of every track on the record, combining them all together into an ever evolving whirlwind of hatred. This track is the first to feature a clean tone (I know right, literally the last thing I expected to hear), but the section that follows it is an almost black metal tinged dirge, sounding both evil and epic. The final chord bellows out, slowly fades into feedback, and then silence. It's over. The whole thing was over too quickly, but it is only an EP after all. I was amazed to learn that the vocalist was Brendan Murphy of Counterparts, as I'm a huge fan of the band and didn't recognise his vocals at all. He almost sounds possessed. My only real gripe with this record is that some of the guitar work gets lost and is a tad on the muddy side, but I think that's kind of the point. It's meant to be raw, it's meant to be unpolished. It's meant to be that way because it adds to their aesthetic. They aren't clean cut, they aren't perfect, they're aggressive and unrelenting and they don't care what I think about the tone. They want to punish my ears. And they do that very, very well.

The EP clocks in at around the 17 minute mark, but flippin' 'eck, what a hectic 17 minutes. 6 songs of complete aural chaos. An all out sonic assault with a very clear message - They're here, and they aren't going to go away quietly. The Misery Signals and Counterparts influence is very audible, with some of the riffing and phrasing sounding similar. But don't get me wrong, this is a whole other beast entirely. This is one of the nastiest, dirtiest, angriest collection of songs I've heard in a while. It's almost impossible to listen to this record and not want to smash everything within reach. I don't hate my computer, I love it and do a lot of work on it, but when I listen to this record I'm seconds away from putting my fist through it. I mean it wouldn't happen because I'm not very strong, I would 100% just hurt my hand and regret my decision, but I'd try. If anger had a human form and made a record, this would be that record.

D.S

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The Contortionist - Clairvoyant

It isn't uncommon for bands to become popular with a particular sound, and then deviate from that sound. In fact it's quite the opposite, it's incredibly common. Bands and artists from all genres are constantly trying out new things and modifying their approach to writing music, not just to appeal to a new audience, but to continue to challenge themselves and keep things exciting for them, the artist. Bring Me The Horizon began as floppy haired deathcore upstarts, now they sell out stadiums with enormous metal tinged pop bangers and slightly less floppy haircuts. Senses Fail used to be one of the centrepieces at the Emo dinner table, now they're an angry pissed off hardcore band throwing all the food at your nan. Taylor Swift used to be an incredibly popular country artist, now she's an incredibly popular pop artist. Everybody changes. But few do it with the same grace, sophistication and smoothness that The Contortionist have demonstrated. If you listen to their debut album Exoplanet and their brand spanking new release Clairvoyant, you wouldn't be judged for thinking that they've been written by two completely different bands. However, if you listen to their entire back catalogue in order, you arrive at the new release completely understanding and appreciating the transition. It makes sense. Coming off the back of Language, I had very high hopes for this record. Language, in my opinion, was almost a perfect album. It transcended beyond any prog records I'd heard before it, and I would find myself getting completely lost in it, listen after listen. That album cemented The Contortionist not just as one of my favourite bands in the genre, but as one of my favourites of all time. The arrival of Clairvoyant couldn't have come sooner. I've been hungry for more material for a long time. I'm not hungry any more.

As soon as the eerie tones of "Monochrome (Passive)" begin to creep in, I could tell something big was about to happen. And it did. Almost out of nowhere I was greeted by a wall of tone, enormous chord strums left to ring out while the drums pound out in the background. Slowly but surely, it moved towards a much lighter place with gently plucked guitar notes, an almost choir like synth, piano, adding more and more layers, forever progressing. Their command of dynamics and use of rises and falls in their music has never been more precise, and it kept me on the edge of me seat the entire listen. This first track is instrumental, meaning we still haven't heard anything from Michael Lessard (vocals), but boy did that wet my appetite. Without warning, it bursts into "Godspeed", kicking things off with a high tempo drum beat thundering behind distorted yet clear guitar and a huge bass tone. Head already banging, I'm prepared for what's to follow. And then, the verse. Enter Lessard. His voice is unlike anyone elses in prog today. The tone of his voice is warm, slightly gravelly, soft, yet powerful. The control he has over his voice and his range are second to none. His note choices are intelligent, unpredictable, haunting, and yet remain catchy and memorable. His voice flutters over the top of the verses and choruses and acts like it's own instrument, putting another melodic brush to the canvas. The end section of this song explodes into an enormous soundscape, boasting a tremolo solo, synth, syncopated guitar and bass stabs, before coming to an abrupt stop. Right at the beginning of the album, 2 songs in, and this is already becoming something special. Both songs are completely different, yet so fitting together, flowing perfectly into each other, and grabbing my attention. Demanding I listen on. A couple of tracks later is title track "Clairvoyant", and this is my favourite on the album without doubt. For one reason. I am going to refer to that reason as THAT RIFF. I mean don't get me wrong, the entire song as whole is incredible, which adds to the effect. Musically it weaves in and out of the dark and into serene soaring melodies, but when it hits THAT RIFF you can't ignore it or dispute it's brilliance. It is so simple yet so full of impact. A headbang riff if I ever heard one. Don't me wrong, the whole song is a rollercoaster ride of feelings, atmospheric soundscapes and dynamics, but the fact that it all revolves around THAT RIFF makes this track completely stand out from the rest.

The two singles off this album, "Reimagined' and "Return To The Earth" boast what are arguably the biggest vocal and musical hooks on the album. The chorus of the former is immediately memorable, with Lessard's voice helping you sink into the flow of the song. You could even say it helps you to sink in the EBB AND FLOW. No? Oh. Erm. Go and listen to Language and then read that again, it'll make more sense. Anyway, back to "Reimagined". It's probably the most commercial song on the album, and follows the most traditional song structure, but this isn't a bad thing in any way. The song proves their songwriting prowess. It shows that prog bands CAN write catchy songs. Who'd have thought? "Return To The Earth" is far more prog, but still follows that verse chorus formula akin to more mainstream music. It just doesn't deviate from their style of delivery. It drifts through mellow tones and relaxed atmospheric sounds. It hammers through a barrage of gigantic chords and pummelling drums. It sports mesmerising melodies and vocal lines, all the while maintaining a haunting feel and an underlying sense of unease. If you heard both of these singles and weren't excited for the album, you must have heard something completely different to me. Perfectly executed, both of them. They also released the track "Absolve" on the run up to the release, displaying a more laid back approach to their song writing than they'd previously shown. The beginning of the song sounds completely different to anything they've done before, but it grows into something that you recognise. Musically clever, introducing instruments, stripping them from the mix, reintroducing them, changing the feel. It's constantly evolving, yet remains familiar. Speaking of musically clever, though, album closer "Monochrome (Pensive)" is a highlight of the entire album and a real masterpiece. It is a perfect close to the album. Featuring musical elements from the tracks that have preceded it, yet managing to create its own feel and atmosphere. It's essentially a recap of the album that slowly moulds into something that stands alone, soaring into a vast musical landscape full of tasteful guitar licks, epic synth parts and an ever developing rhythm section before the sun sets on the exact same eerie tones of the albums first track. It's almost perfect. Maybe it is perfect.

Clairvoyant is quite possibly The Contortionist's best album. They are treading a far softer path than the one they began to tread 10 years ago, as this album contains no aggressive vocals whatsoever, but it is by no means a bad path. In fact, it might just be the path they were meant to head down. The right path. The way it weaves in and out of each track is beyond impressive. Start to finish, the story that this album tells is one that you want to hear over, and over, and over. It's almost poetic, especially in regards to the vocals and their delivery, portraying elements of pain and heartbreak via some simply stunning melody lines. The tracks do stand alone, but I highly recommend listening in it's entirety to properly get the feel for what they're created. Very few bands can weave songs together like this. This is quite simply a masterclass in how to write a prog album.

The album was released on September 15th. It's available everywhere. Don't ignore this album. If you love prog, you can't ignore this album. If you've never listened to much prog, this album may well be your gateway to more. The Contortionist are at the very top of their game right now, and they've firmly set the bar very high for the albums that follow. An incredibly strong contender for album of the year. 

D.S

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Being As An Ocean - Waiting For Morning To Come

It's been a couple of years since we last heard from post-hardcore heavyweights Being As An Ocean. And for good reason. Since the release of their self titled album in 2015, a number of hurdles presented themselves. Their drummer left the band in the back end of 2015. They signed to Equal Vision Records, and announced the arrival of Jesse Shelley (Sleepwave live drummer) to the band. They set an album release date for June 2017, which wasn't met, and no explanation was given as to why. In response to this they acquired the rights to their album, bought out of their record contract with Equal Vision, and became an independent band. And then, on Friday the 8th of September, Waiting For Morning To Come was released. I don't know about you, but I hadn't been waiting for morning. I'd been waiting for this album. I'd also been waiting to win the lottery and for someone to invent teleportation so I can go to all the amazing tours America gets, but I guess it makes sense to deal with things that already exist. Being As An Oceans new album now exists. So I've checked it out.

The first half of the album runs in a sort of pattern, an interlude, followed by a track, followed by an interlude and so on. The interludes almost act as a breather of sorts, a palette cleanser in between tracks, setting the tone for what's about to follow. Opener "pink & red" flowing into "Black & Blue" is a perfect example of this, the delicate emotive piano of the former gently guiding you into the soft and soothing tones of the latter, opening with the question "Have you ever heard that love is a metaphor?". The track continues to subtly rise and fall, allowing instruments to creep in from the background to add to the atmosphere, before dropping out and stripping down to allow the vocals and lyrics to really stand out. The next two tracks follow the same pattern, with "Glow" showcasing the first distorted guitar of the album. The verses, completely soaked in reverb and stripped to the bare minimum, dynamically rising and falling before exploding into what I think is one of the biggest choruses on the album. Both Joel (vocals) and Michael (guitar/vocals) deliver their vocals with such rawness and passion, really making you listen to what they're saying and helping the honesty of the lyrics really hit home. The interlude into a song pattern is really good at pacing the flow of the album. It took me a couple of listens to properly appreciate it, but it gives the album an almost movie-like feel, the interludes acting as transitions between all the different "scenes".

"Dissolve" and "OK" stand out as what I imagine will be crowd favourites. "Dissolve" has been getting airplay for a while, initially being released last year, and "OK" has been popping up on YouTube as they've incorporated it into their live set. Both songs sport memorable choruses with really powerful lyrics. Michael has such an incredible voice, arguably one of the best in post hardcore today, and he really utilises his range here, most notably on the line "And I wear my heart on my sleeve so you can watch it bleed". The chorus really breathes and pulses, much like a heart, which may or may not have been intentional, but when the guitars swell and flourish it completely lifts the chorus and creates one of those goosebump moments. They've also done something very brave on this album with the track "eB tahT srewoP ehT", which, as you may guess from the name, is entirely in reverse. The track played forwards is a little confusing lyrically as, well, everything is backwards, but the music still works and the track plays out as an experimental interlude. However, I stumbled across a reversed version of the track on YouTube, and when played backwards the song amazingly also works in reverse. Or the right way round, depending on your view. It's kind of confusing. It makes a very interesting addition to the album, and it's the first time I've seen a band intentionally release a song in reverse. The whole album is great, but the stand out track for me is album closer and title track "Waiting For Morning To Come", which from the off is musically the closest to the sound they incorporated on previous albums. It's almost an Easter Egg of an album closer. Go on the journey, drift through the calm, and end the journey with a familiar friend. The lyrics are brutally honest and full of so much feeling, effortlessly wandering in and out of dynamic changes like it's childs play. A very gentle end to a very gentle, moving album. The track ends with a crooner style saxophone, ending things with a touch of class. But that's really what the entire album was. A touch of class. Not over indulgent, not so relaxed that it becomes a chill out album, but (without sounding too much like Goldilocks) it was just right. They've done it again.

There's a quote on this album that says "I want you to listen very, very carefully". And I agree. You really should. On a whole, this entire album is soothing. It's relaxing, atmospheric, beautiful, serene, mellow. Musically, it's calm. However, it also shows glimpses of pain, depression, grief and anguish, especially in the vocals. This, paired with tasteful sonic bursts in the music, thrusts the emotive content skyward and really takes you on an emotional ride. This might not be the post hardcore album that you were expecting, but it is definitely worth your time. A true musical experience, with elements of bands like PVRIS, Emarosa and Michaels previous band The Elijah running throughout. 

As mentioned previously, the album came out on September 8th, and is available literally everywhere that you can think of. If you want to sit back, relax, and really get lost in something, this is the perfect album to accompany you. 

D.S

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Comeback Kid - Outsider

Comeback Kid are one of the most important bands in their genre to have come out of Canada. Alongside Alexisonfire, Cancer Bats, Silverstein to name a few, Comeback Kid are a band who have become both masters and pioneers of the punk/hardcore scene, and have paved the way and inspired countless bands that have followed them. Or so I'm told. Personally, I haven't listened to them much at all. I've always seen so much hype around them, and I've seen people that are into them REALLY praise the band. I, for some reason, just never really got round to giving them a spin. So I thought it was about time I paid them some attention. What better time to do it than for their newest release?

I sort of knew what to expect. Sort of. The only other album I'd listened to was Wake The Dead which came out 12 years ago. Aggressive, fast, heavy in places, polished hardcore. Bands can change a lot in that amount of time, but I assumed that they wouldn't have changed the formula too much, just honed in on what they were good at and made it better. And that, from my perspective, is exactly what they've done. Right from the opening title track "Outsider", they begin to warm you up for what's to come. A punky, tasteful and gradual build, transitioning into a fast paced and snare driven verse with Andrew Neufield (vocals) snarling his vocals right in your face, followed by an anger filled fist bumping chorus. The vocals are an enormous improvement on what I'd previously heard, full of venom and anger, expertly delivered. The second song "Surrender Control" followed suit, and it blew me away. An absolute powerhouse of a track. The verse riff is a meaty slice of hardcore, impossible not to bang your head to, and it explodes into a huge chorus complete with gang chants and an immediately memorable hook. Two tracks in, and I'm already excited for the rest of the album. The third track, though, presented me with an unexpected surprise.

The first of the guest spots was on this track, the first single that was streamed, titled "Absolute". And the guest vocals came from the legend that is Devin Townsend (Strapping Young Lad, The Devin Townsend Project, general musical genius). A guest spot that I didn't expect to hear on a hardcore record at all, but a welcome one. And it fits. It fits so well. The track out of nowhere gets slow and sludgy, and Devin's vocals creep in alongside Neufields. It adds an eerie feel to the track, and completely adds to the overall impact. All of the tracks that follow are all unique and stand out in their own way, but all sound like they belong together on this album. The fast paced hardcore riffing and soaring choruses of "Somewhere Somehow", the whirlwind of thrash on "Livid, I'm Prime", the Gojira esque groove and all out mosh fest that is "I'll Be That". Album closer "Moment In Time" is a musical journey through everything you've just listened to, starting off gentle and soothing you into thinking it's a ballad. That is, until it all of a sudden explodes into blistering guitar tones, pounding drums and vicious vocals, before slowing right back down again to give you a bit of recovery time. But it leaves you hungry for more. It makes you want to listen again. Outsider explores every corner of the genre and isn't afraid to draw inspiration from outside of it, and weaves it all together to create an absolute belter of an album.

If you haven't listened to Comeback Kid before, this is the perfect album to start with. It has everything. If you're a hardcore fan, you'll love it. If you're a punk fan, you'll love it. If you're a metal fan, you'll love it. If Stick To Your Guns, A Day To Remember and Hatebreed somehow managed to have a baby, Comeback Kid would be that baby. Although I think in some of those cases Comeback Kid actually came first, so that doesn't really work. But you get what I mean.

I've been more impressed by this album than I thought I was going to be, and it's been a welcome surprise. It's without doubt going to be regularly listened to over the course of the month. The album came out on September 8th (at time of post, yesterday), and you can find it on iTunes, Spotify, Deezer and everywhere else you can think of. You can probably grab it in stores like HMV too if you want to cop a physical copy. 

Also, if they play anywhere near you, grab a ticket.

I'll see you in the pit.

Maybe.

I'm getting on a bit and I'm a lot more afraid of flailing limbs than I used to be.

Maybe just see you at the bar. If you buy a drink.

I guess you might not need to if you don't get thirsty.

Erm.

I'll just see you there I guess.

D.S

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Stray From The Path - Only Death Is Real

Stray From The Path are an absolute force to be reckoned with. Always have been, always will be. Their albums are punishing, their live show is unrelenting, and their message is powerful and passionate. I say this with some level of bias, as I've been a fan of Stray ever since Make Your Own History back in 2009, and they quickly became one of my favourite bands. For those that are yet to discover these guys, they display a Rage Against The Machine style delivery with a modern twist. Breakdowns and chugs a plenty, both musical and vocal hooks, they're a mixture of everything that's good about the genre and ram it down your throats without giving you a chance to chew. Today, they released their new album Only Death Is Real, and I felt compelled to review it. I just had to.

Right from the off, they set the tone for the entire album on opener "The Opening Move". They pack everything that follows into 1:30. Choppy guitar stabs that develop into a giant wall of riff, heavy and technical drums, Drew's trademark distressed angry vocals, changes of feel, changes of pace. If you like the first track, you will love everything that follows. The shrieks of the guitars married with the sludgy bass in "Loudest In The Room", the Tom Morello styled riffing, strong political message and a headbang approved breakdown in single "Goodnight Alt Right", the single string riff groove of "Plead The Fifth". Every track possesses something different, but doesn't stray from the formula (no pun intended, but I'll roll with it) in any way.

There were a number of nice surprises I came across during this album. The first being the track "They Always Take The Guru". The track begins with a breakneck speed drum fill, and immediately floods into a runaway train of riffs and vocals. It keeps pulling out punches the entire way through, surprising you with more riffs when you don't think there could be room for anymore, gradually getting heavier and heavier until it climaxes with a lyric that made me think. Is this track a nod to Tom Searle, the late Architects guitarist? The final lyric of the song is "Now you're gone with the wind, everything is still. I'll stay here forever, to watch what you've built." I then went back and listened for a second time, and noticed lyrics such as "You don't know what you've got til it's gone" and "It's nights like these that remind me that we are all temporary". Stray From The Path are good friends of Architects, so it wouldn't surprise me if at all if this song is a tribute to him. And what a tribute.

Another surprise were the guest vocalists on the record. The first that you come across is Keith Buckley (Every Time I Die) on "Strange Fiction", which was a nice surprise for me personally as he's the vocalist of my favourite band. He nails it, by the way, but what else would you expect from Keith? He's one of the best vocalists in the game. His delivery is unique and unmistakable, and it compliments the outro of this track perfectly. The next guest spot comes from Bryan Garris (Knocked Loose) on "All Day and Night", and this one is a little marmite in my opinion. Bryan's vocals are very love or hate, his high pitched angry delivery isn't to everyone's taste, but if you've ever listened to Knocked Loose, it works. The section of this song that has Bryans vocals is very similar to a Knocked Loose track. The guitars are chuggy and thick, the pace slows right down, the drums are being smashed with such force, and I think it's great. The pit potential for it insane, I can see the dust clouds at festivals already. The final guest vocal comes from Vinnie Paz (Jedi Mind Tricks) on single "The House Always Wins". This is the one that feels the most out of place, but it isn't a complete surprise. It's no secret that the band have a love for hip hop, you can hear it in how the lyrics are delivered, and they had rapper Cody B. Ware guest on their previous album Subliminal Criminals. The track Cody guested on had a more hip hop vibe to it, stripped down and had more of a focus on drums and bass, whereas this track is a more no holds barred, full frontal assault. Vinnie's section is lyrically powerful, and has a very strong political message, but it just doesn't sit right in my ears. No doubt I'll learn to love it, but initially it's just not for me. But the track itself is great. A full on aural assault, and lyrically aims its crosshair directly the White House and the current president of the United States. All 10 tracks on this album possess some form of political message, and it's one of the things that makes Stray stand out from the crowd. They know what their views are, they're passionate about them, and they aren't trying to push their views on you. They just want you to listen.

All in all, this album is another corker to add to their catalogue. Would I say it's better than their previous album? No. Would I say it comes close? Yes. Very close. I think that Stray From The Path have completely found their formula and they're consistently releasing banger after banger. If you love Rage Against The Machine and also bands like The Chariot, Every Time I Die and Norma Jean, give this album a spin. If you can get into this album, you'll more than likely get into everything else they've done. Grab it on iTunes, listen to it on Spotify, go and grab a copy from HMV or something. Whatever you do, don't sleep on this album. I don't think these guys are going to be playing intimate venues for much longer.

D.S

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