Palm Reader - Braille

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

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

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

D.S

x

The Wonder Years - Sister Cities

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

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

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

Shields - Life In Exile

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

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

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

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

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



D.S
x

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

x

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

x

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

x

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.

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

x

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

x

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

x

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

x

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

x

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

x

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

x

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

x

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

x

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

x