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

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



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

Napoleon (Photography by Thomas Smith)

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

Polar (Photography by Thomas Smith)

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

Counterparts (Photography by Thomas Smith)

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

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

D.S

x

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

x

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

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

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

x

Life Lessons - The Albums That Inspired Us

We've been having a lot of people, interviewers, friends and fans, ask us what our musical influences were when we recorded Life Lessons. It's such a hard question to answer. The 5 of us all listen to different things, we all draw inspiration from different places. But, there are a number of songs and albums that I know we all share a love for, and know that we drew influence from whilst writing and recording this album. These are some of the albums that inspired me and some of the band when we were recording. But mainly me. This is my blog ain't it, if those guys wanna write about what influenced them they can start their own blog. Ahem. Sorry. I'll carry on.

The Ghost Inside - Get What You Give

Musically, we wanted to create something that was like The Ghost Inside but with a more metalcore edge. We wanted to production to sound similar to this record, as punchy and as huge as this record, as clean cut and defined as this record but still with a hint of rawness. I think we all collectively think of this as one of the defining albums within the genre, and this was an enormous influence on us both as we were writing and recording.

Underoath - Define The Great Line

My favourite album of all time. Hands down. Everything that they do on this record, the builds, the dynamics, the riffs, the melodies, the way the album paces along, everything is flawless. They are such a tight and clever band, but have such a rawness, an almost unpolished feel to them, and that completely adds to the punch of the album, adding a sense of unpredictability. I wanted to take parts of all that and implement it into our album, and there are hints of it running throughout.

Killswitch Engage - The End Of Heartache

One of the most perfect metalcore albums from that era. I think a lot of people, not just us, have this album on a pedastal as being one of the best, if not THE best metalcore album of all time. It has everything. Changes in pace, riffs for days, punishing vocals and soaring melodies, all accompanied by solid production and an almost perfectionist delivery. Killswitch Engage are one of our all time favourite bands, to say they had no influence on our writing would be a flat out lie. We grew up listening to them and learning their songs, our writing style has indirectly been shaped by them.

Unearth - The Oncoming Storm

Much like The End Of Heartache, this was another of the perfect albums from that era. A lot heavier and more unrelenting than Killswitch Engage, but just as riffy and technical if not more so, with breakdowns appearing all over the shop and with blistering leads where necessary. A lot of the breakdowns on this album were approached with a "what would Unearth do?" kind of vibe, and a lot of the breakdowns we feel turned out great as a result of that.

While She Sleeps - Brainwashed

One of the few torches keeping British metalcore alight, While She Sleeps made an absolute corker of an album with Brainwashed. The punishing pace, harsh vocals and raw punchy guitars were expertly balanced alongside enormous anthemic singalongs, exquisite melodies and harmonies and tasteful guitar decoration. We look up to While She Sleeps as an example of how to work hard and knuckle down, how to not give up and push for better things.

A Day To Remember - Homesick

The album that broke A Day To Remember is arguably their best, and that blend of catchy infectious pop punk and hard hitting metal isn't done half as well by anybody else. The perfect example of a metal pop band, structuring songs like pop songs with strong verses and memorable hook laden choruses, this album is essentially a masterclass in how to blend genres. We knew we wanted to put more singing in this album, and we knew we wanted to structure the songs better, and this album was the perfect example of how that's done.

Gideon - Calloused

We referenced this album a LOT when it came to the mixing process. The way all the instruments blend together and burst through the speakers makes the already heavy riffs sound even heavier. Everything has so much weight behind it, and none of the weight gets lost. You can hear every single instrument. We wanted that same impact from our recording.

Architects - Lost Forever//Lost Together

This album was nothing short of monumental when it first came out. Architects are a band we've all been following and paying attention to for years, but this was probably the heaviest and most brutally honest they'd been so far in their career. Both lyrically and musically, this was an album that really set Architects apart from the crowd. Adam is an enormous fan of Sam Carter, and the way he delivered his vocals on Lost Forever//Lost Together was a big inspiration to how he delivered his. Musically it was a huge inspiration too, pushing us to be creative and not do what everybody else is doing.

Bring Me The Horizon - Sempiternal

Similar to A Day To Remember, this album was a masterclass in song writing, but also at how to write structured commercial songs without wandering too far away from the sound you're known for. This was a perfect transitionary album for them, bridging the gap from the heavier side of them to the side we now know about from That's The Spirit. This was a great reference for us, for how to progress forwards without straying too far from the sound we'd already established. We also looked at how our songs would sound when performed live after seeing Bring Me The Horizon perform songs off this album in Cardiff, which greatly helped our writing and recording process.

Stray From The Path - Rising Sun

Stray are a very unique band, and almost nothing like us. They're like a blend of Rage Against The Machine and Every Time I Die. Basically they're Rage Against The Machine but even more angry and the world. Their drummer is an absolute powerhouse, and some of the drum parts on Life Lessons were inspired by a lot of the drum parts on this record. Not drums you'd predict, not drums you'd expect, but musically impressive and often unexpected drums.




Let me know if you can hear any of the above in the record! A couple of album reviews that we've had have picked up on a few of these influences, some have compared us to some cool other bands we didn't even spot. Just the simple fact that it's being listened to is amazing, so I'm beyond happy with anything we get compared to. Even if you compare us to 5 Seconds Of Summer. I don't know why you'd make that comparison, but I'd appreciate it all the same.

Regardless of whether you can pick any of these out or not, thank you so much for checking out the album, it means the absolute world to us.

Thank you for reading.


D.S
x