Palm Reader - Braille

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

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

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

D.S

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What I've Been Listening To - November 2017

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

Like Moths To Flames - Dark Divine

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

Polaris - The Mortal Coil

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

Converge - The Dusk In Us

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

Protest The Hero - Fortress

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

Every Time I Die - New Junk Aesthetic

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

Dance Gavin Dance - Mothership

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

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

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

D.S

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

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

Higher Power

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

Knocked Loose

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

Every Time I Die. Photography by Ryan Winstanley

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

Every Time I Die. Photography by Ryan Winstanley

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

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

D.S

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

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



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

Napoleon (Photography by Thomas Smith)

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

Polar (Photography by Thomas Smith)

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

Counterparts (Photography by Thomas Smith)

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

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

D.S

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Stray From The Path - Only Death Is Real

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

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

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

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

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

D.S

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