Glassjaw - Material Control

Every genre has influential bands. Special bands that pave the way for so many bands that follow them. Bands that aren't afraid to do things differently and end up becoming so individual that even copycats can never sound like them. Every single genre has these bands. Post-hardcore has Glassjaw. Developing a loyal fanbase very early on that's continued to grow over the years, Daryl Palumbo and crew took the hardcore formula and threw a ton of other influences in, and created music that was as destructive and manic as it was beautiful. Their first 2 records Everything You Ever Wanted To Know About Silence and Worship and Tribute quickly garnered what you could call cult status within hardcore, and have been cited as influences by numerous bands over the last 15 years. They started teasing new material a couple of years back, and we've been eagerly waiting. The new music is finally here, and it's in the form of their first full length in 15 years Material Control. There is certainly hype surrounding this record. Does it live up to it?

This album, as you'd expect, is a rollercoaster ride of adrenaline fuelled madness and the occasional spot of calm to allow you to catch your breath. Lead single shira was the first introduction we got to the new material, and what an introduction. A dark, brooding, energetic return to form. Exactly what the masses of loyal fanatics needed to hear. The vocal melody choices reminded me a LOT of Chino Moreno (Deftones vocalist), and added to the sinister feel of the track. Other tracks that follow this suit are the unmistakably angry golgotha, the white knuckle ride that is new white extremity, and the classic Glassjaw sounding cut and run. They have in no way lost their spark, and they're most certainly flaunting that fact as often as possible. As expected, there are shades of light thrown in to the dark to provide a bit of relief from the madness, and on this record it's in the form of strange hours. A pulsing, gradually swelling lullaby that provides a well needed breather in the middle of the album. When you reach this breather, appreciate it, because it's the only one you'll get. The album bursts straight back into more absolute ragers like pompeii, bibleland 6 and personal favourite my conscience weighs a ton. Musically this album is great, and is just as clever and mind bending as it is simple and tasteful. There's a great balance between both elements, and the musicianship and skill on show is at a high level. I have to give a special shout out to the bassist Travis Sykes for ripping some absolutely beasty basslines throughout the record. Like seriously, every single track has something tasty going on at some point with the bass, be it cleverly placed stabs or musically decorative runs. All in all, this is a great record. Not their best, and definitely not their best produced as it sounds kind of muddy and blurred at times. But that's part of their charm right? They aren't clean cut, they're raw and to the point. And that's exactly what this album is. Raw and to the point.

I can't lie, this album isn't quite what I expected. I mean it is in places. Sort of. But there is a massive Deftones vibe running throughout the entire record. I don't have an issue with this at all, as I love Chino and his merry band of stoned musicians. I just wasn't expecting to hear that influence on a Glassjaw record. That said, they did make a name for themselves by combining a load of influences together. What harm is another ingredient to the recipe, ay? This album is unpredictable in places, and they definitely haven't lost that "edge of your seat" element. It's definitely equal parts destructive and beautiful too. All in all, this is the logical next step for them. It may have taken 15 years to finish the step (which I guess is more of a drawn out stride, or a lunge), but it's so good to hear them finally make it. They're back, and they have some time to make up for. Expect a new wave of solid post-hardcore to emerge. Glassjaw have just breathed new life into it.

D.S

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What I've Been Listening To - November 2017

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

Like Moths To Flames - Dark Divine

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

Polaris - The Mortal Coil

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

Converge - The Dusk In Us

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

Protest The Hero - Fortress

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

Every Time I Die - New Junk Aesthetic

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

Dance Gavin Dance - Mothership

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

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

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

D.S

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

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

Higher Power

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

Knocked Loose

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

Every Time I Die. Photography by Ryan Winstanley

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

Every Time I Die. Photography by Ryan Winstanley

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

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

D.S

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

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



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

Napoleon (Photography by Thomas Smith)

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

Polar (Photography by Thomas Smith)

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

Counterparts (Photography by Thomas Smith)

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

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

D.S

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Stick To Your Guns - True View

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

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

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

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

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

D.S

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What I've Been Listening To - October 2017

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

Veil Of Maya - False Idol

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

Movements - Feel Something

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

The Used - The Canyon

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

36 Crazyfists - A Snow Capped Romance

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

Gideon - Cold

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

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

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

D.S

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Enter Shikari - The Spark

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

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

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

D.S

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Counterparts - You're Not You Anymore

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

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

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

D.S

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ALAZKA - Pheonix

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

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

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

D.S

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END - From The Unforgiving Arms Of God

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

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

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

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

D.S

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Comeback Kid - Outsider

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

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

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

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

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

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

I'll see you in the pit.

Maybe.

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

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

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

Erm.

I'll just see you there I guess.

D.S

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Stray From The Path - Only Death Is Real

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

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

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

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

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

D.S

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What I've Been Listening To - August 2017

This month has been a solid month for music. Some really strong releases from some bands I love, and I've rediscovered some absolute gems whilst me and the boys were on tour. We play this game called "The A-Z Game" when we're in the van, where you go through the alphabet naming songs but never duplicating artists or bands. Passes time in the van and also stops us from trying to murder each other (We're all friends really. Apart from Adam, we all think he's a dick. Not really. Or do we.....). The albums below are the ones that have stuck out for me the most over the course of the month.

Neck Deep - The Peace And The Panic

Possibly my favourite album of this genre to have come out so far this year. I've followed these Mancunian pop punk heroes for a number of years now, ever since the Rain In July EP. The absolute balls to the wall punchiness about them is what made them stand out for me. Compared to all the other pop punk around at the time, they stood out and started to carve their route to the top of the game very much on their own. If you listen to their back catalogue in order, you can hear the progression and development of their sound creeping in with every single record. And they have absolutely found it with The Peace And The Panic. Without a doubt, this is their most polished record, seamlessly weaving from the punchy, anthemic choruses of single Happy Judgement Day to the stripped back, emotive heartbreakers like Wish You Were Here with absolute ease. I was also excited to hear Don't Wait when I saw that Sam Carter of Architects had done guest vocals on it, and my God it's good. I wasn't sure how it would come across, but Sam is nothing short of perfect and his vocal sits on the track like icing on a cake. Only the icing is cheese and the cake is a pizza. If you're a fan of the genre and haven't given Neck Deep a spin yet, start with this album and work your way backwards. You will fall in love with this record.

Wage War - Deadweight

Good Lord. What. An. Album. Tinged with Nu-Metal stylings throughout but retaining a solid modern metal tone and an absolutely punishing pace, Wage War have smashed it out of the park with Deadweight. If I had to describe it in one word, that word would be HEAVY. And that word covers every aspect of the album. Firstly, I want to mention the production, which is one of the best I've ever heard. You can literally hear every single instrument. It is so unbelievably weighty, but you can hear everything breathing, and it completely adds to the impact. Secondly, the songs. Two Years and Southbound are perfect album starters, setting the tone for how the rest of the record is going to progress, effortlessly combining crushing riffs and soaring melodies, a taste of what's to come. Tracks like Deadweight and Disdain have an almost Slipknot punch to them (which is absolutely NOT an issue), whilst tracks like Witness and Gravity provide a sense of calm amongst all the chaos. This record literally has everything. Like metal? Don't ignore Wage War.

The Gospel Youth - Always Lose

This is the first album I checked out by these guys, but I'd been hearing good things so my expectations were pretty high. This album has become one of my most regularly listened to since its release in July. Hailing from the South Coast of the UK, The Gospel Youth have made their debut very hard to ignore. Right from the off, I Will Deliver You To The Fireflies is a beautiful, heartbreaking start, and perfectly sets up the rest of the album. The dynamics are on point, rising and falling in all the right places, really keeping you on the edge of your seat throughout (unless you're stood up when you listen. Edge of the curb maybe?), and you continue to do so with everything that follows. Gin And Black Coffee has some really smart songwriting and intricate melodies, almost Disney-esque in places, both vocally and instrumentally. Songs like single Moods Like English Weather really pulse and breathe, constantly changing pace and exploding with a huge chorus. The album as a whole really reminds me of Fools and Worthless Liars era Deaf Havana, but with a slightly softer and less harsh tone throughout. If you love that album (I certainly do, it's my favourite Deaf Havana album), then this might become your new favourite album.

Reuben - Racecar Is Racecar Backwards

I remember when I first discovered this album. I bought an issue of Rock Sound, and this particular issue came with a compilation CD. I don't remember what it was called, but it was blue, and the first track was No One Wins The War. And thus, my love affair with Reuben began. I still think they're one of the most underrated bands of their time, and this album is still one of the most underrated albums in existence. It's in my top 10 albums of all time. Without a doubt. The album showcases so many different sides of the band, but without straying so far away that songs sound out of place. Blending absolute radio anthems like singles Freddy Kreuger and Moving To Blackwater with heavier hard hitters like Our Song and Missing Fingers, whilst also slotting in slower soothers such as Song For Saturday and the album closer Dusk. They are the post hardcore band that didn't get enough attention. In my opinion, there's no one like them, they're so unique, and this was the album that started it all. They split up a number of years ago after releasing their 3rd album In Nothing We Trust, and their loyal following has been dreaming of a reunion. I am a part of that. If you've never checked them out before and you like bands such as Alexisonfire, Poison The Well, Taking Back Sunday and The Bled, give them a go. You won't regret it.




I'll do another one of these next month. If anyone has any music they'd recommend, let me know, I'm always open to give anything a go. Literally anything. My iTunes has everything from Drake to Dying Fetus.

Thanks for reading!

D.S
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