Palm Reader - Braille

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

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

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

D.S

x

Shields - Life In Exile

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

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

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

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

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



D.S
x

Glassjaw - Material Control

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

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

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

D.S

x

What I've Been Listening To - November 2017

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

Like Moths To Flames - Dark Divine

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

Polaris - The Mortal Coil

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

Converge - The Dusk In Us

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

Protest The Hero - Fortress

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

Every Time I Die - New Junk Aesthetic

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

Dance Gavin Dance - Mothership

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

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

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

D.S

x

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

x

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

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

x

36 Crazyfists - Lanterns

I remember the first time I heard about 36 Crazyfists. I remember it being a very important and pivotal part of my musical exploration as a teen. I bought an issue of Kerrang! magazine that had a free CD with it. I used to only buy issues of Kerrang! if it had a CD with it because, well, y'know, more for your money and all that. This CD was called "Ripped" if my memory serves me, and I don't really remember the bands that were featured on it. Apart from 36 Crazyfists. "The Heart And The Shape" was one of the first tracks featured on this CD, and it knocked me for six. The blend of heavy riffing with melodic vocals was an immediate winner for me. Up to this point in my life, I hadn't heard anything that was so punishing whilst also being so catchy and melodic. And that guitar tone, so gain heavy and punchy. I was hooked. The next day I took my paper round money to HMV and bought my copy of A Snow Capped Romance, and my love affair began that day when I completely fell for the album. I've always tried to stay in touch with what they've released, but I haven't been as tuned in since Rest Inside The Flames. I felt the need to focus my attention to their latest release Lanterns, something I feel like I should've done a few albums ago. Let's see if the Alaskan metalcore mob have still got that punch.

Album opener and first single "Death Eater" is a huge statement. They haven't lost their edge. A marriage of heavy riffs, pounding drums, and that catchy vocal over heavy guitar work that I've grown to know and love. This is one of the heaviest tracks on the record, and is a definitive nod to their roots and how they sounded back when they first started. "Wars To Walk Away From" is packed full of grit and power, courtesy of Brock Lindow's vocals, showcasing the lyrical theme of a personal journey, learning lessons from the things that are thrown at you and coming out on the other side. "Better To Burn" is thick and meaty, full of groove and decoratively littered with clean tones, giving a nice contrast to the harder sections. "Damaged Under Sun" is another track that sound like it could've featured on an earlier Crazyfists album, effortlessly merging that heavy guitar driven sound with catchy vocals. The following track "Sea and Smoke" is the first appearance of their softer and slower side, showcasing Lindow's command of his vocal chords and his ability to write strong melodies. It feels almost like a ballad, stripping the instruments back in the right places and allowing the atmosphere to build and put the emotive lyrics at the forefront of the focus. "Where Revenge Ends" gives you a chance to regain your breath after the first 5 tracks, featuring an acoustic guitar and Lindow's raspy and gritty voice lulling you into the calm. Further on in the album, "Below The Graves" is a big chunk of classic Crazyfists with a huge metal edge, equipped with an enormous chorus and some very well structured phrases. The verse riff has an almost southern edge to it, really adding a nice twang to the the vocals. Album closer "Dark Corners" is impressive, too; a dark and brooding way to finish things off. Lyrically the album is an insight into Lindow's struggles, so it makes complete sense to end the album with this vibe and intelligently bringing a sense of resolve to the album.

The album is great. It's everything you'd expect from one of their albums, but it just feels like it's lacking something. The back end of the album, for me, trails off. The first few tracks are all concrete, full of memorable moments and sharp songwriting, but everything towards the end just doesn't pack that same focus. I almost had to force myself to finish listening to the album, as I began to lose interest past the halfway point. It almost feels like half of the album is just filler, which is a shame. The production of the record is great too, but it doesn't blow me away. If you listen to their older material and then skip forward to this release, there isn't a lot of difference, which probably has something to do with guitarist Steve Holt being at the helm of the production process. In places, everything sounds a bit muddy and gets a bit lost. It isn't all bad, though. The guitars do sound just as punchy and gigantic as ever, the drums are snappy, the vocals burst through the mix nicely too. It just isn't consistent.

There was a bit of chatter that 36 Crazyfists had lost their way a little bit with the last few albums. I think that this album definitely shows that if they had lost it, they're back on track now with Lanterns. Although the album isn't a start to finish masterpiece, it has got some stand out tracks and some really memorable moments. Lyrically and musically dark in many places, this shows a real maturity to the bands sound, whilst still holding on to all of the elements that made them great when they first surfaced all those years ago. Definitely worth a listen for old fans and new. Not their best, but still a strong album that deserves a spin if you're fan of any of their back catalogue. They're back.

D.S

x

ALBUM WORSHIP // All That Remains - The Fall Of Ideals

Back when metal started to really become popular, we had the big four. Metallica, Megadeth, Anthrax and Slayer. There was always a band that was skimmed over, a band that I always thought should have made them the big five, and that band was Testament. They did everything the four big guns were doing, but with their own identity, and they did it well. They deserved it in my opinion. In more modern metal, I feel like metalcore also had a big four. Killswitch Engage, As I Lay Dying, Unearth and Shadows Fall. And I feel that the band missing from that is All That Remains. And that is mainly based on the strength of The Fall Of Ideals. In my opinion it's one of the most perfect albums from that era of metalcore, setting a very high standard from albums that followed it in the genre, and setting All That Remains apart from the pack as a band that needed your attention.

Opener "This Calling" throws you straight into the oncoming storm at breakneck pace, with thundering kick drums and snares ringing out over the melodic but heavy riffing. The riffing never holds back, dipping its toes in crushingly heavy sections as well as tearing through soaring and melodically complex leads. Phil Labonte (vocals) also shows off his chops here, demonstrating his control of his vocals with a range of different pitches of screaming, and showing off his vocal range with memorable and hook laden cleans. It acts as the perfect appetiser for what's to come. "Not Alone" features more of the same, starting with an intricate guitar harmony before erupting into a choppy guitar riff sat behind the robotic precision of drummer Shannon Lucas. Labonte uses clever vocal phrasing during the verses, matching the rhythms of the choppy guitar pattern which instantly makes it sound catchy. "We Stand" and Guitar Hero anthem "Six" feature more perfect blends of melody and heaviness, the latter showcasing exactly how to play around with dynamics and build suspense in metal. Roughly halfway through the track, the music completely strips back to a beautiful clean section, gradually introducing an octave guitar to the mix. Slowly edging forwards, it explodes into the full band, blazing through solos and then finding it's resolve in the form of returning to the chorus.

There are some much darker shades on this album, especially noticeable on tracks like "Become The Catalyst". Labonte kicks off the track with a long held out low vocal, immediately setting the tone for the 3 minutes that are about to follow. The riffs are all fast and evil sounding, a dark and winding road through a melodically chaotic scenery; without doubt the heaviest on the album. Closer "Indictment" is like a summary of everything you've heard up to this point, slowly moving through both the heavy and light elements of the album complete with brutal vocals, decorative guitar parts, soaring harmonies, crushing breakdowns and enormous walls of chords. The highlight for me is "Whispers (I Hear Your)", an expertly structured slice of riffage and melody. The riffs all progress and develop in the right places, continuously grabbing your attention throughout. The chorus vocals are so catchy too; they're instantly lovable and they sit with the rest of the track perfectly. It's essentially structured like a pop song, repeating certain sections in all the right places, adding a sense of familiarity throughout and ultimately making it memorable. The entire album is structured that way, really, which is probably why I think it's so good. Because it's so memorable. The album is everything you could want from a metalcore album and more. If you've got to the end of the album and you aren't hooked and wanting to listen all over again, you've been listening to the wrong album. This is absolute gold.

The album is, quite simply, a masterclass in metalcore. It contains everything that is good about the genre, and it's delivered with precision, feel and aggression in all the right places and in all the right doses. If you're a fan of the genre and you haven't indulged in this album, you absolutely need to. This sits right up at the top of the essential albums list alongside The End Of Heartache, An Ocean Between Us, The War Within and The Oncoming Storm. It might even be one of the best metalcore albums of all time. They're still going to this day, still releasing solid album after solid album. If you haven't indulged yet, make sure you do. They were pioneers of the genre when this album was first released back in 2006, and they still are today. 

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 // Sequoia Throne - Shattered Youth

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

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

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

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

Having An Album Out Is Weird

So, it's been a very hectic, strange, exciting, overwhelming, exhausting and eye opening few days. For many reasons. Pretty much from Friday last week onwards, I haven't stopped. I've been busy sorting things out, getting things in order, preparing for the future, travelling, playing shows, doing interviews, working, and trying to get my head in order. All of this has revolved around releasing my bands debut album. And releasing it has been completely different to what I expected.

All of last week, I can honestly say that the approach to releasing the album didn't really feel special. We'd been sat on it for a while, and I almost felt numb I guess? I just wanted the material to be out there, and I thought that once it was it'd just feel like one less thing to focus on. No real internal release, no weight off my shoulders, just another thing that happened during my week. I was very wrong. As soon as it hit midnight and I realised it was out, I emotionally crumbled. The sheer realisation that something we'd worked so hard on was finally in the public domain completely flooded my senses and I didn't really know what to do with myself. I almost had an outer body experience where all the weight within me just lifted. I felt like I was floating. I can't really explain it any other way that I felt completely weightless, carefree. I was just hovering in that realisation. And it was very overwhelming. Messages from friends started to appear in my inbox, all complimentary, all saying something along the lines of "you should be proud". I honestly don't think I've ever had this much support and praise from anybody about anything I've done in my life, and I didn't really know what to do with all of this. I still don't. It all feels very alien. Nothing I've done with my life has felt like this before.

I managed to eventually get some sleep, and I woke up to more complimentary messages. People sharing screenshots of their Spotify app playing our album, people taking pictures of their album pre-orders that had turned up on their doorstep. And then I started getting messages about Gonvena. I wasn't ready for these messages. For those unaware, Gonvena is a track on the album that I wrote about my mums death. The name comes from two things. The first is a place in Cornwall we visited a few times when I was growing up. The second is the name of my Granddad's house, the house my mum grew up in. My Granddad has outlived two wives and his daughter, he's had various types of cancer and survived them all, he's an incredible and inspiring human being. But it's all taken it's toll and he's now quite frail, and had to move out of his beloved house. Naming the song Gonvena was my way of keeping mum and my Granddad together. I'd been listening to this song for months, but this was new to everybody else, and it's now impossible for me to listen to. The way I feel about my mum passing appears to have been portrayed in the song, and the support and praise I've had for that in particular has been a lot to take in. I was not expecting a response like this at all. From Friday onwards I've done a lot of crying and I'm not ashamed to say that. When it comes to my feelings, I am a bottler. I push everything real far down so no one can see I'm struggling. Releasing this album and, in particular that song, has allowed me to let everything go and feel a little.

I'm still receiving messages today. We played Macmillan Festival on Saturday, a festival I hold particularly close to me, and we were receiving compliments and praise whilst there too. We got played on Kerrang! Radio last week, and Alex Baker was very complimentary towards us. We're in this months issue of Rock Sound. A lot of things are happening at the minute and my brain and body don't really know what to do with it all. I can't explain what I've been feeling for these last few days in any way other than overwhelming. It really has been. I just expected a few "hey the album is cool" from some friends, but what we've actually had has been much more than that, and I honestly can't say thank you enough. This band over the last few months has been incredibly difficult to be a part of. There have been a lot of internal struggles that you haven't seen, a lot of arguments and disagreements, a lot of stress, loss of drive, frustration, depression. But everything we've heard, read and seen since the release has made everything worth it, and in all honesty it's probably saved us. So thank you.

Come and say hello to us at a show. We've got a brand new set to share with y'all.

Thank you for listening to us, thank you for watching us, thank you for talking to us, thank you for everything. Thank you for reading this.

D.S

x

A Week Today...

In exactly one week, Skies In Motion release our debut album Life Lessons. We have waited a very long time for this moment. It feels like a lifetime ago. It's been an especially painful wait for me, as all the material currently available in the back catalogue doesn't have me on it. I joined the band after they released the Dreamer EP and just after they recorded the standalone single The Light. I've been dying to get music I've had a hand in writing into people's ears. We've released a few singles, so that's started to happen, but releasing this album is a milestone, and I can't wait to reach it. The end of one road and the beginning of another.

Not long after I joined the band, we played a string of really cool shows all over the UK. The stand out show, however, was with Killswitch Engage at The Rescue Rooms in Nottingham. Just us and them. Supporting our idols and heroes, but not just as A support band. We were THE support band. I held a door open for Adam Dutkiewicz and he said thanks to me, and I tried to respond but instead said "eeeiihhhhhh". The most surreal and stand out moment of my time in this band. I don't think any of us came away from that gig uninspired. And not long after that, the conversations began. "When are we going to start writing the album?". And after a practice a few days later, me and Andy sat down and started. The first thing we wrote was a very early version of what ended up being the chorus in Cascades. I had some riffs to contribute from when I was at University. I recorded a bunch of material for some coursework projects, part to prove songwriting ability, part to prove I'd paid attention and knew how to record stuff and not make it sound like a 5 year old did it. I sent all of this to Andy, and he took what I'd done and began to develop it. The backbone of the songs stayed, but they became something more than what I'd written. They essentially became the way I initially pictured them being in my head, but couldn't create alone. The process had begun. And we were all excited.

All the above was the easy stuff. The parts that flowed out of us or were already written took little to no effort to develop. It was everything that came after that that was the challenge. Sitting in my flat for hours jamming riffs to each other trying to find something that we could develop or something that was cool and needed tweaking. Some days we wrote a couple of riffs. Some days we wrote full songs. Some days we wrote nothing at all. Bare in mind this would be 4 or 5 hours at a time, and we were meeting up 2 or 3 times a week to try and get this all written whilst also juggling full time jobs, gigs, practices, relationships, eating, sleeping and so on. Some days we thought we'd never finish. And eventually, after many months, we decided to take a look at what we'd written, and when it was all put in a folder, we realised we had enough. More than enough. We'd done it. We sent it to Adam so he could write lyrics over it, turns out he'd had lyrics written before we'd even finished writing the record. So there we had it. We'd written the album. Now we needed to record it.

As I mentioned in my previous post, we recorded the album with Ben Gaines, our drummers brother. The recording process basically began with us giving Ben everything we'd done, him laying it all out into an organised project file, and then recording everything again, only with guitars that don't sound they're underwater and drums that don't sound like they've been imported from a SEGA game. The drums were the first thing we addressed, and mapped them all out in the software to a drum program. Even at that point they sounded great, but they weren't permanent as Sam wanted to record his drum parts (which he did like an absolute boss, I'll get to that later). Then me and Andy spent a few weeks smashing the guitar parts out. We wrote a LOT of intricate guitar parts and layers, this took longer than we expected. Some of the riffs really came to life when we recorded with Ben, and started to really stand out and become more impacting than we initially realised. It was a really enlightening and uplifting process. We finished everything apart from a couple of clean parts, we were on track. We recorded a few vocal parts, a decent chunk of them. But then, shortly after this, the hurdles began presenting themselves. We went on tour, preventing us from recording. I don't regret those tours, Europe is one of the best things I've ever done in my life, and the fact music allows me to travel and see the world is something I can never be thankful enough for. But when we got back, we were exhausted, and we didn't get back in the studio for months. And then we started arguing. Getting at each others throats. Nit picking, blowing things out of proportion, getting stressed out and burnt out, and it was swallowing us. It was becoming like a musical ocean. What I mean by that is, when you go out to sea, people always worry about sharks. About having a swim and a shark swooping in and making you its dinner. In reality, sharks don't kill that many people. The water kills thousands, people drown all the time. The sharks were the issues we were blowing up over, but these issues didn't really matter, we were already in the water. I feared we'd never get the recording finished. So I sat everyone down in the back of our van after a show in Birmingham, a sort of realigning pep talk of sorts. No shouting, no voice raising, a conversation between five friends, planning a route forwards and a goal at the end of that route. And it worked.

One of the first things raised was getting the drums recorded. So we booked studio time, 5 days of it, and Sam spent months preparing. He'd sit in his drum room for hours with headphones plugged into his phone and drum along to the entire album, time after time after time. He became a machine. And when we came to record the drums, he recorded everything in 2 and a half days. Normally beast mode is used in reference to people with big biceps and snapbacks that forget about leg day at the gym, but that day, Sam was the sole definition. He absolutely didn't forget leg day, there's some double kick patterns on this album that sound like actual thunder. He killed it. And now all that was left was the remaining vocals and a couple of guitar tweaks. Adam, Andy and I all have vocal parts on the record, and we spent a solid week or two honing everything in. Tweaking, adding things, taking things away, rewriting melodies, restructuring patterns and lyrics. Ben came up with a ton of good ideas and helped write one of the catchiest choruses on the entire record. And then, we recorded a tiny vocal part, one of the tweaks I think, and realised we'd finished. Like actually finished. The album was done. I can't explain the feeling of all that weight that lifted off me. It was a genuinely emotional moment. I mentally and physically felt lighter. We all had a celebratory pizza party afterwards which helped put some of the physical weight back on, just watched some videos on youtube and hung out as friends. Probably the first time we'd all sat back and just enjoyed each others company in months.

We both lost and gained a lot of things during this whole writing and recording process. We lost Pete, guitarist and founding member (who I replaced). We lost Lou, bassist and founding member (1st picture). We lost Daryl, bassist and Greggs no.1 fan (2nd picture). We've all lost relationships, both friendships and romances. Sam's lost some family members. We lost Adam for a few hours in Barcelona. For a big chunk of 2015 and 2016, we'd all lost our minds. But we have gained an album. A documentation of all of this. 12 tracks of music that we're proud of, that tell a story that's much bigger than the 5 of us. And we hope you enjoy it.

September 1st. This album will be available everywhere. PLEASE check it out.

You can pre order a physical copy by clicking here.

Thank you for supporting us.

D.S

&

Skies In Motion

x