Single Review - Pure Love : Bury My Bones (2012)

When former Gallows frontman Frank Carter left the band in the summer of 2011, it was a huge shock for both fans of the band and heavy music in general. While Gallows had cemented themselves as one of the best punk bands to emerge from the UK in a couple of decades, their hype was growing and they were nearing a point where whatever they were to release next was sure to be career defining. Then, the whole ‘musical differences’ story came out, Frank was wearing a t-shirt with the slogan ‘Pure Love’ on it for his final Gallows shows and it was clear that the charismatic singer was moving onto pastures new, probably for the good of himself rather than the good of his band-mates.

Gallows got to work recruiting a new frontman in the shape of former Alexisonfire guitarist Wade MacNeil, recording and putting out a short and snappy EP of new material, and all the while Frank fell off the face of the planet, busy recording with his brand new project, Pure Love, alongside former The Hope Conspiracy guitarist Jim Carroll. There were promises that the new project would be going in a completely different musical direction, but perhaps fans of Carter still assumed that this would be hardcore, because that’s what the man seems to do best. Rumours circulated and the world finally got a look at what Pure Love would be when some videos of their debut sold-out show at Bush Hall in London emerged on YouTube in January of this year.

Now, it had mainstream rock ‘n roll written all over it, but it seemed to retain the heart and soul that Frank clearly pours into his work. A few months later, the debut single from Pure Love hit (a free download from their website) and the intentions of the duo are all but confirmed. The song, ‘Bury My Bones’, is a structured modern rock tune with Frank flexing his singing muscles and Carroll bashes out chords that wouldn’t be out of place on a KISS record. The song is pop-tinged, a mature sound enveloping it, however the captivating edge that made Gallows so difficult to avoid is missing here. Sure, it’s a solid track with a lot of positives, but fans of Carter’s past works may not be entirely happy with the first look at what Pure Love is set to be. The web has already drawn comparisons with The Darkness (based primarily on the guitar work in ‘Bury My Bones’) and that is quite fair, especially when the guitar solo kicks in.

One thing that is clear is that Frank is happy with this musical direction. His Twitter feed is clogged with positive words about the project and thanks for the good feedback after this song arrived. Pure Love will no doubt offer him a new challenge, but you could argue that Carter quit Gallows before his time. If he just stuck around and recorded just one more album with the band before venturing off, it may have been the best Gallows record yet. But that said, if he wasn’t happy, then he must be applauded for the bravery that comes with leaving a band at the very top of their game.

Pure Love is vintage rock, modern pop, singer-songwriter stuff, with a raw sound that some would say is too simple and easy to do, but it has all of the right elements for the band to pay off and have mainstream success. Frank is clearly a smart guy who isn’t afraid to take risks, and this track will leave fans of him and those whose experience of Pure Love is their first listen to Carter itching for a full-length release.

Album Review - Cancer Bats : Dead Set On Living (2012)

Toronto natives Cancer Bats hit the big time with sophomore album ‘Hail Destroyer’ back in 2008, a record that put Southern groove back on the map with a combination of metal and punk that was equally ferocious and intense. After several years of hard work, big shows and good times (including a stint touring as Black Sabbath tribute act, Bat Sabbath), the third album from the band, ‘Dead Set On Living’, arrives with a bang. The band have cited 2012 as the year they will ‘quite being bummed out and rip it’, and if this release has proved anything, it’s just that. ‘Dead Set On Living’ will be likely to start riots at shows, because each track has the potential to cause one. It’s that damn good.

‘R.A.T.S’ is a blasting opening track that is full of angst and resentment, showing that the Bats mean business. It’s another anthem for the ‘children of nothing’ (as mentioned in arguably the band’s best song from the album of the same name, ‘Hail Destroyer’), a fist pumping punk song that is powerful and exciting. There are distorted revs of a guitar (that sound remarkably like a motorcycle engine) before heavy riffs tear along with Liam Cormier’s buzzsaw vocals. It’s raw, stoner rock with clear hardcore tendencies.

 ‘Bricks & Mortar’ is another banger that gallops along incessantly, keeping the foot pushed down on the accelerator. The screamed chorus is enormous and glass shattering, Cancer Bats building up a wall of sound. There is clear passionate lyrical content with sheer style. Recent single ‘Road Sick’ is an energetic call to arms for the workingman, with heartfelt wails, punky chords and furious drums. A guitar solo screeches and pushes the song towards the ‘best ever’ Cancer Bats song territory. These first few tracks are a real white-knuckle ride, proving that the Bats have the balls to push the boundaries.

‘Breathe Armageddon’ continues the barrage on the senses with some Southern metal licks and a slow swaying beat. Sludgy riffs combine with thick bass and pounding drums, making this a strong track with a positive sound. Title track ‘Dead Set On Living; slows the pace with a much more understated take on the hardcore/punk edge of the album. It’s a no-frills hard rock song that is both unpredictable and dangerous.

‘The Void’ is 100% old school metal (think a modern Black Sabbath – who coincidentally the Bats have idolised as tribute band Bat Sabbath on a recent tour). The song builds with big distorted chords into slow thunderous riffs. The track coasts along in a slow gear as vocals howl and the guitars assert their dominance. The sound of Pantera filters through as the track nears the end, the potent Southern attitude centrestage. Another single from the record, ‘Old Blood’, is noisy and full force, a real dirty headbanger with brashness. The funky aggression of this track keeps things fun, which is in keeping with the sound of the rest of the album.

‘Drunken Physics’ keeps the balance with fast riffs and venting vocals. The fantastic changes in pace are dynamic and impressive, while the drop into a quiet build at the midway point of the song is a joy to listen to before the meat of the song returns. ‘Bastards!’ is a bludgeoning metal track with wonderful guitar work (with the recognisable Cancer Bats sound drenched through it). Vocals are intense, with guest slots for Dez Farfara (Devil Driver) and Kate Cooper (An Horse) giving the song a different dimension from anything else on the record. It’s a hardcore piece with enough melody to make it stand up and be counted.

‘Rally the Wicked’ is a furious fast punk beast, the guitars just as dirty as the bass is thick, with some excited vocals from Cormier.  It keeps the hardcore passion and continues with the impeccable assault, even at this late stage. Final track ‘New World Alliance’ is something different, feeling gothic, nu-metal and black metal, all in one big melting pot. It strays into territory that the band have yet to visit on any of the past releases, and it’s a surprising and sombre close for this album. It’s dark and bleak, with growling vocals (channelling Alice Cooper and mid-80s glam rock) in a neat modern punk rock box.

‘Dead Set On Living’ is the most accomplished and well-rounded Cancer Bats record to date. If you haven’t yet experienced the power of this band, this is a fantastic place to start.

Album Review – K-Lacura : Portraits of the Faceless (2012)

 

Didcot quintet K-Lacura have been making a name for themselves on tour with the likes of Glamour Of The Kill, Ghost Of A Thousand and will also soon support huge UK progressive band The Safety Fire, and now they’ve released an album to attempt to back up their hype entitled ‘Portraits of the Faceless’. It’s a debut album with energy, solid structure and a thrilling edge, and although it isn’t entirely original in both sound and atmosphere, it has accomplished moments that show potential.

The album starts with ‘Beneath the Buried’, which sets the band at all out attack, with fast riffs and faster rhythms combined with harsh vocals that sway back and forth between smooth sung melodic parts. The dual guitars work well and as the track continues an insistence on fury and aggression gives the song memorable dynamic. ‘Carouse’ slips into generic territory at times, and although the instrumentals are executed well, it feels like a less effective version of a Funeral For A Friend track. It’s that band that can be heard in droves, although the impeccable melodic streak is missing.

Title track ‘Portraits of the Faceless’ is a lot more promising, and it’s a surging beast of a song with brutal riffs and thrashing beats, although the clean vocals struggle to sit well on top of the instrumentals. When the song kicks into overdrive and the vocals are screamed, the track has edge and danger, and that’s where it really thrives. ‘Drop Down’ is powerful and vigorous, the vocals steering into the fast-spat territory of nu-metal, yet the track never feels lodged in the past. It has a definitive groove and intensity , which drives the song along in overdrive as solos coarse over chugged riffs.

‘Severed & Silenced’ has a delicate and harmonious intro (with strings and guitar) before cymbal crashes and a bellowing roar bring in a slow-groove heavy behemoth with awakens the record from potential slumber. As the tempo is pushed, the excitement of the track is clear and this is the most enjoyable song of the album so far. The shifts in pace are expertly done and keep the listener on their toes. ‘Receiving End Of Bullets’ may have a bit of a terrible song title, but  the track is a real thunderous white knuckle ride. There isn’t great substance behind it, but it is fun none-the-less, with raging guitars and commanding vocals.

‘Fold’ goes back to basics with an impressive take on punk-metal, ‘Thirty3’ is an adventure but never really reaches the heights it hints at, ‘7448’ is engaging  for a while but never really gets going, while final track ‘S.H.I.A.B’ is utterly bland.

The band may have taken 6 years to release their debut album, but it would appear that time hasn’t allowed the sound of the band to really mature and become something amazing. Unfortunately, ‘Portraits of the Faceless’ is fairly forgettable, although there are some shining moments that give K-Lacura an essence of potential. There are fundamental flaws that can be addressed, and if they are, this band could really be a force to be reckoned with.

What I've Been Watching (March 2012)

SOME SPOILERS AHEAD

March was a great month for me to take a look of many highlights from 2011 that somehow passed me by, with Paddy Considine’s directorial debut ‘Tyrannosaur’ being one and comedy hit ‘Bridesmaids’ being another. I also indulged in some mind-numbing action (‘In Time’) and some cult classic cinema (‘Lost In Translation’), while the second half of the second season of ‘The Walking Dead’ drew to a surprisingly positive close.

Straw Dogs (2011)

This was a remake in every sense of the word, certainly not a reimagining, of the 1971 British movie ‘Straw Dogs’, and despite moving the setting from rural England to the deep south of the US, the attention to detail in terms of almost identical shot-for-shots and dialogue took away from what could have been a decent retelling. The movie centres on L.A. screenwriter David Sumner (James Marsden) who relocates with his wife to her hometown in the Deep South. There, while tensions build between them, a brewing conflict with locals becomes a threat to them both, especially from Sumner’s wife Amy’s (played by Kate Bosworth) ex-boyfriend (played by Alexander Skarsgard). The sense of dread is still there, but Marsden’s leading man isn’t nearly as captivating as Dustin Hoffman was in the original, and while the story is a slow burn, it’s credible enough to capture a new audience and is a solid thriller, although at times the decisions of the characters can be infuriating. 6 / 10.

Eternal Sunshine of the Spotless Mind (2004)

I’ve always had a great love for ‘Eternal Sunshine of the Spotless Mind’, and it’s a love that grows the longer I spend away from it. After a couple of years I decided to invest in a Blu-Ray copy of the movie, and I am very happy that I did so. The visuals, excellent cinematography and eccentric style from director Michel Gondry makes this dysfunctional love story one of my favourites of the last ten years or so. Jim Carrey plays a heartbroken man, Joel, who decides to undergo a procedure to erase the memory of his unhinged ex-girlfriend, Clementine, (played by Kate Winslet) but soon regrets his resolution and struggles to keep hold of the memories of her within his own mind. The story is non-linear and erratic, displaying the details of the Joel and Clementine’s relationship (from the major to the minor) with the visionary direction from Gondry picking up all the quirks or a modern day romance and the writing from Charlie Kaufman specifying the deeper elements of memory, love and heartbreak in a way that is both easy to relate to and grounded. The cast is fantastic, and while this is a romantic comedy of sorts, it never feels like it, which is why it is so timeless and enjoyable. My MOVIE OF THE MONTH, of course, with 9 / 10.

Tyrannosaur (2011)

The directorial debut from Paddy Considine has been on my ‘must watch’ list for a good while, and when I finally got around to giving ‘Tyrannosaur’ my full attention, I wasn’t disappointing. The movie is an exceptional piece of bleak British filmmaking, tackling the issues that surround the day-to-day lives of the working class and the demons that can effect the average man or woman. The subject matter can appear dreary, but at its core the film is a life-affirming tale of two very different people coming together and supporting each other throughout the various trials they face. The acting is amazing; with Olivia Colman (of ‘Peep Show’ fame) delivering a damaged performance that is note-perfect. Considine’s direction is concise and this film will stay with me for years to come. Intense and though-provoking, 8.5 / 10.

The Sitter (2011)

Jonah Hill (before he lost the weight!) stars in a no-brain comedy that was easy to watch and even easier to forget about, but during the running time I quite enjoyed the gross-out/over-the-top type of comedy that Jonah Hill excels at, and even the addition of a trio of kids (who Jonah is babysitting) doesn’t give the movie an annoying or heart-warming edge, which makes it a riot. Sam Rockwell is awesome as a unhinged yet loving gangster and his performance makes this movie worth a watch, but only a 5.5 / 10.

We Need To Talk About Kevin (2011)

Tilda Swinton stars as a mother who has a difficult relationship with her son, Kevin, from birth, and this difficulty soon manifests itself in the form Kevin committing a terrible crime. This movie looks for the root of the boy’s evil, be it from his strained relationship with his mother or a significant mental issue from birth. ‘We Need To Talk About Kevin’ is an accomplished and understated thriller, exploring the life of Kevin from infancy to his teenage years. Swinton’s performance is pained and controlled, and it’s a great role for an actress whom I have never been keen on in the past. 6 / 10.

Young Adult (2011)

Charlize Theron stars as an unhinged recent divorcee who returns to her hometown to try and rekindle love with a childhood sweetheart in ‘Young Adult’, a comedy drama that has heart beneath the self-loathing. It’s a great performance from Theron, who plays the manic-depressive pretty well, while the supporting cast do well to allow her to shine. It isn’t massively enjoyable, however, and the constant cringe worthy moments feel occasionally overdone. It’s in no way a chick flick; more of a quirky take on that genre (it is from the writer of ‘Juno’) but probably worth avoiding if there are better things to watch, like movies about hunting trolls. 5 / 10.

Trollhunter (2010)

Norwegian movie ‘Trollhunter’ takes the form of another found-footage movie, but this one starts as a basic documentary following a crew looking for those responsible for recent bear killings. Of course, things take a drastic turn, with a mysterious Trollhunter getting caught up with the filmmakers who follow him on his quest to capture/kill several escaped trolls. It’s a fantastic thrill ride and the special effects are very well executed, making it one of the less forgettable found-footage movies. 7 /10.

Lost in Translation (2003)

Now, this really is a classic. While ‘Lost In Translation’ defined indie filmmaking almost 10 years (yes, 10 years!) ago, it’s the kind of movie that doesn’t lose its delicate, unwavering beauty, even after many viewings. It’s Bill Murray’s definitive 21^st century role and arguable the film that out Scarlett Johansson on the map, and the fact that it all takes place in one of the most exciting cities in the world, Tokyo, makes it an endearing movie that has a place in my heart. Murray stars as a past-it American actor visiting Tokyo to work on a whiskey commercial, while Johansson is a neglected newlywed who meets the actor and strikes up a bond with him. Essentially, it’s a love story, but it’s never as black and white as that, and the sheer simplicity of the characters makes it so timeless. I’m welling up here… it’s just beaten to MOVIE OF THE MONTH by ‘Eternal Sunshine of the Spotless Mind’, but does get a respectable 8.5 / 10.

In Time (2011)

An action film with a dumb premise (where everybody lives on time rather than currency) and a leading man in the form of Justin Timberlake was never going to do too much for me, but unfortunately this was so bad that I almost switched off (almost) and switching off is a rare occurrence for me. It has to be really bad for that, so to come so close gives you an idea of how much I disliked this. I won’t go into detail, but if I asked a brain-dead chimp to write a science fiction flick I’d probably end up with something far more exciting than this. A definite SHIT MOVIE OF THE MONTH with 3 / 10.

Bridesmaids (2011)

I’ve been meaning to watch ‘Bridesmaids’ for a long time, and I’m not entirely sure why I didn’t get round to it sooner. It got rave reviews and the nearly all female cast had received plaudits for putting females comedians back on the map with their take on a gross-out, over-the-top comedy with a heart. It’s a hit, and rightly so, because the comedy moments are aimed specifically at both genders, making it enjoyable for anybody looking for a simple laugh and not a female power trip. Great fun, 7 / 10.

The Walking Dead – Season Two (from Mid-Season to Finale) (2012)

There was certainly a time during the first half of season two that I felt like giving up on ‘The Walking Dead’, but somehow I persevered, my love for the graphic novel series outweighing my intense hatred for certain characters in this TV show and their ridiculous, clueless and illogical decision making. Unfortunately for the show, the second half made me feel the same and worse, and for a lull that lasted almost 4 episodes, I was ready to switch off for good, which would have been a great shame. Now, a lot happened in this second half of season two (yes, confusing, these damn mid-season breaks aren’t my favourite) but not until the last 3 episodes or so. The rest of the episodes were the characters going through the same old motions, coming together to make bland decisions about bland things that I didn’t care about and I’m sure the writers can’t have been incredibly involved in. But the last 3 episodes save The Walking Dead from extinction, with the plot turns, killing of major characters and move away from the farm (about time!) leaving me actually looking forward to season three. Could’ve been a lot, lot better though, so only gets a 6 / 10.

Snowtown (2011)

Gritty Australian crime drama gripped me with last year’s ‘Animal Kingdom’, and ‘Snowtown’ did just the same, with the true story about notorious Aussie serial killer John Bunting and the story of his role as twisted mentor to a 16 year old, as he takes him under his wing and inflicts his traits onto the young boy. It was as dark as ‘based on a true story’ dramas come, but for me it wasn’t as shocking as I expected it to be. Sure, there were some truly gruesome and terrifying moments, but I didn’t feel as though there was as much tension as there should be. 6.5 / 10.

The Ides of March (2011)

2011 was the year of Ryan Gosling, and alongside his starring role in ‘Drive’; the George Clooney directed/co-starring political drama ‘The Ides of March’ was also a huge success for the actor. Gosling stars as a member of Clooney’s presidential candidate staff and the movie centres on the strained relationships between the major players as dirty politics are used and blackmail is commonplace. It was a well-rounded film based around subject matter that I don’t have a great interest in, and I was impressed. 7 / 10.

Transformers – Dark of the Moon (2011)

I have a love/hate relationship with Transformers movies. The premise/ideology/nostalgia behind them is fantastic, but both of the movies prior to this third instalment have fallen short with me. Sure, the first had its perks, but the second was a mess and left me feeling like the series had died. But of course, the Michael Bay films are a major draw for audiences, so a third got the green light, and to be honest, I was pleasantly surprised by what ‘Transformers – Dark of the Moon’ had to offer. I had forgotten many plot points from the other two, but falling into this movie was easy, and even the absence of Megan Fox didn’t deter me too much. The action is as insane and mind-boggling as ever, but the set pieces were outstanding and the story actually seemed to have some substance behind it. And Rosie Huntington-Whiteley really isn’t a bad replacement for Megan Fox. 6 / 10.

Single Review - Heights : These Streets / Gold Coast (2012)

2012 is very much the year of British hardcore, and of many of the biggest names that are currently rising to the top, Heights are certainly leading the pack. The Hertfordshire five-piece have recently dropped two new singles from their upcoming album (both of which were played on Daniel P Carter’s Radio 1 Rock Show in the last few weeks) to give fans a flavour of what to expect from the follow-up to from last years fantastic debut album, ‘Dead Ends’ (which was coincidentally one of my favourite albums of last year and is still constantly played in my household).

Heights aren’t your standard hardcore band. First of all, they are quintessentially British, and that can be heard in everything from the aggressive and powerful vocal style to the raw guitars. Secondly, they have a slow groove to them that no other hardcore band on the UK scene has, and that’s a real testament to them. To play at a slower speed and still maintain the pure energy they have is a talent in itself, and to deliver such heartfelt and uplifting tracks the way they do, which are packed in a tight box of brutality, has to get the world standing up to pay attention.

Both of these singles new singles, ‘These Streets’ and ‘Gold Coast’, display the best of Heights from both ends of their spectrum, which happen to be that of attack and melody. Combining both of these seamlessly makes for a couple of wonderful tracks that really stick with you after several listens and wet the appetite for a full-length release as soon as possible.

‘These Streets’ starts with a distorted bass line that chugs away before hardcore guitars and harsh scream take over, full of distinct Heights passion and venom. A chorus quickly follows, soaring with octave chords and continued intensity, proving that simple riffs can be executed with a unique swing that gives heavy music a definite turbulence. The bass line continues are the song reaches the end, bringing in a huge breakdown finish as vocals tear through before a final chord rings out.

The music video for this track was filmed around the Welwyn Garden area of Hertfordshire, close to the houses of the band. That’s why the band are so accessible, they are very grounded with their style and the music is (and always has been) centre stage for the lads.

‘Gold Coast’ switches things on their head, getting going with an understated picked melodic riff before the verse kicks in, but not yet at full force, remaining in a low gear but keeping the primitive and scowling screams. The track has a captivating sound, which doesn’t remove from the grand scale of the Heights brutality. An anthemic chorus soon hits, which is loud and moving, slipping in between the other parts of the song effortlessly. The end of the song comes with an instrumental section that splits the bulk of the track, revisiting the quiet notes from the beginning before drums build into an aggressive finale which is followed by a quick fade out that certainly leaves you itching for more.

Heights are proving that they are a force to be reckoned with, their recognisable hardcore setting the band apart from anybody on the scene right now. These new songs promise a lot for the album release later this year, which is sure to explode once it drops. Heights are the future, everything else is the past.

The band play ‘Hit the Deck’ Festival on the 22^nd of April as well as Ghostfest at the end of June (details below).

The two new singles can be downloaded at:

http://www.weareheights.com/

Album Review - Upon A Burning Body : Red. White. Green. (2012)

 

Upon A Burning Body, from San Antonio, Texas, are a metal/deathcore quintet that wear their hearts on their sleeve when it comes to creating a brand of ‘no bullshit’ heavy music that doesn’t adhere to trends and certainly doesn’t hold back. The band (who are signed to Sumerian Records) came to light with debut record ‘The World Is Ours’ and now, 2 years after the release of that album, have hit back with ‘Red. White. Green.’ It’s an exciting and edgy group of songs, with each track being named after the movies of Texan director Robert Rodriguez, showing that pop culture crossovers really do work well.

The album starts with ‘Game Over’, a short and snappy burst of insanity (which is also a reference to ‘Spy Kids’, would you believe?) with heavy vocals and excessive technical breakdowns/rhythms. It sets the scene for the epic scale of the album, which gets well and truly started with ‘Sin City’, which is a behemoth in every sense of the word. Melodic guitar brings in the track, which is made up of layered chugs and venomous vocals. A thrash sound is paired perfectly with deathcore, making it a fun, heavy song with blasted verses, intense gang vocals and guitar wizardry. The simple yet effective lyrics are delivered with anger and passion, making the song a straightforward hardcore experience that doesn’t mess about. ‘Once Upon A Time In Mexico’ is the album highlight and lead track, which includes new tricks added to the UABB sound, including a clean/screamed dual chorus, which is a first for the band. This scathing track has a rare melodic value amongst the brutality, with groovy riffs that give the song a great bounce. The shredding is second to none, the vocals are strong and the song has real direction.

‘Texas Blood Money’ is catchy, fun and brash. It’s a party song, and while it does glorify violence and drinking, it’s clearly a tongue-in-cheek anthem for Texas, even including homage to Pantera and their track ‘Walk’. Vocals are bombastic and boastful, which results in a shallow but easy to follow headbanger that has the obvious message, ‘don’t fuck with Texas!’ An interlude arrives with ‘El Mariachi’ that is a classical Spanish guitar piece in keeping with the movie it takes its name from. Layered Mariachi playing styles are a testament to the talent of the band.

‘Desperado’ has pummelling beats, shredding guitars and bellows from the fires below, never letting up and providing a barrage of sound that is devastating and memorable. ‘Mimic’ is another face melter, tearing along the momentum and taking no prisoners. Rage is channelled into a superb song that adds enough melody to stop it being repetitive and mind numbing. ‘Predators’ is a slap in the face and shows that this album doesn’t yet have any intention of slowing down. The lyrical content of the track is deeper than the rest of the songs, all of which tend to include more ‘fucks’ and ‘yeahs’ than is needed. Halfway through the song is stripped away to low growls and heavy riffs, giving the song a ‘big balls’ edge that makes it a joy to listen to. The song ends with a melodic picked lick that fades away majestically.

‘From Dusk Till Dawn’ captures the ferocious edge of the movie it takes its name from (which happens to be my favourite Robert Rodriguez flick), with doom riffs, evil chords and huge vocals. The rhythms are tight, making this the tightest song on the record, and solos whizz by with angst and horror. A low growl brings in an efficient breakdown before an abrupt end. ‘Planet Terror’ is a tribute to B-movies and begins with a high-pitched female scream before the standard UABB beating begins. Horror infused lyrics are behind the intense instrumentals, which makes another fun track with a devious undercurrent.

Final track ‘The Island of Lost Dreams’ (which is another song named after a Spy Kids movie!) starts with stunning melodic guitars and when the heaviness drops it’s not full force, yet a more measured approach from the band, which is pleasing to hear. The same melody carries on throughout, pushing through to a soaring chorus and switching to breakdowns that are some of the best this album has to offer. The track builds up to an epic conclusion, fading out with a melee of strings, bringing proceedings to a close on a hushed note.

‘Red. White. Green.’ is a fantastic album from a band destined to start making huge waves on the metal scene in the next 12 months or so. The sound they create is individual and memorable, which it needs to be in the current climate, and this album will continue to gain new fans for a long time to come.

EP Review - Amongst Carrion : We That Should Not Be (2012)

Welsh metal five-piece Amongst Carrion have been working hard to make a name for themselves in UK metal, and their EP/mini-album ‘We That Should Not Be’ is a signal of intent by the band to catapult themselves further into the public eye. Hailing from Newport, the group unleash their debut offering onto unsuspecting ears, their heavy music a blend of pure metal joy, with many well executed melodic moments amongst the madness.

The record starts with a storm brewing on the horizon, threatening to erupt as delicate piano notes set the scene. ‘Shadows Over Me’ starts with a deep inward breath, before a colossal wall of sound arrives, with thrashing guitars and intense vocals, the sound immediately evoking the likes of Lamb of God and Parkway Drive. It’s a heavy mix with many mainstream acts in the melting pot, but the sound that Amongst Carrion have carved out is all their own. The song is hearty and thick, the drums pounding like a pneumatic drill. It’s a constant barrage of sound, where the low vocals are as good as the high screams, the additional melody coming from the guitars adding another dimension to the sound. A twist is taken with a great breakdown, and this is where the song is at its heaviest. 

‘We That Should Not Be’, the title track and mini-album centrepiece, comes in with octave chords and uplifting beats, creating a song that has the melody of Killswtich Engage and the white knuckle brutality of Whitechapel. The drums are insane, and the riffs chug along with fantastic energy, providing the band with a devilish sound that has great technical efficiency. ‘Painted Red’ has stop/start guitars, angst-ridden vocals and precisely placed melodic accents. The band are clearly a talented bunch with a real ear for what makes a memorable metal track. These riffs stick in the head and the soaring notes push the song on, keeping the listen well and truly hooked. A low growl brings in a heavy breakdown, which is a real kick to the teeth, and the final chorus fades away leaving a real lasting impression.

‘The Fear In Her Eyes’ is a combination of popular heavy bands such as Parkway Drive and August Burns Red, with relentless beats and riffing in a song that never lets up or allows the listener to catch their breath. Picked guitars fade in as the song gains momentum, with screams that are full of intense anger. ‘Snowblind’ starts at a fast pace, but feels slightly stagnant in the aftermath of what has come before, flagging as the album draws to a close.

This EP from Amongst Carrion is worth a listen for fans of British metal, but won’t do too much to stir up the scene at the moment, which is absolutely full to the brim with amazing talent. The songs are well put together and the band have carved out a sound for themselves, but the EP in full gets lost at times. Despite that, this band definitely have the potential to go further.

Album Review - Your Demise : The Golden Age (2012)

The latest release from UK hardcore band Your Demise is sure to be the album that will make or break their career and it’s a huge risk for them to take with a swing in direction for their sound. Controversy has surrounded them and their fans have been divided ever since the departure of original vocalist George Noble from the group. That controversy has been increased since the release of the music video for ‘These Lights’, which sees the band embrace an American pop-punk style which is nothing like this band have done before. Does it pay off with the full-length album, ‘The Golden Age’? It’s safe to say that it doesn’t, and that’s not just because it’s different, because different can be good, but it’s so utterly forgettable for a massive percentage of it that it’s one of the most disappointing heavy releases of 2012 so far.

The opening and title track is a short, sweet and heavy kick to the gut, packing a punch with throat-burning vocals, thunderous drums and furious guitars. It’s a great heavy start to the album, keeping the hardcore roots of YD with a recognisable punk edge. The momentum of this track is knocked backwards with ‘These Lights’, which gets my nomination for one of the worst songs I’ve heard in a while that comes with the tag ‘hardcore’. It has been the centre of much criticism from diehard YD fans, and the swerve towards pop-punk isn’t just extreme, but it’s done with such haphazard disrespect for both genres the band intend to slip into. It’s definitely an attempt at mainstream success, but the sugar-coated melodies are loaded with such mind numbing lyrics that it feels like a parody for the duration. The video is intolerable (seeming like a fashion show for frontman Ed McRae) and leaves a real sour taste in the mouth.

‘Born A Snake’ is much better, returning the raw power of the band’s album ‘Ignorance Never Dies’ and the enraged guitars of ‘The Kids We Used To Be’, which combines to create a real ‘guns blazing’ song that is a complete to contrast to what has just been heard. There are some great melodic moments amongst the fury, where heavy riffs are centre-stage, although the growls/spits from McRae seem a little overdone at times. ‘Push Me Under’ is a fast punk track, leaving a trail of destruction behind it with technically efficient chugging guitars and some well executed vocals. McRae has clearly taken the reins with the YD sound, which so far doesn’t seem to be the best choice. This song isn’t entirely original, but it brings enough to the table to feel fresh.

‘Paper Trails’ lets the pop-punk sound again bleed in, but nowhere near to the sickening extreme of ‘These Lights’. It’s a respectable take on the genre, the added aggression making it feel more passionate and believable. Vocal additions from Evarose’s Dannika Webber give the track a sense of beauty, which helps YD explore uncharted territory. ‘Forget About Me’ is an intense ride with thrashing guitars that tear through verses and sink down for a punky chorus, the hardcore edge coming from another guest vocalist in the form of Terror’s David Wood. It’s a unique cameo that makes this an explosion of a song.

‘I’m (Not) The One’ is memorable, fun and experimental with yet another guest vocalist, this time Letlive’s Jason Aalon Butler. The song is a rip-roaring thrill ride, returning to the non-stop vehemence of YD album ‘Ignorance Never Dies’ and the good times of ‘The Kids We Used To Be’. The outro includes Butler’s vocals and gives the song an insane and unstable twist making this one of the most enjoyable tracks so far. ‘Never A Dull Moment’ channels skate punk with basic chords and threatens to stray back into the territory of ‘These Lights’. Luckily it doesn’t get there, and this track is both forgettable and ironically, incredibly dull.

‘The Colour of Envy’ is full of angst, combining a modern hardcore sound with a decent chorus. It’s precise, but yet again a forgettable track. ‘A Decade Drifting’ starts with urgency and goes through the motions with swagger and the addition of final guest vocalist, You Me At Six’s Josh Franceschi, who croons away and pushes the track to a memorable stage, which is a positive as the latter part of this album is flagging desperately. ‘Worthless’ is one final bash through, bringing an end to what is a short and unsatisfying album.

Despite the highlights, the album is ultimately a failure at introducing a pop-punk streak to UK hardcore, leaving much of ‘The Golden Age’ feeling disjointed and sitting nowhere clear. It has no clear direction, and will likely alienate more current fans that it does gain new ones, as there isn’t enough quality here to make Your Demise stand out in a flooded genre, as they once did so effortlessly.