Metalcore mob Bury the Hatchet deliver
a fresh slice of brutality with brand new EP ‘…It Was Never Enough’,
channelling their self-confessed ‘extreme, uncompromising and brutally honest’
sound into a group of songs that really pack a punch. The Kent five-piece cite
the likes of Architects, Lamb of God and Protest the Hero as their main
influences, and that’s a fine spectrum of bands to aspire to
when putting together a release of this magnitude.
The EP starts with the title
track, which combines delicate chimed piano with peaceful strings. It’s a
calming beginning that works well as a parallel against the heaviness of second
track ‘But We Still Keep Moving’. Chords soar over a steady and assured beat
before dropping in at full fury with an intensely chugged riff that cuts off
into a distorted guitar lick. The full band comes in (with the addition of
screamed vocals). Lyrics are screamed over the harsh hardcore style of heavy
metal, with melody coming from the layered guitars (especially during the addictive
chorus). The song drops off at the halfway point, building a slow groove with
some great guitar work. The half-time final push hits had, the vocals standing
out as harsh yet fully realised.
The dirty guitars of ‘Protest’
bring in another behemoth (with the influences of Lamb of God especially clear
here). Vocals tear and guitars thrash, the understated melody beneath the
chorus adding an extra kick. The band seems to shine when concentrating on melody,
which is a joy to listen to. The vocals are full of anger and resentment (“I
will put you in your place before I put you in your grave”). The track is accomplished
metalcore that can stand up to some of the best on the heavy music scene today.
It’s not too complicated but is full of enough passion to make it memorable.
‘0411’ pushes the pace tenfold
with a machine-gun beat and furious guitars. It’s a great double whammy of
brutal vocals and guitar wizardry, making it a truly heavy experience as the
song sways and shifts in an organic way. The breakdown is groovy and low,
ending the track in spectacular fashion. The final track of the EP is ‘Broken
Soul’, which starts at full throttle and never lets up, allowing driven riffs
to lead the way and progressive technicality to take centre stage. The chorus
fits perfectly and a sense of urgency floods much of the track, and the final
riffs/screams end the record on a definitive high.
‘Bury the Hatchet’ are certainly a
band to watch out for and this EP would be recommended for an exciting listen
and edgy take on modern metalcore.
Blinded by Faith is a Creative Media/Design
project that has been going for almost three months now. I have worked on many projects for bands/promoters and the like, and this blog post is an update to display those pieces.
"My passion for music focused artwork with my
experience as a graphic designer to provide a service for
bands/musicians to help sell their music as a 'brand' with the help of
promotional/print/logo design."
There have been some personnel changes recently, and the 'Blinded by Faith' team currently stands, in June 2012, as:
Ben Errington - Creative Director / Graphic Designer
Ross Grimes - Graphic Designer
Craig Rudman - Graphic Designer
Kevin Brilliant - Illustrator
Chris Heeney - Web Developer
Jason Sweet - Photographer
While web design/development and photography has yet to become a factor of our work, some future collaborations mean that it's only a matter of time. Watch this space, and keep the faith!
Bristol
trio Gouranga’s self-confessed ‘grungecore’ act has seen them setting the live
scene of their hometown alight since their debut in 2010, and now (at the
halfway point of 2012) their EP ‘Nature’s Knife’ is set to arrive with just as
much of a hurrah. For those who are familiar with the band, you’ll be aware
that the boys take nothing but their music seriously, and while the noise they
create on stage is clearly a joy to behold, it’s evident that there’s more to
this group than meets the eye. It seems to be all about the good times, and you
can’t get a more prominent reason than that for checking out a band. Gouranga
create honest music, and while technically it isn’t the most astounding thing
you’ll ever hear, it is full of nostalgia and a wealth of distorted madness.
Now, onto the EP, and ‘Nature’s
Knife’ starts with staple Gouranga track ‘Solomon Grundy’ (which also happened
to appear on the Live-Music-Scene 5th birthday compilation CD). The song begins
slowly, building with picked guitar and thick bass, an understated sound being
created by the band. When the track comes in full force with dirty grunge licks
and filthy heaviness (drenched in Queens of the Stone Age stoner rock) it hits
hard, but in places the vocals lack the impact that the instrumentals do. It’s
unclear whether it’s production or ability that’s letting the side down, but
something doesn’t add up. The bleak riffs combined with searing feedback
provide an excellent backdrop and when the vocals stand up to be counted it
really does work. Something else that doesn’t quite sit right with ‘Solomon
Grundy’ is also the running time. The song has probably run its course by the
time it drops back into another slow build, although when it reaches another
slice of punky substance, it all feels worth it.
‘Dinosaur Apathy’ also starts
slowly, with creepy picked guitar before yet more blistering riffs that drive
on with real purpose. When the vocals arrive the momentum is momentarily lost
but soon returns with a tornado of heaviness. The chorus has enough melody to
make it utterly memorable and the extra dash of venom makes for an entertaining
listen. The quiet parts provide an interesting variation to the band’s sound
but it’s when they’re clattering their instruments at full force that it really
works. The song slows considerably and it’s this part where the mind tends to
wander. If the songs were streamlined slightly they’d have more of an impact,
that’s for sure.
‘Petrol In Your Hands’ takes this
advice with a short burst of anger, energy and punk rock. The grunge sound is
still there, as are notes of various other genres (including metal). The
non-stop guitars, distorted vocals and insane drums combine well for a tremendously
intense song. Final track ‘Son of Sam’ unfortunately takes all that hasn’t work
for ‘Nature’s Knife’ so far and multiplies it tenfold, leaving a sour taste in
the mouth with what is a formidably underwhelming song. It throws around some
interesting ideas but ultimately adopts the same quiet/loud route which feels
unwelcome and overly familiar. The vocals again struggle against the sheer
volume of the instrumentals and the overall outcome is a sheer disappointment,
especially for those who have witnessed Gouranga tear up a stage.
It’s hard to be critical about a
band that clearly love what they do, but this time it seems that ‘Nature’s
Knife’ is more miss than hit. Gouranga release the EP at The Croft in Bristol
on Thursday the 28th of June with support from Dead Poets, Knifeman
and POHL.
Californian hardcore pioneers The
Ghost Inside have really pushed the boundaries of their sound with the release
of their third record, ‘Get What You Give’, which offers an entirely different
dynamic to what was heard on debut album ‘Fury & The Fallen Ones’ and the
follow up ‘Returners’. While some die-hard fans may think the band are
adjusting too much, veterans of the hardcore genre will know that progressing
with what makes a band work isgreat way
to keep them relevant, thought-provoking and engrossing. In truth, the changes
from the last release aren’t as drastic as perhaps would be thought after some
real backlash from certain turgid corners of the web. ‘Get What You Give’ is
the most complete album from The Ghost Inside to date, and it feels every bit
as bone-crushing as all previous works from the band while adding additional
melody, groove and clean vocals (a first for them) to the proceedings.
The album begins on a
blisteringly heavy note (would anything else be expected?) with ‘This Is What I
Know About Sacrifice’, which has blazing riffs, passionate screamed vocals that
really appear to come from the heart and enormous beatdowns that threaten to
take your head off. It’s a great introduction to ‘Get What You Give’ and the
next track ‘Outlive’ is just as brutal. It’s a short, snappy hardcore track
where the guitars and vocals battle for the title of ‘Most Furious’. There are
machine-gun beats and the familiar sub-drops (which are used regularly on this
record but they never feel overdone).
‘Engine 45’, the first single
from the record, starts in manic style with dirty chugs and spat vocals which
tear through into a soaring chorus which introduces the first taste of clean
vocals (albeit behind a shouted lead line) and the addition is superb at
bringing out an extra layer of melody amongst the heaviness. The cleans are
competent and well sung (all done by frontman Jonathan Vigil which shows he has
great adaptability) giving the track a ‘sing-along’ quality and a ‘catchy’
streak. More fury takes over before a softly sung quiet break that builds into
an uplifting outro, where vocal layers and gang shouts make ‘Engine 45’ up
there with the best of The Ghost Inside. ‘Slipping Away’ is high gear,
aggressive punk (a track that wouldn’t be out of place on ‘Fury & The
Fallen Ones’) with an injection of melody and fist pumping heaviness. The
breakdowns are evidently technically efficient but they really make hairs stand
on end with just how heavy they are, and the continued drops are mosh-worthy,
summoning excitement in droves.
‘The Great Unknown’ continues the
assault with searing riffs and perfect belligerence. There are more drops, deafening
drums and enough variation to make it feel fresh, new and exciting. The pace
slows for the final minute or so, allowing a measured heavy groove to take over
along with drawn out bestial screams. ‘Dark Horse’ is a chunk of credible
hardcore and includes another clean part on the chorus, showing that the band
really are adapting in a way that works. Chants and shouts are enthusiastic
enough to convince the listener to join in and the insane heaviness of this
song shows that The Ghost Inside are at the top of their game. The last towering
chorus prepares for what comes next, which is ‘White Light’, one of the true
album highlights and perhaps the most consummate piece of music the band have
produced to date. Gently picked guitar and a dancing drum beat builds into a distorted
chord pattern which is loaded with melody and shows a more reserved and
thoughtful side to the band. The chorus summons passion and hope, with lines
such as ‘I used to be the fearless one’ and although very different in terms of
style for TGI, it feels 100% like it belongs to them. The beautiful melodies
are achieved without the use of the already heard clean vocals as it’s the
guitars doing all of the work in that department.
‘Thirty Three’ kicks in with
thrashing instrumentals and smooth transitions between heavy riffs and even
heavier breakdowns. The additional melodies continue to show the band’s
progression and dynamic track ‘Face Value’ puts across the point even more so.
It’s mature hardcore with great attention to detail, polishing the edges of the
record and allowing it to drift into ‘instant classic’ territory. Guest vocals
from Comeback Kid’s Andrew Neufeld adds extra venom over another incredible
breakdown, which is a great way to end the song.
‘Deceiver’ is hard-hitting and
relentless, making it one of the heaviest tracks on ‘Get What You Give’, making
it evident that the balance on this record is probably what makes it so
appealing (in comparison to ‘White Light’, this track is completely different).
The beatdowns continue to impress and really provide a figurative kick to the
teeth. Final song ‘Test The Limits’ is enraged, pushing the punk edge to the
forefront and reminding us what makes this band one of the best in the
business.
The Ghost Inside really are ‘heroes
of hardcore’ and ‘Get What You Give’ is their most well-rounded record to date.
It combines classic elements of their sound with a brand new melodic vein, and
it really makes the album one of the most thoroughly enjoyable releases of 2012
so far.
Somerset
quintet Zoltar Speaks have been working hard since forming in 2008, extensively
touring and refining their sound before releasing their debut EP (which
certainly hasn’t been rushed) ‘Treatment’ to the masses. The female fronted
metal band have drawn comparisons to the likes of Skunk Anansie, Coheed &
Cambria and Protest the Hero, although it has to be noted that their sound is
much more traditional than progressive, occasionally feeling a little stuck in
a rut rather than reaching for the stars.
Opening
track ‘A Metaphor’ starts with a trio of dark riffs and none of which seem to
quite hit to mark, making it a clunky start for ‘Treatment’. It finally settles
down with a generic metal verse, and while the heavy chugs are decent, the
vocals seem to struggle against the backdrop of riffs and beats. The hooks need
something more – something bigger, more exciting. It just needs to be
memorable, and it really isn’t. Much of this first track is, well, just bland.
‘How
Could You Blame?’ has some great guitar work (although it would seem the
comparisons to the likes of Protest the Hero are unwarranted – there are zero
similarities here) but the vocals suffer yet again, maybe even more than the
first time around. Louise Body clearly has a fantastic voice, singing in the
vintage metal style fans of the classic area of the genre know well, but it
just doesn’t seem to work. When the band are in overdrive the vocals seem to be
struggling to keep up, and that’s a real shame. The chorus here is
underwhelming and the song has no real direction, making it feel constantly
lost and extremely hollow.
‘The
Best Revenge’ starts with a riff that sound remarkably similar to that of the
first track (albeit reworked in a clean style), but despite that, this is the
most promising piece on this EP so far. The verses stumble, but proceedings
clearly have more focus, the vocal melodies finally hitting heights that
compliment the instrumentals and the band feeling tighter as a benefit. Guitar
solos are well placed and gloriously performed (proving that a solo that lasts
longer than 4 bars always has a place in metal) and the heavier finale pulls the
song into thrash territory.
‘Treatment’
is grand scale, indulgent rock with the vocals fitting in effortlessly and
almost eradicating the problems from the first two tracks. Layered guitars give
this song an epic feel and the pacing of it is great, driving the EP to a
satisfying close after some major hiccups early on.
‘Treatment’
is an EP of two halves, and while Zoltar Speaks clearly have ambitions to step
away from the ‘female fronted band’ clichés, unfortunately it’s those clichés
that make some of these bands work well, it’s just doing them differently that
really make them stand out. Fromm the first half of ‘Treatment’ it would appear
that this band are mediocre at best, and that may seem harsh, but based on first
impressions, everything just doesn’t seem to come together in a way that is in
any way remarkable. The second half is a different story, with many of the
problems from the first two tracks being quite easily forgotten. It just all
seems a little sloppy, meaning that perhaps the band are yet to find their
niche. They’re a talented bunch and with a bit more attention to detail they
could do really well for themselves, but this release will not go down in
history as ground-breaking.
It’s been little over a year
since Brighton big-shots Architects released their last album, ‘The Here And
Now’, which gained mixed reviews across the board and split fans almost
straight down the middle, with some unhappy that it skimped on the brutality of
previous releases such as ‘Ruin’ and ‘Hollow Crown’ and others overjoyed by the
sudden injection of melody. Perhaps wanting to keep both fans happy, the band have
dropped ‘Daybreaker’, a record that looks to combine both sides of the
Architects coin without threatening to alienate one of them. The metalcore
quintet have reached such heights of success in the last 18 months that it
would appear they have the freedom to make exactly the kind of album they want,
and as it would seem that album is as equally in homage to their sound of years
gone by as it is progressive and new. The real question regards whether it all
works when thrown into the melting pot, because this could be a pinnacle album
for the band if it all comes together.
‘The Bitter End’ starts
proceedings, with distant chiming creating a backdrop for Sam Carter’s soft
vocals to set the scene, which straight away feels like it something that is
carrying on from exactly the point ‘The Here And Now’ left off. ‘Daybreaker’ is
an entirely different beast, however, and as space-age melodies bizarrely
dance, a steady beat and vibrant guitars growl, it’s clear that Architects mean
business. Screamed vocals flourish and act as preparation for the insanity of
‘Alpha Omega’, which has impeccable technical riffing, thunderous drums and
some of the best shredding I’ve heard from this band. It’s a song full of angst
and fury, the vocals being spat out like a bad taste and the chorus (awash with
an atheist message) wailing incessantly. It has great balance and is evidence
that Architects have brought their A game for this record, which so far is
powerful and precise.
‘Outsider Heart’ tightens the
unmistakable progressive sound of Architects and presents it is a new light,
which is both bold and vigorous. The addition of Drew York of Stray From The
Path on guest vocal duty adds the extra ‘oomph’ that makes this track
memorable. Melodies and guitars compliment each other very well, building up to
the next track, ‘These Colours Don’t Run’, in a very effective way. This song
is another technically excellent hard-hitter with substance behind the vocals
(a familiar theme exploring the state of our economy) and an addictive
atmosphere which brings a real edge to the track. It’s malevolent and intense,
which makes it the perfect track for a single (this was the second one to be released
from ‘Daybreaker’). The variety of rhythms and roar of ‘you fucking pigs!’
before a rousing breakdown is really breath-taking.
‘Daybreak’ (a title track of
sorts and not an homage to the ITV morning show – I hope) is high-octane with
heavy roots and a clear melodic streak running through it, which adds extra
gloss to the revisited memories of ‘The Here And Now’ but doesn’t forget what was explored in the
likes of ‘Hollow Crown’. It’s simply a great elaboration on an already
established sound, which packs a punch but doesn’t knock you off your feet.
‘Truth, Be Told’ allows the pedal to come off the gas and the most chilled
track from the album to shine through. It has an uplifting chorus and some well
executed melodic moments but doesn’t quite hit the soaring heights of anything
like ‘Heartburn’ from ‘The Here And Now’. It’s a slow burn but unfortunately
doesn’t build to anything extraordinary.
‘Even If You Win, You’re Still A
Rat’ is back to the heavy grind. It’s another hardcore track featuring more
guest vocals, this time from Bring Me The Horizon’s Oli Sykes. It’s a solid
song with some real venom, although it ends up being quite forgettable (the cameo
from Sykes even more so). ‘Behind The Throne’ is haunting with electronic keys,
whirrs and synths. It’s soft, angelic and provides a soothing interlude before
the final assault of ‘Daybreaker’.
‘Devil’s Island’ was the first we
heard of ‘Daybreaker’ back at the tail end of 2011. It’s a manifestation of
anger towards the current state of the UK, socially, democratically and
financially. It’s relevant to listener and the band alike, the diversity in
their message evident. It’s both clinical and devastating, a real organic song
full of scorn and spite. ‘Feather of Lead’ is another fast paced hardcore
track, but doesn’t have as much momentum as previous heavy moments on this record.
Final track ‘Unbeliever’ (which isn’t my favourite song title on this album,
that’s for sure) is a fitting end to an accomplished record. It’s another slow
build with softly sung vocals and echoing instrumentals. It steps up a gear
with screams from Carter and heavier beats, evoking emotion for its final push.
‘Daybreaker’ is an album where
Architects attempt to reclaim their sound, but keep the recent memories of ‘The
Here And Now’ in the forefront at all times. It’s an enjoyable album with some
intense moments, excellent heavy noise and profound lyrical themes. It’s a
sincere record with crushing riffs aplenty, and although it’s far from their
best release to date, it will please old and new fans alike.
