It’s
time to catch up with ‘What I’ve Been Watching’ the last 2 or so months, and
I’ll continue with May as the summer blockbuster season gets into full swing!
With one of my most anticipated movies of 2012 arriving in the form of Ridley
Scott’s Prometheus, June was a month for me to familiarise myself with the
classic Alien Quadrilogy as well as a continued pursuit to watch some of the
supposed highlights of 2011.
Only
scores for May/June! Full reviews for certain movies to follow.
It’s
time to catch up with ‘What I’ve Been Watching’ the last 2 or so months, and
I’ll start with May, which is officially the start of the summer blockbuster
period. My only visit to the cinema was for Marvel’s ‘The Avengers’
(ridiculously re-titled ‘Avengers Assemble’ in the UK due to everybody getting
confused between a 60s spy drama and this superhero team-up, obviously), a
movie that is five feature-length spectaculars in the making and has been on
the horizon of every fan-boy’s existence since it was announced. I indulged in
some more superhuman action with Tony Stark (‘Iron Man 2’) Peter Parker (‘The
Spectacular Spider-Man’ Animated Series) and a group of teenagers who make an
odd discovery that gives them superpowers (‘Chronicle’). Of course, it wasn’t a
superhuman exclusive month, I also managed to see the fourth instalment of both
the ‘Mission Impossible’ and ‘Pirates of the Caribbean’ franchise and watched
the first two ‘Madagascar’ movies an unhealthy amount of times due to the
insistence of a certain two year old.
Only
scores for May/June! Full reviews for certain movies to follow.
The Avengers (2012)
9
Chronicle (2012)
6.5
The Silent House (2010)
2
The Spectacular
Spider-Man – Season One (2008)
7
The Spectacular
Spider-Man – Season Two (2008)
6
Secret Window (2004)
7.5
Pirate of the Caribbean - On Stranger Tides (2011)
Run,
WALK! are a band that are incredibly hard to pigeon hole no matter how much
fans of all genres they encompass (hardcore, punk, noise-rock, grunge, indie)
will try. Consisting of Matthew Pickering-Copley (bass, vocals) and Tom
Clements (drums), the duo have created a sound that is both chaotic and loud,
harnessing post-hardcore intensity and unpredictable feedback. Despite their
clear talents, the band decided to call it a day after their final performance
at the 2000 Trees Festival on the 13th of July, and this album
arrived just a few days later via Holy Roar Records.
Say
what you like about two-pieces (The Black Keys, The White Stripes, Death From
Above 1979, Blood Red Shoes), but when it’s done right, it really does work.
Run, WALK! have most of the elements down for a successful duo, however (as
demonstrated in this album) their sound struggles to fall nicely in between
genres. Sure, it has it’s own niche, but it’s a niche carved out from so many
other influences that it feels lost at times.
The
album starts with an atmospheric series of layered instruments dancing over the
same melody, evoking something mysterious which is soon blown out of the water
with first official track ‘Blank Canvas’, which includes the bass taking the
listener on a bizarre indie jaunt, low-end good-time melodies with a streak of
post-hardcore running through it like a colourful vein. The yelped vocals add
considerable intensity, making this track feel like many heavy music genres
rammed into a noisy blender.
‘Black
Dreams’ has a catchy pop lick with a bouncing beat, the shouted vocals and
crunchy bass having definitive punk ethics while including an undercurrent of
modern hardcore music. It’s an odd yet appealing combination, and this track is
a non-stop thrill ride. ‘Out Of The Blue’ has off-time beats, riffs that
stop-start like progressive metal behemoths. Other than that, this track does
feel overfamiliar as some variation with the bass sound could have been used.
It seems to revisit the ground of the previous two songs, as does the next
song, ‘I Don’t Know What The Real World Is Like’. This track has muted strings,
drilled drums and jumping riffs, but it seems to use the same template. The
screamed vocals are feral and visceral, but at this point in the album there is
a nagging feeling that wonders what clean vocals would have sounded like on
this record.
‘Dead
Room’ keeps a post-hardcore groove and finally feels like Run, WALK! are
getting down to serious business. It’s short (at less than two minutes in
length), snappy and fast, hitting hard and lasting long in the memory. ‘Warm
Skin’ has a party atmosphere with the added ‘oomph’ coming from the assault of
the vocals. Another considerably groovy track that is strange yet exhilarating.
‘Lose All Your Fear’ does little more than mimic previous songs, feeling
stagnant at this point in the album. There are no new tricks or risky moves,
just another take on the Run, WALK! niche that feels incredibly underwhelming.
An
interlude in the form of ‘/////’ provides feedback, white noise and various
tones before the final track ‘Under A Rock’ which is just like everything that
has been heard before but on a grander scale. It continues the fury heard
previously in the record and builds incessantly, using a repeating bass line
and distortion that adds beef to the sound. The song structure works well but
the build up never seems to reach the heights that is clearly striving for.
Run,
WALK! may have called it a day, and although it would be harsh to say it is for
good reason, there isn’t much here that suggests they would’ve been capable of
going the distance. The album is chaotic and frenzied, but doesn’t have enough
identity to make it unique. It’s an exciting listen in places but altogether
feels disappointing.
Things have certainly been
quiet on the Cars On Fire front for the last 12 months or so, but rest assured
that was only on the surface as the Bristol quartet’s brand new album hits.
‘Black Hearts & Bloody Hands’ convinces us that the break from the scene was
well worth it as the outcome is a truly memorable group of songs and no doubt
some of the best work from the band to date. The follow up to ‘Dig Your Own
Grave’ (an album which is now three years old!), ‘Black Hearts & Bloody
Hands’, is really a fantastic experience. The raw energy created by the band in
live shows is captured perfectly in a series of thunderous tracks that combine
hard-hitting instrumentals with an imaginative balance of harsh shouts and
smooth clean vocals.
Opening track ‘Borders’
starts with furious screams, repeating the same line until guitars interrupt
tearing in and driving the song along with guttural distortion. The chorus is
full of melody, the energy being reserved for the continuing hardcore punk verses.
There are tones of mainstream alternative rock littered amongst the heaviness,
the seeds being planted to find the middle ground in the equation for
mainstream success. ‘Sex Death Sex Death’ is 100% adrenaline (the first
positive comparisons in sound now becoming clear - think early Every Time I Die
for the brutality and Biffy Clyro for the melodic song structures). It’s a
soaring, epic track which pulls off as many impressive tricks as it does create
moments of jaw-dropping intensity. It’s aggressive yet heartfelt, angry yet
passionate. The modern, heavy edge and progressive moments work in the track’s
favour, allowing an original sound to be carved out for the band. There’s a
clear chemistry, which is always refreshing, meaning that the music is as honest
as it can be.
‘Of Grace & Bone’ brings
in Charlie Simpson of Fightstar (and nobody else, of course) to help out on
vocal duties and his addition adds an extra texture to an already accomplished
rock song. His foreboding tones are a welcome addition, and his appearance on
the track doesn’t take away from its impact. Where screams are lacking, huge
uplifting vocals sit perfectly. The song bubbles and boils in an addictive way,
the beats ‘drumming’ up interest and the attack of the guitars leaving the listener
in awe. ‘The Singapore Grip’ is just as intense, a sneer of ‘Hey ladies’
uttered as the track explodes with a real groove, pushing it into rollercoaster
territory instantly. It’s unpredictable, manic and uncontrollable, a
combination that promises exciting outcomes. The keen ear for melody from the
band is yet again evident, making this song both visceral and intelligent.
‘Quarter Deck Confession’
allows the band’s British sound to filter through better than anything on the
record so far, and that’s something that UK heavy music needs more and more of
for it to step away from similar sounding bands from across the pond. The
vocals here are strong, the lyrics zealous and the urgency drummed up by
previous tracks staying at the forefront of the music. It’s no doubt a 100%
push from the band and one that makes this a great album track. The end of the
song is particularly sturdy, with nautical themed lyrics dancing over incessant
and bludgeoning guitars. ‘Rhythm & Command’ is brutal and raw, oozing style
and substance. There’s a brief lounge music-esque break in the chaos before the
noise returns, and when that happens it’s difficult to keep up with. The heavy
groove returns at full-force with a vengeance, making this track a
head-banging/fist-pumping behemoth. It’s here that vocalist Ali Ross really
starts to sound like Keith Buckley, were these guys separated at birth? The
similarities are mind-bending!
‘Anchor Your Heart To The
Sea’ is bizarre, mesmerizing and even terrifying at times. It feels at least 10
times faster than anything that has come before it, although I am sure that’s
not the case. It’s both thrilling and intoxicating, making it a sure album
highlight. The experimental sounds are possible risks but here they sound like
they have always been part of the Cars On Fire mainstay. ‘Marchioness Of The
Night’ has funky, heavy beats along with punk-laden vocals, snarling distortion
and a great clean/shout ratio. It keeps things fresh amongst an album where a
single (although great) idea is explored. The chorus is soaked in glue,
sticking in the head and refusing to budge.
‘A Cataclysm Unkinder’ starts
with a pained bellow before continuing with recognisable intensity. It’s real
‘fire in the belly’ stuff, making the listener ‘weak at the knees’ (as suggested
by certain lyrics). It’s full of anger and uneasy tension, but at its core it’s
straightforward/no-shit heaviness. There’s even a lyric mentioning the late
Patrick Swayze, which is both ridiculous and alluring. ‘Fractions of the Truth’
is the final track of the album, and it’s a momentous and victorious one at
that. It’s the perfect finale that allows the weight of the nine songs that
have come before it to come to the surface, rounding off the experience of
‘Black Hearts & Bloody Hands’ quite nicely. There are yet more growls,
roars and spits (from both vocals and instruments alike). It grabs the
attention once more, refusing to let go as riffs take you prisoner and melodies
set you free. It fades to a close and only then does it let you pause for
breath.
All in all, ‘Black Hearts
& Bloody Hands’ is a great album from Cars On Fire. Their sound is
fantastic and it’s a sound that 2012 is lapping up, and in particular, the
band’s hometown of Bristol. With a heavy scene that is becoming increasingly more
competitive as the talent rises up, now is the time for bands like COF to show
what they are made of, and this album is the perfect weapon to take to that
war.
‘The Shadow of Death’ is a
non-budget British comedy slasher flick with a distinct grindhouse twist. It is
the brainchild of founding producer/director at DeadBolt Films, Gav Chuckie
Steel (who also wrote, shot, edited and scored the film), and wears its heart
on its sleeve as a throwback to classic shock horror schlock such as Sam
Raimi’s ‘Evil Dead’ and Peter Jackson’s ‘Bad Taste’. While it is quite clearly
in homage to these movies, and also filled with nods to other elements of
horror and pop culture in general, it stands alone as a sincere and fun ride
that clearly doesn’t take itself too seriously. While it is flawed in places,
the honest nature of what is seen on screen carries it where storyline and certain
performances tend to lack at times. At its core it’s very entertaining, mainly
due to the use of over-the-top gore (including some phenomenally inventive
death sequences courtesy of Mark Kelly’s FX) and the raw, unpolished look of the
footage on screen.
‘The Shadow of Death’ is Steel’s
first feature film and is clearly a very personal project from a true horror
fan with an unpretentious love of the genre. Here’s a brief synopsis:
“Set in an English woodland countryside, Debra and her best friends
Jamie and Nancy pick up Dan, Nancy’s ex, to go out to the woods to score some
weed. Unknown to them a killer who resembles Death is cleansing the
countryside. With a wannabe policeman and an assortment of the public out for
some fresh air, the words are no place to go down to today.”
Here's a teaser trailer for the movie:
SPOILERS AHEAD
The entire set-up for events to
unfold is fairly haphazard, throwing a group of (mostly) uninteresting
characters into the woods in broad daylight for a bizarre reason (to buy some
weed from a dealer in the middle of nowhere). Of course, the set-up isn’t
what’s important in this type of movie; it’s the execution that really counts,
and it’s the gore that really kick things up a notch.
Early on in the film we are
treated to some impressive murder sequences, including the killer forcing a
bong up through a stoner’s skull and thrusting a pair of binoculars into an
avid birdwatcher’s eyeballs. The FX are great and would stand up well against
the gore of classic slasher flicks, which in my opinion wipe the floor with the
ropey CGI used in areas of modern horror (when you witness CGI blood you
realise that something really must be wrong in Hollywood).
Thankfully, it’s easy to put
these gripes to one side for the other central characters that appear, including
the loveable idiot Dan (Dan Carter Hope) who provides a relieving comic parallel
to the girls and the engrossing appearance of the odd yet appealing ‘Super
Special Cop’ Craven (Dan Bone). These two provide the most quotable lines of
the film, with Dan’s penchant for filthy banter a hilarious highlight (and his
unfortunate genital infection, of course) and Craven’s adoration for action
movie stars (“Send Chuck Norris!”)
Craven is the only character that
is given any sort of backstory (a wannabe cop with ambition to follow in his
father’s footsteps as a man of the law, while the harsh reality is he has a
reputation as something of a nutter) and it’s great to see somebody fleshed out
on screen. It’s that which makes him the most interesting and likeable of the
lot, and it’s easy to find yourself wanting more of him when you’re watching scenes
that he is absent from. For me, he is grossly underused, and given the fact
that his actions are carefully considered, seeming to build to something, his
sudden removal as he is ‘killed’ by the antagonist (although later to appear at
the very end of the movie stumbling around with a machete stuck in his face)
struck me as both unnecessary and damaging to the direction of the film. I
longed for him to stumble into the fray as things got juicy and take on the
killer head-on, his unhinged attitude becoming an advantage and his role in the
movie shifting straight to engaging rogue and lead protagonist, perhaps in the
same comedic vein as ‘Evil Dead’s Ash (Bruce Campbell).
Instead, the ending peters out
disappointingly, revealing the Death-like murderer to be a priest with a chip
on his shoulder (explained in vague detail during the telling of ghost stories
in an abandoned cabin scene by Jamie - bringing mid-90s geek chic back from the
dead). Everything takes a bit of a supernatural twist as final surviving girl
Debra becomes possessed by whatever force was driving the priest and looks to
the heavens as she promises to carry on delivering the killer’s ‘message’. I wanted
Craven to return for one final hurrah, killing Debra spectacularly, but alas
that was not to be.
Overall, ‘The Shadow of Death’ is
a solid camp horror, which lacks in certain areas but this doesn’t effect the
lasting impression of the film. A few of the performances could be much better,
but the direction from Steel is accomplished and includes some interesting
shots, which prove that he clearly has an eye for what works with this
grindhouse style. The score (also by Steel) was a highlight, the urgency and
dread created by the instrumentals (which bear resemblance to John Murphy’s
terrific work on the ’28 Days Later’ soundtrack) make certain scenes feel
creepy when perhaps without it they would not. The inspirations for this film
are clear, but it has it’s own identity, which makes it a gratifying (albeit an
occasionally frustrating) experience.
Here's an interview with director Gav Chuckie Steel.
To find out more about the movie, take a look at some of the links below.
Sick
Confliction are Bristol’s own connoisseurs of the laid back groove, rising
triumphantly from the ashes of previous identity Heroine/Hero (a band name now
forever immortalised as the title of this debut EP). After a considerable
amount of time popping up in venues all over the Bristol scene, this fresh and
funky four-piece have shown their worth with a sound built up from chilled out
beats, smooth vocals and reggae laden guitars. Sick Confliction sound like a
Jeff Buckley fronted blues-rock explosion and The Heroine/Hero EP is five
tracks of carefully crafted bliss.
The EP
starts with ‘Sick Chill’ as an unassuming bass line and solid beat allow a
jaunty riff to lead the flow of the track. It’s a slick slice of easy listening
with echoes of reggae, jazz and funk drenched over it. The vocals of Harry
Walker soothe and soar in equal measure and although the song rarely moves from
a solitary gear, that feels just fine and adds to the calming atmosphere
created by the instrumentals. ‘Air’ channels the groove even more so, using
additional delayed guitar notes with a sophisticated twist. The song coasts
along, rarely stepping from the robust beats created by drummer Dave Preece.
It’s emotive, heartfelt, summertime listening.
‘Inspector
Dread’ continues the relaxed sounds, and it’s a lyrically strong track where
Walker’s voice really hits a stride with some great hooks. The rhythmical
set-up shows off it’s strength here, as it also does in ‘Drumstick’ (titled so
due to guitarist Jack Dennis’ use of a drumstick on his fret-board during live
shows to create the quirky and atmospheric guitar sounds). The track has more
drive than the previous songs on the EP as a big beat kicks in, giving
everything much more urgency. Bass runs are thick and funky, guitars flow from
jangling chords to delicately picked notes and the vocals remain as reliable as
ever.
Frontman
Harry takes the reigns with solo acoustic track ‘Take More’, which is a
stripped down take on everything Sick Confliction are about, without losing the
essence of guile and cool that hangs over it. It’s a great way to finish the
EP, which is a fine example of a band that clearly take influences from many
genres and pockets of world music. It’s refreshing to hear a band with such
determination to carve out a niche for themselves, which will no doubt open
many doors for them in the coming months.
Periphery’s
debut album arrived on the scene when technical progressive metal was beginning
to rise to the top of the heavy scene, and the band rode on a wave of their own
making - intelligent solos, mind-bending time signatures and sweet-as-sugar
vocal harmonies. While this follow up does little to show that the band are
moving forwards with their sound in any way, it certainly allows everything
that was heard in their first album to grow (albeit sideways and not upwards).
At a mammoth 70 minutes, this is an album that constantly punches you in the
face (with riffs, of course) and refuses to let up.
‘Periphery
II’ starts with the distant guitar notes of ‘Muramasa’, which include the
aesthetically pleasing vocals from frontman Spencer Sotelo (whose range is
quite phenomenal). The song slips into a slow groove with some fantastic runs
and licks from the lead, chopping and changing from thrashing beats to a
juddering beast of a tune. The screams flow along with the frenzied guitars and
melodic howls ring true, leaving the track to last long in the memory. ‘Have A
Blast’ begins with a bizarre and unnerving combination of instrumentals before
switching to an intense heavy track, which shows off all of the reasoning
behind the band’s rise to prominence. Each note, slide and chug is required and
feels relevant, making the entire experience complicated yet considerate.
‘Facepalm
Mute’ has more than a great title; it’s a wonderfully crafted song with
delightful brutality and an edge of emotive angst. It’s a bulky song with
another noticeable groove and throws enough crazy ideas around to keep the
listener hooked. The clean choruses never feel overused or out of place and the
electro beat/haunting guitar of the outro provides stunning atmosphere. ‘Ji’ is
a bouncing ball of fun, and Sotelo’s work is again consistently wonderful, his
vocals never failing to stand up against the instrumentals. Some melodies stray
dangerously close to those of 80s power ballads, making the song a saccharine
sing-along at times, but despite that it’s powerful and unpredictable.
‘Scarlet’
is imaginative and full of impressive guitar wizardry (or wankery, depending on
how you look at constant complex guitar playing). This track seems more ‘thrown
together’ than previous songs, but it remains original and progressive at every
turn. ‘Luck As A Constant’ uses melodic and wailing guitars in abundance
(including the most incredible supersonic riff of the album so far). There are
odd time signatures, finger bleeding guitar shreds and an impressive
clean/screamed vocal trade off. ‘Ragnarok’ is chaotic, varied and a great
example of what the new school metal scene can pull off (Periphery carry the
progressive torch along with the likes of Between The Buried And Me, Protest
The Hero and Born Of Osiris). It’s a long track, and although the severe amount
of content can be overwhelming at times, it’s packed with hooks and intelligent
harmonies, enough of which to keep it fresh and exciting.
‘The
Gods Must Be Crazy!’ has furious riffing with some soaring vocals (no more comparisons
to Linkin Park’s Chester Bennington, please!) and an acute attention to detail.
The groove running through the song is infectious and the melodies occasionally
feel like they’re from pop-punk territory, which is odd yet appealing. ‘MAKE
TOTAL DESTROY’ is bold, brash and the purest example of what Periphery stand
for. It’s wholesome, honest, aggressive metal and sets the bar high for
aspiring bands. ‘Erised’ is engaging, glorious and full of tremendous vocal
hooks. Sotelo has announced that he listens from everything from Opeth to
Extreme, and those bands (plus everything in between) come through in his
performance.
‘Epoch’
is a break in the standard proceedings of the record and comes in the form of
an electro-dub interlude that is mysterious and elegant. ‘Froggin’ Bullfish’ is
a thunderous song which shows off the great musicianship of the band and has
another recognisable groove running through it. The non-stop intensity ends
with acoustic guitars calming the proceedings. ’13 Mile Zero’ includes gorgeous
layered guitars, synths and effects, building up the rich sound. It’s
passionate and mesmerising, as is final track ‘Masamune’, which is also
incredibly heavy. It channels all of the creative ideas (and there are a lot!)
from the 13 track that come before it into a huge melting pot before fading
slowly to a close.
The
sheer quality of the album will no doubt mean Periphery receive yet more
critical acclaim, but essentially it’s just more of what has been heard before.
That’s not a bad thing; of course, some bands make an entire career out of
that, but for a band such as this, more will be expected for the next release.
This time it may be ‘personal’, but next time it needs to be monumental.
The hype has been steadily
building for Bury Tomorrow since the release of their debut album, ‘Portraits’,
and the hard work of touring, writing and dropping singles regularly seems to
be paying off, as they are now widely respected as one of the best new metal
bands to arrive on the mainstream music scene in the last few years. ‘The Union
of Crowns’ is the bands sophomore album and arrives several months after Bury
Tomorrow signed with Nuclear Blast Records, which is definitely a big step for
the five-piece.
The record is drenched in a regal
theme, and although it’s unclear whether or not this is a concept album, the
identity of ‘The Union of Crowns’ is clear. ‘Redeemer’ gets the proceedings underway
with distant delayed guitar notes that soon give way for heavy chugged riffs,
tight aggressive drums and gently picked harmonies. The basic exchange of clean
melodic vocals and guttural growls continues the work heard on ‘Portraits’,
although here it feels a little more refined. There’s an abundance of dirty
breakdowns and sing-along moments as the track coasts and flows effortlessly.
‘The Maiden’ keeps the pace, and
it’s another heavy song that’s drenched with the clean (almost pop music
sounding) vocal melodies, which is a strange yet perfect addition to Bury
Tomorrow’s metalcore sound. The low guitars, screams give the track a brutal
edge and the guitar work here is particularly excellent. After another
pitch-perfect chorus, the song slows down, allowing atmospheric guitars tones
to take over and a final heartfelt burst of energy to bring the track to a
close. ‘Lionheart’ was the first heard of ‘The Union of Crowns’ back when it
was released last September. It’s a iconic, passionate and full of genuine
potency. It’s fist pumping, furious and presents some of the catchiest and most
memorable melodies that the band has ever produced. It builds in all the right
places to increase the impact of this finely tuned beast.
‘Message To A King’ takes off at
breakneck speed and it’s clear from early on that this is the heaviest song so
far on the album. There are screams a plenty as the distorted guitars thrash
and the drums pummel. The clean vocals over the breakdown work surprisingly
well, but this is a track that thrives during the fiendishly vicious parts. ‘An
Honourable Reign’ is the latest single and it really pushes the regal theme to
the forefront. Melodic layered guitars, groovy rhythms and plenty of
complicated metal shredding make this track thoroughly enjoyable. Parkway Drive
seem to have influenced at least this song heavily, as it sounds almost like
they’re emulating the style of the Aussie band at times.
For the first time, ‘The Union of
Crowns’ disappoints, as ‘Knight Life’ is a bit too similar in sound/structure
to previous tracks on the record. Unfortunately is just seems to recycle ideas
and feels very much like a filler track. Bury Tomorrow far from dumb down their
sound, but regardless of that, this feel too familiar, and at just track six of
the album, that’s not a good sign. ‘Royal Blood’ is another previously heard
single and it truly brings the thunder, thrusting old school metal forwards
with constant riffing and some awesome falsetto vocals. It’s a balanced song
that shows off the song-writing prowess of the band.
‘Bitemarks’ is full of hardcore
fury, with passionate vocals and relentless guitars, but again feels a bit like
something that has been heard before. It’s still a strong song, but feels weak
in comparison to the likes of the already released singles. ‘Abdication of
Power’ arrives when an interlude is long overdue, but there’s no sign of that
just yet. The track is metal madness, but falls at the wrong side of
forgettable. The songs are beginning to blur together and take the same old
route, and by now ‘The Union of Crowns’ definitely needs a kick up the arse.
‘Kingdom’ has an epic feel and
the guitars create an exciting base for the screamed vocals to tear across.
It’s much more experimental and hits hard, rarely letting up. Finally some
variety arrives with ‘1603’, with a delicate piano intro that introduces a very
different Bury Tomorrow song. It has a slow groove and as it hits its stride,
it feels polished and attentive. It’s varied enough to at least drag the album
back up from the depths, ending again with more piano. ‘Sceptres’ is powerful
and full of rage, the screams feeling immensely heavy and for the first time
the cleans can be heard at the same time as the lows. The simple combination
works wonders for the song, and it really hits heights when a brutal breakdown
arrives. This flows into ‘Vacant Throne’, with incessant low chugs, growls and
riffs. The tight breakdowns work well, but it’s at around this point that the
album begins to feel like a slog. At 14 tracks long, this is a gargantuan album
that is difficult to digest. At a few songs shorter it would have been an
intense thrill ride that leaves the listener gasping for more.
Final track ‘A Curse’ would have
had a much more intense effect on the overall sound of
the album if it was a few tracks earlier, and it’s completely different to
anything else on this record. Clean vocals, classic rock melodies and
echo-laden guitars combines to create something uplifting and hopeful that
builds to an impressive finish.
Bury Tomorrow have delivered
something great with ‘The Union of Crowns’, but it had potential to be a true
classic if only it were streamlined slightly. Despite that, the sky is the
limit for this band and this release will push them further towards that.
