Album Review – letlive. – The Blackest Beautiful (2013)

There are few bands out there that manage to set themselves apart from everybody else in such a distinct and effortless way as hardcore pacesetters letlive. The LA band firmly arrived on the global scene with 2010’s dynamic and visceral ‘Fake History’, an album that delivered lively and zealous gems in abundance and a take on punk rock that had almost no comparison in modern music. Frontman Justin Butler drives the band with his chaotic and stirring vocal style, spitting lyrics at a furious pace and only stopping to ooze melodic sincerity, his ability to merge genres second-to-none. Everything from metal to hip-hop to jazz can be heard throughout letlive’s music and it’s a mash-up that works incredibly well, not once surrendering the best elements of those styles, which is not just refreshing and unique, but also surprising. For a band to deliver a sound that’s so crammed full of ideas and it not feel overbearing doesn’t happen very often.

New album ‘The Blackest Beautiful’ takes everything that came before and amplifies it to near breaking point, consistently treading a fine line and at times verging on the utterly ridiculous – and that’s when it becomes apparent just how good this band are. The album is initially a confusing and often challenging experience, with some of the tracks seeming to struggle to find a recognisable groove or direction, but it’s with repeat listens that the sheer genius of this record shines through. What primarily feels unsettling adapts in time as the songs become familiar, every nuance and minor detail slotting into the grand picture, which unveils itself to be something monumental in every sense of the word.

From the frenetic opening of ‘Banshee (Ghost Fame)’ to the sheer intensity of tracks like ‘That Fear Fever’ and ’Empty Elvis’, it’s obvious that letlive. aren’t in the mood to do things by halves and this record definitely isn’t for the faint of heart. The bedlam peaks at such a level that is almost vomit inducing, particularly when Butler is screaming with a certain derangement - his bellows of ‘We get sick so we can feel better’ on ‘White America’s Beautiful Black Market’ and roars of ‘They say home is where the heart is, so where do you keep your bed?’ on ‘Dreamer’s Disease’ noteworthy examples.

This is without doubt a record where the frontman leads by example, his performance as well as his lyrics taking the floor in a much more apparent way than ‘Fake History’. While that isn’t to say this is a vanity project for Butler, who is allowed to run riot with little to no restraint, ‘The Blackest Beautiful’ belongs to him. The instrumentals are fantastic, provoking excitement at almost every turn, however it’s hard to focus on them entirely when the vocals that accompany them are consistently awe-inspiring. When lines such as ‘If you're equating fame to religion, then where’s your faith at?’ on ‘Banshee (Ghost Fame)’ are delivered with such stimulating poise, it’s difficult not to give the singer the majority of the plaudits.

One way to describe Butler’s lyrical attack is anti-establishment poetry, but even that doesn’t quite hit the nail on the head. Every furious verse and soaring chorus is littered with beautiful metaphor, occasionally using sexuality and well-placed expletives to deliver well-rounded opinions about government, consumerism and patriotism. His words resonate in a way that incite passion, which can only elsewhere be experienced in the sweaty eye of the letlive. live show storm, and even if they sometimes feel a little self-indulgent (the likes of ‘When only the good die young, ain't it ironic I age so well’ on ‘Younger), it can be instantly forgiven.

There are calm moments, and it’s during these that the true spectacle of letlive.’s songwriting prowess is on show. This isn’t standard hardcore/punk loud/quiet transition; these are parts that are layered with distinction and swarming with genre-skipping bravery. From the measured build of ‘Virgin Dirt’ (the second half) to the entire playful outro to album closer ’27 Club’, the overall experience of such diversity is a worthwhile pleasure.

‘The Blackest Beautiful’ is an organic musical journey) as pretentious and implausible as that may sound) and needs time to be digested before a fair judgment can be made. That may seem inconceivable in the modern climate where forgettable 3-minute pop songs are at the height of popularity, but once you apply yourself to this album and leave all reservations at the door, it becomes obvious that the depth of this record pushes it to modern classic status, a label that really is deserved.

'The Blackest Beautiful' is available now through Epitaph Records.

The band tour the UK in October 2013. 

Man of Steel (2013) Review

It's common knowledge amongst film and comic book fans alike that Superman is the iconic superhero who is faster than a speeding bullet/stronger than a locomotive/pretty much impervious to anything thrown at him (aside from that pesky Kryptonite), but never before has a Superman movie had a similar clout behind it until now. The Zack Snyder directed, Christopher Nolan produced, David S. Goyer written latest incarnation of the character’s story, ‘Man of Steel’, packs an emotional punch which, when combined with some of the most spectacular and awe-inspiring set-pieces in cinematic history, pushes this film to the grandest of scales. It’s that heavyweight team that have managed to raise Kal-El from the brink of movie oblivion after the dismal and action sparse ‘Superman Returns’ (which was the last big screen outing for Supes, brought to us by Bryan Singer in 2006) and make him relevant again in a post ‘The Dark Knight Trilogy’ and ‘The Avengers’ blockbuster climate, where the bar has been set ridiculously high.

Henry Cavill dons the cape for the titular role and it’s a solid, measured performance from the Brit actor, allowing the fantastical elements of the character’s origin to shine through without damaging the development of the emotive side of the story. These origins are built up from ground level with a unique vision of Superman’s home planet Krypton and the events that lead to his arrival on Earth, all presented in an extended opening sequence where Kal-El’s father Jor-El (played in scene stealing fashion by Russell Crowe) has much more to do than place baby Superman in an Earthbound shuttle. The prologue is substantial enough that the world of Krypton is fleshed out, with Jor-El even getting into a punch up with the primary ‘Man of Steel’ villain General Zod (brought to us by Michael Shannon at his unhinged best). 

The appeal of Superman comes directly from his otherworldly qualities and the escapism that offers the audience, but for much of the movie it is his human side, which is often at the forefront, allowing his problems and experiences to be relatable in a way that they haven't been before. Once on Earth, under his human guise Clark Kent and mentored by his adopted parents Jonathan and Martha Kent (played by Kevin Costner and Diane Lane respectively) he is quickly painted as a lost soul, roaming the world as an outsider and occasionally using his superpowers to rescue members of the human race from certain doom. 

Much of his back-story is disjointed and presented to us in flashbacks that are often paired with a voice over from either Supes himself or one of his father figures, and this is refreshing as it is unique, allowing us to piece together a narrative from scenes that don't arrive in chronological order. If another filmmaker had tried to do this it could have been hard work, but Snyder (evidently with input from Nolan, whose knack for effective sporadic storytelling is second to none) has seen to it that everything falls neatly into place as each key plot point is ticked from the list of Superman purists everywhere. Sure, the purists will be unhappy with certain choices Snyder has decided to make with this incarnation of the character, but for the most part it’s an intelligent and logical direction for the story to go in.

‘Man of Steel’ isn’t shy about clattering us around the head with the central message of the movie, which tackles destiny and purpose with unwavering gravity, and that can occasionally feel crushing as there isn’t much humour in Goyer’s script. It isn’t completely void of wisecracking, but when a moment that brings a smirk to the face arrives it’s soon swept under the carpet by a few seconds of Cavill’s ‘steely’ eyed brooding and it’s obvious that this whole affair is supposed to be being taken very, very seriously. That isn’t a bad thing at all – a high percentage of the running time (which weighs in at a hefty 143 minutes) is thrilling, even when there aren’t superhuman battles and vast amounts of urban destruction on screen.

The romantic element of the movie takes a back seat during a high percentage of the proceedings, but Amy Adam’s leading lady Lois Lane (alliteration rules) is strong-willed and quirky, giving the audience a grounded outlook while all the chaos unfolds. Human relationships are realistic where it matters but there isn’t much in terms of character building for many of the supporting cast, and that makes it hard to root for them once Zod’s destruction of Earth begins to occur.

General Zod is a particularly menacing villain, and that might be because his reasoning is understandable for the most part – it’s just his methods that are questionable. The fight sequences are incredible and eye watering, the superhero action unfolding on the biggest stage with some of the most well choreographed battles in the history of the comic-book adaptation. Sure, ‘The Avengers’ did well at allowing many characters (both heroes and villains) to have their moments in a spectacularly complicated set piece, but getting the action back to one-on-one (or in one case two-on-one) was refreshing. The devastation caused by these battles was catastrophic, reducing a huge portion of Metropolis to rubble with skyscrapers toppling like dominos. This was slightly odd, as much of the loss of human life wasn’t acknowledged by Superman (or much of the other surviving characters). The only death that had any weight behind it was Zod’s demise (at the hands of a snappy Superman neck-break) and that was due to the Man of Steel’s distressing scream after the deed had been done. It’s clear that Zod, the last of Superman’s Kryptonian race, couldn’t be reasoned with – but his death ultimately leaves Kal-El alone in the Universe, the last of a race stranded on an alien planet. 

Hans Zimmer’s amazing score gave many of the scenes purpose and engages us intensely, giving weight to almost every word of Goyer’s script (despite the occasionally cringe) and upping the ante when the action pushes us to the edge of our seat. There’s a hell of a lot to admire from the attention to detail with the look/sound of ‘Man of Steel’, creating this new DC world in a phenomenally effective way. 

 

This is the Superman movie that the world has been waiting for, the balance of everything on screen perfectly coming together, combining a potentially difficult story with some concrete performances and wonderful visuals. It’s a blockbuster with heart and brains, a blend that Hollywood rarely achieves, and that’s what makes ‘Man of Steel’ such a rewarding experience.

Album Review – Senses Fail – Renacer (2013)

To describe Senses Fail's brand new release 'Renacer' as a rebirth, reimagining or reinvention of the band's sound would be in one instance, entirely correct, but in another, a complete misunderstanding of the New Jersey crew's vision for their direction. It would appear at first listen that the Buddy Nielsen fronted group have made a conscious decision to well and truly rip up the rule book, adopting the hardcore punk sound entirely and emerging from the flames (full poetic Phoenix style) as an entirely new act. However, despite the album's title 'Renacer' (which loosely translates from Spanish to 'a revival' or 'a resurrection'), that could be a red herring. Sure, the songs here are beyond expectation, and in some cases so far from what certain Senses Fail fans come to know and love that the transition could be too hard for them to swallow, perhaps deciding to turn their backs on it in favour of an abundance of soaring choruses (something that was previously commonplace in SF records) that can be found ten-a-penny in modern heavy music. The truth is, the sound that is on display here has always been present in the music of Senses Fail, it just hasn't been at the forefront of proceedings in the past (except for a few songs here and there), so with that in mind, it's the same band as it has always been, but this time around they are ferocious and firing on all cylinders, and 'Renacer' is a passionate, personal album that is the musical equivalent of a battering ram.

 

The title track opens the record on a relentless and powerful note, the dark and dangerous heaviness evident from the get-go. The sheer attack from Buddy's aggressive vocals is a shock to the system at times, the confidence behind his voice clear and it seems to have had a positive effect on the rest of the band. The furious pace continues with 'Holy Mountain', which combines verses that spit rage with a clean chorus (the first instance of sung vocals on the album) that is diverse and soothing. The bone crushing guitars set the scene for Buddy to unleash onto, which continues with 'Mi Amor', a hardcore track with screams and melody tearing through it. The fist pumping adrenaline created is overwhelming at times, and that really is superb. 

'Closure/Rebirth' puts focus on Buddy's heartfelt and personal lyrics, the content of which seem to show he has regret for some events in his past. That helps the music become relatable, something that is more and more relevant in modern heavy music (especially hardcore) with themes of change/moving on pushing this track to especially emotive territory.

'The Path' is full of guts, the distorted bass backing up Buddy's chaotic vocals as the song sways and builds, groove metal tones and even a pop-punk style chorus (which is an unsettling but effective inclusion). The song is full of attitude, the album at this point feeling like a real outlet for Nielsen (which isn't a negative at all). The wonderful quality of the production is clear, standing out especially on 'Canine', which is heavy and strange, the callous tones a focus as anger and resentment take centre stage. 'Glass' takes a step back from the fury, instrumentals providing a brief rest before the band drop back in with the familiar brutality (which is broken up with a delicate chorus).

 

'Ancient Tombs' has real swagger as it bounces along, the chorus the most uplifting and hopeful of all that has come before it, making this a very nostalgic song for Senses Fail fans. The devastating edge is still there, however, making it an intense experience. 'Frost Flower' is a short, snappy and devious slice of punk rock, the meaty riffs masterfully delivered is skull crushing fashion. 'Snake Bite' is full of energy and hate, the groovy hardcore guitars cruising along with real direction. It's one the heaviest tracks on the album, and never before has a Senses Fail record felt so continuously satisfying and to the point.

'Courage of the Knife' is old school punk with a modern heavy twist, a shout along chorus and the makings of a Senses Fail classic, the whole album up to this point feeling like a continuous thrill ride that fits all tracks seamlessly together. It's the album finale, 'Between the Mountains and the Sea', that propels 'Renacer' up to the heights of a classic, with a slow build that erupts with all of the animal energy that has been on show for the duration of the album.

A Box Labelled Sociopath - A Graphic Short

A couple of years ago I attempted to get a graphic novel project off the ground with the help of fantastic artist Niño Harn Cajayon. After several months of hard work it was clear that it was not going to be financially achievable to tell the story I wanted to tell (which I had originally planned to run as long as ten volumes), so I started working on the project as a novel.

That novel is 'Ten Tales of the Human Condition', and it's nearly finished, but I didn't want to let the work on the original incarnation of the story go to waste. I'm proud to present the first 10 pages of the proposed graphic novel as a visual accompaniment (and a prequel of sorts) to 'Ten Tales', entitled 'A Box Labelled Sociopath'.

Please take a look at (and download) the graphic short HERE.

TEN TALES OF THE HUMAN CONDITION

'Christopher Morgan, a sociopathic drug-addicted New York lawyer has an unfaithful wife, and worse still, she is conducting her affair with Christopher's best friend and work colleague. Fed up with his life and everybody within it, Christopher puts together a twisted scheme to punish those he thinks of as responsible for the downfall of his once perfect existence. He embarks on an exploration of the human condition, putting together the pieces of the human psyche and evaluating the reasons for his monumental vices. Between run-ins with prostitutes, mob bosses and a nymphomaniac psychiatrist, Christopher does everything in his power to exact the perfect vengeance.'

Album Review – Pure Love – Anthems (2013)

When an artist switches genre in a sudden and drastic fashion (we’re all aware of the Bob Dylan acoustic to electric hoopla) it really does cause considerable bother for a lot of people. Now, those people are mainly fans of the original genre and the band/singer that is making the change, who is often condemned as having ‘abandoned’ their loyal listeners. Usually, a lot of misguided hatred is directed their way due to such an ‘unthinkable’ decision, particularly from keyboard warriors with a misplaced sense of being ‘hard done by’ who probably aren’t half as big a fan as they claim to be. 

The fact is that there is a severe lack of understanding surrounding reasons for throwing such a curveball at a career (especially one that seems to be going so well). Imagine having a day job that you lack the passion for or even find getting out of bed for a tragic struggle (which can’t be hard for a certain percentage of people – we’ve all been there). Now, being a the frontman of a successful hardcore punk band isn’t exactly in the same league as cleaning the streets or working behind a checkout, but if your heart really isn’t in the day job, who are we to judge somebody who is willing to make a stand?

It took a lot of guts for Frank Carter to leave Gallows and even more guts to make the transition into an arguably more mainstream alternative rock sound with new band Pure Love, not just because he risked the wrath of many, but also because he stepped comprehensively out of his comfort zone by exchanging raspy screams, shouts and howls for the soulful (and surprisingly accomplished) tones of clean singing. Enlisting guitarist Jim Carroll (formerly of The Hope Conspiracy and Suicide File), Pure Love was born and soon Frank became vocal about his newfound creative haven with his position in the new band. 

When the first snippets of the new direction emerged online (firstly with live footage and eventually with the arrival of debut single ‘Bury My Bones’), many were dubious, perhaps worried that the material didn’t have enough punch for it to really make as much of a desired impact. It took a while, but the arrival of the full length is sure to eradicate all doubts about whether Frank’s decision to turn his back on Gallows was a good decision for him as an artist. 

‘Anthems’ opens with ‘She (Makes The Devil Run Through Me’), where classic British rock guitars and Frank’s mature vocals combine to show off the new found passion. Nostalgic and divisive, the adult themes running through this track make it a perfect introduction to what Pure Love are about – intelligent, relatable music. ‘Bury My Bones’ was the first we heard of this band, and it’s arguably a box ticker for fans of alternative rock (despite the chord pattern gaining comparisons to The Darkness – which I think is a compliment). Frank’s vocals continue to impress on ‘The Hits’, his lyrical approach dealing with love, lust and the passions of life (a polar opposite to much of his anger and resentment in the songs of Gallows). Inspiring choruses are here in abundance, and the classic rock and roll guitars feel fresh and modern.

‘Anthem’ has a slow and steady approach, with Frank’s vocals being isolated and smooth. Blues rock, the jangling of a piano and clear jazz influences make this track a fun ride. It’s captivating and builds to a flurry of intensity. ‘Beach of Diamonds’ is sun drenched and simple, but with some of the biggest hooks on the record so far. It’s not particularly exciting (a fairly standard verse/chorus pattern) but the positive messages give off good vibes. ‘Handsome Devils Club’ is edgy and even quite amusing (with some definitive tongue-in-cheek lyrics), channelling sex and lust into a solid rock track. ‘Heavy Kind Of Chain’ is a delicate rock ballad with vocal driven melodies aplenty. Grunge and indie influence this, despite the introduction of pianos and strings, which add distinct depth to proceedings.

‘Burning Love’ is enthralling, dirty and soaked with sex and violence, the emotive lyrical content depicting lust and love in ways erotic authors can only hope to. It’s true to life and that’s what strikes a chord, the honesty of Pure Love being one of their main appeals. ‘Scared to Death’ is captivating yet goes through the motions without many risks while ‘Riot Song’ pushes the boundaries with a unique take on a summer festival anthem. Closing track ‘March Of The Pilgrims’ is a large scale rock song with more nostalgia than you can shake a stick at, making it a great listen for fans of many genres and eras of guitar music.

Pure Love’s debut album ‘Anthems’ is just that, a record packed full of fist-pumping good times that would be the perfect accompaniment to a cold beer on a summer’s evening, preferably at a sun soaked festival. It’s a feel good, uplifting affair with a streak of Brit-pop attitude running through its core, and although that won’t be to everybody’s taste, it never feels cliché at any moment. The songs are just simple, no frills rock and roll with an honest essence that makes them feel that much more enjoyable. Bucking the trend and kicking habits of a lifetime doesn’t seem to have been as disastrous a decision as it initially appeared for Frank Carter, and the longevity of him as an artist has certainly increased with this string being added to his bow. Pure Love are a band that will appeal to many, and fans from both ends of the genre spectrum are encouraged to give ‘Anthems’ a listen.