EP Review – Cauls : EP2 (2012)

North East post-hardcore outfit Cauls release their second EP with a bang, their progressive sound a distinctive and memorable beast, the sounds they create weaved from an unruly combination of melody and aggression. The five songs found on 'EP2' are intense, unpredictable and delivered with a exciting efficiency that makes this record a superb listen.

An eerie pulsating beat begins with 'Whistler', the opening track having echoes of the soundtrack to John Carpenter's classic 80s horror flick, 'The Thing'. The beat increases with various percussion, building slowly with haunting instrumentals and wailing vocals that sound like a combination of Trent Reznor and Thom Yorke. The slow, steady approach threatens to explode on occasion, and when it finally does, the full force of the instrumentals create a wall of feedback and pounding drums. 'No Motion' begins in much more straightforward fashion, with rolling bass and a solid beat allowing the distinctive vocal style to thrive. Progressive song structures stand out and the post-hardcore rhythms feel organic and refreshing. Influences appear to come from avenues as different as The Mars Volta and early Biffy Clyro, but all of the ideas in the melting pot really work well.

 

'Iris Brickfield' begins with distant guitar notes building into a understated verse with whispered vocals and stop-start bass, the clean guitars soon taking over and vocals soon joining them. The lyrics soar as the song erupts, the subtlety soon forgotten in a tornado of passion and menace. 'The Durande' is an atmospheric musical interlude that calms proceedings before the 8 minute behemoth of EP closer 'Ahsonnutli', which is a huge experimental canvas of noise, the ideas constantly threatening to overflow but not in a way that makes the track any less enjoyable. Furious guitars combine with crashing cymbals and snares, the song swaying and switching constantly, the band pulling off some tricks that throw a spanner into the works of standard song structure, and that makes the finale of 'EP2' a wonderful listen.

'EP2' from Cauls is a gratifying experience and definitely worth a great deal of attention.

EP Review – Sick Confliction : The Heroine/Hero EP (2012)

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. 

www.facebook.com/sickconfliction
www.twitter.com/sickconfliction

EP Review – Bury the Hatchet : …It Was Never Enough (2012)

 

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.

EP Review - Gouranga : Nature's Knife (2012)

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 28^th of June with support from Dead Poets, Knifeman and POHL.

EP Review – Zoltar Speaks : Treatment (2012)

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.

EP Review – Pulled Apart By Horses : Wolf Hand (2012)

Leeds rockers welcome the release of brand new single ‘Wolf Hand’ with a free to download EP for their fans, which is a nice little bonus for anybody who got their hands on the band’s recent album ‘Tough Love’, which received much praise. This group of songs includes a cover of American songstress Lana Del Rey’s ‘Blue Jeans’ (which was recently recorded for BBC Radio 1’s Live Lounge) as well as a trio of live tracks from the ‘Tough Love’ record.

The ‘Blue Jeans’ cover, which is a good choice as it ranks up there with the strongest bittersweet love songs on Lana Del Rey’s album ‘Born to Die’, is a complete makeover of the original, keeping the same melodies but overhauling the instrumentals in a dramatic way. It’s basically a grunge-rock take on the subdued ballad, with distorted guitars and growled vocals replacing Lana’s breathy intensity. It’s an impressively different sound, keeping the original sadness/uplifting elements in the right places. This talented bunch clearly aren’t afraid to take risks, and the adulation online for this cover is warranted.

The first of the free live track is ‘Wolf Hand’, and the spirit of the song from ‘Tough Love’ is captured perfectly. The driving bassline dictates the flow of the track, which includes some passionate and fulfilling ‘forever young’ themed lyrics (‘When I was young I was a dick, and nothing changes’). The soaring guitars, thick beats and juddering rhythm are infectious, and this live take on a popular PABH track is a delightful listen.

Next up is a live version of ‘Everything Dipped In Gold’ continues the contagious sounds, with another pulsating bassline, yelped punk vocals, Brit grunge and powerful chords. The vocal harmonies create an interesting landscape of sound and this track proves to be lots of fun, and it sounds like the band are having plenty of that as they play.

The final live take is ‘Night Of The Living (I’m Scared Of People)’ and it channels the edge of the band with stop-start riffing and harshly spat vocals. Early Biffy Clyro can be heard (a suitable reference) and PABH can now stand up with the best of British alternative bands. This free EP is a fantastic bonus for fans of the band and worth a listen, even as an introduction to the group.

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.

EP Review - Hello Lazarus : Hello Lazarus (2012)

Bristol’s own Hello Lazarus have been surfing a wave of hype since the release of their debut mini-album ‘All Alliteration’. Gigging tirelessly and working hard has certainly paid off for the alternative rock trio as Scylla Records signed them up, released their new self-titled EP and sent the band out on a national tour to support the record. The release brings together four wonderfully crafted rock songs that span the last 20 years of popular British guitar music, descending the mountain of Brit-pop and exploring grunge, indie and punk.

Hello Lazarus introduce the EP with opener ‘Adore Implore’, and there couldn’t be a better start to the proceedings. A couple of gutsy chords chime in, followed by a progressive and off-timed rock riff, that kicks the song into overdrive. Octave chords divert the track before the vocals kick in, soaring above the instruments, both pained and passionate at the same time. It’s edgy, cool and quintessentially British, drawing a lot of instant comparison to another three-piece, Scottish band Biffy Clyro. It may just be the dynamic between the three musicians that give Hello Lazarus that instantly familiar sound, but it’s also because they clearly have a knack for writing a fantastic tune. Intricate layers sway the track, steadying when recognisable hooks are revisited. The song falls into an inconspicuous mode at times, but soon returns to the fist pumping vehemence that makes it so enjoyable. Vocal harmonies build before one final tear through the math-rock main riff brings things to a snappy end.

‘X Marks’, the first single released from the EP, begins with warm, melodic notes before switching to uplifting strummed guitars. A verse falls in, with sturdy bass, picked melodies and playful drums, the nautical themed lyrics sung with pluck and prestige. There is a brief pause before a big chorus, which increases the effect of the sing-along values. This is a real ‘heart on your sleeve’ number, which such earnest lyrics as ‘where do we go from here?’ The changes in pace are executed perfectly, proof that Hello Lazarus have the talent to make a memorable and effectual song, which is an important ingredient for mainstream success. 

Minimalist guitars begin another relaxed track, sounding more like bands from around the world rather than definitive Brits (The Gaslight Anthem, The Temper Trap). A driving bass line, pounding drums and sincere vocals push the song along, diving into new territories and constantly surprising with the direction taken. It’s another visionary love song, the well-written lyrics evoking beautiful imagery with such lines as ‘all I wanted was to breathe your air’. The finale of the song has a repeated guitar scale over pulsating and quickening beats, which is an exciting end to a proficient track.

‘Ride & Seek’ returns to the high tempo of the EP’s beginning, again making use of quiet verses to increase the impact of the louder parts of the song. The chorus here is huge, seeming so much louder than the rest of the song but never feeling too much. It’s a ‘festival friendly’ track, as is the rest of the EP, spanning a wide range of genres to widen the band’s appeal.

This self-titled release from Hello Lazarus is a generous group of songs that keeps giving upon repeated listens. The band undoubtedly deserves their newfound success and can back up the competence of their recordings with a fantastically energetic and tight live show.

They will begin their nationwide tour on the 30^th of March with an EP launch show at Bristol venue The Louisiana, which I definitely recommend as a great local show to attend. Not in Bristol? They’ll be everywhere from the likes of Leeds to London, so be sure to check them out!

EP Review - Witness the Fall : Witness the Fall (2012)

Scottish metal is having some sort of surge at the moment, with recently reviewed hardcore outfit Burn the Sunset making waves and now Witness the Fall arriving with a self-titled EP that has roots in the local scene and aspirations to become a key release for a new generation of metal from above the border. Hailing from Dumfries, the 5 piece stepped out of the shadows in 2007, determined to break the mould and make a name for themselves at the same time. 5 years on, the debut EP hits (which is an abnormally long time for a band’s music to get recorded) and it turns out Witness the Fall are a band with bucket loads of technical efficiency but lack greatly when it comes to the originality.

The opening of the EP is promising enough, with ‘An End To The Darkness’ starting at a breakneck pace, with insane technical riffing and double bass beats. Vocals tear through, appearing strong and clear, while the melodies shine as the song progresses. Well-layered guitars provide a decent platform for the numerous ideas, although some sound way too familiar for any fan of mainstream metal/rock (we’ll come to that soon). A final push of abrasive screams brings the song to a close, but straight away ‘Victory’ hits like a sledgehammer, and the song is a real dirty headbanger. The main riff coasts and the brutality of the whole tune sits on a real groove that the song bounces on, packing a thrilling punch. The boys are clearly a talented bunch, but it’s during the transition from this track to ‘The Dying Art of Integrity’ that I really notice some of the licks and scales are giving me a terrible sense of déjà vu. Yes, like many modern bands fining their sound, Witness the Fall have fallen foul of sounding way too much like the bands that inspire them. If you played Killswitch Engage in one ear and Bullet For my Valentine in the other, no doubt you’d end up hearing something like this. The third track on this EP feels recycled and begins to cause the Witness the Fall identity to get lost.

‘The Tragedy of Man’ could have been plucked from the (first) Jesse Leach era of Killswitch Engage (even that song title feels like it could have come from him). It’s a great track, but the original sounding parts are few and far between, which is a real shame. The intense solo at the end of this song is intense and a massive highlight for the EP so far. ‘Righteous Kill’ is dark and bitter experience with flowing riffs and anger in the vocals. Fists pump and the heart rate increases as samples from great political speeches add a different element, perhaps increasing the idea of a message behind the madness. The EP sags and droops at this point, with final track ‘Darkest Hour (No Surrender)’’, complete with vocal hooks that just seem to go through the same old motions and riffs that confirm the thought that this band are running out of ideas.

It’s a promising release from Witness the Fall, but with a 6 track EP feeling like it is running out of ideas, it doesn’t bode well for a full length release from this band. However, there are a lot of promising elements that hopefully mean things could change. All in all, interesting heavy music coming out of Scotland at this moment in time.