Single Review – Deftones : Leathers/Tempest (2012

 

The last few weeks have seen Deftones release a pair of tracks from their soon to bereleased brand new album, ‘Koi No Yokan’, which drops on the 13^th of November via Reprise Records. The record will be studio album number 7 from the band, and if these first two tastes of it are anything to go by, it will surely be an absolute behemoth (as every previous Deftones album has been before). It’s sure to be a continuation of one of the most consistent musical catalogues in metal history, and here’s why both ‘Leathers’ and ‘Tempest’ are great.

‘Leathers’ begins with an unnerving intro, slow guitar notes and stmospheric sounds which soon give way to the recognisable chugged Deftones riffs. Chino Moreno’s iconic and visceral howls are as powerful as ever, his words of ‘Revolt! Resist!’ having massive impact. As soon as melodic vocals take over, the track soars and an uplifting chorus infuses passion and hope. The classic Deftones mystery is maintained with lyrics like ‘Wear your insides on the outside’, the bizarre/macabre themes appearing in abundance. The track feels as fresh and heavy as anything from ‘Diamond Eyes’, which was full of mature and accessible songs. ‘Leathers’ builds to an overwhelming close, a sign that ‘Koi No Yokan’ is sure to be full of incredible moments.

‘Tempest’ is an entirely different experience, despite starting in a similar way to the first track. Once it gets going, the heavy groove running though it is a joy to behold, and it’s clear that this will be quite an experience once it is played live. It has a lot of weight behind it, and the lyrics are somewhat apocalyptic, making it an eerie addition to the track list of ‘Koi No Yokan’, which in full looks like this – 

01. Poltergeist (Roller Derby)
02. Romantic Dreams
03. Leathers
04. Swerve City
05. Entomb (Dazzle)
06. Graphic Nature
07. Tempest
08. Gauze
09. Rosemary
10. Goon Squad
11. What Happened To You? (Flashback)

I am certainly excited for the 13^th of November!

LONG LIVE DEFTONES.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The two new singles can be downloaded at:

http://www.weareheights.com/

Single Review - Firefalldown : These Wounds (2012)

 

The Filipino-British three-piece ‘Firefalldown’ bring their own brand of melodic funk-core to the UK underground scene and it looks like 2012 could be the year for them to break out.

‘These Wounds’ is the single from the upcoming album of the same name (which is four years in the making and due for release in May) and there really couldn’t be a better first release to promote it. The song is equal parts punk/funk/alternative rock, and it’s a genuine feel good and anthemic piece of music. It starts with garage rock chords, soon followed by groovy drums and a funky bass line. It touches on blues-rock as the vocals hit, sang well and with heart, driving the song into a catchy stop-start bridge that is accompanied by venomous shouts.

The track then builds sweetly into a chorus and the pop edge of the band is thrown into the limelight. Think Foo Fighters with softer delivered vocals, or perhaps a lo-fi Placebo with a similar ability to pick out the melody in a hook. The song drops into a brief verse before the highs of the song as again visited, and this really helps with the momentum of the song. The band clearly have a good dynamic and it would be interesting to see how this played out during a live set.

As the song reaches the final third, the tempo increases for a brief flash, before stripped down vocal melodies come to the forefront, being followed by a melodic guitar solo which kicks in at the perfect moment. The last chorus adds more vocal layers, before the song ends on a final chord.

‘These Wounds’ is a top quality single from an exciting and nostalgic band (mid 90s rock from both sides of the pond can be heard) and it shows promise for the full length release to deliver when it hits in a couple of months. 

Single Review - Enter Shikari : Quelle Surprise (2011)

Enter Shikari are a band without equal who have been climbing to ladder to success ever since the release of their debut album, 'Take to the Skies' in 2007. Their sound has few true counterparts, and although their trance laced post-hardcore has been emulated by many, it has never been bettered, proving that originality does indeed conquer the factory churned out music of certain bands of the modern era. Another full length release, 'Common Dreads' in 2009, solidified Enter Shikari as a heavy powerhouse, albeit a band cut from a very different cloth to standard metal quartets.

With a third album in the works, Enter Shikari have released a new single entitled 'Quelle Surprise', the first new song from the Shikari camp since previously released stand-alone single 'Destabilise'. It's not clear whether either of these singles will appear on the new album, but it's a treat for fans to get a hit of what the band in 2011 sound like and a welcomed insight into what shape the album may take once it is completed.

Even after just a few seconds of the string tones at the very beginning of 'Quelle Surprise', it's already clear that this is going to be a trademark Shikari track, and by the time the synth beats begin to grind in along with a jolting guitar line, it's obvious that the band will be pushing themselves and breaking boundaries like they always do with each new release. Vocalist Rou Reynolds spits words over this delightful intro, lyrics exploring the potential of the human race in the 21st century, before making the transition into a rougher vocal style, with raspy screams insisting that 'we're so f***king adaptable.'

through. 'If you stand for nothing, you will fall for anything' is sung with passion and intensity, so much so that it is clear that these lyrics are the message of 'Quelle Surprise' as a whole. They do, after all, appear in large letters on the artwork of the single. The chorus of this song is satisfying and punchy, as are the choruses of most of Enter Shikari's best tracks, with the rhythm section of the band working overtime as the guitars chug and the vocals soar.

Talking of chugs, this song has a breakdown that is both perfectly executed and dignified, its simplicity not outweighing its mosh-worthy qualities. It thunders in with the prominent chugs, including synth notes and noises between them, before the spoken-word vocals from the intro of the song return over it. This is where things get extremely interesting, with a quirky spin on the song being applied to generate a genuine talking point (mainly based upon questioning what it must represent) as Reynolds begins to choke on his words. And that's literally, as it sounds as though he cannot finish a line of lyrics without his voice cutting off. Perhaps a cheeky wink at the powers that be trying to silence those who oppose them, who knows? Whatever the reason, it's an addition to the song that makes it that much more enjoyable.

The chorus chimes in again before the vocals build up into a crescendo, drawing the song to a close. That’s the moment that you can really reflect on what you’ve heard and no doubt start the song over again. If we get more of this on the brand new album, then it’s going to be a recording that should really not be missed. I’m confident that Enter Shikari will continue their journey to the very top and I’m excited to see just what it takes for them to get there.

Single Review – Towns : Fields / Heads Off (2011)

Towns are a hard working Bristol/Weston-Super-Mare based band formed from three musically confident and passionate school friends, currently playing all over their hometown since their first gig in February of this year, bringing their brand of revitalising contemporary indie rock to the masses on a sweeping surge of old school authenticity. The band have already been featured

on BBC Introducing and will be releasing their first single, ‘Fields’, on the 23^rd of May along with B-Side ‘Heads Off’ through London based Faculty Music Digital.

They are equal parts Brit-Pop and psychedelic noise, blending the sounds together seamlessly and including influences from a broad spectrum of albums that they list as being important in the construction of the band (Radiohead’s ‘Kid A’, The Smiths’ ‘The Queen Is Dead’ and the self-titled Stone Roses release). It’s the latter band that I can hear the most of in the two songs being released by Towns, the sound they create recalling the whimsical and dreamy easy-listening of early nineties alternative rock. The lyrics in leading track ‘Fields’ are certainly nostalgic in more than one sense, urging us to remember days when responsibility wasn’t important to us and spending time with our friends was top of the agenda. The chorus of the song pushes the dreamy quality already mentioned directly into the limelight, but this is where the song falls slightly flat, with not much backing up the leading vocal of ‘fields all day’ and the whole affair beginning to feel repetitive. I felt myself drifting off from the song, my concentration waning. It’s because of this that perhaps these two songs could alienate a large section of music lovers, only really appealing to fans of the mentioned bands and finding it difficult to find a home in the hearts of anybody else. 

That’s not to put down the effect of this band and their debut single, as overall the short tracks are a success. Late May is a good time to release these songs, their qualities lying in their summertime feel and echoes of mesmerizing freedom. I am sure that Towns have more to offer and I would be an attendee at a Bristol gig to see just how their sound converts from record to a live stage. They’re definitely a band to watch out for, perhaps creating more of a buzz with future releases.