Showing posts with label Alternative. Show all posts
Showing posts with label Alternative. Show all posts

Monday 15 January 2024

Trevor Something "Archetypes" (2024)

 
My introduction to one man band Trevor Something was through a handful of delightful re-imaginations of 80s Synthpop and Alternative classics. I wasn't pulled into his original music, so this new record of twelve cover songs suited me well.

Trevor's built a unique sound, treading a line adjacent to Ethereal, Synthwave and Electro-Industrial. Like a dream inducing sedative, subdued and sluggish, his soft, distant voice steers us through hazy atmospheres. Layered arrangements of textural synths dance, often with chunky bass wobbles. The usual culprit of echo and reverb masks an otherwise sharp set of steady melodies into a concussive daze.

In this reshaping of originals, a unique soothing, slightly dystopian crooning is birthed. You want to stick around and indulge. Not knowing a track wasn't a barrier to entry either, the warmly dystopian aesthetics, lingering tempo and Cyber-Goth vibes maintain across its duration. Closer and No Ordinary Love where my favorites.

All That She Want's is a surprising throwback but record ends with Change (In The House Of Flies), which I thought would be a lay up. On this occasion, a sterile overindulgence approach lost the original spark. Its smokey, cumbersome stride swiftly dulls. Strange ending to an otherwise unique and enjoyable record.

Rating: 6/10

Tuesday 2 January 2024

Crosses "Crosses" (2014)

Having enjoyed the duo's new sophomore record, I ventured back to their debut, released nine years prior. Feeling very much fitting of its era, the electronic percussive arrangements tilt in a handful of directions, ta Disco House flavor of Daft Punk rears its head early on. The rest mostly an assemble of sluggish Trip Hop grooves and subdued drum patterns. They mostly stir echos from Post-Punks expansive umbrella, far from the hard hitting, cutting edge that its followup leaned into. 

This left Crosses with an expression rooted in the moment, something about arriving ten years late has been tricky to reorient. Led by Chino's charm, that inescapable Deftones feeling is prevalent but this time his partner Lopez crafts moody textural passing of mellow sound. Drenched in ambiguous, airy, soft design, many sounds emerge. Gentle guitar licks, plucked strings, a groaning Sax, broody pianos and riveting organ shimmer, with the occasional metallic riff dialing down its intensity.

The two fall into a sway, grooving on sullen, melancholic strides, mustering occasional bursts of energy on odd songs. The Epilogue was my favorite, cruising with pace and bustling in gated toms for a lively energy, the guitar lick and vocals made for a catchy hook. A rarity, much of the music focuses on mood, highlighting a lack of connection in its absence. Ultimately, the duo focus on a side of their chemistry that doesn't quite tick all the boxes for me. A fair listen but not one I'll come back to often.

Rating: 5/10

Monday 1 January 2024

Graywave "Planetary Shift" (2021)


Enthralled by Rebirth's swelling descents of darkly Shoegazing magic, Planetary Shift has lingered in its shadow like an egg ready to hatch, not yet finding a final form. Fortunately, I've gotten past this notion. These five tracks are further from the dense, engulfing aesthetics of its successor, they reside closer to the "traditional" Ethereal, Shoegaze, Dreampop soundscape. Crooning in the sombre resonance its shimmering guitar chords echo, each song runs a dreamy trip, usually steering into a familiar distress, yet exploring uplifting phrases too, like on the opening Dreaming, which gleams with a kind warmness. The following Swallow toes the line with soaring ascents to glory before a dreary, distant title track sets up its final two stints.
 
The arch peers into darkness on conclusion, as Like Heaven's catchy chorus bleeds a sombre melody to hint at its closing struggle, which Before delves into. Bringing back that alluring engulfing darkness heard on Rebirth, It is perhaps the catalyst for Jess' natural progression. After establishing its verse chorus loop, the later half ignites with a ferocity as she dials the soaring vocals to another plateau. The music swells, riding its decent into a the void. Stunning music, which again starts from a brighter place. This side has much merit but I find myself magnetized to the darker expressions.

Rating: 5/10

Sunday 24 December 2023

Graywave "Rebirth" (2022)

 
Illuminating attention with an engulfing dreary charm, Graywave, brainchild of Jess Webberley, intensifies their dense Shoegazing Ethereal haze with bustling over drive guitars that swell and shimmer in flushes of bleak beauty. The instruments roar with inviting texture, baselines rumble, showing cracks and grooves, the drums strike with piercing clarity and crispness. Around them a glory of sombre tuneful sounds ripple and shimmer in waves, losing themselves in copious echos and reverberations.

Crudely Dream Pop, oddly catchy by design, these illustrious melodies lure one into its haunting spell. Each track casts its bait, then reels one into thick, heavy surges of descending imminence. Emotions suffer dark and burdensome, yet glimmer with soft introspection. Often feeling like a cathartic release of internal demons and personal grievances that run deep. Its stunning how each song sways in and out of this radiant hell, retaining its alluring colors and selling one on its shadowy descent over and over.

The magic ingredient is Jess' voice who has stunning softness in strength, her gentle tone can ascend and roar with the swells of instrumental gravity beneath her. Its a stunning chemistry from a multi instrumentalist honing in on a purity of self expression. Five fine songs, with the opening Build a masterful ear-worm to binge. This is about as heavy as Shoegazing gets before you call it Metal. To my ears, its akin to Autumn's Grey Solace on steroids. Absolutely loved this, Ive found my next journey it seems!

Rating: 6/10

Sunday 3 December 2023

Poppy "Zig" (2023)

 

Still one to follow for her creative ensemble of pop sensibilities and abrasive tones, Poppy returns with a similar set of mashed up sounds. As a pleasant vocal presence, one is drawn to the lyrics. Lightly cryptic, suggestive and occasionally humored, they rarely yield depth when wrapped up in a hook or catchy cadence. Her direct words muster more meaning with plain language, however none of it amounted to anything memorable for me. At times, a sense of reaching for a mischievous truth emerges.

Either way, the record doesn't hit on this front and neither does its bass groove oriented stints of cold calculated Electronica. Trading in overdrive guitars for distorted synths, the instrumentals often converge on flickering rhythmic drives, lavished in dispassionate texture, lacking emotion and accompanying melody. On occasion, atmospheric synths layer in some compassion but without its a rather lifeless stint.

After the droning disharmony of Zig passes, Poppy's voice opens up, some songs focusing on her melodies. A pleasant direction but only Motorbike strikes a nerve. Its soft Disco Funk grooves elevate the hook and color the song with an interesting subtle sway. On a better record, this might have been felt as a weak cut. Loaded with mediocrity, Zig was sadly somewhat of a bore, doing little to make itself known.

Rating: 4/10

Friday 1 December 2023

Nova Twins "Supernova" (2023)

Hailing from London, the Nova Twins are a dynamic duo with a typically modern broad assemble of aggressive, abrasive inspirations. Clearly children of the Internet era, one can hear echos of 90s Rap Rock energy and Nu Metal syncopation, with 00s darker electronic music shades manifesting beyond prior crossover restraints. Attitude is its a driving force, shouted raps, soft screams and occasionally Pop R&B tinged sung lines, all emphasizing prominence and status spitting in the face of external adversity.

 Their songs are varnished with an electronic, noisy textural vaneer. Often crashing in with crunchy guitar grooves, the accompanying atmosphere feels as unconventional as un-melodic sounds weave into the fold. Somewhat similar to the worbling of Dubstep drops, these noisy groans are softly abrasive, hard and barely rhythmic yet mixed with a forgiving presence to make their songs rather accessible to my ears.

Its an odd approach considering there is a lack of melody and catchy knacks to latch onto. The drumming is rather dull and predictable, leaving a lot resting on the vocals and grooves. Choose Your Fighter is the records best track, a moment where the instrumental ideology swells around a compelling moshable groove. The rest of the record falls short of this feat and feels mediocre, occasionally dull on its weaker cuts.

In a way, I am reminded of Limp Bizkit, a love hate band who's fans were most likely fresh to the ideas of Metal and Rap. I could easily see my teenage latching on to the wildness this record presents but as a seasoned listener, little here feels special, I've heard it all before. They do show signs of promise however, some musical evolution on this chemistry may turn heads in the future but right now its a touch juvenile.

Rating: 5/10

Saturday 23 September 2023

Olivia Rodrigo "Guts" (2023)

 

Two years on from Sour, Olivia matures, returning with welcome yet familiar tuneful dances of vulnerable self expression. Guts possibly signals the expression of having enough to bleed these pained relationships she divulges in detail. Among its twelve tracks, we experience the flip side, highs and lows, loves and heartbreaks, all in broken sequence, letting each song take form with its own identity.

Like last time around, mature, expressive and palatable singer songwriter bites get wedged between chirpy, catching hooks and pop sensibilities. Often teenage in nature, Olivia has no difficulty finding relatable words with an essence of youth and soft touch of rebellion. Not my preferred picks yet her vibrancy so clearly on the pulse of those young years, one can take a step back into those spaces faded by age.

A notable 90s Post-Grunge, Alternative Rock aesthetic rears its head on occasion. My favorite track, Pretty Isn't Pretty, bolsters a gorgeous shoe-gazing guitar lick. Underneath a luminous baselines marches with a delicate assemble of subtle instruments coloring its calmer moments. The tone is wonderfully balanced, fresh yet nostalgic, she yields her voice to whats asked of the instrumental. Stunning song!

These revived sounds kick off the album back to back. All-American Bitch and Bad Idea Right? get there Pop Punk kicks on with fun and cheeky expressions. The later reminding me of Devo's Whip It in an obscure way, must be that tight overdriven guitar riff! Every time an energetic song arrives, it always comes with a complimentary sense of specific inspiration from the 90s and 00s alternative music scenes.

The soft and vulnerable cuts found between are my favorites. When the guitars fade and airy synths rise, alongside moody pianos and tempered strings, Olivia opens up with endearing stories of personal woes felt in her voice. It strips out the attitude and quirk of catchy hook writing, saying similar things but from direction experiences. This is where the guts of the record lay, their pacing between other sounds is apt.

Lastly, the record ends with Teenage Dream, reflecting on artistic and cosmetic atrophy. A tender track exposing her relationship with the massive pressures of fame and public opinion. Its quite saddening considering how heavy such thoughts can weigh. Feels like an potential premonition, a self fulfilling prophesy. Hopefully getting it off her chest wont make that so! This album was remarkably gratifying, just as good if not better than Sour. I'm left knowing I will keep coming back to this one.

Rating: 8/10

Monday 8 May 2023

Enter Shikari "A Kiss For The Whole World" (2023)

 

Two decades have passed since Enter Shikari made waves playing in our local music scene. With an unwavering resilience, they retain a relevancy that took me by surprise, having grown comfortable in the silent interval between records. Re-arranging their youthful character once again, Shikari still have the bite to hook, line and sink one into their party-like carnival Rock-Electronic realm again. With fond familiarity and spicy seasoning, A Kiss For The Whole World blazes by this listener in a whirl of engrossing charisma. Topically flourishing, their restless offerings come woven with compassion and hope, matured out of once angered social political lyrics.

This positivity emanates instrumentally, made starkly apparent by Rou Reynolds' passionate pleas, warm wisdoms and mellow metaphors. Practically every song has an infectious hook, his catchy wordings deliver hope and uplift, arriving on a flush of creativity. Its fun, engaging, refreshing and keeps once locked in with its nimble stride as these apt thirty three minutes sprint by with every moment revealing its purpose.

Their pop sensibilities have matured to a level of class, leveraging the appeal of popular musics most gratifying structures against the rampant creativity of their eclectic musical pallet. Echo's from the web of early 90s electronica still loom boldly, most keenly The Prodigy. Some moments just cant escape their legacy. Shikari are further forging their signature sound, yet not exactly advancing on new territory.

This record signifies a peak in the assembly of Metal tinged Rock, echoing Hardcore. Club music, Drum & Bass weave their aesthetics and components dynamically. Splashes of classic instrumens align with a keen cheek and cheer. Playing a role for narrative and direction to blossom. In short, everything they have done before, successfully re-emerging on a creative high for fans new and old to be taken away by. With each of my many spins I wonder if the cracks will appear. Despite having favorites among the crowd, it plays wonderfully as a complete experience.

Rating: 8/10

Monday 6 December 2021

Can't Swim "Change Of Plans" (2021)

 

Don't be fooled, the oddly Gothic, Danzig alike album cover doesn't accurately reflect the emotive suburban vibes this group emanate. Can't Swim are my personal antidote to the Emo / Screamo scenes I turned a nose up at in my youth. These millennial musicians revive the glory of their past years, bringing musical maturity to their first world, woe ridden lyrics. With poppy song structures, catchy hooks and a melodic tint to garnish, Change Of Plans is the bands third but sadly the least impressive, possibly a case of familiarity as the band stick firmly to what works with a little twist of anger.

With Pop-Punk themes of adversity lacking troubles. Social squabbles, relationship woes and self doubts, the lyrics play from a light hearted teenage place with just a sprinkle of maturity. These are adult problems expressed with the lens of youthful angsty ideas that sway it far enough from perils. Its left in a precarious place where you can leave or take it. Personally Its not a bother but bar one or two lines I didn't find much to connect with, however the delivery and honesty in LoPorto's vocals is charming. The vulnerability and self coddling style is endearing, often manifesting into a hook with a knack to make his words catchy and flow with the groove.

The music is carved up into the typical inflections, lots of moody melodic plucked acoustic chords that bleed into vibrant distortion tones with all degrees wedged in between. Most these songs have a layer of aggression that sways back and forth from its guitars. Its not to adventurous, sticking to typical song structures and compositions with plenty of bright, harmonious singing. The point would be that they do this so well.

Where things detour is with a stronger sense of Hardcore and breakdown energy which the genre is adjacent too. On three or four tracks they step into this space boldly, not something I remember from their previous records. Better Luck Next Time and its jaunting breakdown goes full in on the aggression with palm mute chugs and tropes from the more metallic end of the spectrum. Sense Of Humor and its "Look who's laughing now" lyric slaps another breakdown in a track It doesn't feel fit for.

Whats interesting is how well executed these ideas are, the problem is they don't fit the overall mood which tends to be more introspective and mall shop sorrows than anger fueled resolution. A couple other songs have a breakdown stitched on the end and whenever it comes around, it feels like a sudden shift. Despite this jarring union of ideas, Change Of Plans is solid with plenty of catchy tunes. Its one to throw into the shuffle playlist and see what sticks with time.

Rating: 7/10

Monday 21 December 2020

Ocean Grove "Dream" (2020)

 

Reporting on this three track release of b-sides is more so an excuse to remind you all this amazing band exists. Flip Phone Fantasy has to be my album of the year and Dream brings a little extra from that session for us to enjoy. Its title track is another 90s vibes extravagance, fulled with rich octane guitars strumming out power chords in a stride and bursting with lively drums, its cruises sweetly to the sun with mid tempo late summer vibes. Led by Dale Tanners soaring voice, it very much reminds me of Liam Gallagher in spots. The song however is rather one dimensional, with little variety and a routine crescendo to see it out with a simple melodic overtone, its easy to see why it didn't make the cut.

That's not to say its a bad song, it just doesn't reach the heights on the album. The accompanying acoustic version of Shimmer is a nice touch that holds up on the songwriting front. The glossy production with layers of airy reverberation gives it a similar wall of sound feeling even without the brimming distortion guitars. Sunny is notably labeled as a remix, its distortion guitars stripped out, a Trap drum groove thrown in too. It exposes the other layers of sound from the mix with more clarity. A nice way to enjoy the song on a new level. Again, the songwriting holds up, just affirming my love of this record I have binged hard and its magic still persists! Go check it out If you have not already.

Rating: 3/10

Sunday 12 July 2020

Esoterica "In Dreams" (2020)


Surprises come in many forms. Out of the ether emerged a name I had forgotten for many a year. Back at my first few Download Festivals I caught this band twice. Between bands I knew, I'd make sure to see check out ones I didn't. Having a strong spot on the bill of a smaller stage, yet little in the way of a crowd, they struck me as a band with a label backing them. I enjoyed their music, the antics with bringing a trained crow on stage memorable and their cover of Delerium's Silence and absolute gem! So twelve years later I've been swept of my feet by this stunning record!

Somehwat uncanny, the album's best song is another cover. Snug sweetly in the middle, True Faith originally by New Order, has a potent synth melody and sing along chorus that fits the bands aesthetic so well. The song is fundamentally different but this song writing brings so much to their thick, moody sound. Its hard to pin down, a form of artsy Alternative Rock and Progressive Metal with a dreamy Ethereal quality. The mixing embellishes this chemistry with a luscious texture, atmospheric and emotionally indulgent with melodic piano tones pinned under its dreary guitar leads.

Its a great aesthetic compliment to the singer, who performs with power and fragility in the balance as he wrestles his way through with an open vulnerability. Now with Tool in my arsenal of recognition, I hear a distinct Maynard influence in his voice as the intensity of his singing takes on similar journeys, especially on the song Letting Go. The brooding and building inline with the instruments takes us on quite the journey through the musical expression. The cohesion is impressive an often the best aspect of the songs as no instrument tries to overpower or out perform another.

With a track like Gone, Esoterica present an ear for groove and an apatite for energy that runs counter to the general tone of the record. These are mostly mid tempo songs with dreary bleak atmospheres, sombre yet gleaming with a hidden beauty in its subtle harmonies. Surges of melodic uplift in the songs peaks remind me of the parting of dull rains on a cold day, to then feel the warmth of sun and see the colors of a rainbow. They are beautifully heavy emotions finding resolve as the winds turn.

Initially I was blown away, then I was enamored. As each spin goes around a few cracks show themselves. You're Not Alone is a little to simplified with a lack of direction. Gone's punchy pop arrival doesn't stand as well with the Progressive music and I Won't Give Up On You feels a shade behind the magic that makes the rest of the songs simply cracking. I already know this is another one for years to go by and enjoy over and over. I am so very impressed by this band after so much silence!

Favorite Tracks: Breaking The Unknown, In Dreams, True Faith, Humanity, Letting Go, Hunted, The Still
Rating: 9/10

Saturday 9 May 2020

Enter Shikari "Nothing Is True & Everything Is Possible" (2020)


Reeling back upon The Spark's softening shift in tone, Enter Shikari return with a spicy self historical mix up. Nothing Is True has rolled up a little bit of everything tried so far in their five records leading to this sixth installment. The four lads have been together since their teenage years, forging a unique identity that can be felt through the chemistry. I have a deep affinity for their music. Ive seen them go from local pubs, clubs and schools to headlining festivals. Its been simply magical and I will always have a soft spot for them, making it hard to not enjoy anything they do!

The albums sentiment comments on our technology driven age haunted by science denial, trolls, bots, fake news and social media hysteria. Its a finger on a pulse that has been pounding for a while, the perspectives often shaped through a dystopian lens seem second fiddle to the groups excellent song writing. The power of hooks and catchy lyrics are better felt through the passion Rou delivers them with than there content. That may just depend on how deep you've dove into these topics beforehand.

Its fifteen songs are cracking, a constant roll out of fun, energy and passion with a retroactive array of aesthetics, keenly from the synths that pull from the best of electronic oriented sounds experimented in the past. Its a framework around songwriting that periodically dips into trendy Alternative Pop stylings. Despite all being good songs, Crossing The Rubicon, The Pressure's On & Satellites reek off imitation with a direction clearly emulating others, rather than perusing that Shikari purism.

The rest of the record has that uniqueness intact with a fair spread of experimentation that occasionally gets a little wild. Elegy For Extinction breaks things up with a moment of pure symphonic wonder as a dense orchestral composition builds a fiery intensity to propel the music into its most bipolar moment with rave synths and dirty pounding dance floor percussion firing off under modulated vocals. Its a wild treat that shows the band still have a knack to pull together all aspects of influences.

If their is anything left to be desired, perhaps the group didn't do anything unexpected. As fantastic as their endlessly youthful and exuberant style is, this unifying sound of all attempted before misses an opertunity to surprise which is something each record has had to it before, a new territory to uncover. Despite that, its familiarity plays like a group of old friends returning to give you new stories you'll cherish. Nothing Is True is loaded with songs to subtly slip alongside the best of their setlists.

Favorite Tracks: The Great Unknown, The Dreamers Hotel, Apocaholics, T.I.N.A, Elegy For Extinction
Rating: 8/10

Tuesday 14 April 2020

Milk Teeth "Go Away" (2017)


My recent disappointment with the bands self titled album brought my eyes to Go Away, a four track EP I overlooked that plays counter part to Be Nice. It too is a step away from the glory of Sad Sack & Vile Child but this direction is one I can vibe with. Its a similar theme of reckless self indulged emotional reflect, lively and unhinged.

The tone is way better suited to a coarsing Pop Punk energy. These thrashy vibrant power chords resonate with a 90s Green Day loudness, a sound I am admittedly not all that familiar with. Their lyrics float of these crashes of thunderous energy with a punchy resonance. Lines like "I'm drinking just because its there" and "Maybe these choices will backfire on me" cruise through the choruses with a catchy knack.

Pumping basslines and slamming aggression from the drums give the whole thing a real kick in the right direction. Lilian and Nearby Catfight have fantastic build ups in the end with some creative lead guitar to see the songs out. A throw back to what they do best can be felt in the closing track, Big Sky, a slower, moody track with a big sense of atmosphere. These songs are driven and fun, there is little here not too like!

Favorite Tracks: Nearby Catfight, Big Sky
Rating: 5/10

Saturday 31 August 2019

Horsebeach "The Unforgiving Current" (2019)


Ive been eagerly anticipating this release. Two years back Beauty & Sadness blew me away, one of my favorites that year. I still fondly return to it, hence the anticipation. The Unforgiving Current continues in a similar vein, Post-Punk baselines drive breezy atmospheres echoing Indie & Psychedelic Rock. There is a closeness to Dream Pop in tone, a touch of Brit Pop and 80s vibes influencing chord progressions. Its a beautiful melting pot from which slow and soothing, inviting songs nurture its serene and sunny warmness. There is a vulnerable core, journey on the soft and expressive voices that filter in and out of focus.

Its unimposing presence makes for an easy, relaxed listening experience where one can indulge in its exotic tone. As the album unfolds, elements of R&B, Soul & Funk even present themselves subtly. Shimmering guitars ring out, creating swooning swirls of breezy color over the grooving baselines. The track Trust opens up with a chilling similarity to The Isley Bothers song Voyage To Atlantis, other songs to have echos of that classic era of mainly American music from the 70s and 80s.

The record follows a similar blueprint to its predecessor, the songs flow with similar temperaments and shifts in mood. There are tracks with drum machine and those without, its all very familiar territory. Deploying beautiful melodies and unfolding riffs, occasional burst of experimentation, the music does a lot to warm your soul but it falls short of being remarkable on the production front. In comparison they are both very similar records but the initial reaction to discovering a new sound to adore masked the obviously amatursih production and that became rather obvious this time around.

It starts with the baseline, a noticeable amount of clunk roughens up its presence and the drum strikes land a little cluttered in the presences of other instruments. Every now and then a drab and fuzzy distortion guitar rumbles in, bleeding into the other instruments and soaking up the fidelity. With a lot of reverberations at work the instruments mostly sound like they are recorded with a different sonic blueprint. When mixed together its comes off a bit disjointed. Perhaps I am nit picking, initially the low-fidelity was a charm but this time around its tame. Listening back to their older songs I think a noticeable shift to subtler styles of singing misses that element of a voice rising up above the melody to peak the vibes and hold your attention. Its a very enjoyable record but a noticeable step side ways, with the sound remaining in a familiar spot.

Favorite Tracks: The Unforgiving Current, Yuuki, Trust, Unlucky Strike
Rating: 7/10

Friday 21 December 2018

Can't Swim "This Too Won't Pass" (2018)


Last years Fail You Again was a peach! Now Can't Swim are swiftly back at it for round two with their sophomore record. They hit the ground running and kept going. Now there is a real contest between the two records because once again we have another solid set of songs you'll struggle to figure out your favorites from. This Too Won't Pass clearly steps in a brighter, pop direction with more tuneful singing and a generally lighter tone that can be heard in frequent acoustic guitar breaks and Emo, Pop Punk and Indie Rock strains in their sounds. It doesn't derive far from the blueprint at all and once again they challenge my conceptions of Genre's I'm less comfortable with as they pull off musical tropes with a touch of genuine class.

The record is wholly defined by its lyrical themes of breakups, heartaches and relationships. Chris LoPorto has a fantastic ability to channel his stories and musings into a catchy hook that resonates with the core of the song. It can be poetic, intelligent and blunt but more often a mix of all three. There is a fantastic chemistry at work, his words flow through the musical changes in temperament, always inline with the instrumental energy. Tracks like Amnesia 666 executes this with a stunning symmetry. Much like the instrumentals he exhausts a wonderful range of intensities with clean to screams consistently molding a unique persona for each track. The backup shouts and throaty yells of his band mates are not quite on his level. Bordering cringy at times but just about finding themselves on the right side of the line.

Much like their front man, his fellow musicians bring about a fantastic variety of intensity, color and charisma to flourish these themes into vivid visions with a ranged approach from the distortion guitars. They flex a whole range of chords, picking and strumming styles with varying degrees of overdrive that set distinct moods and compliment his words. The songs may have repetitive, simpler structures in places but the chemistry is so strong that each return of a riff or section feels as fresh as the play through before. The drummer also plays a key roll in fusing this all together with lively animated playing of grooves that flesh into the tom drums and livens up many of the chunky bass guitar grooves heard deeper in the mix.

For a record outside my comfort zone its quality really speaks volumes that the music transcends styles and themes I don't particularly vibe with. There are many objective moments where I heard something I wouldn't normally dig but these guys pull it off with true artistic intent and emotional meaning. Perhaps its just the open mind fighting old preconceptions. Either way I think it might be worth investigating more bands in this realm because if there are others as good as these guys I'm sold!

Favorite Tracks: My Queen, Hell In A Handbasket, Malicious 444, Amnesia 666, Winter Of Cicada
Rating: 8/10

Friday 9 November 2018

Turnstile "Nonstop Feeling" (2015)


One of the years wilder records has been Turnstile's cracking Space & Time. As the months rolled by its weight has grown, the blossoming familiarity of these infectious songs has had me on the binge many times. Its will probably make my favorite albums of the year list and so Ive been prompted to go back and give their older records a try. Upon first checking out the Maryland based Hardcore act, I found these older songs to be a little stale but understanding their intent and musicality better now this previous record sounds like a whole new beast! One i was totally wrong about.

Their vein of Hardcore is so clearly rooted in the guitar groove and Crossover camp, baring some momentary resemblance to the likes of Biohazzard. They have two things that make them stand apart and have gone on to master with Space & Time, curation and eclecticism. Firstly the band have a lot of riffs in the arsenal that they churn through. Its exciting and energetic but with short songs and linear structures they burn through a lot of fantastic composition swiftly, leaving your appetite ripe for another spin. There is something to be said about hearing the same riff over and over in the context of listening to a record three times, or the verse chorus structure.

On the second note, the band shake up their sound with passageways that deviate from distortion guitar led riffage. Sometimes colorful inflections diversify the tone and with a couple of songs they drop the core identity entirely. Its always an organic transition that seems shaped up to dull the monotony that half an hour of straight Hardcore can bring. Bleach Temple's effect soaked guitar leads are uncannily akin to a Killing Joke record and it perfectly fuses a chugging guitar beat down and gang shouts. With clean melodic singing Blue By You transforms into a Pop Punk song, the decent sort of course. The influences they show off manifest wonderfully.

Another thing that has struck me about this band is the lyrical maturity. Ive heard some lines that resonate with me greatly. The angered approach to real emotion reminds me fondly of the Rollins Band and some true wisdom shapes up in the words "There is no such thing as truth. We all have a filter. Got to let it through". This record sounded deceptively straightforward at first. Turnstile continue to impress me, I hope more of their back catalog reaches this level of flavorful  artistic output.

Favorite Tracks: Gravity, Can't Deny It, Bleach Temple, Addicited
Rating: 7/10

Tuesday 25 September 2018

Bullet For My Valentine "Gravity" (2018)


They were once a young and promising act but these days Bullet For My Valentine are drifting towards obscurity. They have never interested me that much, last time I checked them out was a decade ago with Scream Aim Fire which I remember being at least half decent. These days I am far more open to Pop Metal and these lush, clean sounds. Gravity is on one hand is an easily enjoyable record, bright, pristine aesthetics, easily digestible with warm, harmonious singing and a sprinkle of bombastic riffs between its fluffy lighter appeal.


On the other hand its lyrically atrocious, full of angsty lyrics trying to tie heightened emotional words of pain and struggle to rather hollow and shallow themes of social relationships expressed through plain and simple language. It conveys little complexity or depth and reminds me of the lyrics my teenage self would of latched onto. Packaged into simple song structures it feels all to formulaic. After a play through it dawned on me that the whole project is very much treading in the shadows of Thats The Spirit, a record that reinvigorated much of the Hybrid Theory formula, in a really positive way. Bullet deploy all the tropes Bring Me The Horizon's recent sound. The song Under Again sounds like a pure unflattering imitation.

The synth tones, gang shouts have little original going for them and once it had crossed my mind I couldn't get away from how much the vocals emulate Chester Bennington. The delivery, the notes, the inflections, Ive heard it all before.  This record sounds like its doing very little to stand on its own. Trend following and niceness daunt its ability to create any original moments. In all fairness is pretty easily enjoyed if you tune out the lyrics. Its well produced and well written Pop music but its facade is thin and a lack of authenticity will have you scrutinizing on closer inspection.

Rating: 3/10

Saturday 9 June 2018

Jonathan Davis "Black Labyrinth" (2018)


Jonathan Davis, iconic front man of the legendary Nu Metal pioneers Korn, steps out on his own for a solo adventure that doesn't fly too far from the nest. Black Labyrinith can sound very much like a toned down experimental Korn record at times. Its mix of songs feels either stepped aside from the crunchy guitar work of Head and Munky, or exploring its exotic avenues of instrumentation with shades of Mediterranean cultural sounds colliding in this darkly gothic realm. It is mostly Jon himself who keeps the relation close, his singing and writing style unchanged leaves the lyrics and delivery feeling a perfect fit for his main band. The similarities are not to knock the record, its fantastic because its led solely by JD who's energy is simply absorbing but could also fit sweetly into a heavier mold.

The songs play through with his knack for infectious singing coming across strong and leading the way. Always with plain spoken lyrics and the atypical themes of inner struggle, pain, suffering and crying out "why",  the instrumentals under him play with texture and atmosphere as intricacies of sound make up swirls of dark atmosphere that form around the direction of his voice. The percussion is big and lively, no surprise to hear its Ray Luzier who is involved, his busying drum work keeps the record feeling expansive, especially when introducing bongos and other exotic sounds to the dark esoteric tapestry.

The albums closer and lead single What It Is, is part of a handful of songs that really finds an absorbing stride, sucking one into the vision behind Jon's lyrics. Between them a set of reasonable songs pass by with no weak points, its all good music with a few creeks of greatness. The music mostly resides is this dark realm of estranged melodies and sounds that howl and drift around in the background thanks to a gorgeous production that utilizes measures of reverberation to bring the instrumentation together.

A helping of overdrive guitars from none other than Wes Borland has the music often veering into a familiar aforementioned territory where its atmospheric and exotic counterpart plays second fiddle. It feels as if an opertunity was missed to find a new and exciting direction for the artist. We hear it in bursts, Final Days being an exemplary song wandering into dark places in an unusual way that works so well. Essential its a strong and enjoyable record with memorable singing from Davis. With a little more focus and direction, steering away from familiar territory this could of had some more clout and weight about it.

Favorite Tracks: Final Days, Medicate, Please Tell Me, What It Is
Rating: 6/10

Monday 16 October 2017

Marilyn Manson "Heaven Upside Down" (2017)


There's little bad to say about Marilyn Manson's tenth record. I could get critical and say it gets off to a moderate start but as the wheels get spinning, they don't slow down! Best known for his culture shock records Antichrist Superstar and Mechanical Animals, Manson has seen a steady decline in recent years that got turned around with The Pale Emperor, a change of pace, an introspective artistic piece that turned his observational musing inwards. I was sorely disappointed at first, "Heaven Upside Down" was not continuing in that direction but with each passing listen it grew on me substantially. He may be approaching his 50s but the fire for his breed of intelligent rebellion still burns bright in this fellow.

The most obvious comparison for this change of pace is the Antichrist Superstar era. The vibes, instrumental aesthetics and attitude is similar in many spots with a helping dose of anger and aggression. His poetry is witty, sharp as a blade with cutting lines like the opening "fuck or fight" on "Jesus Crisis". I could make lists but this is Manson, his reputation needs no examples, hes on his best game here with cracking lyrics that turn in on themselves as the words unfold. His ability to write and deliver hooks elevates the instrumentals as you'd expect them to do but always catches you off guard.

Instrumentally things start off aggressive with crunching guitars leading the songs. Dirty, Industrial thumping riffs on steady repeat. "Tattooed In Reverse" experiments with gritty, buzzing baselines and sharp, often shrill oscillating synths for a rattle house of dystopian blues. "Saturnalia" Is the turning point, the music becomes expansive with echoes of The Pale Emperor distance the aggression for spaces to breath in as the moods start to flow. Its as the album winds down from its aggressive start that I find myself captivated, Manson's chemistry with his band mates seems to electrify as his performance resonates with lyrics carrying the burden of dramatic emotions.

This albums flow is a strength played to. It starts with a bang to lure you in and steadily evolves into a much deeper record. The density of the instrumentals, aided by rich electronics, plays to the versatility Industrial music can provide as the songs collectively share a space with quite a variety of textures and flavor to throw your way. It can shred distortion guitars and find its way to bustling acoustics too without loosing the heretic energy. Everything comes together on this record, the group are on fire and give us the all killer no filler treatment. I will leave this post with a favorite lyric I can't get out my head. "And I tried to look inside you, but ended up, looking through you, now you try to tell me, your not a ghost!".

Favorite Tracks: Say10, Saturnalia, Jesus Crisis, Heaven Upsidedown, Threats Of Romance
Rating: 7/10

Tuesday 10 October 2017

Enter Shikari "Take To The Skies" (2007)


Its unbelievable to think ten years have flown by but that's life. "Take To The Skies" is the unleashing of our local band Enter Shikari onto the world. Ive seen this band go from the school down the road to headlining festivals and this album is a personal one, loaded full of fond memories and strong emotions. It was a big event, we got to see some of their pivotal shows around that era including their Download performance of the same year in the big blue tent which was absolutely rammed and loaded with mosh pits.

It's no masterpiece but a personal triumph for fans of Enter Shikari, a band you can truly adore if they push your buttons. "Take To The Skies" had no surprises, the culmination of their best songs from years of utterly relentless touring are polished and fined tuned alongside three or so new tracks. Its all glossed up with album quality production and a reworking of the electronics to flesh out all their songs with which raving synth lines that bleed into the interludes lined between a handful of tracks.

In retrospect the lack of subtly on this record is a charm the band would grow with time to gleam upon. The raw fusion of Hardcore throw downs and rampant rave electronics is undeniable in the wake of their youthful energy and inspired charisma. Its never gotten old, the fantastic chemistry to create energetic, uplifting and fun music with a real backbone of feeling and lead them into explosions of aggression with grooving beat downs and guitar chugging breakouts that would always get a crowd moving. Seeing the path they have taken, it becomes apparent how simplistic some of the compositions are but Shikari pull it off with a stroke of inspiration that you cant criticize given its authenticity.

The albums flow is flawed, It gets of to a wild start with fan favorites and two new tracks then the interludes break up the flow and the second half unwinds at a different pace, leading to the fantastic "Adieu" with would showcase the genius to expect of this band leading forward. It ends with the explosive "Ok, Time For Plan B" after its infectious build up, a great choice to end on before the closing tracks echos of the albums opener. It gives the record somewhat of a compilation vibe given the attachment of knowing most the music before its release and I'm not sure if the interludes were an attempt to create a bigger picture with the record as a whole but I never felt it succeeded in doing that, if it was the intent.

 Its the music that's wonderful and the years gone by make me realize how foundational they were as songwriters then. Singer Rou's screams and shouts are so fitting of the scene at that time and stylistically raw. The synths are accents of the tone, not woven in but aligning with the music and in many cases leading it. The beat downs are again atypical of the scene yet executed with an edge of creativity and always in the direction of the music, never rumbling out of nowhere and always feeling like an essential part of the music. Its truly fascinating and speaks volumes to the music these guys would write with their currently best record "The Mindsweep".

I adore this record and trying to be objective I wouldn't consider it a classic but on a personal level the nostalgia, adventure and fun of the time are deeply connected to the music and Shikari will always hold a special place for all the amazing memories. I think even back then we knew this band would be special forever to come. I little gutted now I missed the anniversary show this year but I will see them soon and forever be revisiting this wonderful record. On a final note I think its fitting to point out this record was an independent release on their own record label and their DIY ethic speaks volumes to the passion they have that you can hear running through this album.

Rating: 10/10