Cane Hill "A Piece Of Me I Never Let You Find" (2024)

 

Leaning into their aggressive side, Cane Hill return with a refined amalgamation of the Nu Metal revival, drifting towards the extremes of Hardcore Djent akin to Thrown. Doused in an aesthetic exhilaration similar to an emerging Argent Metal, the band struggle in harmonizing their loud quiet dynamics. A slew of bombastic, even barbaric, syncopated rhythmic riffs stand in contrast to the melodic charms of Elijah Witt. His presence heals the record, offering gleams of uplift in intensity lulls, as infectious crooning hooks bring an emotive memorability to its incessant "over the top" hostility.

The enthusiastic bounce and groove of Nu Metal's influence feels absent as low end guitars churn out harsh brutalities. Routinely focusing on meaty slabs of slamming Djent tone, they lack any character to shape up a songs heavier aspects. As a result, we embark on a cycling slog through empty onslaughts of crunching guitar noise. Spliced with sporadic fret sounds, layered with subtle dystopian synths, the most expressive moments arrive in the big chords left to ring out under clean vocal breaks.

Left to spin in the background, this record simply drifts by. Its hooky breaks grabbing ones attention every time. On closer analysis, these tend to be the only moments that create memorability. Thus its best comes from the soft moody interludes and Witt's clean break outs. Permanence In Sleep and I Always Knew We Were Do have the best choruses, a delight when they arrive. A Piece Of Me I Never Let You Find crudely pushes senseless violence together with a charactered emotional magnetism, falling short on writing memorable songs in the process.

Rating: 6/10

Cane Hill "Krewe De La Mort, Vol. 2" (2021)

 

Following up on the first part of Krewe De La Mort, American Nu Metal revivalists Cane Hill return with two more reasonable songs for the arsenal. So far the best I've heard of this band was when deviating from the norm, with their Alice In Chains inspired Kill The Sun EP. Volume 2 stays on track, delivering high octane Metal. Bolstering massive Djent riffs, groove syncopation and a textural layer of Electro-Industrial noise, its quite the throttling force that comes with a sensitive side.

This time around it feels like vocalist Elijah Witt gets to lead the way with his burly yet introspective voice. Blood & Honey kicks things off with boombastic riffs and ridiculous low end guitar noise. His screams and shouts forgettable but its the pivot to energetic clean vocals that bless both tracks. He infuses the song with a wonderful melodic character, amplified by clean guitar notes gleaming in the instrumental behind him. Its a busy track but that focal point makes it work, the lyrics carrying weight too.

Busting in with roaring, triumphant Heavy Metal guitar solos, both tracks emanate "Festival Metal" vibes fit for a big outdoor stage. The following Bleed When You Ask Me goes even harder on the guitar grooves. The metallic dissonance tends to wash away into a noisy backdrop with Elijah doing all the heavy lifting. His voice forges a path through a racket of thumping syncopation. Without him this would of been dull.

Rating: 2/10

Cane Hill "Krewe De La Mort, Vol. 1" (2021)

 

With news of this three track EP, I was hoping these Nu Metal revivalists would remain astray from their primary sound. The alternate styling of their Alice In Chain's inspired Americano Kill The Sun was an absolute delight. Sadly for this listener, Krewe De La Mort is a full pelt pummeling of modern Nu Metal and Djent aggression, fashioned with a loose grip that goes full throttle on a high octane production style. Maddening, paranoid and viscous, the music roars like a lashing out, firing back at inflicted pains and misery. The mood is consistently frustrated, angry and inert on the topic. Shouting full tilt, delivering meaty growls and lines like "God is the enemy" over and over, these songs never let the foot of the gas. Its like a run away train.

 The whole affair is lavished with the sprinklings of Industrial whirls and hisses, soft textural synths to busy up the massive slabs of dense guitars chugging away, moving with might. On occasion a break for more musicality opens up with glimmers of melody. Otherwise its present ambition is wholly heavy aggression and mania. Its choppy riffs and bursts of pace liven things up but I mostly found myself not vibeing with the bleak and downtrodden spiral of anger these fiery songs spew forth. Its somewhat adjacent to Slipknot and others of that era, with its modern twist but the whole dance felt a little to sterile for me. Loved the solo on God Is The Enemy though, a lively moment of color in an otherwise chromatic listening experience.

Rating: 3/10

My Top 10 Albums Of 2019

 Its not been as active a year with time devoted to other things. I've got to start of with a mention to FKA Twiggs. Loving her new album and the moment and If I had more time with, I'm sure it would be on this list. Also need to mention Ghost and their Seven Inches Of Satanic Panic EP, two of their best songs to date but obviously a little short on the run time to call it an album. I don't think anything out of the ordinary has taken hold, just another year, another bunch of records and here are my favourites!

(10) Aeons Confer "Zero Elysium" link

This records theme and setting is colossal, a plunge into the expansive cosmos led by meaty metallic guitars and aggressive drumming to batter you through the abyss. Initially it felt a bit bland and straight forward but its riffs devoid of flash and flair have a lot to offer as it becomes familiar. I am so stoked they have gotten things together and somehow retained the magic they had sixteen years ago.

(9) Devin Townsend "Empath" link

If Devin releases an album, chances are it will make it to this list. I adore the man and his musical vision but with such a large catalogue of albums they new songs become a blur, the best of blurs. Empath however plays like a slice of everything rolled into one and elevated to another level. I think it could be among his best but only time will tell at this point. Its a huge record, loaded and layered, it may take more time to fully get through.

(9) Kanye West "Jesus Is King" link

Not his best work, a flawed ambition but fruitful its in new direction. Inspired by church music and Gospel, infusing elements of it with a dash of Hip Hop, Kanye forged a slice of something outside the ordinary to introduce to the masses and I personally loved it. Of course being somewhat of an agnostic the lyrics didn't move me much but the music and stunning voices at play did very much so.

(7) Slowthai "Nothing Great About Britain" link

The young Northampton rapper may be one to watch out for in the future. This statement led debut has a lot of attitude and vitality about it. The story telling is fantastic but it stems from many of the things that success changes. A lot of Rap artists I can recall have suffered from this, the escape of poverty diminishing the source of inspiration but none the less its a cracking album that I fondly frequent back too.

(6)  Slipknot "We Are Not Your Kind" link

I never expected it to be so but Slipknot have undoubtedly created something you can hold in a similar light to their classic arrival records. The eruption of chaos, aggression and frustration of them crash landing into the public conscious could never be the same again but twenty years later the group missing now three of the original nine tap into the very best of the bands sound with a solid record spiced with a bit of experimentation that has grown on me. Great to have he Knot back at it!

(5) Billie Eilish "When We Fall Asleep Where We Go" link

Its certainly nice to hear more advantageous, experimental artists capturing ears in the mainstream. She may not exactly be "out there", her songwriting has many of the decent tropes Pop music can have but the use of ASMR techniques and vocal distortions is fun, interesting and expressive. All in all a fantastic record I enjoy every time I hear but also one to follow closely in the future.

(4) Cane Hill "Kill The Sun" link

Kill The Sun is an example of why bands shouldn't be afraid to explore their other aspirations. Stepping aside from their metallic roots, the group explore an exotic breed of Americana. Its utterly infectious and may of been what sent me on an Alice In Chains binge this year, learning that group too made Americana EP's between albums. There is now doubt they were an influence and although this was a short record I've loved it over and over. Massively infectious!

(3) Little Simz "Grey Area" link

I've been blown away by the sheer talent that is Little Simz. English Rap music has often felt in the shadows of the states if not pursuing a cultural altercation like Grime or Drill. Simz stands firm with fiery traditional rhyme skills and impressive cadence, she also has a lot to say and thus delivers some serious lyrical substance alongside some boisterous, affirming bars. 

(2) Puppy "The Goat" link

I was anticipating this album immensely and on arrival it blew me away. Puppy have a fantastic sound, a mix of all the best bits from Alternative Rock & Metal of the nineties. This album delivered in droves however I may have over saturated it. With a year to binge on The Goat, another surprise came along to steal the show. It was my first record of 2019 and I was pretty sure it would take the top spot.

(1) Sabaton "Great War" link

Sabaton have done it, maybe only with the help of Indy Nidel! I've been converted. Knowing these guys are history buffs interested in similar aspects of war, this album animated into life as I knew its inspiration intimately. Having followed the week by week reliving of World War I, its songs took on a whole new meaning that let melodies and tuneful songwriting really take hold. It can be a bit cheesy in places but its always fun and riveting with metallic energy. Since I wrote about it, its been on frequent rotation and is still giving tones of pleasure. It was totally unexpected but they trumped The Goat for me.

My Weekend At Download Festival 2019

Going for both Saturday and Sunday this year I had some miraculous fortune being in the right places at the right time to miss out on the rain. There was no avoiding the mud though! Not a lick of grass insight, the arena was a mud bath but I got through it and had a fantastic time. Once again the festival delivers on a magic I manage to convince myself is going to run out as the years roll and this year was no exception, the headliners really delivered something special. This year I thought I'd right about the highlights, good and bad, despite catching many more acts over the two days!

Power Trip
I saw this band not so long ago opening for Napalm Death in a small club and they blew me away with their 80s Slayer-alike Thrash Metal. It was great to know they could grab the attention of the festival organizers but a main stage slot was unexpected however given what a mighty show they put on it is no surprise. There strong songwriting for a tried and tested formula really matched the crowd and the probably won over a lot of new fans with an explosive show!

Behemoth
It was my first time catching the Devilish legends Behemoth, their music was a strange translation to summer sunny skies on the main stage but impressive costume design and stage makeup made it work. The performance was engaging and tearing through some strong at utterly dark songs they really made quite the impression as a band I need to get more familiar with!

The Hu
 There was no way I was missing the opertunity to see a Mongolian Metal band! Squeezing into a rammed tent the crowd was electrified to see a really unique and almost drone like vibe emerge from the fusion of Metal and native Mongolian instruments. It went by in a flash! I had checked them out before but this live show really helped bridge a gap in their music.

Batushka

Making their way onto my highlights list for all the wrong reasons. Russian Orthodoxy inspired Batushka had me dead excited for their notorious live show, however taking an age to to set up an elaborate stage of era furnishings and ornaments, their slow arrival to the stage became a drag. Going through some sort of slow candle lighting ceremony they took far to long, overplayed their set time and took more than five minutes between the three songs they churned though doing dull rituals of candle lighting and blessing books. It was a sham and they angered a lot of fans with the poor execution of their show. It did not translate to festival restraints.

Die Antwood
 Hear the booming bass from the Tent where Batushka were dampening spirits I was dead excited to catch the quirky South African Rave Rap duo! Unfortunately I only caught the trail end of their set however it was an absolute riot! The sound system was blaring and their energy on the stage was phenomenal. I couldn't help but move. Its really nice to have something break the flow of similar music being played around the festival. Would have loved to have seen more of it, shame about set overrun but these things happen.

Slipknot
 Prior to the show I had been feeling a little hesitant with Joey and now Fenn's departure. It was however a dynamite show from a band who seemed focused on giving us the absolute best. Corey Taylor was pitch perfect and ten years on from one of the greatest shows Id ever seen, the Knot proved they still have it! It was very emotional, strong memories of my social groups bonding over this band in our youth and that feeling of freedom when your inside the song, inside the moment, free of life's burdens. Only a few bands can do that and Slipknot is one of them, with deep cuts like Get This and Scissors it felt truly special.

Cane Hill

 With delays for fans entering the arena Cane Hill has to kick off Sunday to a small crowd however they gave it their all and a being at the front one could get a better appreciation of guitarists unique playing style and use of effects. As a band they have obvious influences from Korn and Nu-Metal however it made clear that they are bringing their own style and it rocked hard!

Alcest
 Ive been waiting a fair few years for my opportunity to catch Alcest and they did not disappoint! Their serine music translated beautifully to the intimacy of the small stage and their enchanting singing was captivating. The sound was impeccable and these songs came to life on the stage! Wonderful set.

Whitechapel
 Ive never gotten that deep into this Deathcore band however of the times I have seen them they have always been killer. Clearly oversold on the smallest stage, a rammed audience squeezed in and despite being at the back, barely able to see the stage the sound was impeccable. Their trio of baritone guitars were crushing and they soared through a brutal set of tracks. Perhaps this is an advantage of listening from next to the sound desk!

Smashing Pumpkins
 They feel somewhat like a recent discovery for me. Its always 90s bands that seem to get to my heart and I would have been thrilled for this show had I not seen them earlier in the year. It seems they are good friends with Amalie Bruun of Myrkur. They brought her out to do a Black Sabbath cover together which has a special atmosphere to it. Their show was reasonable, amazing set design but It feels like they have ambled through the last fifteen years missing out on the opertunity to establish themselves as a headline act. Billy's stage presence is left to be desired between songs but the performances themselves were fantastic.

Slayer
Its farewell to the legendary Slayer from this side of the pond. I would of loved to see the whole show but the beginning was absolute fire and ever over thirty years into it they can still pull of their songs with a manic intensity. Tom sounded fierce and the live show is certainly not the reason they are calling it curtains. There was a huge fan turn out for the legends but I had to leave early to get my spot for Tool.

Tool

They have been my band of choice to "get into" this year. Many, many hours churning through their discography, which seemed so difficult to get at first. Having got through every record I made the drive north listening to Tool and really starting to connect with the music in anticipation. Live music always has this magic and I shouldn't of been surprised to have it unleashed again. At first the show felt a little underwhelming, no cameras on the band and nothing but trippy visuals plastered across the big screens. It didn't take long for me to realize how much the band wanted the show to be about the music. Their flawless executions of dense and difficult music became a beacon of light and all of a sudden I felt that "strangeness" around their music disappear. It made complete sense, I was converted to a die hard fan and blasted nothing but Tool on the late drive home too. An utterly amazing show to end the weekend on.

Cane Hill "Kill The Sun" (2019)

The year is off to a fantastic start as we follow up on Puppy's The Goat with an alarmingly different and brilliant EP from the Deathcore and Nu Metal inspired Cane Hill. A change in direction? Or a one off? Either way there is no doubting the exuberant experience that awaits as the band bring out Americana tones and influences to fuse traditional song writing with modern electronic aesthetics for emotionally charged sound that stands mightily tall. Only a single song musters distortion guitar for a brief period, bar the enigmatic use of lead guitars. This total shift in style lands the rockers in an strange place, echoing the glory of the 90s Alternative music scene, while pacing forward with an engulfing dreamy overtone.

Serine acoustic guitars with a country tang find themselves plucking smooth licks accompanied by slow, electronic, reverb soaked percussive lines. Its indulgent, degrees of synthesized details wage in the distant spaces. Save Me gets a beautiful inclusion of pianos alongside the acoustic foray. It is singer Elijah Witt who illuminates the already gleaming instrumentals with a performance to roll back the years and give reminiscence to many great singers of that era. Acid Rain in particular has strong Layne Staley vibe, the lyrics too as they dive into drug reliance. It is no disservice, his singing is charming, inviting and resonating with emotions, a peak on the summit.

Another fond aspect of the music its its swaying into briefly esoteric and Ethereal vibes that its steady and measured drum loops build structure for. The use of compounding reverbs and subtle synths organically weave in between traditional components with a fulfilling chemistry. The last track gets particularly into these experiments with a lively drum performance leading the music into darkly, ambiguous electronic madness. It closes the record as the sound rolls and rumbles into a cacophony of crazy. Its intense and that intensity Metal heads have is found elsewhere in climatic moments that take the gentle tunes and raise the tension with drums and guitar leads chiming in to expand the depth.

I can't flaw a thing with this project other than wondering why this is just six tracks? As a full album I believe it could contend for accolades and a place in the hearts of music fans for years to come. It really is striking just how natural and matured this sound is for them. It might be a side project but could easily be a main focus for them. I'm aware of many bands making heavy music but not so many with an edge like this! I hope I get to see this live at some time, I imagine it will be magic!

Rating: 8/10

Cane Hill "Gone To Far" (2018)

Labelled by some as Nu Metal, New Orleans based Cane Hill represent a handful of bands who in recent years have been resurrecting some of the principles and aesthetics from the millennium era music which has been subject to much mockery and hate within the Metal community. To my ears Cane Hill come forth on this sophomore record as a group still figuring out their identity, yet writing fun and cohesive music, wearing their influences proudly for all to see. They bring the best guitar work from Metalcore, Groove Metal and Nu Metal. It collides in a whirl of excitement with a spark of Industrial Metal in the noisy, full on wall of sound, giving these tunes a weighty clout of forceful metallic power with a dense aesthetic.

On first listen singer Elijah Witt makes a very distinctive performance with a variety of approaches to his presence that bares sometime uncanny resemblances to other Metal singers, his range can throw out fiery screams of vengeance to soaring, soft, soothing Chino alike "ohh"s on "Singing In The Swamp". The prior track "Lord Of Lies" chorus sounding like its pulled straight from the Masatdon catalog as his voice elevates the bouncy groove that rumbles and crunches away beneath. Echos of Corey Taylor can be heard but most noticeably Chad Gray of Mudvayne frequently dominating the tone of singing. The slower, crushing moody track "Erased" sounds completely akin to Cray's style in both the unleashing screams and introspective clean moments.

Its no criticism, Elijah has a wonderful talent that's perfectly complimentary to the instrumentals. Being a fan of these bands the record became immediately inviting and appealing. Behind him the chemistry is tight, shuffling bombastic grooves drive the music from the driving seat of drummer Devin Clark who has a knack for finding the right intensity to direct the atmosphere. The guitar work explores all the tropes of the aforementioned genres, slamming in with big chords, chugging gritty grooves and plenty of greasy guitar dissonance with the splicing of harmonics and squeals. The occasional break downs echo some Deathcore ideals but the eruption of racy, dexterous guitar solos keep the music feeling like it can go anywhere and not hedge itself in to one particular vision.

At thirty five minutes with a ripe pallet of ten energetic songs, Gone To Far is an impressive release that shows a ton of promise for the group. I would be somewhat critical to say there is a lack originality or something definitively new about their music but the ability to bring together the best of Metal's most criticized era and make lively music, brimming with excitement, is something to behold. Depending on what the group go on to do next, this could be seen as either a high point, or just an old record that proved they always had it. Definitely going to be keeping up with this band in the future!

Favorite Tracks: Erased, Why?, It Follows

Rating: 7/10