What's this then? Metalcore, hardcore, haircore? The 3rd wave, the 4th?
The reason people get annoyed with genres that come from out of nowhere to outstay their welcome is that the amount of copycats triple, overall quality drops like a stone, it gets harder to tell genuine heart from eyes filled with dollar signs and saturation point comes all too quickly. Like they say, there's only so much shit you can take.
But let's reserve that kind of judgement for at least an hour.
Dead Summer Rising are really young and play that way. They are brilliantly talented but the whiff of fandom is overwhelming. There's Black Dahlia Murder, As i Lay Dying and Norma Jean in their lively hardcore but not one original note. Yet.
Clone the Fragile are better within a mic check and when they get down to it are writing the kind of familiar but exciting riffs capable of grabbing the attention of rooms twice this size. Theirs is still predictable stuff but at least gives the impression it will carry on after the spotlight drops.
And things only get better. Architects are awesome. They bring the Johnny Truant smash and grab approach from their shared Brighton hometown. Their dance moves and discordant mania may be fashion faux pa on such a black clad bill as this but they play genuine shredding metal, fierce and professional.
Already granted underground celebrity and much taunted for major stardom Bring me the Horizon may have won the audience over before playing a note but the adoration isn't entirely unfounded. The band are all decent players, with a live presense already pegged, and out of their stick thin frontman comes the voice of the devil. When the crowd know the words they sing along, when they don't they kick the shit out of each other. Not exactly good clean fun but at least they mean it.
It's debatable how many people are here for the music and how many got in free to wave at their friends but everyone caught proof that the UK underground is alive and kicking, sometimes in the wrong direction and, as always, some way behind the Americans, but kicking fast and hard.
Reassuring stuff
10.31.2005
10.30.2005
HAWTHORNE HEIGHTS+ Silverstein. Zodiac, Oxford. 21.10.05
Oxford smells like crap. Upstairs the Zodiac is thick with the funk of pubescent teens dancing badly to their new favourite bands.
As it is Silverstein could be one of too many bands dishing out similar screamy emo and the crowd would go just as wild. Songs like 'Giving Up' and 'Discovering the Waterfront' are neat adrenaline spikes but pimpled by bum notes and feedback, luckily the kids are screaming loud enough for no one to notice.
It is surely a huge joy for Hawthorne Heights to play some new songs tonight; they've been playing tracks from their 'The Silence...' debut for three years, and a real treat for the crowd to hear them. But it doesn't really seem to matter. The new tracks which are more of the same heavy melodic rock but darker and more frantic, recieve the same reaction as fan favourites like 'Niki FM' and 'Speeding up the Octaves', but the band look a little bored at playing any of them.
The screaming is ceaseless while HH go through the motions and this is the best gig these fans have ever seen- until next week.
An average night celebrated like the second coming.
As it is Silverstein could be one of too many bands dishing out similar screamy emo and the crowd would go just as wild. Songs like 'Giving Up' and 'Discovering the Waterfront' are neat adrenaline spikes but pimpled by bum notes and feedback, luckily the kids are screaming loud enough for no one to notice.
It is surely a huge joy for Hawthorne Heights to play some new songs tonight; they've been playing tracks from their 'The Silence...' debut for three years, and a real treat for the crowd to hear them. But it doesn't really seem to matter. The new tracks which are more of the same heavy melodic rock but darker and more frantic, recieve the same reaction as fan favourites like 'Niki FM' and 'Speeding up the Octaves', but the band look a little bored at playing any of them.
The screaming is ceaseless while HH go through the motions and this is the best gig these fans have ever seen- until next week.
An average night celebrated like the second coming.
10.20.2005
Slowly we peel away the layers...
...and light slips through the cracks.
LISTEN TO The Bled
This is desert hardcore- dusty throated vocals over pounding drums and screeching guitars that scream love songs for sandstorms. And like they say 'if it ain't broke...', so there were no concessions to fashion for album number two 'Found in the Flood', released earlier this year.
Go see them make a giant racket and dance like idiots but not care when they tour the UK with The Fall of Troy and Fear Before the March of Flames next month.
LISTEN TO The Bled
This is desert hardcore- dusty throated vocals over pounding drums and screeching guitars that scream love songs for sandstorms. And like they say 'if it ain't broke...', so there were no concessions to fashion for album number two 'Found in the Flood', released earlier this year.
Go see them make a giant racket and dance like idiots but not care when they tour the UK with The Fall of Troy and Fear Before the March of Flames next month.
10.13.2005
DOPAMINE +Reubens Accomplice +Firstborn. Bullingdon, Oxford. 12.10.05
DOPAMINE + Reubens Accomplice + Firstborn. Bullingdon, Oxford. 12.10.05
This is one of those tours that sneaks up on you, a trio of interesting names messing around with getting a buzz about them, playing good songs in British basements-
Firstborn are first up and ripping off Incubus, their lively rock songs are nothing new but they play them with good old British charm and a rare intelligence. And it always makes a change to hear a singer with a sense of humour and even better, one who can sing.
Reubens Accomplice's light melancholy is at odds with the flashes of fun and brilliance elsewhere. It may be their folksy, road-weary style or maybe the only Americans on the bill tonight were expecting something more than a dark, half-full Oxford backroom to greet them.
Dopamine are good, their tunes as anthemic and endearing as on record. Opening with their debut albums one-two punch of 'Destroy Something Beautiful' and 'Laruso' is enough to get people looking up from their pints and when they lock together with the squeal and speed of 'Lifeline Excercise' this is fun, foot-tapping stuff that would sound utterly engulfing on a huge stage.
-there's obviously not a lot of money behind Dopamine and their tour, and that's probably the way it's going to stay, but that doesn't stop them playing without pretence or attitude and shaking awake tiny venues like the Bullingdon nightly.
This is one of those tours that sneaks up on you, a trio of interesting names messing around with getting a buzz about them, playing good songs in British basements-
Firstborn are first up and ripping off Incubus, their lively rock songs are nothing new but they play them with good old British charm and a rare intelligence. And it always makes a change to hear a singer with a sense of humour and even better, one who can sing.
Reubens Accomplice's light melancholy is at odds with the flashes of fun and brilliance elsewhere. It may be their folksy, road-weary style or maybe the only Americans on the bill tonight were expecting something more than a dark, half-full Oxford backroom to greet them.
Dopamine are good, their tunes as anthemic and endearing as on record. Opening with their debut albums one-two punch of 'Destroy Something Beautiful' and 'Laruso' is enough to get people looking up from their pints and when they lock together with the squeal and speed of 'Lifeline Excercise' this is fun, foot-tapping stuff that would sound utterly engulfing on a huge stage.
-there's obviously not a lot of money behind Dopamine and their tour, and that's probably the way it's going to stay, but that doesn't stop them playing without pretence or attitude and shaking awake tiny venues like the Bullingdon nightly.
10.11.2005
HELL ON EARTH '05. Mean Fiddler, London. 08.10.05
This is more like it.
Despite plenty of examples to the contrary over in the States, the UK has had no experience of tour packages like Hell On Earth. Tours featuring the more interesting or experienced of bands playing metal and hardcore rather than a hasty line up of usual suspects and flavours of the month we love so much (Cough...Give it a Name, Taste of Chaos...Cough).
And Neaera prove a perfect antidote to all the floppy fringes and tight pants fighting for space at the bar. Behind the speedy guitar, sneering vocal growl and familiar but crushing breakdown the band are hilariously but unashamedly foot-on-the-monitor all out metal. They face the impossible, engaging a London crowd and 5 in the evening but do so with entertaining music and huge smiles.
Agents of Man have learnt their tricks at the Pantera and Biohazard school of noise, combining groove and power with a gritty melody, but despite their older, heavier material bringing the first real pit action of the day they haven't quite graduated.
Evergreen Terrace have lighter and punkier edges that work really well. Theirs is the sound most applicable to the fashionista element present but they play with such obvious desire and passion; frontman Andrew making the first of todays excursions into the crowd, that there is no sound of departing bandwagons and a real sense of justice in the busy pit that greets them.
Heaven Shall Burn are devil music. This is what satan coughing black bile must sound like, and its fucking brilliant. Desperately heavy rhythms grind and roar and fit and start and frontman Marcus has a simply monstrous voice. The fact that HSB have been engineering goliath hardcore like this for years is painfully obvious and their set is a real highlight.
But then we get to As i Lay Dying. The main attraction, and they better have something special ready to make the Mean Fiddler forget about the knee cramp and back pain from standing up the last six hours.
Fortunately, from the first note the band are titanic, in the original, not the boat sense of the word. AILD are the most professional here tonight, with no embarrasing mumbling, a real sense of 'show' and the way their new material always drills its hardcore crunch back to unforgettable melody.
Every band member is moving and sweating buckets by the time they play '94 Hours'. The pit hits overdrive and therein lies a problem. I'm sure getting punched in the face is great fun but it also makes for addictive viewing and the violence on the dancefloor makes it difficult to pay attention to the music. And when that happens at a show this good it's a real shame.
Some of the bands tonight have a tendency to attract the sweaty shirtless male back to metal, which is never good, but they are all resurrecting the lost art of having some fun at a rock show, and that is exactly the point.
Despite plenty of examples to the contrary over in the States, the UK has had no experience of tour packages like Hell On Earth. Tours featuring the more interesting or experienced of bands playing metal and hardcore rather than a hasty line up of usual suspects and flavours of the month we love so much (Cough...Give it a Name, Taste of Chaos...Cough).
And Neaera prove a perfect antidote to all the floppy fringes and tight pants fighting for space at the bar. Behind the speedy guitar, sneering vocal growl and familiar but crushing breakdown the band are hilariously but unashamedly foot-on-the-monitor all out metal. They face the impossible, engaging a London crowd and 5 in the evening but do so with entertaining music and huge smiles.
Agents of Man have learnt their tricks at the Pantera and Biohazard school of noise, combining groove and power with a gritty melody, but despite their older, heavier material bringing the first real pit action of the day they haven't quite graduated.
Evergreen Terrace have lighter and punkier edges that work really well. Theirs is the sound most applicable to the fashionista element present but they play with such obvious desire and passion; frontman Andrew making the first of todays excursions into the crowd, that there is no sound of departing bandwagons and a real sense of justice in the busy pit that greets them.
Heaven Shall Burn are devil music. This is what satan coughing black bile must sound like, and its fucking brilliant. Desperately heavy rhythms grind and roar and fit and start and frontman Marcus has a simply monstrous voice. The fact that HSB have been engineering goliath hardcore like this for years is painfully obvious and their set is a real highlight.
But then we get to As i Lay Dying. The main attraction, and they better have something special ready to make the Mean Fiddler forget about the knee cramp and back pain from standing up the last six hours.
Fortunately, from the first note the band are titanic, in the original, not the boat sense of the word. AILD are the most professional here tonight, with no embarrasing mumbling, a real sense of 'show' and the way their new material always drills its hardcore crunch back to unforgettable melody.
Every band member is moving and sweating buckets by the time they play '94 Hours'. The pit hits overdrive and therein lies a problem. I'm sure getting punched in the face is great fun but it also makes for addictive viewing and the violence on the dancefloor makes it difficult to pay attention to the music. And when that happens at a show this good it's a real shame.
Some of the bands tonight have a tendency to attract the sweaty shirtless male back to metal, which is never good, but they are all resurrecting the lost art of having some fun at a rock show, and that is exactly the point.
9.30.2005
Forget everything that was said before...
...now is the time
LISTEN TO The Hurt Process.
UK boys done good. The album 'A Heartbeat Behind' came out early this year and since then THP have been busy trying to convince Americans how good they are. But they're better than that.
This is quick but powerful, heavy and emotional rock, with the odd hardcore hissy-fit tempered by moments of serentity. And songs about pirates.
Go see them on the Trick or Treat tour with Aiden over the rest of October, it'll be interesting to see if the genuine intensity they used to play with remains after a few line-up changes over the summer.
LISTEN TO The Hurt Process.
UK boys done good. The album 'A Heartbeat Behind' came out early this year and since then THP have been busy trying to convince Americans how good they are. But they're better than that.
This is quick but powerful, heavy and emotional rock, with the odd hardcore hissy-fit tempered by moments of serentity. And songs about pirates.
Go see them on the Trick or Treat tour with Aiden over the rest of October, it'll be interesting to see if the genuine intensity they used to play with remains after a few line-up changes over the summer.
9.28.2005
CIRCA SURVIVE. Metro, London. 26.09.05
"This doesn't even feel like a show, it feels like a party," says Anthony Green as his new band play another rock song.
He's right; there's barely 50 people in here tonight. The big open space and blasting air conditioning hardly helpful for sticky gig mania and the band aren't even that good. But this isn't a party at all, and it certainly isn't just another show. This is a jaw dropping and actually unbelievable, intense yet utterly welcoming bona fide event.
Y'see all the people that are here are here because little Anthony Green used to be in Saosin. A band that should be huge but that's not the point, with Anthony shaking and high pitched singing at the helm they were a band that inspired absolute devotion. And the screams, sweat and tears of that still follow him.
From their first arrival onstage to their final shamble off it the band move in strobe, bathed in the flash light of what seems like more cameras than people. For the entire time.
There are hands everywhere and it doesn't matter what song Circa Survive play from their canon of dreamy post-hardcore the sparse crowd is amazingly loud, even pawing at the microphone, desperate to join in.
After nearly an hour the band finish and head for the bar but bowing under good natured but seemingly endless pressure for me Green sticks around, now with a guitar in hand, to finish this up properly. His solo song a reminder of how much impact rare things like star quality and sincerity still have.
For 50 minutes Circa Survive, or more appropriately, their lead singer, have the tiny Metro crowd transfixed. Really soon a lot more than 50 people will claim they were here to join in.
He's right; there's barely 50 people in here tonight. The big open space and blasting air conditioning hardly helpful for sticky gig mania and the band aren't even that good. But this isn't a party at all, and it certainly isn't just another show. This is a jaw dropping and actually unbelievable, intense yet utterly welcoming bona fide event.
Y'see all the people that are here are here because little Anthony Green used to be in Saosin. A band that should be huge but that's not the point, with Anthony shaking and high pitched singing at the helm they were a band that inspired absolute devotion. And the screams, sweat and tears of that still follow him.
From their first arrival onstage to their final shamble off it the band move in strobe, bathed in the flash light of what seems like more cameras than people. For the entire time.
There are hands everywhere and it doesn't matter what song Circa Survive play from their canon of dreamy post-hardcore the sparse crowd is amazingly loud, even pawing at the microphone, desperate to join in.
After nearly an hour the band finish and head for the bar but bowing under good natured but seemingly endless pressure for me Green sticks around, now with a guitar in hand, to finish this up properly. His solo song a reminder of how much impact rare things like star quality and sincerity still have.
For 50 minutes Circa Survive, or more appropriately, their lead singer, have the tiny Metro crowd transfixed. Really soon a lot more than 50 people will claim they were here to join in.
9.23.2005
HONDO MACLEAN- Unspoken Dialect
Hondo Maclean, constantly compared to LostProphets and Funeral for a Friend through a fluke of geography, blow any musical similaraities out the water within ten seconds of 'Keithie's Done Himself a Mischief', the first track on this, their debut album.
The music is thunderous. Rolling percussion and sheet metal guitar skip and start, foot tapping grooves pop up from under discordant noise where vocals twine and float with the music.
As on their previous EP's, but here with more conviction and especially noticeable on the re-recorded tracks, Ben Woosnam's voice becomes another instrument at the band's disposal, switching from smooth croon to impassioned scream to hellish rumble.
There are reference points; the pop sensibilities of a band like Thursday fight for space with the varied aggression of Glassjaw and the dreamy droning of Hopesfall but Hondo never stay in one place long enough to be accused of copycatting.
A decent first album of diverse and memorable tunes that should see Hondo Maclean's fan base expand well beyond the boundaries of borders.
But rumours of the album being titled 'Get Your Riffs Out' should've been oh so true.
The music is thunderous. Rolling percussion and sheet metal guitar skip and start, foot tapping grooves pop up from under discordant noise where vocals twine and float with the music.
As on their previous EP's, but here with more conviction and especially noticeable on the re-recorded tracks, Ben Woosnam's voice becomes another instrument at the band's disposal, switching from smooth croon to impassioned scream to hellish rumble.
There are reference points; the pop sensibilities of a band like Thursday fight for space with the varied aggression of Glassjaw and the dreamy droning of Hopesfall but Hondo never stay in one place long enough to be accused of copycatting.
A decent first album of diverse and memorable tunes that should see Hondo Maclean's fan base expand well beyond the boundaries of borders.
But rumours of the album being titled 'Get Your Riffs Out' should've been oh so true.
9.20.2005
THRICE. Mean Fiddler, London. 19.09.05
Jesus, the Mean Fiddler can be an unforgiving sound sucking hole of a venue but my god, Thrice are a tight unit.
Playing the first of just three UK dates this week as a tease for new album 'Vheissu' which is out next month, the band come out not so much fighting but at least heads down and workmanlike, like they always do, and as always, it's a little underwhelming.
The first few songs are swallowed by the bad PA but Thrice, now with four albums under their belts, are all seasoned professionals and the absolute quality of the songs they produce shines through. 'Kill me Quickly', 'Trust' and 'Cold Cash...' are taut, emotional rock songs, just as on record, but tonight are transformed into forever memorable hymns.
And there is an adoration verging on bloodlust from the capacity crowd who listen intently, scream back every word and dance hard and fast, for many this is near religious stuff.
Four new songs appear tonight and despite the faintest whiff of meek and loose indie material, they eventually rock with trademark heaviness and melody.
Finishing with a perfect rendition of 'Deadbolt', Thrice leave to a lenghty, deafening roar but without fanfare, probabaly content in the knowledge that even without explosions or fire or eyeliner they'll see London many more times.
They'll be back in the New Year with Coheed and Cambria, miss that at your eternal regret.
Playing the first of just three UK dates this week as a tease for new album 'Vheissu' which is out next month, the band come out not so much fighting but at least heads down and workmanlike, like they always do, and as always, it's a little underwhelming.
The first few songs are swallowed by the bad PA but Thrice, now with four albums under their belts, are all seasoned professionals and the absolute quality of the songs they produce shines through. 'Kill me Quickly', 'Trust' and 'Cold Cash...' are taut, emotional rock songs, just as on record, but tonight are transformed into forever memorable hymns.
And there is an adoration verging on bloodlust from the capacity crowd who listen intently, scream back every word and dance hard and fast, for many this is near religious stuff.
Four new songs appear tonight and despite the faintest whiff of meek and loose indie material, they eventually rock with trademark heaviness and melody.
Finishing with a perfect rendition of 'Deadbolt', Thrice leave to a lenghty, deafening roar but without fanfare, probabaly content in the knowledge that even without explosions or fire or eyeliner they'll see London many more times.
They'll be back in the New Year with Coheed and Cambria, miss that at your eternal regret.
9.14.2005
SWIFT- The Absolute Uncontrollable
Genuine and beautiful melody and rangy but fast hardcore, spiky, racing guitars and fierce and fine vocals all cooking together. This is great stuff and it's all within track one.
Tribunal Records carry on their fine tradition of unearthing real gems (previously releasing stuff by Atreyu, Killwhitneydead and Prayer for Cleansing) with the arrival of Swift.
This is very much a blend of contemporary metallic influences but as 'The Absolute Uncontrollable' plays out it becomes a record impossible to pigeonhole. It isn't a perfect record, the production, despite being handled by Jaime King (He is Legend, BTBAM) leaves vocals low and the guitars too high in the mix and some of the songs, even as overflowing with clever hooks as they are, drag just a little.
Minor gripes aside, it is nearly perfect and how often can that truly be said. There are hundreds of ideas here but this isn't progressive, over reaching or confused, just plain old brilliant.
Tribunal Records carry on their fine tradition of unearthing real gems (previously releasing stuff by Atreyu, Killwhitneydead and Prayer for Cleansing) with the arrival of Swift.
This is very much a blend of contemporary metallic influences but as 'The Absolute Uncontrollable' plays out it becomes a record impossible to pigeonhole. It isn't a perfect record, the production, despite being handled by Jaime King (He is Legend, BTBAM) leaves vocals low and the guitars too high in the mix and some of the songs, even as overflowing with clever hooks as they are, drag just a little.
Minor gripes aside, it is nearly perfect and how often can that truly be said. There are hundreds of ideas here but this isn't progressive, over reaching or confused, just plain old brilliant.
9.03.2005
EVERY TIME I DIE- Gutter Phenomenon
Every Time I Die live shows have always seen the band walking the fine line between life-of-the-party ultra confidence and cocky arrogance and now the music they produce has gone and caught up.
'Gutter Phenomenon', their third album, makes their change from angry and loud punk kids to down and dirty, tune-puking rock'n'rollers, complete.
There are huge hooks here, from Keith Buckley breaking the habit of nearly seven years and cracking out the perfect smoke and whiskey singing voice to the handclaps and Slipknot like riffery of 'Pretty Dirty'.
'Gutter Phenomenon' is an album to prove every bad word ever said about Every Time I Die totally wrong. This isn't noise for noise sake, or metal kids acting clever. However sharp and spiky they play, producer Machine has made this thick sounding, enveloping stuff. The songs flex and ease in exactly the right places, the temper and tunes balanced, with just enough sass for new fans covering up the same old lyrical venom.
Destined to be huge whether you like it or not
'Gutter Phenomenon', their third album, makes their change from angry and loud punk kids to down and dirty, tune-puking rock'n'rollers, complete.
There are huge hooks here, from Keith Buckley breaking the habit of nearly seven years and cracking out the perfect smoke and whiskey singing voice to the handclaps and Slipknot like riffery of 'Pretty Dirty'.
'Gutter Phenomenon' is an album to prove every bad word ever said about Every Time I Die totally wrong. This isn't noise for noise sake, or metal kids acting clever. However sharp and spiky they play, producer Machine has made this thick sounding, enveloping stuff. The songs flex and ease in exactly the right places, the temper and tunes balanced, with just enough sass for new fans covering up the same old lyrical venom.
Destined to be huge whether you like it or not
8.31.2005
SINCE THE FLOOD- Valor and Vengeance
With lyrics addressing the old hardcore standards of blood, family, revenge and respect grunted over barrelling riffs and breakdowns, Since the Flood are obviously not in this for the fame or the money or the chicks. There are no foot long fringes in sight, no hint of clean singing to appease any easy listeners. They mean it (man) but are absolutely unabashed at who knows it and that is just the sort of refreshing the growing-staler-by-the-day scene needs right now. A sort of honest and earnest brand of hardcore that very few of todays 'hardcore' bands actually employ.
That doesn't mean 'Valor and Vengeance' is straight ahead boring though. The pace is quick but not hurried and there are large chunks of guitar melody to colour the venom. All ably brough out by Ken Susi's fat production. The Unearth guitarist's influences can felt throughout as the distorted growl and inventive breakdowns of his band appear often.
No new wheels then but when a good old engine sounds a healthy as this, that doesn't really matter
That doesn't mean 'Valor and Vengeance' is straight ahead boring though. The pace is quick but not hurried and there are large chunks of guitar melody to colour the venom. All ably brough out by Ken Susi's fat production. The Unearth guitarist's influences can felt throughout as the distorted growl and inventive breakdowns of his band appear often.
No new wheels then but when a good old engine sounds a healthy as this, that doesn't really matter
8.20.2005
MY AWESOME COMPILATION- Actions
Simplicity. One of the most overlooked qualities of good music, but one that My Awesome Compilation have in spades. Verse chorus verse may be a much maligned method, especially in these days of mathcore madness, but the class of tracks like 'Set to go' and 'Put up a Fight', despie their over Britishness and complete lack of fuss, is undeniable.
'Actions' is an album of delicious and memorable vocal harmonies, shimmering guitar and keyboard fun. Not exactly a recipe to make the band Britain's next great white hopes but certainly one with enough delictae uniqueness and wholesome honesty to ensure a loyal fan base and lasting success.
It's a long shot but MAC could be very big indeed.
'Actions' is an album of delicious and memorable vocal harmonies, shimmering guitar and keyboard fun. Not exactly a recipe to make the band Britain's next great white hopes but certainly one with enough delictae uniqueness and wholesome honesty to ensure a loyal fan base and lasting success.
It's a long shot but MAC could be very big indeed.
8.12.2005
FALL OUT BOY- From Under the Cork Tree
I hate Fall Out Boy. Since I listened to 'From Under the Cork Tree', the Chicago quartet's third album I can't get their sun punk melodies out of my head.
Lead singer, Patrick Stump, possesses a Marmite of voices, sounding as breathless as a teenage kiss but singing images of smiles with every line while the rest of the band do their best to win The Band That Sounds Most Like Everybody Else competition.
'Summer Song' and 'Get Busy Living...' rock and roll along on the kind of Morrisey mope that Bayside and Copeland also employ.
'Nobody Puts Baby in the Corner' speeds in sounding like No Doubt before skipping a beat into Blink punk territory, it may be a landscape laced with sarcasm rather than toilet humour, but this is instantly hummable stuff.
As most tracks arrive on the same skittery guitar noise there is a temptation to reach for the skip button but every song, left to sprint finish or slowly unravel, reveals a hook looking to screw its way into your brain.
From the opening track, to 'Dance, Dance', to first single 'Sugar, We're Goin' Down', these songs are going to sound amazing sung by thousands of arena goers and Warped Tour ticket holders. All that and then some beckons for FOB if enough people hear this album, even by accident, because one listen and it's in there, drilling deeper, until you have to know the lyrics, until you're dancing in your room.
In the middle of America while a thousand other misty-eyed lovers that have lost are finding emo, Fall Out Boy have found the sense of humour to laugh of their broken hearts and have some goddamn fun.
Makes sense to me.
Lead singer, Patrick Stump, possesses a Marmite of voices, sounding as breathless as a teenage kiss but singing images of smiles with every line while the rest of the band do their best to win The Band That Sounds Most Like Everybody Else competition.
'Summer Song' and 'Get Busy Living...' rock and roll along on the kind of Morrisey mope that Bayside and Copeland also employ.
'Nobody Puts Baby in the Corner' speeds in sounding like No Doubt before skipping a beat into Blink punk territory, it may be a landscape laced with sarcasm rather than toilet humour, but this is instantly hummable stuff.
As most tracks arrive on the same skittery guitar noise there is a temptation to reach for the skip button but every song, left to sprint finish or slowly unravel, reveals a hook looking to screw its way into your brain.
From the opening track, to 'Dance, Dance', to first single 'Sugar, We're Goin' Down', these songs are going to sound amazing sung by thousands of arena goers and Warped Tour ticket holders. All that and then some beckons for FOB if enough people hear this album, even by accident, because one listen and it's in there, drilling deeper, until you have to know the lyrics, until you're dancing in your room.
In the middle of America while a thousand other misty-eyed lovers that have lost are finding emo, Fall Out Boy have found the sense of humour to laugh of their broken hearts and have some goddamn fun.
Makes sense to me.
8.11.2005
THE NUMBER TWELVE LOOKS LIKE YOU- An Inch of Gold for an Inch of Time
A four track storm front of horrible, unblinking, wheezing noise only interrupted by Hades sounding vocal embellishments or shrill fret wanks. And a cover of My Sharona by The Knack. Awesome.
7.27.2005
ZAO- The Funeral of God
It's difficult to know what audience Zao are going for with this, their ninth album.
The passing of time and band members has made 'The Funeral of God' far less abrasive than previous efforts and in fact weaker than anything currently on offer from same-label macabra obsessives Bleeding Through or riff brethren Throwdown.
The production is thick and fierce but lighter moments are mostly ugly interruptions rather than genuine flashes of a desire to change or brilliance and newly appointed clean vocals feel uncomforatbel and tacked on.
There are a few standout moments, the twisting static and screams of opener 'Breath of the the Black Muse' and the Pantera-like groove to 'Praise the War Machine' but the tempo, high though it is, remains almost constant, leading to deja vu and eventually boredom.
Back to the drawing board then.
The passing of time and band members has made 'The Funeral of God' far less abrasive than previous efforts and in fact weaker than anything currently on offer from same-label macabra obsessives Bleeding Through or riff brethren Throwdown.
The production is thick and fierce but lighter moments are mostly ugly interruptions rather than genuine flashes of a desire to change or brilliance and newly appointed clean vocals feel uncomforatbel and tacked on.
There are a few standout moments, the twisting static and screams of opener 'Breath of the the Black Muse' and the Pantera-like groove to 'Praise the War Machine' but the tempo, high though it is, remains almost constant, leading to deja vu and eventually boredom.
Back to the drawing board then.
7.16.2005
ALKALINE TRIO- Crimson
Finished hiding in Green Day's shadow Alkaline Trio are here to turn your day black.
'Crimson' is the 'Trio's fifth album but the first one you feel is genuinely set to make them megastars.
'Time to Waste' is the first single and a note perfect opener. The quality continues ceaseless throughout and as the fast paced first half gives way 'Crimson' turns into an album your fingers and feet feel they already know.
Even if you don't declare yourself a punk fan give this a go. The lyrics amy be blood red dark but the music is easy on the ear. The catchy, varied and driving rock an excellent base for Daniel Adriano's gravel trap vocals an Matt Skiba's clean delivery.
Evil intent has never sounded so good.
'Crimson' is the 'Trio's fifth album but the first one you feel is genuinely set to make them megastars.
'Time to Waste' is the first single and a note perfect opener. The quality continues ceaseless throughout and as the fast paced first half gives way 'Crimson' turns into an album your fingers and feet feel they already know.
Even if you don't declare yourself a punk fan give this a go. The lyrics amy be blood red dark but the music is easy on the ear. The catchy, varied and driving rock an excellent base for Daniel Adriano's gravel trap vocals an Matt Skiba's clean delivery.
Evil intent has never sounded so good.
6.30.2005
Drag the lake...
...you'll find it full of love.
LISTEN TO Every Time I Die.
Fierce and black-hearted lyrics humping a fast and furious metalcore din that was good for an EP and an album and almost perfect for last album round, 'Hot Damn!'.
The Ferret/Roadrunner Records punk'n'puke metallers have gone through bassists like other bands go through drummers and hi-jacked Daryl Palumbo to bring you their new album 'Gutter Phenomenon', out August 22nd. Hear a track from it here, go see them here.
Let them change your mind
LISTEN TO Every Time I Die.
Fierce and black-hearted lyrics humping a fast and furious metalcore din that was good for an EP and an album and almost perfect for last album round, 'Hot Damn!'.
The Ferret/Roadrunner Records punk'n'puke metallers have gone through bassists like other bands go through drummers and hi-jacked Daryl Palumbo to bring you their new album 'Gutter Phenomenon', out August 22nd. Hear a track from it here, go see them here.
Let them change your mind
6.21.2005
BUKANDSKIT FESTIVAL 2. Reading Abbey RFC, Reading. 19.06.05
It starts as a distant buzzing, like maybe there's a wasp in the car that you can't see.
Then it's more.
There's a bassy rumble, relentless banging and flashing lights.
Through the pollen haze of a sun cracked field in the middle of Reading comes the sound of loud music and the smell of overpriced beer and burning burgers. A festival is disturbing the peace in Reading but it's not the one you're thinking of.
The BukandSkit festival, a one-day, two-stage event is celebrating its second year today. The event is something of a renaissance day for British bands- Biffy Clyro and Capdown are headlining- and a genuine showcase for local talent- Reading bands open both stages.
The line up reads like a 'who's who' of the UK underground and as an introduction to the day TwinZero's crash site rumble is an ugly early-afternoon wake up call. Karl Middleton leads his merry men through a set of metallic pounding punctuated by razer sharp riffing and tribal tattoos.
Thirteen fulfill every prophecy of their name and suffer the first bad luck of the day- it's kinda hard to play your cymbals when they're at home. But after a mad dash to borrow some equipment they get to play their very now sounding poppy rock but push everyone's stage times back.
But the show must go on.
For Reuben- who transform their normally sedate grunge into sunshine-magnet festival rock- and Oceansize it must go on a little longer than expected when news filters through that Million Dead have broken down in Italy.
Sylosis have recruited Jor's old singer and seemingly pirated his confidence too. Their old school thrash and new style metal mix finally looks good enough to break into bigger leagues, the majors will soon come knocking.
Sikth are on form. There was a worry about how much of the truly awful new stuff they would play but only one song, 'The Death of a Dead Day', is aired and isn't half bad after all. Despite the blistering heat the first real mosh goes to Sikth and a belting version of 'Hold my Finger'.
Inside, on the second stage, it's like standing in an oven but Eden Maine play a blinder. Towering examples of aggressive, progressive mood music like an awesome 'The Hunter and the Hunted' and 'Hail Satan!' shimmer and flex in the heat. Their frontman all handclaps and dancing feet one minute, a flailing storm of plaid and hair the next.
This Girl have to face off main stage competition from Biffy Clyro and the advance of time as last trains and buses beckon but maintain an edge that people never seem to understand and the man will never pay enough money for.
People keep leaving but the band keep playing the good time rock'n'roll they make their own, even turning the mediocre material from their most recent album into hummable quirky perfection.
People are going home tired but happy, BukandSkit 2 has most definitely been a success and proven the British rock scene to be alive and well. As if we ever had a doubt.
Roll on next year.
Then it's more.
There's a bassy rumble, relentless banging and flashing lights.
Through the pollen haze of a sun cracked field in the middle of Reading comes the sound of loud music and the smell of overpriced beer and burning burgers. A festival is disturbing the peace in Reading but it's not the one you're thinking of.
The BukandSkit festival, a one-day, two-stage event is celebrating its second year today. The event is something of a renaissance day for British bands- Biffy Clyro and Capdown are headlining- and a genuine showcase for local talent- Reading bands open both stages.
The line up reads like a 'who's who' of the UK underground and as an introduction to the day TwinZero's crash site rumble is an ugly early-afternoon wake up call. Karl Middleton leads his merry men through a set of metallic pounding punctuated by razer sharp riffing and tribal tattoos.
Thirteen fulfill every prophecy of their name and suffer the first bad luck of the day- it's kinda hard to play your cymbals when they're at home. But after a mad dash to borrow some equipment they get to play their very now sounding poppy rock but push everyone's stage times back.
But the show must go on.
For Reuben- who transform their normally sedate grunge into sunshine-magnet festival rock- and Oceansize it must go on a little longer than expected when news filters through that Million Dead have broken down in Italy.
Sylosis have recruited Jor's old singer and seemingly pirated his confidence too. Their old school thrash and new style metal mix finally looks good enough to break into bigger leagues, the majors will soon come knocking.
Sikth are on form. There was a worry about how much of the truly awful new stuff they would play but only one song, 'The Death of a Dead Day', is aired and isn't half bad after all. Despite the blistering heat the first real mosh goes to Sikth and a belting version of 'Hold my Finger'.
Inside, on the second stage, it's like standing in an oven but Eden Maine play a blinder. Towering examples of aggressive, progressive mood music like an awesome 'The Hunter and the Hunted' and 'Hail Satan!' shimmer and flex in the heat. Their frontman all handclaps and dancing feet one minute, a flailing storm of plaid and hair the next.
This Girl have to face off main stage competition from Biffy Clyro and the advance of time as last trains and buses beckon but maintain an edge that people never seem to understand and the man will never pay enough money for.
People keep leaving but the band keep playing the good time rock'n'roll they make their own, even turning the mediocre material from their most recent album into hummable quirky perfection.
People are going home tired but happy, BukandSkit 2 has most definitely been a success and proven the British rock scene to be alive and well. As if we ever had a doubt.
Roll on next year.
6.17.2005
TEAM SLEEP+Idiot Pilot. Mean Fiddler, London. 17.06.05
Team Sleep are loud. Really loud. Probably the loudest 'quiet' band you've ever heard.
The band throw out grooves other bands would kill for and when they lock together they make a sound like demolition.
No matter what they sounded like Team Sleep would've won tonights crowd over but supporting band Idiot Pilot are fighting that battle from first note to last. Y'see no one in Idiot Pilot is Chino Moreno.
For a two piece the band max out the volume just as well as the headliners but rather than building to their crescendos they commit sudden stop starts of drum machine and screams. If you need a reference point, think Radiohead but think Martin Grech rather than Muse.
Towards the end of their set most of the crowd is nodding its head and the band seem to be having fun and happy to be making friends. Hopefully friends who will buy their records.
As a parting shot one of the skinny duo extols the virtues of the Team Sleep album and asks how many people have it. In the middle of a sold out Mean Fiddler maybe 30 people raise their hands.
And there's the rub...
Most everyone seems to be here for a quick Deftones fix rather than a headfirst dive into something altogether new. After Idiot Pilot's dramatic and unexpectedly fantastic turn you feel were it not for Chino Moreno's prescence the running order tonight would be the other way around. Team Sleep have a lot to prove.
And they are by no means perfect- the drums clatter and jar, loose jams come off without point or promise and Rob Crow's beautiful vocal additions are inaudible, which on a song like 'Our Ride to the Rectory' is criminal.
However, they are special. Chino is as an engaging frontman as always and his band feel cohesive and familiar- a far cry from a bunch of hired hands. The songs feel louder, heavier even, and perfect moments like Chino's wail on the beginning of 'Red Skull' are there to be savoured.
Those looking for some Deftones adrenaline get it, but those looking for something more find that too. Tonight was about a good band playing good songs and what else is there.
The band throw out grooves other bands would kill for and when they lock together they make a sound like demolition.
No matter what they sounded like Team Sleep would've won tonights crowd over but supporting band Idiot Pilot are fighting that battle from first note to last. Y'see no one in Idiot Pilot is Chino Moreno.
For a two piece the band max out the volume just as well as the headliners but rather than building to their crescendos they commit sudden stop starts of drum machine and screams. If you need a reference point, think Radiohead but think Martin Grech rather than Muse.
Towards the end of their set most of the crowd is nodding its head and the band seem to be having fun and happy to be making friends. Hopefully friends who will buy their records.
As a parting shot one of the skinny duo extols the virtues of the Team Sleep album and asks how many people have it. In the middle of a sold out Mean Fiddler maybe 30 people raise their hands.
And there's the rub...
Most everyone seems to be here for a quick Deftones fix rather than a headfirst dive into something altogether new. After Idiot Pilot's dramatic and unexpectedly fantastic turn you feel were it not for Chino Moreno's prescence the running order tonight would be the other way around. Team Sleep have a lot to prove.
And they are by no means perfect- the drums clatter and jar, loose jams come off without point or promise and Rob Crow's beautiful vocal additions are inaudible, which on a song like 'Our Ride to the Rectory' is criminal.
However, they are special. Chino is as an engaging frontman as always and his band feel cohesive and familiar- a far cry from a bunch of hired hands. The songs feel louder, heavier even, and perfect moments like Chino's wail on the beginning of 'Red Skull' are there to be savoured.
Those looking for some Deftones adrenaline get it, but those looking for something more find that too. Tonight was about a good band playing good songs and what else is there.
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