Category: Buzz Chart

Isis is a band that have not only fronted but also defined the genre of atmospheric metal over their 12-year career. And their new album Wavering Radiant is going to take the genre into even more territory. This album is an accumulation of all of their accomplishments over their long and innovative lifespan.

Ear pounding riffs are heard throughout the record, as well as trademark whimsical soundscapes that only Isis could pull off are in there plenty. But who could forget the intense vocals that are more predominant in this album than anything I’ve ever heard from Isis. They don’t blend into the background like previous works and lyrical content seems more important to delivering the message of the album. The music is truly unpredictable, sometimes building up to nothing, teasing you. The depth and layers of the sounds are hypnotic, combining great musicianship and an array of instruments with polyrhythmic structure. You can listen to it over and over again finding something new each time, whether it’s a little guitar lick or a sound that makes the whole thing a little bit more epic.

The whole album technically is 7 songs although it is split into 4 sections, with each section being like a journey. Eventually building up to the pinnacle of Threshold of Transformation. For die-hard Isis fans this is far from a disappointment, sticking to the formula they are so greatly known for. However it seems to focus on the softer more ambient side of their music, which certainly makes them more accessible and should bring in a few fans. At this point in Isis’ career the fact that they have stuck to their guns and played the music they want to play without trying to innovate what is already innovative is a great achievement on their part, which should be celebrated by fans and music lovers alike.

If you are into Isis’ earlier music that’s more focused on down tuned instruments and heavier music you may be a bit shocked by this record. However I urge you too try and be open minded with the songs and appreciate the true beauty they’ve achieved with this record. Even the title track Wavering Radiant which sounds like a collection of lightsaber noises has its own artistry. Wavering Radiant is possibly Isis’ best effort yet and if you want to sit down to 54 minutes of musical refinement this is the one for you.

Jonathan Teggert

Strange, beautiful, mesmerising, perplexing and vast. These are all words that can describe Mono’s new album Hymn to the Immortal Wind. 10 years into their career, this is their 5th studio album produced by the legendary Steve Albini. Recorded completely onto analogue, which is a strange thing for a band these days, but this type of music needs analogue to capture the beauty in its simplicity. No instruments really stand out, there is no overproduction, and everything blends together into one concoction of sounds.

Guitars are tremolo picked with furiosity while the orchestra plays and the crash of cymbals is heard in the distance. I feel like I’m sat in the middle of the band playing with sound coming at me from all directions. There are no distinctions between the instruments and its genuinely like being in a concert hall. This however isn’t a bad thing, if this music wasn’t just a giant soundscape it would be, but for this it just seems natural and right. The music will build up into a climax of epic proportions then fade right back out into a space of very little sound.

The musicianship is fantastic as the sheer self-control and precision required to create such a fine piece of music is brilliant. The amount of time and effort the band must have put into this album definitely paid off. Every note is in perfect time, no beat is missed and everything works. It’s like classical music for a younger, alternative generation. With orchestras playing distorted concertos while guitars ring throughout. This isn’t music that you like its music that you appreciate; you can’t not sit down and listen to the album without having your mind blown apart.

Although this isn’t the kind of music I’d regularly listen too the album is a strange sort of catharsis. I feel like I have experienced a range of emotions, the music plays so strongly and effectively it’s unavoidable. The album could be put on as background music in your living room or you could sit there for the full length analysing every noise made. It works on so many different levels and if you’re willing to be open minded then it’s worth a listen.

Jonathan Teggert

Ever The Silver Cord Be Loosed is the new album from Brooklyn band Weird Owl. It’s nothing short of a psychedelic roller coaster taking your mind on ups and downs in strange and beautiful ways. Echoing through your brain like a vibrant acid trip.

The music is so clearly influenced by 60’s and 70’s psychedelic rock, combining bluesy guitars, somnolent vocals and spaced out synthesizers to create a sound that sends you off into a trance. The guitars are distorted, the solos are rockin’ and the beats are mellow. This kind of music hasn’t been done properly since the 70’s and only mildly influences bands now, with none really being true to the genre. But I feel that a lot of people will be glad to welcome it back especially when it’s being revived so well.

Even though you feel like you’re going on a trip to Woodstock the sound is still extremely coherent, as people need to chill out now more than ever. I feel that the band should attract an array of fans. From people who still carry the torch of psychedelia, to fans of more modern indie bands that take influence from this type of music. The plethora of sounds created on the album range from bands like Pink Floyd to the Pixies. Even the immensely popular Kings of Leon have a sound similar to Weird Owl at some points.

Songs like Do What The Owl Wilt and Skolopathing are like a sound that was created over 30 years ago but played in a new, raw way. The hallucinogenic music Weird Owl makes deserves to be popular as there’s a huge gap in the market for it right now. So if you want a lesson in mind expansion then listen to Ever The Silver Cord Be Loosed.

Jonathan Teggert

Blood Sweat and Beers is the new 13-track album from Swansea based rockers The Arteries. It’s a combination of their 3 10″ records and a new tune thrown in. When the previous 10″s sold out it’d only make sense to bring out an album to get the word out. Collectively the album is a party from start to finish bringing meaning to the title Blood Sweat and Beers.

It opens up with No Guts, No Glory. A frenzy of riffs echoes throughout the song and the odd solo is thrown in here and there. That description sounds like it’s a predominantly metal album but you’d be fooled to think that. The band’s main vocation is pop punk but with the twist of adding genuinely good riffs and great instrument playing. The songs are a hell of a lot of fun to listen too and give off the impression that this was a fun album to make.

When I listen to Blood Sweat and Beers I get the urge to go see these guys live, as I’m sure the ethic of the music rubs off in the live show as well. The song Shortcuts opens up with a bluesy riff in a punk rock tempo and it sounds great! Octaves soar throughout the songs sounding like more traditional Gainesville style pop punk at times. The choruses are huge in anthemic proportions and the radio friendly vocals style gives you plenty to sing along too.

For a pop punk album this certainly is as innovative as they can come. Breaking traditional 4 chord song boundaries of certain bands and not trying to rip off other influential pop punk bands. The band has a lot of musical ability and they aren’t afraid to show it. If you’re into pop punk, post hardcore, or even a more open-minded metal head this album could be for you. I’m even close to air guitaring sitting here writing this at the awesomeness of the solo in Major Threat. If The Arteries keep going in the direction they are, then it will definitely be blood sweat and beers all round.

Jonathan Teggert

A 12-song infusion of post punk and tech metal bursting through your eardrums on the 9th of March! This is Propagandhi‘s 5th album Supporting Caste. When most bands reach their 5th album they tend to lag a bit, trying to make their music more experimental or accessible and not sticking to their guns. Sometimes it works however sometimes it fails miserably. Propagandhi however are sticking to what they know best, and what they know best is how to make good music.

The band uses a nice blend of powerful songs that flow easily and keep a good fast pace throughout them. They’ve even got a good old face ripping solo at the start of Dear Coach’s Corner that reminds me of The Screams by Integrity. Supporting Caste is definitely an evolution from their more hardcore-based previous work. Even though the music’s more upbeat than it is aggressive the softer songs still hit you hard.

The technicality and musical style they use is reminiscent to actual tech metal bands but if they were played in a happy scale with more upbeat beats and inspiring lyrics. With songs such as Potemkin City Limits and Funeral Procession striking a lighter note on the heartstrings. If you want to listen to a record that generally makes you feel good about life then Supporting Caste is the one for you.

Supporting Caste is an uplifting collection of 12 songs; I can only praise the way that they’ve used their musical ability to such a positive effect. They’re not just a band with the gimmick of being “posi” though; I feel like Propagandhi genuinely mean this. Although their 4 previous records have never really broken the mainstream I get the feeling that this omnibus could do it. If you like to be impressed by music that’s clever and refined then pop down the shops on the 9th of March and fuck the recession by buying this album.

Jonathan Teggert

Former Terra Ferma member Kyza is back with a new album in the Spring called S.O.S (Shots Of Smirnoff) and this double-A side single gives a good indication of the variety to expect on the upcoming release.

Love N Music is a slow jam with soulful samples over a sweet, flowing beat produced by Ghosttown and sees Kyza riding his lyrics with consummate ease. However it is on the flip side with the track Dirty [which you can hear above] that he really gets going. XXX-Rated, the track is a canvas on which the rapper paints an unabashed explanation of why the ladies love him and exactly what he’s likely to do given the chance.

Filth.

Abjekt.

2008 kicked up some fantastic releases for stoners and here’s another classic in case you missed it. All The Saints are a three piece who hail from Atlanta USA and have captured a stunning debut album available on Touch and Go Records with help from production skills of Ben H.Allen who has also worked with Animal Collective and Gnarls Barkley amongst others. The result of 2 weeks in their local studio is ‘Fire on Corridor X‘ and it’s been on the Crossfire stereo since it dropped through our door.

Mixing psychedelic sounds, crunching rhythms and a heavy splattering of rock and metal, All The Saints have concocted a sound that sits between the likes of Dead Meadow and Loop with tracks built up and stripped down through a cosmic ray of stoner bliss. Even though they hail from the City of Atlanta, there’s a British link in this record too. With song titles like ‘Leeds’ and ‘Sheffield’ you wonder if they had once lived in the UK but it turns out both are both cities on the interstate in Alabama. Although this is the case, guitarist and singer Jim Crook grew up to the sounds of My Bloody Valentine, Ride and The Jesus And Mary Chain by an indie radio station his elder sister used to tape in the early ’90s. These influences mould the idea of All The Saints but the band carve out their own blast of noise on this record with towering, epic tracks such as the 2 mentioned above and the impressive ‘Papering Fix’ that leaves your finger on the repeat button of your audio device.

This album is a mammoth piece of work and leaves the same taste in your mouth you first received when you heard Meanderthal by Torche for the first time. Timewise, the record is a perfect length for a debut and not too long that you get lost in the sonic overdose of psychedelic guitar wish wash that can drive you to sleep. ‘Fire on Corridor X‘ is the record that keeps you awake long enough to get to the end and recreate a fresh journey when you play it again. This record is right up there with the best of them, add it to your collection today.

Zac

all the saints live at death by audio (brooklyn) august 2nd, 2008 from acid marshmallow IV on Vimeo.

To coincide with the Hard-Ons 2009 European tour, Boss Tuneage has released this 25 track disc that covers 25 years of these rockin’ Aussie reprobates. Yeah, 25 years, count ’em!

Their ’85 debut single, the primal 3 chord “Surfin’ on My Face“, kicks off this journey in time, and charts the evolution and progression of the young punks from Punchbowl into the fuck-heavy twisted beast of a band that are still treading the boards, blowing out Marshall cabs, and generally not giving two-shits for whatever is hip on the High Street. Not a chance!

Yeah, plenty of old favourites for Hard-Ons aficionados to get their teeth stuck in to on this collection with timeless sun kissed bubblegum pop like “Girl in The Sweater”, “Think About you Everyday”, “Just Being With You” and my all time favourite number of the era “Where Did She Come From?”, with “Suck ‘n Swallow” coming in a close second. As the collection builds momentum, and the years chip away, the power gets weightier and it’s cool to hear tracks from the early Nineties “Too Far Gone” album, which was ignored heavily at the time, but I dug massively, so “Notice Me” and “I Do I Do I Do” easily rock my planet.

Taking things bang up to date are tracks from their 3 most recent LP’s, including the hilarious “Race Track” (from 2003’s “Very Exciting”) and the ripping “Carrot Top” that opened up “Most People are Nicer Than Us”, the follow up to “Most People are a Waste of Time“…and song # 25 is a brand new number “Everyone Seems to be Out to Get You“… still doing it!

Pete Craven

LeATHERMOUTH are a band that has been getting a lot of attention as of late. However I believe this might be due to the fact that their front man is My Chemical Romance guitarist Frank Iero. There are two problems with this, people are going to automatically like them because of the fact the singers in My Chemical Romance, the second problem is that the majority of people that like My Chemical Romance aren’t this band’s target audience.

I fear that because of this people who would normally like this type of music are going to be deterred by the rows of screaming teeny boppers there to see their favourite guitarist in action. That would be a real shame as this band would be liked for all the wrong reasons instead of the fact their music is really good.

I’m 3 songs in and my socks have already been blown across the room. The music infuses traditional hardcore with some more spazzy music and throws in a little bit of metalcore mixed up with some gut wrenching screaming and obnoxious talking. Being a fan of bands like The Locust, Daughters and other “spazzcore” outfits this music is so far removed from My Chemical Romance I really can’t believe it. He did used to be in a band called Pencey Prep that was a little less radio friendly than MCR but nothing as wild as this. Frank and his gang really did go all out on this album. Energetic riffs, great drumming and generally being angry at the world fuel it throughout.

Some songs such as Sunsets are for Muggings are more hardcore orientated, relying on a simpler song structure however they still do the job. The song titles are a little farfetched and immature at times with some examples being This Song is About Being Chased By Monsters and My Lovenote Has Gone Flat, but the music’s very grown up and coherent with how bad society has gotten these days. Although I Am Going To Kill The President of The United States of America takes it a bit too far, maybe Frank woke up on the wrong side of the bed the morning that was written. Silly song titles aside the music really is great and the amount of work that went into these songs is evident.

I really do hope that Frank can shake off the image of being in the black parade and can be respected by fans of this type of genre because the band really deserves it. If you like lyrical content that is genuinely angry and crazy and music that reflects it then this band are exactly that. Don’t be shaken by the fact there will be MCR fans that love one of the band members and check out this album. I tip my hat to them for making it.

Jonathan Teggert

Just a couple of weeks ago Crossfire witnessed Conrad Keely and Jason Reece, the two remaining founding members of …And You Will Know Us By The Trail of Dead, blow the grotty top off the London Astoria for a final time. Playing stripped down to just one guitar, drums and vocals in a blink-and-you’ll-miss-it three song set, the Texan duo effortlessly disgraced every other act to ill-advisedly follow them, as the legendary venue let punters pass through it’s nicotine and sweat stained doors for one last time.

There are those who will argue that Trail of Dead’s last two albums (‘World Apart’ in 2005 and ‘So Divided‘ in 2006) failed to touch on the sheer and unquestioned excellence of 2002’s ‘Source Tags and Codes’. Those people are, in our opinion, absolutely wrong, but regardless the unanimous initial response to the band’s newest offering ‘The Century of Self’ has been cries of a much welcomed return to form. From the regal and foreboding opening stomp of ‘Giants Causeway‘ to the waltzing solace of ‘Insatiable Two’, Trail of Dead’s latest offering is enchanting and captivating, wrought with drama and upliftingly opulent. Gripping from the first moment right to the last, Keely and co have come up with an album that truly proves and qualifies the respect, hype and loyalty they have procured over the past six albums and ten years in being.

Having parted ways with major label Interscope and instead opting to release the new record on tiny german label Superball, Trail of Dead are well and truly back at the helm of their creation. In a climate where music seems increasingly ephemeral, it’s refreshing and relieving to be reminded that truly falling in love with a band, growing up to the soundtrack they create and never for one minute being disappointed by them is still entirely possible… Trail of Dead, we salute you.

Trotty P.