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Parkway Drive

PARKWAY DRIVE
‘Atlas’
[Epitaph]

After creating an exceptional album with ‘Deep Blue’ expectations are high for Parkway Drive‘s November 2012 full length release ‘Atlas‘. Having such a large and passionate fan-base, Parkway Drive could put out a duff record and it still be widely adored, but there is no need for concern as the Australian quintet have yet again composed an astounding record.

Despite moving away from the completely conceptual approach of ‘Deep Blue’, Parkway Drive stick to the same format as other releases and open with an instrumental piece that slowly builds expectation when dark lyrics capture attention. Anticipation is intensely hanging in the air as ‘Old Ghosts / New Regrets’ roars into action with a driven speed that demands a mosh-pit to open.

Noting the success of the anthemic ‘Home Is For The Heartless’ from their last album, Parkway Drive have offered a few more dramatic and powerful moments which will surely cause unity at a live show. ‘The River’ and ‘Wild Eyes’ could easily fill a stadium whilst title-track ‘Atlas’ includes some exciting moments that reflect Bleeding Through’s orchestral approach.

If old-school, meaty Parkway Drive riffs are what you are crave there are still several tracks that cater for those hungry needs including ‘Sleigh of Hand’ which hosts licks similar to ‘Idols And Anchors’. And for those after a fast-paced assault on the ears, look no further than one of the closing tracks ‘Snake Oil And Holy Water’ which is sure to rip a new one into any venue.

As a whole ‘Atlas’ encompasses the true essence of what every fan loves about Parkway Drive. It could be seen as a more polished version of ‘Killing With A Smile’ whilst embracing the mature moments of ‘Deep Blue’.

Parkway Drive aren’t doing anything unconventional, they aren’t re-writing metalcore; they are continuing to define it. Each album the band produce develops over time as a milestone in the genre, in a few years time ‘Atlas’ will be reflected upon in the same inspiring light as all of their other works. Ultimately, Parkway Drive continue to set the standard in metalcore, a marker in musical excellence that very few others will reach.

Words: Emma Wallace

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Peace’d Out

Peace’d Out
Peace’d Out
[Siren Records]
www.facebook.com/peacedoutmusic

Vinnie of The Movielife / I Am The Avalanche fame has unveiled his new project with this first self-titled EP. And it’s an altogether more raucous affair than his past endeavours. With Steve Choi (RX Bandits), Casey Deitz (The Velvet Teen) and Roger Camero (No Motiv) completing the line-up, Peace’d Out unravel in cascading riffs and angry vocal outbursts. There’s barely even a hint of pop punk here as this collection of musicians channel the likes of The Dillinger Escape Plan to create a collection of exciting and unpredictable tracks that appear to almost career out of control whilst actually maintaining a carefully judged tightness of musicianship that’s impressive and admirable.

Far from being merely an intensely noisy affair, Peace’d Out have experimented with sounds making this a far more exciting ride than you initially expect.‘White Pyramid’ alternates simple synth interludes with driving riff-fuelled grittiness. The twists and turns are what really make this debut release.

It’s a five track assault on the ears that announces the band’s arrival in the world with no holds barred. Certainly a thrilling introduction and one which leaves us hoping and praying that this isn’t a fleeting experimental outing into the world of the more noise-filled music for Mr Caruana. Who knew he had that scream in him?

Words: Sarah Maynard

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The Story So Far

The Story So Far
‘Under Soil And Dirt’
[Pure Noise]

The California bred outfit The Story So Far, play homage to their pure punk rock roots with their debut full length release of ‘Under Soil And Dirt’.

The Story So Far really does remind of the early Four Year Strong and Set Your Goals era. Taking the raw sound of a band straight out of high school and rehearsing in their parents garage, ‘Under Soil And Dirt’ is the epitome of the American punk vibe. While attacking the genre with nail biting, teeth grinding and frankly pretty awesome guitars. There’s a ferocious thirst for destruction and an intense affection in songs ‘Roam’ and ‘Four Years’.

What does come up fighting fit is ‘High Regard’ which advocates a soaring melody that is without a doubt catchy. The quintet must have vision playing this live in front of a herd of troubled hardcore kids’ fist pumping along. ‘Daughters’ will ensure everyone gives this underrated band a head turning reaction. It could be said that many bands in their genre are dumping various random break downs and heartless arrangements, but with the Story So Far it is crystal clear they put in some serious thought as to who they are.

‘Mt. Diablo’ is super eager to break the punk mold, it certainly does depict a poppier aura with contagious hooks and guitar picking that come straight out of summer, showing the underground scene how it’s done. Frontman Parker Cannon projects a primitive tone with a rebel edge that suggests the likes of ‘Rally Cap’ could play the role of a theme tune in a riot.

The 10 tracks on the album takes anyone listening, to the youthful days spent on the beach, using music to express and reveal all their youthful rollercoaster emotions. It’s not brain surgery to write lyrics that capture those early days but Parker and co are not just a bunch of guys in a band, they’re a talented force to be reckoned with.

The Story So Far’s release definitely fascinates and it’s certainly intriguing to see what they will come up with next. They have the potential to be a favourite on the pop-punk/rock menu rivaling even the big dogs in the game.

Words: Jenny Chu

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Sex Pistols

SEX PISTOLS
“Never Mind The Bollocks (Deluxe Edition)
[UNIVERSAL]

To mark 35 years since its original release, a bumper “Bollocks” box-set has been released this month, along with, for the less fanatical, or more cash strapped punter, this ‘deluxe’ double-disc package. Disc One is “Bollocks” in all its glory. A dozen songs that have stood the test of time and all these years later still pack a mighty punch made up of raucous anthems. I hardly ever spin the original album, but I don’t need to, these songs are etched in to my consciousness. Not only is the music still absolutely rocking, and loaded with Jonesy’s beefy riffs, but Johnny’s vocals remain truly volatile, as he goads, threatens, and snarls at an unsuspecting populace. The rhyming of “Birmingham” and “Abortion” in “Bodies” is lyrical genius.

Let’s not forget too, the album was recorded whilst the band were in a state of flux, with original bassist Glen Matlock jettisoned in favour of the uber charismatic, but musically inept, Sid Vicious. So inept, that Steve Jones recorded most of the bass parts as well on these songs, showing he wasn’t exactly the “Lazy Sod” he professed to be.

Tagged on to Disc One are the B-Sides of their 7″s, all great songs in their own right, but there’s no “I Wanna Be Me”. Not sure why. The pisstaking “New York”, with Johnny sniping about those “poor little faggots” in the NY Dolls, who Malcolm McLaren had managed a few years earlier, is surely evidence the internal battle lines were already being drawn. And listening to “EMI”, the irony wasn’t lost on me that their current label (Universal) is in the process of acquiring said label that hastily cut their losses with the ‘Pistols back in the day. What comes around eh…

Disc Two is live recordings from ’77. A bootleg of the Sweden set will have long been housed in completest collections, and to close are 3 rough tracks from Penzance, Cornwall… “Problems/No Fun/Anarchy”… total primal energy… bosh!

So, that’s what you get on this double-deluxe-disc package. I know pretty much everyone who would want a copy of “Bollocks” already has at least one version, but its historic importance cannot be overstated. The music really does still sound that fuckin’ great. It’s an unlimited supply… and you know the reason why!

Words: Pete Craven

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Anberlin

Anberlin
‘Vital’
[Universal Republic]

To call this a masterpiece does not even justify Anberlin’s sixth studio album ‘Vital’.

It seems there is in fact much more to Anberlin than head-banging, mosh pit worthy breakdowns and rowdy screams based around the lyrics of heartbreak and growing up. The band make a stand for this with songs ‘Other Side’ and ‘Someone Anyone’. ‘Vital’ is more mature. It’s sophisticated. It channels their music into a different dimension. With frequent Innerpartysystem meet Nine Inch Nails synth effects pursuing ‘Vital’ down a path of more modern musical styles.

Vocalist Stephen Christian describes it as ‘youthful, energetic energy’ saying its their most aggressive record yet, which is agreeable when listening to the eleven track album. The piercing first song can safely represent ‘Vital’ as a journey of nostalgia and tension. Continuing this adventure with ‘Little Tyrants’, Stephen takes the opportunity to define his dynamic tone, from the fiercely monstrous aggression in the chorus straight through to the melodic, more delicate verses. Yet its not just vocal power, let’s not forget the overall great effort from the band who indulge in supreme guitar riffs and paramount beats in the flawless bridge.

The album is far from a bore, rattling the airwaves with ‘Intensions’. The exploding arrangement involves a crunchy guitar intro darting into an apocalyptic synth melody. Lyrics: ‘I want a love that I don’t deserve/I want the gold that I didn’t earn/I want a fire that will never burn’ are fundamentally catchy. What makes ‘Vital’ really glisten and flourish is their seventh track ‘Desires’. The veteran musicians craft this by exploring the unknown, experimenting with challenging rhythms and shaping a melody nothing less than extraordinary.

Only Anberlin could come up with this recipe. The essence of experts coming together to create something refreshing can be heard in ‘Type Three’. Unlike the rest of ‘Vital’ it’s almost a ballad, the instrumentation laying the foundations to a melody that tells a story. It’s evident they pushed the boundaries and every song emphasises their treasure like talent.

Anberlin maximise their music ability and as the album artwork suggests it does blow everything out of the water. Possibly saving the best until last is ‘God, Drugs & Sex’ captures the epic sound of Amberlin as a whole. This track also features guest vocals but this time from US singer songwriter Christine DuPree, who has previously appeared on the New Found Glory- ‘Coming Home’ album.

‘Vital’ is an essential album and will hopefully inspire change and further creativity in alternative music.

Words: Jenny Chu

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I Call Fives

I Call Fives
‘I Call Fives’
[Pure Noise]

If you feel as if your life is lacking some fun pop punk turn your heads to I Call Fives. The quintet from New Jersey left their distinctive sound tickling everyone’s taste buds with their debut album ‘First Things First’ back in 2008. Two years later came the release of ‘Bad Advice’ and now they’ve unveiled their self-title album.

‘Late Nights’ is a confident start to the eleven track album. From the bold, crunching riffs to drums that are full of power providing a true dose of pop punk. Frontman Jeff Todd’s tremendously lively vocals are fitting for such genre. The energy is undeniably contagious and should find its home to all pop punk fans record radar.

Setting I Call Fives apart from other bands in the genre is how they have managed to maintain a certain power throughout their band, despite a change in singer. Jeff has so far made a splendid first impression with this release. ‘Obvious’ seems like the perfect sing along with chorus lyrics ‘When it all comes down to the facts/you can’t admit when you’re wrong’.

From first listen ‘Back Up Plan’ is at the heart of I Call Fives style, bringing attention to a greatly memorable melody. Fourth track ‘The Fall Guy’ stays true to their pop punk roots, avoiding a mature style that the likes of All Time Low and Hit The Lights have recently adopted, yet what still exists with I Call Fives is a genuinely raw sound that the five guys have mastered throughout this record. There doesn’t seem to be any intension of pleasing the mainstream radio stations or setting their sights on playing big production shows at arenas across the globe, it still feels sincere.

‘Stuck In ‘03’ and ‘Enemy’ are a tornado of energy which never gets boring. The lyrics remain stubborn, youthful and fun with lyrically the best chorus emotive pop punk has to show:
‘Sometimes you just can’t wait
, I’m more than happy to not fit in (with your friends), 
I hope you don’t make it home
, Someday that you’ll face it, 
Cause the world doesn’t spin for you’.

If there’s anyone still waiting to be won over, ‘Two Sides Of Every Story’ can guarantee to do the job. With an irresistible intro, layered vocals and an effortless tougher edge, I Call Fives are carrying the flame for a genre they are taking lead of. Closing songs ‘Regrets and Setbacks’ and ‘Sleep Well’ have the potential to stay stuck in many an existing fan’s head, they’ve also got the potential for them to spread their wings and gain interest from a wider audience.

Words: Jenny Chu

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Between The Buried And Me

BETWEEN THE BURIED AND ME
‘The Parallax II: Future Sequence’
[Metal Blade Records]

The Prog Metal warriors, Between the Buried and Me return with a dominating new full length, ‘The Parallax II: Future Sequence‘, in which they truly came, saw and conquered, yet again.

The LP starts off with ‘Goodbye to Everything’, a subtle introduction, acoustic guitars, clean vocals with harmonies, a very peaceful start. This isn’t something they have often done before, but it has you wondering what else is to be expected. Soon enough, we’re back on track with ‘Astral Body‘ which has a more familiar shredy-prog metal feel about it; with soaring clean vocals over some amazing melodic guitar work, this is the definition of what Progressive Metal is. It’s intricately written, and performed by these virtuosos.

‘The Parallax II: Future Sequence‘, has a very ‘Astro Physics’ feel about it, with space aged synth patterns delicately placed in-between thunderous arpeggio riffs. The album is filled with tiny interludes where they drift off into jazz rhythms or an odd clean section, even strange retro computer game style sounds in the midst of growled vocals and pure shred action.

The album is varied in song styles, there are some shorter ones which remain instrumental and melodic, and there are the thunderous tracks such as ‘Silent Flight Parliament‘ and ‘Lay Your Ghosts to Rest‘.

Between the Buried and Me have returned with a great album and potentially one of the best of the year. It slightly different perspective with a somewhat concept feel about it. Not many stand out bands these days in Progressive Metal, but who needs others anyway when there is BTBAM, they more than fill the void. They do Prog Metal so well, there’s no need real to elaborate. Between The Buried And Me are just masters of their craft. All those years listening to bands like Dream Theater has rubbed off on them, with a development of spell bounding musicianship displayed through this album.

Words: Arif Noor

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We Are The Physics


We Are The Physics
Your Friend, The Atom
[This Is Fake DIY Records]

We are the Physics describe their sound as ‘Mutant science punk rock’ and, to be honest, I would’ve put them in a similar category myself. The sound is a vivid mix of genres which create a very exciting and moreish vibe about it.

It’s hard to explain. Like hipsters that found themselves in a studio after mainlining cocaine. The band explain their stance themselves: “Making a fairly derivative sound more interesting.” . Essentially they sound like an indie band (with the temperament of Battles) who have spent a lot of time listening to bands like At the Drive-In. The end result takes mundane ‘indie’ and kicks it into the curb.

‘Your Friend, The Atom’ is like the soundings of a group of particle physicists working on the Hadron Collider whilst writing some epic music. The album maintains an obvious, and somewhat expected Scientific feel about it. Robotic sounds and weird electronic tinkering is scattered across the entire album, even shouting science jargon like “Subject vs. Subject”!

The upbeat tunes and strong bass-lines are impressive, and the vocals match in pace. With standout tracks on the album, the heroic and aptly named intro ‘Go Go Nucleo -> For Science‘ and the more relaxed, but incredibly catchy ‘There Is No Cure For The Common Cold So Don’t Expect A Cure For Cancer’; ‘Your Friend, The Atom’ is an excellent scientific discovery.

Words: Arif Noor

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White Lung

WHITE LUNG
‘Sorry’
(Deranged)

‘Sorry’? Don’t make me laugh. Judging by this record (the band’s second), Vancouver quartet White Lung aren’t afraid to hurt your feelings and their raw, blistering punk rock attack will rub salt into your wounded heart. Strangely enough, you’ll thank them.

Belting through ten songs in less than 20 minutes, the pace is Ramones-relentless, but they never sound less than convincing. Vocalist Mish Way could match most typical punk screamers for power, but her piercing howl has the clarity and melodic edge that lingers long in the memory after ‘Sorry’ has run its course. Guitarist Kenneth William is no slouch either, whether scratching out a brittle melodic line on ‘Bag’, an ace spidery riff on ‘The Bad Way’ or unleashing bursts of screeching sonic warfare on ‘Those Girls’.

The overall impression is of a mix of early 90s alt-rock and riot grrl (Mish Way is a self-confessed Courtney Love devotee) fed through an 80s hardcore blender; the end result being as addictive and uncompromising as you could hope for. Granted, they’re not offering up anything particularly new, but they certainly infuse these old sounds with fresh rage and vitality. Check them out – you won’t be sorry either.

Words: Alex Gosman

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Propagandhi

PROPAGANDHI
“Failed States”
Epitaph

Breaking News; I do not have my ear as close to ground as I used to, having failed to register that Canada’s Propagandhi recently released a new album, and it’s on Epitaph. So, having spotted this by chance in a high street music chain, whilst dodging a downpour, I duly stumped up the asking price.

I was a relatively late starter to Propagandhi, with their first 2 albums barely registering on my radar. I had them down as just-another production-line ‘Fat (Wreck)’ band. My conversion came with 3rd album “Today’s Empires, Tomorrow’s Ashes” which hit me like a jet plane. The union of Thrash Metal, Hard Rock and banging Hardcore, played out to a seriously intelligent and impassioned radical-political agenda, won me over. Learned my lesson. Have been onboard ever since.

Like all great confrontational music, you do not stick on a Propagandhi album, and then get on with something else, whilst the ‘tunes’ idly hum in the background. No fucking way. You soak up the finely crafted (rampaging) music, and give your full attention to the lyrical scripture.

“Failed States“ ruminates not just on basket case countries in faraway places, where punks have their heads shaved by religious intolerants, and lesbian footballers are raped by men to teach them a ‘lesson’, but also closer to home, in our own free and pleasant lands, where life is not always so peachy, and it’s important to take a stand. And all this to a riotously furious soundtrack of precision executed music that veers from tender layered moments, to balls-out jackhammer Thrash/Core ultra-heaviness.

For my money, possibly their strongest album to date. Dyna-fuckin’mite.

Words: Pete Craven