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Basement


Basement
Colourmeinkindness
[Run For Cover Records]

For only their second album, Basement’s ‘Colourmeinkindness’ oozes with maturity and sophistication. After just one play through its timeless nature is overwhelming, you sense you’ve have heard it before, but not in a negative, generic way; more in the sense that it has the overall feel of a classic.

The rasping vocals and chugging riffs of opener ‘Whole’ kick the record off to a great start and what’s most pleasing is that the rest of the album is just as strong. Although ‘Covert’ drops the tempo, the level of emotion rises as surly lyrics drone over the music in an almost Nirvana-esque style. It’d be easy to analyze each track positively, every song on the album is beautiful. But it’s lead single ‘Spoiled’ that sums up ‘Colourmeinkindness’ in all its glory. The engaging vocals delivered in a soothing nature contrast against a guitar tone reminiscent of Sunny Day Real Estate and Silverchair. ‘Spoiled’ and ‘Colourmeinkindness’ as a whole provide a breath-taking juxtaposition between peace and rage.

With Thrice leaving a void that needed to be filled by a modern emo/post-hardcore band, Basement look like the perfect contender. However after announcing a shock indefinite hiatus which will commence after the release of ‘Colourmeinkindness’ we are again left waiting for the next king to take to the genre’s throne.

It’d be fair to say Basement have made an impact on many hearts in a short amount of time. ‘Colourmeinkindess’ sends them out on an undeniable high leaving one to contemplate what great things this band could achieve if a future was still ahead of them.

Words: Emma Wallace

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ESO

ESO
‘Nothing Left To Lose’ESO_album_review_Nothing_Left_To_Lose

Born from the ashes of old band esOterica, ESO‘s debut ‘Nothing Left To Lose’ is a bold revival that depicts the struggles of a band attempting to make their desired mark on an impossible industry.

The production of the record is beautiful, so it comes as no surprise to find that producer Matt Hyde (Slipknot, Fightstar) was the master behind the tracks. The overall vibe of ‘Nothing Left To Lose’ is that of an epic theatrical performance, it seems that’s esOterica touring experiences with Marilyn Manson and HIM have influenced ESO’s work on this album for the better.

The record’s stand out track comes quite early on; appearing at number three, ‘The Divide (feat.Wizard)’ sees the band perfect electronic rock, with subtly remixed elements and powerful vocals, its a song that could easily dominate a radio playlist, a club or gig. Just as Pendulum did with tracks such as ‘Propane Nightmares’, ESO have accomplished full crossover appeal with ‘The Divide’.

Unfortunately, ‘The Divide’ really is the only stand out track, with the twelve others becoming much of a muchness. Although the album runs smoothly each track needs to have more differentiation to turn this from a solid debut to an awesome album, perhaps 13 songs was a little overambitious and ‘Nothing Left To Lose’ would have been better constrained to 10 more varied songs for ESO to show off their talent.

Words: Emma Wallace

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Deaf Havana

Deaf Havana
‘Fools And Worthless Liars – Deluxe Edition’

I have to admit, when I first heard Deaf Havana‘s material after the departure of unclean vocalist Ryan Mellor, I couldn’t help but feel a bit disheartened. It really lacked the punk bite that their early work was full of. But eventually 2011’s ‘Fools And Worthless Liars‘ began to grow on me, and I’d happily put it up there as one of the most solid rock albums to come from the UK that year.

Via a short documentary put out in summer 2012, the band announced they would be re-releasing the album later this autumn. Rather than just doing some fancier album artwork and a couple of bonus tracks, Deaf Havana went the extra mile and re-recorded the whole thing. Ever the pessimist and never fully content, front man James Veck-Gilodi admitted he didn’t feel the album completely reflected his taste in music where as this re-release does.

All of the songs have been reworked, some slightly, others completely, making the album a totally different listen to the record that appeared first time around. Tracks that were previously acoustic are now performed as a full band and rockier numbers are now toned-down gems. Its beautiful. Lets pick a few stand out tracks to discuss…

Opener ‘The Past Six Years’ feels like its heavily influenced by Irish Rock (think Flogging Molly), and despite being a million miles away from DH records such as ‘It’s Called The Easy Life’ it gets this album off to an optimistic and quite literally stomping start. Piano and vocal track ‘Anemophobia’ is absolutely stunning. Broken down to structurally core elements, James Veck-Gilodi sounds vulnerable and desperate against the lonely notes. Its a heart wrenching performance that could connect with even the emptiest of souls. During ‘Hunstanton Pier’ the guitar tone adds nostalgia and brings the lyrical content to life, but its ‘I’m A Bore Mostly’ that epitomises why this album is a must have.

The recording process of using multiple microphones placed around an old warehouse is slightly bizarre but the effect it has on the track puts it into a different dimension. As the music reverberates through your speakers it feels as if you are there with James as he passionately performs. Even the sound of him slamming the door as he leaves the ‘studio’ is included on the track, a unique element that adds a personal touch to the piece, emphasising the emotion.

Again it has to be said, this isn’t Deaf Havana of old, but thats not a criticism. Its not their early punk/hardcore style, its not their most recent mainstream rock vibe, it’s something else. It is a showcase of the band’s (and in particular their dynamic front man’s) extraordinary talent. It is a touching album which has re-worked a commendable original into something worth treasuring.

Words: Emma Wallace

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Streetfight Silence

Streetfight Silence
‘Cutting Strings’
[Angry Badger Records]

On first listen Streetfight Silence’s debut seems slightly average, not exactly an album to shout about. But in fact this record is one of those that slowly but surely reels you in with the catchiest of choruses and hook laden tracks.

‘Low’, ‘Find Me’ and ‘White Flags’ are textbook pop-punk. Think back to early You Me At Six and Fall Out Boy, back when their music had grittier riffs yet still a strong ear for melody. Streetfight Silence have their own melodic genius in Russ Merry whose vocals are exquisite. Merry hosts a range that even idols Josh Franceschi and Patrick Stump would be proud of.

Surprisingly the stand out track from ‘Cutting Strings‘ is ‘6th November’ which showcases the bands emotional integrity through beautiful acoustic guitar work and heart felt lyrics. A song that will certainly appeal to many a City & Colour fan. ‘Pieces’ closes the album in a dramatic style culminating a successful first record for the young band.

A greater punch in the production department would make ‘Cutting Stings‘ a true force to be reckoned with. Hearing these tracks in a live environment is sure to give them the extra beef they deserve and inspire many a sing-along.

Words: Emma Wallace

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Giants

GIANTS
These Are The Days

This isn’t the first time Giants have graced our buzz chart, earlier this summer they launched into the top spot with lead single ‘Snakes’. Now with a mini-album to add to their arsenal, Giants are again dominating the Crossfire stereo.

The band seem to display what a lot of hardcore and punk bands are lacking at the moment, it’s something that is impossible to put your finger on, but this band just get it right. Basically, their style is gnarly as fuck without the guys taking themselves too seriously.

‘These Are The Days’ races through as an adrenaline fueled assault. ‘When It Comes Down To It’, ‘Bottled Up’ and ‘Snakes’ are barely over a minute each, but why drag out the length of a song when you’re already nailing the point in a nutshell?

The bass and guitar tone of the mini-album gives the overall impression of an old school skate punk record, whilst the occasional ‘two-step’ pace and constant aggressive vocals propels ‘These Are The Days’ straight back into the realms of present day hardcore. This is a little corker that needs to be blasted out at full volume.

Words: Emma Wallace

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Proxies

Proxies_Lost_Tapes_Volume_II_Dead WeightProxies
Lost Tapes, Volume II: Deadwieght

A little while back we bought you an introducing interview with a band we find very exciting. That band is Proxies. Their latest release, ‘Lost Tapes, Volume II: Dead-Weight’ explains why we see such potential in this young band.

Opening up with ‘Deadweight, Veritas’ vocals seductively dance around a repetitive, slow-tempo clean guitar riff whilst electronic atmospherics are absorbed into your ears making for a sensual yet eerie start to the EP.

Another clean guitar lick invites the listener into an already established fan favourite ‘Trojan (Inside Your Chest)’. Here Proxies really begin to shine. A pounding kick drums ups the tempo just before a ridiculously catchy bridge and chorus take hold. Again with ‘Masquerade’ the band nail ‘catchy’ with perfect song structure. The track reflects a similar style to early, Panic! At The Disco (think ‘Time To Dance’ taken from ‘A Fever You Can’t Sweat Out’). In fact, it could be said Proxies are one of the first bands to display the same amount of ingenious pop/rock and electronica crossover appeal since Panic!.

Proxies have begun to refine a sound that is as accessible as a mainstream version of Enter Shikari, late Pendulum and something undeniably unique. They’ve even managed to capture a bit of radio friendly dub-step in there which is oh so fashionable at the moment. With a bit more beef put into the riffs and production, Proxies will have it spot. This band will take over the hearts of teenagers everywhere.

Words: Emma Wallace

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Title Fight

Title Fight Floral Green Album Artwork Cover
Title Fight
Floral Green
[Side One Dummy]

Title Fight are back with their second album, ‘Floral Green’, via label Side One Dummy, and it’s nothing short of amazing.

‘Floral Green‘ is one of those albums where right from the first track you know in your bones that its going to special. The album is a master class in post-hardcore punk, and it’s all rounded off with the perfect hint of melody.

The first three tracks have so much energy that they rattle out at you, like bullets fired from a machine gun. Yet they aren’t the only stars, on ‘Floral Green‘ every track is a gem. From the uplifting, high-tempo rawness of ‘Leaf’, to the slow waltzing, dissonance of ‘Head In The Ceiling Fan’ you can’t fault the band or the record.

If you like your punk in the post-hardcore vein, and for good measure you like energy broken up by a few slowed down melodies then you’ll love this album. If you hadn’t previously heard of Title Fight but you’re a fan of Crime In Stereo, The Wonder Years or Man Overboard, this one’s for you.

If you’re already part of the passionate Title Fight fan base then you’ll eagerly be wanting to buy this album anyway.

Words: JJ Nattrass

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Devil Sold His Soul


Devil Sold His Soul
‘Empire of Light’
[Small Town Records]

Imagine the moody and dark cinematic visuals of the brutal film ‘300’ crossed with a progressive post-hardcore band who like to spice things up with a bit of metal, and the result is ‘Empire Of Light’ by Devil Sold His Soul.

If you’re familiar with the band then you’ll already be prepared for what a gem this album is, if you’re new to DSHS then you’re in for a treat. ‘Empire of Light’ is the third full-length from the British band, and what an outstanding record it is…

From opening track ‘No Remorse No Regrets’ you get pulled into an album that manages to swagger between ear-bleedingly-brutal screams to soaring crescendos that almost lift you off the ground. With this album you are getting something very special. ‘Empire of Light’ is crafted beautifully. It swings from sublimely light harmonies to riffs and screams that will melt the flesh off your face.

In all honesty the tracks all feed into each other, so it’s very hard to pick out a single song with preference to another. Instead, the whole album plays as an EPIC sonic journey. If you had to throw in a few band comparisons, maybe early Architects, early We Are The Ocean and a bit of Devil Wears Prada crossed with something entirely different such as Rinoa.

If you love metal, post-hardcore or prog… wait scratch that… If you like any music at all that’s a bit ‘heavy’, then go buy this album straight away. We can guarantee you won’t regret spending the money, what you’ll get to listen to is an album from a band who have just begun to reach their enormous potential.

Words: JJ Nattrass

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As I Lay Dying


As I Lay Dying
‘Awakened’
[Metal Blade]

As far as metalcore is concerned, few have made the impact that As I Lay Dying have achieved. Arguably pioneers of the movement, and still its leaders, ‘Awakened’ is As I Lay Dying‘s 6th studio album. Expectations for the record are high.

As a whole it doesn’t disappoint; laden with meaty riffs and a tried and tested scream and clean vocal pattern, ‘Awakened‘ is quintessentially an As I Lay Dying record. Blasting in with ‘Cauterize‘ (which was offered as a free download in advance), the band’s intent is made clear from the the first note.

Tracks like ‘Resilience‘ show why the band have stayed close to so many hearts over the years; delicious shredding, tight drums, intoxicating melody and powerful vocals. Tim Lambesis is ever the dominant front man, with a scream second to none, his vocals resound over the music full of strength delivered at high intensity.

Despite ‘Awakened‘ having numerous positives, its hard not to compare it to previous full length, ‘The Powerless Rise’ and unfortunately it doesn’t quite match up. However, this isn’t a real criticism as it is hard to compete with the perfection displayed on their 2010 release. Nonetheless, ‘Awakened‘ will go down as one of this years best metal albums.

Words: Emma Wallace

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We Are The Ocean

WE ARE THE OCEAN
Maybe Today, Maybe Tomorrow
Hassle Records

With ‘Maybe Today, Maybe Tomorrow’ being the first album to come from British band We Are The Ocean since the slightly controversial departure of unclean vocalist Dan Brown, full attention will be paid to every move the band make on this one by fans and critics alike.

The first – and maybe most obvious thing – to say is that if you’re expecting more Alexisonfire inspired post-hardcore like their earlier releases ‘Cutting Our Teeth’ and ‘Look Alive’ you will be disappointed. Its clear that after Dan’s departure the band have sharpened up their image and gone for a more refined, mainstream sound with Liam Cromby stepping in to the lime light. Interestingly it’s similar process to what once tour partners Deaf Havana went through; who previously were a southern-hardcore inspired quintet lead by aggressive vocalist Ryan Mellor, now a straight-forward (but still bloody good) rock quartet with guitarist/clean-vocalist James Veck-Gilodi at the helm.

Its no surprise that Zane Lowe picked single ‘Bleed’ as his ‘Hottest Record In The World’ as it jumps straight out as the real star of the album. Other highlights include anthemic title-track ‘Maybe Today, Maybe Tomorrow’, sensitive opener ‘Stanford Rivers’ and ‘Pass Me By’ which has an almost Frank Turner-esque vibe to it.

Despite the album being solid, it may turn off some of their older fan base. With their newfound maturity, We Are The Ocean have lost a bit of charm; the gritty spark that saw them leap out of their local scene to dominate the underground market. The band won’t be too disheartened though as ‘Maybe Today, Maybe Tomorrow’ will sit comfortably on Radio 1’s playlist and HMV’s shelves, instantly appeal to fans of You Me At Six, Kids In Glass Houses, Lostprophets and (new) Deaf Havana. ‘Maybe Today, Maybe Tomorrow‘ is an focused and accessible album showcasing whats hot in British rock music right now. Its sure to be a hit and will see the We Are The Ocean boys go far.

Words: Emma Wallace