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Nuclear Death Terror

NUCLEAR DEATH TERROR
Chaos Reigns
(Southern Lord)

Hailing from Denmark, Nuclear Death Terror is a collective of rag-tag Punx from Euroland and beyond that have been knocking around for a while now. They released a great album a few years back, and also have a couple of 7”s under their bullet belts.

This new CD on Southern Lord collates their most recent release, the “Blood Fire Chaos Death” 12”, on D-takt & Råpunk Records, plus their 2 EP’s. It’s the four new tracks that interest me, and, after scraping myself off the wall, can confirm they are absolutely storming hell hammered metallic punk rock blasters, that will have even the most clean-cut amongst you reaching for your inner crust and shaking a clenched fist in the air, whilst all around chaos reigns.

If you worship at The Alter of Slayer, Tragedy and Antisect, then NDT will more than satisfy. This is raging, bleak, and ugly music that stares down at a world shrouded in violence and despair. I can imagine Robb Stark (of Winterfell) cranking NDT out in his tent, getting psyched to take his hardened troops into battle, annihilation, or death.

Pete Craven

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Circa Survive

CIRCA SURVIVE
Violent Waves

Some may find Circa Survive‘s latest offering an egocentric and self important waste of time, while those who appreciate its detail will see it more as a journey through fantasy realms of progressive music. It completely depends on how you like to enjoy your music. Let us discuss…

If you are after an absolute face-melter of a record, walk away now – this isn’t for you. But if you enjoy music as an overwhelming experience, put on your highest quality headphones and indulge in the artistic movement that is ‘Violent Waves‘.

During the whole of ‘Violent Waves‘ there is no one track that stands out, nothing that makes you sit up and concentrate. Though not outstanding, “Phantasmagoria” is perhaps the catchiest tune off of the album whilst “The Lottery” (feat. Geoff Rickly of Thursday) shows a mature post-hardcore approach. Despite being pleasant, both tracks could go unnoticed if you weren’t fully paying attention. Normally this would be a very harsh criticism, but what Circa Survive have produced here is a complex structure that intertwines as one complete piece rather than separate tracks, it appears it is meant to appreciated as a whole rather than sectioned; each song compliments the next, making the album more successful when played through in its entirety. On all tracks Anthony Green’s vocals seductively dance over a playful odyssey of Minus The Bear-esque riffs.

To summarize the point being made here, the album flows smoothly with surging peaks and troughs of emotion. ‘Violent Waves‘ is seduction for the senses. For listeners who have the patience to dive into its abyss, ‘Violent Waves‘ comes across as a masterpiece.

WORDS: EMMA WALLACE

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Obey The Brave

OBEY THE BRAVE
Young Blood
Epitaph Records

Ferocious drumming, intense vocals and deep riffs epitomise Obey The Brave‘s first release through Epitaph records, ‘Young Blood’. Ex-Despised Icon vocalist Alex Erian delivers sinister shouts and brutal screams, an example of his deathcore roots coming into their own and making ‘Young Blood‘ heavy. Very heavy indeed. Yet, although essentially a metalcore album, the two-step rhythms of modern hardcore raise ‘Young Blood‘ head and shoulders above the rest with guest vocals from Terror’s Scott Vogel on ‘Get Real‘ emphasising the ‘core’ element of this genre in all its glory.

With experimental interludes such as ‘Grim‘ flashes of more recent Emmure shine through, but the most relevant comparison has to be to The Ghost Inside’s ‘Get What You Give‘ which was released earlier in 2012. Originality is a slight down fall for Obey The Brave, there are plenty elements similar to Parkway Drive, Stick To Your Guns, Hundredth and many other metal/hardcore acts. But in all honesty Obey The Brave aren’t trying to be something special or something unique; during opener ‘Lifestyle‘ the lyrics “Not trying to reinvent the wheel – we keep it simple, we keep it real,” are performed with vehement passion, this band just want to make an impact with the intensity of their music and with ‘Young Blood’ thats a task well and truely achieved.

Words: Emma Wallace

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Bloc Party


BLOC PARTY
Four

You have no excuse not to know who Bloc Party unless you have been living in a South American rainforest, licking neon coloured toads for the past 10 years…

I can sum up their latest release in one sentence. It’s absolutely bloody amazing.

However as this is a review, I won’t leave it there, so let’s get the simple things out of the way first… ‘Four’ is a tour de force of indie guitar licks, riffs and hooks with all the Bloc Party trimmings.

Kele and co. have made us wait a while for their latest offering, but as soon as you press the play button, and you here the drum beat and distorted guitar that signal the start of ‘So He Begins To Lie’ you wont be able to sit still. This album works its way into your subconscious and induces some serious moments of tourettes-style head banging and foot stomping.

There isn’t a ‘bad’ track on this album. It swings between slow burning songs that build to a crescendo with squealing guitars through to some southern delta blues inspired throat-ripping guitar chords. The truth is, it is easy to love every single track on the album; so to pick a standout song is a bit of a task. Saying that, the songs that went down best here at Crossfire has to be the hauntingly epic ‘Real Talk’ and ‘V.A.L.I.S’, the hooktastic indie anthem that will have you singing along in not time at all.

If you’re into indie/rock then you should own this album. It’s one of the best albums to grace 2012 so far. A near perfect example of what Indie music should be.

WORDS: JJ NATTRASS

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Don Broco

DON BROCO
Priorities
[Search & Destroy Records]


Everyone loves a bit of catchy pop-punk from time to time, and Don Broco have offered some of the tastiest tracks of that variety to come from 2012 so far. The album opens up with title track ‘Priorities’, a great punchy start with lyrics that everyone can relate too… You know that friend that always ditches you as soon as they have a new partner? Well ‘Priorities’ is a tongue-in –cheek, patronizing outlook on those kinds of people.

In fact, Rob Damiani’s lyrics are a very matter of fact interpretation of trivial trials and tribulations that go on in every day life. Despite being so straight forward, the words aren’t just brushed away; they are easy to connect with making Don Broco’s album more engaging as a whole. However, there are also flashes of maturity with ‘Back In The Day’ commenting on the London riots. With similar intonation to Lower Than Atlantis’s Mike Duce (but with less of the arrogance and greater charm) Rob’s vocals add depth to ‘Priorities’.

Tracks such as ‘In My World’ are upbeat and uplifting, the guitar work could be compared to early Kids In Glass Houses whereas songs like ‘Actors’ sway more towards the punk side of pop and reflect bands like Transit, Title Fight and The Story So Far.

Full credit should be given to Don Broco for producing a truly pleasing album. With forthcoming festival appearances (including Reading & Leeds) and a UK tour with The Dangerous Summer, expect Don Broco to hit the big time right away.

WORDS: EMMA WALLACE

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While She Sleeps

WHILE SHE SLEEPS
This Is The Six
[Search & Destroy]

While She Sleeps have been a dominant force in the UK scene for a while now, so it’s hard to believe that ‘This Is The Six’ is actually their debut full length. Tracks released prior to the album dropping (including ‘Dead Behind The Eyes’ and title track ‘This Is The Six’) give a clear indication of Sleeps’s intent to make this an intensely heavy album. To add variation to the record, Sleeps follow a similar pattern to 2010’s ‘The North Stands For Nothing’, adding piano interludes where appropriate to break up the aggression. Listeners are then treated to powerful riffs that seem utterly brutal after a moment of reflection.

Lawrence Taylor’s snarling screams gives a dark overtone to the whole record, the angst in his lyrics are spat into your face, so much so that you start to worry for his larynx..! It could be said that his vocal range isn’t overly impressive but raw emotion, captivating guitar melodies from Mat Welsh and Sean Long, alongside optimistic gang chants make up for any criticisms.

While She Sleeps have already impressed with their energetic live shows but now with the potential inclusion of tracks such as ‘Seven Hills’, Sleep’s artillery is instantly strengthened tenfold. The band embark on their biggest headline tour to date this autumn with the impressive Bleed From Within, Crossfaith and Polar as support, its going to be one heavy hitting show.

Perfectly combing the raw intensity and bounce of hardcore, with sinister and deafening metal, While She Sleeps are an exquisite example of metalcore. Drawing on strengths from ‘The North Stands For Nothing’, While She Sleeps pack this album full of brilliant tracks forming an album that demands a listen and stands up to the hype.

Catch While She Sleeps at the following shows:

Sep 26 Birmingham The Library @ Institute
Sep 27 Manchester Club Academy
Sep 28 Sheffield Corporation
Sep 29 Glasgow Garage
Sep 30 Newcastle Academy 2
Oct 2 Nottingham Rescue Rooms
Oct 3 Bristol Fleece
Oct 4 Portsmouth Wedgewood Rooms
Oct 5 London Electric Ballroom

WORDS: EMMA WALLACE

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Gallows

GALLOWS
S/T
(Venn/PIAS)
www.gallows.co.uk

So, your bicycle has been in the repair shop, getting a new front wheel fitted (the old one unexpectedly broke loose after six-odd years of loyal service). You’re excited, but slightly nervous, mainly because it’s an awesome bicycle, and you’re hoping that it’ll give you as much joy with the new wheel as it did with the old one. The guys at the shop say that this new wheel is pretty impressive, though, so you’re waiting with bated breath.

You’ve probably figured out the analogy by now. Gallows are back with album number three; their first with former Alexisonfire guitarist Wade MacNeil at the helm, and probably as good a riposte to their critics and doubters as we could have hoped for.

Make no mistake, this is a Gallows record through and through. From the moment ‘Victim Culture’ kicks in after a sinister spoken-word intro, those signature raw rock n’ roll riffs, squalling guitar solos and raucous gang vocals are all present in abundance, and sounding more muscular than ever. Frank Carter left large shoes to fill, but MacNeil proves himself more than capable; a hardcore screamer among the best of them, but able to hold a tune when it’s called for (most notably on the intro of the gloriously anthemic ‘Outsider Art’, which is sure to incite mayhem live).

None of this would matter much if the songs were substandard, but among the eleven tracks on offer here are some of Gallows’ best songs to date. ‘Everybody Loves You (When You’re Dead)’ matches anything from ‘Grey Britain’ or ‘Orchestra Of Wolves’ in ferocity alone; a stinging indictment of the ‘don’t speak ill of the dead’ mentality. ‘Depraves’ surfs in on a jagged Laurent Barnard riff before exploding into a carpe diem chorus that will have you howling along with conviction. Elsewhere, ‘Vapid Adolescent Blues’ and ‘Cult Of Mary’ are hardcore belters shot through with shards of melody, seething and writhing exactly as they should.

Long viewed as plucky underdogs who have survived (and prospered) through no little determination, it seems that the adversity of Carter’s departure has resulted in Gallows returning angrier and hungrier than ever. Mark my words: this bicycle has what it takes to go the distance.

They’ll be playing the Lock-Up Stage at this year’s Reading/Leeds festivals, before embarking on a full UK tour in October.

Words: Alex Gosman

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Jaill

Jaill
‘Traps’
Sub Pop

jaill_trapsTraps is Jaill’s third full album, and their second for Sub Pop. That they’ve been around for 10 years and only managed three albums in that time suggests that they might well be immersed in the slacker ethic that enshrouded some of Sub Pop’s bands back in the late 80s/early 90s. Still, we’re not here to criticise a band’s work ethic, it’s the end result that counts after all. Traps might be a bit of a patchy, beige affair, but it does possess some redeeming features. Disengage your brain entirely, take in the summery tones of the album and it’s actually not a bad set of songs. Pay too much attention and it all seems a bit bland and overwrought.

It starts well with ‘Waste A Lot Of Things’, a breezy pop tune that initially sounds as if its wearing a massive grin on its well tanned face. Under the sunny disposition there are lyrics awash with darkness, the odd lost mind and a dollop of sadness, the kind of thing that’d bring down any sun-kissed holiday – like sand in your sandwiches.

Frankly Vincent Kircher’s a bit of a buzz kill on this album, for all the uplifting backing vocals (which are reminiscent of label mates Fruit Bats) and surf-guitar breaks, he’s there, banging on about his sexually frustrated girlfriend or whatever. ‘Everyone’s A Bitc’h is a perfect example of this. It kicks in with a nicely serrated new-wave riff throws in a bunch of great harmonies, and then Kircher’s there moaning about how his (ex) woman thinks he’s a bit vanilla. Whether he’s aware that she’s using gay slang to describe his prowess is open to debate, as he seems to think it’s something to do with ice-cream.

At this point, it’s worth considering whether it’s better to ignore what Kircher’s going on about and just concentrate on how he sounds because there’s more misery on the way with ‘Horrible Things (Make Pretty Songs)’. Yet here it works so much better, there’s no juxtaposition of breezy pop tunes and sorrowful lyrical content, it just cuts to the chase. “No one to take care of, no one to take care of me” Kircher intones over a delicately strummed acoustic guitar; the heartbroken lyrics fitting perfectly.

‘I’m Home’ opens like a high pitched take on The Breeders Cannonball before turning into a spiky pop-nugget complete with woozy keyboard interjections. ‘House With Haunting’s laid back swing is pretty good fun but doesn’t really go anywhere. It’s a similar problem with ‘Madness’, which is a nice sounding if unrewarding strum. Yet for all these misfires, when the band and Kircher are on the same page emotionally, everything clicks. Million Times’ heart-rending sob story fizzes with a palpable tension and it is arguably the best thing on the album by some stretch.

They close out with ‘Stone Froze Mascot’ which is catchy enough but lacks enough force to smash its way into the pleasure centres. It’s this lack of force and focus that hinders the album; ultimately it’s a nice enough but Jaill and Kircher in particular sound a little confused. By the end, it’s easy to see why his girlfriend legged it hurling ice-cream related insults, sometimes you need a little bit of unadulterated excitement.

6/10
Sam Shepherd

On tour in the UK:

Sep 25 – Green Door Store, Brighton, UK
Sep 26 – Sebright Arms, London, UK
Sep 27 – Soup Kitchen, Manchester, UK
Sep 29 – Stereo, Glasgow, UK
Sep 30 – Stereo, York, UK
Oct 1 – Oporto, Leeds, UK

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Adolescent

Adolescent
Golden Halls [EP]

It is very hard to try and pinpoint music with blanket terms such as Down Tempo, some people may even refer it as Post-Dubstep, but I find that hard to believe. The likes of Four Tet have been making this eloquent genre around the same time as Dub-Step came out, in the late nineties. That statement may offend some people, but the matter of fact is, this is no competition. And I’m not comparing Mr. Parish to Mr. Hebden either; I’m just trying to give a little scope on this sub genre of electronic music that can be as slippery as an electric eel. It’s a style of music I generally find hard to connect with but the atmospheres created are second to none and they usually send me into some kind of dream like induced stupor, however that is not to say that statement is derogatory and that I don’t enjoy it.

Alex Parish A.K.A Adolescent is a Brighton born producer who on his debut EP is only twenty-one (oh the irony) and it is a well thought out package. I found it very easy to work to; music to me has different purposes and this serves well as great background music. From the art work to the samples, Parish pieces together an ethnic worldview catalyzed through his musical soundscape. From the foreign quire sample in Golden Halls Pt. 2 to the word play in the track names such as Hangshai. It is apparent that a back to basics, minimal characteristic, influences his style. There are some intricate moments on the EP, for example the piano on K:TV is fazed in and turns the heavy synth on. This is synchronized with the beat and makes for a nice feature. I found it hard to tell in the arrangement of the song where the Wu Tang sample from Severe Punishment fitted in, but that says to me that it is mixed in incredibly well.

You could find it in the chilled out bars of Brighton or you could understand it from the multi cultural markets and the global understanding that is practiced in and around the streets of Brighton. On the other hand, it could just be that he has a good imagination. Whatever Adolescent’s influence is, this EP is a really good start and I wish him all the best.

WORDS: ASH MOORE

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The Flaming Lips

The Flaming Lips
The Flaming Lips and Heady Fwends
(Bella Union)

HEADY-FWENDS_theflaminglipsIt’s been a while since The Flaming Lips seemed absolutely vital. Probably the last time they could have been considered essential listening was back when Yoshimi was battling those evil robots. Some might argue that The Soft Bulletin was the high point, and others might even dig further back to Clouds Taste Metallic or …Satellite Heart. Whatever, it’s fair to say that Coyne and chums have been a little off the boil of late. Embryonic was a move towards a filthier, darker, more overdriven sound, and although it might not have been a grand success, it did seem as if The Lips were getting back on track.

Heady Fwends is probably not the best release by which to judge the state of The Flaming Lips’ collective consciousness, it is after all yet another one of those little diversions that Wayne Coyne seems to like taking his band on.

Discounting Wayne’s own distractions (twitter seems to be taking up a fair amount of his time) the band itself seems to have been content with messing about over the years. There was the Boombox Experiments, the 4xCD lunacy of Zaireeka, the Gummy Skull (with USB inside), and their foray into the world of covers courtesy of their take on Dark Side Of The Moon.

Indeed it is that particular release that rather sets the precedent for Heady Fwends. It too was released for Record Store Day initially, and it featured an occasional guest spot for the likes of Henry Rollins. Taking the guest spot to its logical conclusion, Heady Fwends is an album created by the collaborative efforts of The Lips and whoever they could convince to take part. The overall impression that Heady Fwends gives is that it’s more of a knockabout than a serious attempt at an album. If it’s taken in that spirit, then overall it’s pretty good fun, if slightly flawed.

It all kicks off in suitably wonky fashion with Ke$ha’s effort, 2012 (You Must Be Upgraded) which sounds like Yeah Yeah Yeah’s channelling early Ween – only not quite as good. There are other let downs along the way, the collaboration with Lightning Bolt I’m Working At NASA On Acid should have been a mind bending collision of noise, but when they hit the chaos section it all seems a bit contrived and a missed opportunity. Meanwhile Supermoon Made Me Want To Pee (with Prefuse 73) just seems like an exercise in boredom at the mixing desk. Helping The Retarded To Know God (with Edward Sharpe and The Magnetic Zeros) is a bit of a dawdle too with could do with a hefty edit. Not that there aren’t some fine flourishes to be found in the vocal melodies or the heavenly tacked on coda, but it drags quite dramatically.

There are some high points too however (as an aside, Coyne seems at pains to explain just how high/fucked up constantly). Children Of The Moon takes Tame Impala aboard the honking mothership from Close Encounters for a woozy and quite wonderful rustic jam. That Ain’t My Trip (with My Morning Jacket’s Jim James) sounds like an outtake from Embryonic, and is a suitably over-driven bundle through choral chants and earsplitting amp terrorism. The funereal space-scream of Is Bowie Dying? occupies similar territory, combining noise a Twin-Peaks guitar twang and existential dread. Nick Cave turns up and puts in an archetypal Cave performance, for some reason he sounds like an intensely sarcastic David Thomas at times, but it works. Finally, the epic sprawl of the cover of First Time Ever I Saw Your Face is genuinely affecting at times, with the unpleasantness that kicked off between Coyne and Erykah Badu in the wake of that video unable to cast a shadow over it.

So plenty to like, but also a fair few missed opportunities. Hopefully The Flaming Lips will return to concentrating on making music without the distraction of their Fwends for the foreseeable future. The world needs another vital Lips album.

6.5/10
Sam Shepherd