There Is A Hell Believe Me I’ve Seen It, There Is A Heaven Let’s Keep It A Secret
Visible Noise
After their previous album Suicide Season well and truly stamped BMTH as bonafide heavyweights in the UK [and then beyond], it was always going to be interesting to see what they were going to come up with next. Juggernaut songs like Chelsea Smile and The Comedown weren’t easy to follow and yet, from the very first drop on opening track Crucify Me, the message has been confirmed: This album is going to be huge.
Not only do the Sheffield band open with a track over six minutes long, but they mix into the track acoustic guitars, strings, female vocals and crescendos like never before. But if that wasn’t enough to whet the whistle, The Anthem which follows is an unrelenting banger which will surely go down as a crowd favourite in years to come with the battle cry “hate to say I told you so, but fuck yeah I told you so!” and raucous “get the fuck up!” on the breakdown.
The more electronic side of production that appeared in the previous album has been ramped up here too to great effect in a way that adds to the guitars, rather than juxtaposing awkwardly, a trap that they could easily have fallen into. Not to say that it overwhelms the guitars in anyway, as Fuck and Alligator Blood prove with visceral intent. The band are able to mix things up though with It Never Ends and Home Sweet Hole both showcasing songwriting talent for melody and Don’t Go utilising the vocals of Lights to perfect effect.
With this album, the five piece show absolutely no signs of letting up and indeed promise to dominate the metal landscape for a good while to come. Any detractors they may have had need to clam up, ramp the volume on this and let is destroy their cynicism. This one is fucking huge.
Abjekt
Pop-punk. Is that a dirty phrase? I’m almost loathed to even use it in this review but it’s kind of difficult to avoid with The Wonder Years. There is a clear leaning towards that world in the band’s music. But the band draw upon the influences associated with pop-punk in the very best possible way. They’ve brought the genre bang up to date with an album that unsurprisingly focuses on the upsides in life. The band members have had some bad luck along the way but they haven’t let this get them down and seem to have channeled all frustrations into one of the feel good albums of the year.
What’s the music world lacking in right now? Some straight-up, awesome new rock bands. 
This may be only the third proper Deerhunter album, but in modest indie terms Bradford Cox has become something of a star. Whether it be under his own successful solo moniker Atlas Sound, or fronting Deerhunter, Cox has made a name for himself as both a gifted songwriter and music obsessive. As with any new recording baring his stamp, then, Halcyon Digest comes carrying the heavy weight of expectation.
The Big Deep as an expansive, thoughtful record. Every nuance is clearly carefully considered and vocalist Doug Robinson delivers with as much passion and intent as he always has. Whilst perhaps not as immediately and obviously catchy as the band’s previous efforts, this album ingrains itself in your memory after a few listens and you can really appreciate the band’s new depth of thought in songwriting. Not that any of their other albums are lacking thought. There’s just something more serious about the band’s approach this time. They mean business and set out to make a record that will stand the test of time. They may have achieved just that.
With Invented, 
Mental breakdowns and crises can occur at any point in an existing person’s lifetime, most commonly when confronted with the concepts of existence, or indeed a limited time in which one can be alive and exist. Shit, I’m constantly surprised that we’re not in a constant state of anxiety-ridden madness, I know I’m flirting with the idea just writing about it. And listening to the latest disc of fuzz-fuelled fantasy and anti-serious garage rock from Nick Cave’s 
Establishing themselves as the demi-gods of underground Italo disco scene, Aeroplane first caught our attention with their spacious & glacial re-works of Friendly Fires Paris and Grace Jones William’s Blood. This duo it seems could do no wrong. And the debut album, we assure you, does not disappoint.
Three albums into a short yet critically lauded career, at this stage 
Using overly long names to title your releases can most definitely be a pomposity that puts people off listening to a band, but Atmosphere have managed to turn that highbrow nonsense into something so ridiculous, it’s great. To All My Friends, Blood Makes The Blade Holy means absolutely nothing, especially when put in the context the music, but then the last two albums from the Minnesotan duo were called When Life Gives You Lemons, You Paint That Shit Gold and You Can’t Imagine How Much Fun We’re Having, so what did you expect?