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Black Mountain

Wilderness Heart
(Jajaguwar)

This is the album Canadian psych-demons Black Mountain have been threatening to make since they first unleashed themselves upon the world in the middle part of this decade. Previous albums ‘Into The Future’ and their self-titled debut were littered with moments of unarguable genius, but ‘Wilderness Heart’, their latest excursion into the studio is packed from beginning to end with bona fide stand-out classics throughout. And what makes this album stand out from the pick of the current wave of stoner rock ramblers (see also Black Angels, Dead Meadow, Tame Impala etc) is Black Mountain’s ability to make every song stand on it’s own two-feet, rarely repeating themselves and rampaging through 50 plus years of rock n roll to strike out with an album that drips cool and sublime melodies from every pore.

The duel male/female vocals of Stephen Mcbean and Amber Webber effectively melt together like never before and the sheer variety of styles on here stops this album from ever getting dull. From the balls out Judas Priest (I kid you not) metal attack of ‘Let Spirits Ride’ to the dreamy, ethereal shoe-gaze stoner sway of ‘Buried By The Blues’, Black Mountain have all bases covered. And with songs like ‘Old Fangs’ and ‘The Hair Song’ adding to the sprawling psychedelic journey that is ‘Wilderness Heart’, Black Mountain have created what could possibly be the album of their career. And this year.

Don’t miss them when they play Shepherds Bush Empire in London on October 7th.

James Sherry

Watch the video, listen to and download ‘The Hair Song‘ for free below.

Black Mountain – Hair Song by Crossfire Music

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Weezer

Hurley
Epitaph Records

weezer.com

The release of Weezer’s last album ‘Raditude’ seemed to pass by with a bit of a whimper following the initial excitement at the brilliance of its album cover. We liked it but many didn’t. An album that divided opinion, if you will. Therefore, it’s really quite exciting to see the buzz of anticipation that has surrounded the release of the band’s eighth studio album. This has been fuelled by their incendiary appearances at Reading and Leeds festivals, a solid first single from the record, a bizarre choice of album title and cover and the band’s newfound affiliation with an independent record label (for the first time) – the mighty Epitaph Records.

I think it’s safe to say that many Weezer fans dare not get themselves too excited about any forthcoming release from the band. Despite never failing to have a few amazing singles on each record, the band have been known to fall short of many people’s expectations in the album department. That’s not to say that any of them is bad per se, but expectations are always going to be ridiculously high for a band that started their career with the master stroke of genius that is The Blue Album. However, Weezer have persevered. And thank god. Rivers Cuomo seems to have gotten over the insecurities that have plagued him on and off throughout the band’s career and is now just thoroughly enjoying himself. This enjoyment is really evident in the new album which sees the band using a bit more grit and guitar-driven oomph in comparison to their last two albums. If you had to compare it to any of the band’s previous full-lengths, I think it would be fair to say that ‘Hurley’ fits in well with the Green Album era of sound. Although there are marginally fewer straight-up guitar solos and rather more rocking riffs.

The first single ‘Memories’ kicks it all off in an adequate fashion, though this is far from the best track on the album. It’s evident from the outset that Weezer have started leaning further back towards their roots for this record and this is something that everyone’s no doubt going to embrace. Things get really interesting on ‘Unspoken’, a track which starts off kind of mediocre and slow and then really kicks in with scuzzy guitars and a step-up in tempo halfway through. There’s definitely something thrilling about this song as it goes against all the neat and tidy pop-rock songs which Weezer have become known for (and loved and loathed in equal measures for). ‘Where’s My Sex’ continues the rather out-of-the-ordinary song structuring with some further wild changes in tempo. Yes, it’s a bit ridiculous. But nobody’s going to begrudge these veterans of rock music the chance to go off on a tangent every now and again. It’s what has kept their career fascinating, if a little inconsistent, for all these years.

The ending track ‘Time Flies’ is a little bit of a disappointment in comparison to the rest of the album and leaves us on a slight downer. But really, ‘Hurley’ is the sound of a band back at their very-nearly-best. They’re still going to get out of control and surprise you every now and again. But they are back to writing some of their best material yet. Now let’s just hope for some serious touring because we all want more of what went down at Reading and Leeds. And I don’t think anyone would complain if they added a few more songs from ‘Hurley’ into the mix once we’ve all had a chance to learn the words. Bring on the singalongs!

Winegums

Weezer – Memories by Crossfire Music

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Magic Kids

Memphis
True Panther

Containing several members of In The Red Records’ signings The Barbaras, the new seven-strong collective, Magic Kids, summon a combination of musical talents to create a layered sound that’s so sweet it’s near impossible not to tap your toes and hum along.

Memphis was recorded over several months in the Deep South with Doug Easley, and sounds surprisingly less Country-tinged Tennessee than you’d expect and more West Coast feel-good vibes. These twee 20-somethings have clearly been raised on a saccharine-laden diet of Belle And Sebastian, Beach Boys and a healthy dash of Motown’s back catalogue for good measure.

Dropping just in time for the closing days of summer, the album is packed with eleven polished gems of retro-pop perfection range from tales of wide-eyed innocence to those first exciting moments of young love. It’s more than just nicey nice, it’s downright…well, magical. Their ethereal ‘60s flair is underscored by the dual boy-meets-girl vocal harmonies of Bennett Foster and Alice Buchanan, a kind of sonic homemade cherry pie.

Album highlight ‘Hey Boy‘ sums it all up rather neatly; it is 2010’s happy-go-lucky soundtrack to those hazy summer evenings that seem to last forever and ever.

Mark West

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Tweak Bird

Tweak Bird
Souterrain Transmissions

Taking one look at the brothers Tweak Bird, and you might expect a band of their making to be a nerdy bedroom indie project.  Within seconds of hitting play on their self titled debut, however, those first impressions are obliterated by one chugging guitar riff after another. Channelling the spirit of Tony Iommi and Bill Ward, these two kick up quite a racket but also have a unique ear for melody.

Unlike the bulk of heavy guitar based records that get passed around this office, Tweak Bird have songs that are impossible to forget as they buzz around your head for days. Ever since this record first graced the stereo at crossfire HQ, it’s been impossible to escape the likes of ‘Lights in Lines’ and ‘Tunneling Through’, whether it be via the speakers, or staff whistling the tune as they walk through the door.

Much more than just catchy set of songs, though, Tweak Bird delve into, dare-I-say-it, prog territory on past single ‘A Sun / Ahh Ahh’. Their use of theremin and saxophone are potentially risky moves, but prove to be surprisingly successful additions as the band show off their invention and craft.

As last song ‘Distant Airways’ brings the record to a close, the only reservation I have is that it’s all over too soon. Clocking in at just under half an hour, the band avoid the droppings that progressive rock can so easily fall into, and leaves you thirsty for more.

Sleekly Lion

Tweak Bird – Lights In Lines by Crossfire Music

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Klaxons

Surfing The Void
(Polydor)

klaxons.net

The wait for the follow-up of Myths Of The Near Future, even for those not interested in the second step in the on-going journey through sound and space for London’s 2007 hot-topic Klaxons, was made all the more lengthy by talks of a radical shift in sound. For those of you expecting another series of hang tens on the new-rave wave can leave those hopes at the door now, go home and listen to the first album and forget Klaxons exist in another context. Those that will be disappointed with the new sound (and those people WILL be disappointed) are also victim to being ignorant towards the natural progression all band should make. From beginning to end, Surfing The Void is an album that – amazing spacecat artwork aside – oozes maturity, a refreshing lack of arrogance but maintains the meteor crashes of personality and that same childlike exploration that made their first demos so special.

Though the sense of humour is lost, those that withstand the galactic waves of intentionally messy guitar tapestries, soaring harmonies and good old fashioned noise will be greatly rewarded. The intergalactic pussy on the front guards a shiny disc that’s vacuum packed with curious Midnight Juggernauts-inspired electro-space-rock. There aren’t any laughs here, but if we accept Gravity’s Rainbow and Atlantis To Interzone both have their own cemented purpose in the past and accept the fluid songwriting that’s moulded into Echoes, Flashover and the title track then you’ll be left with a warm collection of music that may not be groundbreaking, but why break ground when you can surf the void and float through the motherfucking universe?

Bellend Sebastian


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Spermbirds

A Columbus Feeling
(Boss Tuneage)

myspace.com/spermbirds

Kaiserslautern’s Spermbirds were one of the leading lights of the mid-Eighties Euro-Hardcore explosion, and their debut album ‘Something To Prove‘ (from ’86) is hands down one of THE definitive records of the era. Picking up on the North American Punk sounds that had started to drift across The Atlantic these German dudes nailed short and snappy melodic songs influenced in part by the likes of Agent Orange and the Angry Samoans. But giving them a real killer edge was having a gen-u-ine American singer – hot dang! Indeed, Lee Hollis (a former GI) proved to have the most sneering fuck-you voice this side of Checkpoint Charlie. The reputation was set.

There’s been plenty of blood, sweat and beers under the bridge in the past 25 years for The Spermbirds, but the great news is that they are still with us. ‘A Columbus Feeling‘ is their first album since 2004’s ‘Set An Example‘, and as soon as the thumping opener ‘Matter of Fact’ comes blasting out of the speakers… big riffage, pounding drums and Lee’s snottier-than-thou vocals… I’m in familiar territory, been digging these guys for 23 years… and am instantly digging this brand new collection of songs, ear candy for the OG’s, hah!

The Spermbirds were always about sharp and catchy songs (‘She’s Got V.D‘ anybody?!) and the 13 tracks on ‘A Columbus Feeling‘ carries that tradition ahead in spades… cracking melodic Punk anthems, loaded with plenty of bite and vehemence, and with an average song time of about 3 minutes… no fucking around… right down to closer ‘Honestly’ that has a funky kinda Big Boys feel to it.

There’s talk of some UK dates later this year. I’m already there!

Pete Craven

The album is due out on September 3rd but you can stream some tracks from the band’s myspace and learn more about the album below…

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Comeback Kid

Symptoms And Cures
Victory Records

myspace.com/comebackkid

Simply put, ‘Symptoms And Cures’ is a must listen. If you’ve ever been a fan of the band’s material, old or new, you’re *really* going to want to check this one out. Comeback Kid have come into their own on this album, marrying their classic hardcore edge from first albums ‘Turn It Around’ and ‘Wake The Dead’ with a fuller, more intricate sound which had been hinted at on last full-length ‘Broadcasting…’. This is the sound of a band that, having undergone several line-up changes during their time as a unit, have really settled into a groove, incorporated their cumulative experiences and just let rip on a stunning album. It’s a masterful balancing act between short sharp blasts of hardcore goodness and more expansive textures, which will go some way to challenging perceptions of modern hardcore. It’s far from a recycled collection of material. ‘Symptoms And Cures’ is something truly fresh-sounding, which is rare in Comeback Kid’s world.

Comeback Kid have roped in several helpers on this record too. Rather than standing out like sore thumbs, the guests add extra layers to the music and are perfectly complementary. It’s a gang-vocal-heavy record which means that it’s all the more rousing a listen. A Wilhelm Scream helped out with some of these anthemic chants. Also appearing on the album are Sam from Architects and Liam from Cancer Bats adds his distinctive growl to the track ‘Balance’. It’s kind of hard to convey in words the way that Comeback Kid have produced such a complex but altogether simple album. It’s also difficult to listen to it without feeling the passion and dedication that’s clearly gone into this body of work. I haven’t read or heard one negative word about ‘Symptoms And Cures’ yet. This, along with my own gut feeling and love for the album, leads me to the conclusion that this is Comeback Kid’s defining work – of their career so far, anyway. Yes, they had ‘Wake The Dead’ and that will forever be a rock club staple, but their latest album offers up so much more, delivering real depth of sound as well as the catchiness people know and love them for. More please. And maybe take less than three years about it next time?!

Winegums

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Red Dons

Fake Meets Failure
Taken By Surprise/Deranged Records
www.reddons.com

Portland’s Red Dons are back with another prime slab of punk rock following up their unbelievable debut ‘Death To Idealism‘ that was released back in 2007 to rapturous applause in the underground scene and on this very website. Most second albums go through the mill somewhat but with the band’s history including members forming The Observers, Clorox Girls and more this was always going to be a release to wait for and the result is nothing other than pure brilliance.

From the off, Fake Meets Failure revs up its engines and delivers riffs to die for and sheer punk rock excellence. Land of Reason chugs straight into where Death To Idealism left us with blood and dirt, exploding bombs and very much in the hands of killers as vocalist Douglas Burns slams his political stances across his songs. The beauty of his offerings are not only edgy but melodic too as each song of the ten on offer here just cut into your ears and make you want to grab the lyric sheet just like your favourite punk and h/c records of old. 3rd track ‘Pariah‘ must have done the same thing for them as the band get mighty close to borrowing a few screaming riff solos from the likes of The Adolescents but knowing that this bands roots come from this world and they have taken it to a new level I guess they are allowed to fully get away with it. This only adds to the wonderful nostalgia of this record, it’s not often that bands in the naughties can replicate the quality songwriting of our leading punk rock predecessors but when it comes with bands such as Regulations and Career Suicide as another 2 examples of bands who touch that nerve it’s absolutely brilliant and people need to know they still exist.

One of the main stand outs on this record for me is ‘Pieces’. 5 tracks into the album and the hail of ‘Armageddon!’ starts one of the best punk rock songs ever written covering rejection, dejection, brutal truth and oppression all summed up in 3 minutes and 6 seconds. Another track on repeat in my car from this album is ‘Enemy Ears’ that kind of takes the very best of The Briefs and mashes it up with the force of Dead Kennedys for flavour but obviously written in Red Dons’ uniquely melodic and chuggy way.

Overall if you love hardcore and punk from the good old days, read Flipside and Maximum Rock and Roll for years and have been to see every touring band like us you are going to be stoked when you realise that those incredible records are still being made to this day. Make sure you don’t download it for free off some shit blog on the internet, go and support this band and buy a CD or a slab of their amazing vinyl that someone has made for you right now, you will not be disappointed.

Zac

Watch Red Dons play ‘Pariah’ live here:

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Bars Of Gold

Of Gold
Friction Records

myspace.com/barsofgold

From the ashes of underground music heroes Bear Vs Shark rises another musical force to be reckoned with in the form of Bars of Gold. Many a fan of superior rock music shed a tear when Bear Vs Shark announced they were disbanding several years back but now former members Marc Paffi and Brandon Moss have created Bars of Gold and their debut release should certainly go some way to appeasing those who were heartbroken. Paffi’s hearty yelp is unmistakable and whilst ‘Of Gold’ ventures further into indie-rock territory, with nods at the likes of Modest Mouse, this band is definitely a natural progression from BvS.

Now, before I become one of those detestable people who bangs on about previous incarnations of a band in a review of their present musical outfit, I’ll move on to the matter in hand. The stand-out track on this record is ‘Heaven Has A Heater’ which features Paffi’s vocals at their heart-wrenching best. Melodic yet powerful and repeatedly veering towards breaking point, the resulting sound is exhilarating, especially when propelled by carefully balanced instrumentals that build perfectly between the track’s most heady climactic points. Although this is probably the best track on the album, the others are pretty much equally as exciting. What makes Bars of Gold special is their ability to really explore dynamics where other rock bands would just play LOUD. It makes the fuller, louder parts feel so much weightier when preceded by an almost-whispered piece, backed by a gently pulsating drumbeat. But other bands take note – it’s not just loud and quiet that exist in the realm of dynamics. There is a veritable rainbow of sounds that are possible and Bars of Gold really tap into this through their use of layering instruments and vocals in different permutations. Another aspect of the band’s brilliance comes in their constant experimentation with tempo and rhythm. I’d be willing to bet that a click-track was not their favourite tool in the studio. This makes the music flow but with an ever-present rippling undercurrent of unpredictable excitement.

Bars of Gold are good. Believe.

Winegums

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The Game

Brake Lights
(Free Download)

myspace.com/thegame

In this day and age, mixtapes get dropped left, right and centre. Every day some rapper from the back-end of nowhere throws another diamond-encrusted photoshopped digital mixtape on the blogs trying to make a name for himself to follow in the footsteps of Fiddy. As a result, mixtapes have become fairly pointless for the most part, but when someone like The Game drops one, clearly it’s worth a listen. Brake Lights has been put out for free online to get the hype machine going for the release of the upcoming full-length The R.E.D. Album and if this is anything to go by, his fourth album is going to be huge.

The Game is a great rapper, but has often found himself come under criticism for changing his style up too often to fit the guest rapper and simply name-checking famous rappers every other line. This mixtape is sure to put an end to all that as Jayceon Taylor goes in hard from the very start, with the opening track bombing in following an intro from Busta and breezing into a track featuring Snoop on the guest spot on Trading Places. With Snoop going in with more pronounced energy than his typically laid-back style, it’s a mixtape that feels a lot more like an album proper, which says a lot about the quality on show.

Production from Cool & Dre is more or less always a gold star award and their heavy drums over suitably large vocal samples prove to be the perfect backdrop to the vocals. Cold Blood has Game rapping about the perils of being either a Crip or a Blood, Ecstacy shows their understated side and Street Riders, which features Nas and a somehow not-at-all-annoying sung chorus by Akon gives Game the chance to be the G that we all know he is, on a track that apparently was originally a diss against Pharrell and 50 Cent.

There are times when the production seems to be the total opposite of what Game would normally rap over, such as the folk-sampling You Are The Blood and the standout track on the album Hustlin’ [Champions’ Anthem] but that shows that he’s certainly matured and gained a versatility he hasn’t shown in his previous releases. In short, The Game has released a free mixtape that stands alongside his studio albums, if not edges past them – get involved in this by grabbing the mixtape from here.

Abjekt

You can stream or download Hustlin‘ below. Schweet.

The Game – Hustlin’ (Champions Anthem) by Crossfire Music