Dee Massey is taking these badboys with her to Bali:
RAZORLIGHT – In The Morning
(Vertigo)
www.razorlight.co.uk
www.vertigorecords.co.uk
It’s almost two years since Razorlight stormed up the charts with ‘Up All Night’ and they’re back stronger than ever with the first single off their as yet unnamed album, set for release on 17th July. Co-written by frontman Johnny Borrell and drummer Andy Burrows, who only joined the band on the eve of their last album release, its clear that that this song writing partnership has only added another arrow to their bow.
The sound has matured, Borrell’s commanding vocal combine with the upbeat guitar sound. ” In the morning..you really won’t remember a thing” kicks out, the tempo kicks in, vocals layered up, before you’re left hanging. One thing’s for sure, they’ve regained their trademark sound as a foundation, and have built on that to a stronger vibe, whilst still having that wonderful looseness to the proceedings. Razorlight took the UK by storm with their last album, and ‘In the Morning’ is proof indeed that they weren’t just a flash in the pan.
THE KOOKS – She Moves In Her Own Way
(Virgin)
www.thekooks.co.uk
www.vvmg.co.uk
Following their No5 single ‘Naïve‘, Brighton’s brightest export The Kooks return to the front line with the second single taken from their almost platinum album ‘ Inside In/Inside Out’ – ‘She Moves in Her Own Way’. Looking for a track for balmy summer evenings? Look no further.
No – it’s not going to win a prize for innovation ( there’s more than a passing nod to The Coral), but Luke Pritchard’s earnest vocals have a endearing quality, and lyrics are heartfelt without being saccharine sweet “You’re all about to lie down for your cause, but you don’t pull my strings ’cause I’m a better man..moving on to better things.” The Kooks seem to have escaped being herded in with all plethora of other indie bands, and this flittingly acoustic, unchallenging track, with it’s easy hooks and attractive chorus, can only help to further their popularity.
THE LITTLE EXPLORER – Chair Legs
(Reveal Records)
www.thelittleexplorer.com
www.revealrecords.com
It’s easy to become disillusioned with emo/indie at the moment, with everything starting to sound the same – and in this smog Derby four piece The Little Explorer are a very pleasant surprise indeed. ‘Chair Legs’ is set for release on Reveal Records , and is a fast paced little indie package, which seems at first to simply be a very tight instrumentals – but is actually just an excessively long intro. The tempo grows and grows, before the vocals swoop in by surprise, back up by shattering screamo tendencies. Growling guitars, an upbeat tempo atmosphere that twists and turns with new resonance – this is short and sweet and leaves you hungry for more. Sit back, turn the volume up and smile – bands like ‘The Little Explorer’ show there’s life in the old emo dog yet.
THE HOLLOWAYS – Two Left Feet
(TVT Records)
www.theholloways.tk
www.tvtrecords.com
The Holloways have been bubbling under in North London for the last few years, and now their deal with TVT Records they’re striking out with new single ‘Two Left Feet’, following up from their self released infectious exemplar singles ‘ Happiness and Penniless’ and ‘Generator’. At first I had to check I had the right CD in – the sounds initially nothing like what we’ve grown to expect from The Holloways, who’ve blasted their way through killer sets across the UK with their tight, punk driven bouncing tracks.
Alfie Jackson and Co have produced what is, essentially an endearing love song. Fiddles, careful ongoing guitars and harmonica are thrown into the mix, the result being a gentler, softer but upbeat track, which might be a bit country for some, showcases their diversity. “I need some joy in my life, some joy in my life” Jackson sighs, wavering on being really endearing..or a little soppy? ‘Two Left Feet’ is an unchallenging little track, upbeat and resounding with hope, almost Dylan-esque – but here’s hoping their next track has a bit more bite to it.
DIRTY PRETTY THINGS – Deadwood
(Vertigo)
www.dirtyprettythingsband.com
www.vertigorecords.co.uk
If you liked ‘Bang Bang You’re Dead’ then Dirty Pretty Thing‘s follow up, taken from their album ‘Waterloo to Anywhere’ is going to make you very happy indeed. It’s a blinder of a track, literally – it races in, lets loose around you, spinning around you faster and faster out of control, then quick as a flash it’s gone, leave you dazed and thrilled. Whilst purists would argue that it’s not as good as The Libertines, it does have the same wonderfully arrogant swagger, the same cockiness to Barat’s vocals.
Released at a time when Babyshambles seem to be imploding, and barely a week goes by without some Doherty drug ‘ scandal’, Dirty Pretty Things couldn’t have timed it better. No matter what side of the fence you stood on, it’s clear who is the victor in this war. The sound is tight, broad and soars around you, twisting and ducking higher and higher; it’s a spot on follow up to ‘Bang Bang You’re Dead’ – Dirty Pretty Things live up to their name – this is gritty and raw, and beautiful.
Alex Gosman has been sticking up petrol stations to the delights of:
AFI – Decemberunderground
(Interscope/Polydor)
http://www.afireinside.net
Those who resented AFI’s increasing love of experimentation on previous album ‘Sing The Sorrow’ may as well stop reading now, because ‘Decemberunderground’ sees the Californian quartet venture even further from their straightforward hardcore punk past. Recent single ‘Miss Murder‘ is one of the more direct tracks on an album that owes as much to 80’s metal and electronica as it does to the likes of Black Flag; with songs like ‘Love Like Winter’ and ‘37mm‘ featuring stadium-sized choruses, along with looped beats and samples. It sounds odd at first, but ‘Decemberunderground‘ will soon grow on you, given the chance.
THE KING BLUES – Under The Fog
(Household Name)
www.kingblues.com
This, my friends, is London street music at its finest; a young quartet from Hackney armed with acoustic guitars, a ukulele and a renegade attitude. The King Blues play honest and intelligent folk-punk, with elements of dub, ska and hip-hop thrown in for good measure, and in ‘Under The Fog’, they’ve produced an absolute stunner of a debut album. With socially conscious lyrics, sweet harmonies and hooks that will lodge themselves firmly in your brain, this is the album of the summer, and sure to be amongst the best of 2006. Essential.
THERAPY? – One Cure Fits All
(Spitfire)
www.therapyquestionmark.co.uk
This is Andy Cairns and co’s 11th (!) studio album, and whilst it’s a more polished affair than previous record ‘Never Apologise, Never Explain’, the songs are still typically twisted affairs. ‘Sprung‘ is built around a brilliantly spiky riff, ‘Dopamine, Seratonin, Adrenaline’ is a darkly melodic ballad, whilst ‘Our White Noise’ is a suitably cynical ode to human indifference towards others’ misfortune. Therapy? have never been content to merely recycle the sounds of their previous records, and ‘One Cure Fits All’ continues that tradition in fine style.
TOWERS OF LONDON – Blood Sweat & Towers
(TVT)
www.thetowersoflondon.com
My award for Guilty Pleasure Of 2006 surely has to go to this bunch of shameless sleaze-punk urchins. Sounding like the bastard offspring of Sham 69 and Motley Crue, Towers Of London are about as intelligent and credible as Blink 182 (not to mention twice as profane), but fuck me sideways if they haven’t gone and created the perfect soundtrack to a night of booze n’ vomit-drenched mayhem. Songs like ‘Kill The Pop Scene’ and ‘On A Noose’ are bursting with sloppy guitars and terrace-chant choruses, so pop your brain back into its spongebag for a while and enjoy.
ZAO – The Fear Is What Keeps Us Here
(Ferret)
www.zaoonline.com
One can only imagine what inspired Zao to make such an enthrallingly dark, bleak and furious record as ‘The Fear Is What Keeps Us Here’. Like their compatriots the Dillinger Escape Plan, Zao have little regard for conventional song structures, throwing off-kilter rhythms, powerhouse drumming, and amazingly intricate guitar work into the mixing pot – all with a suitably raw production courtesy of the infamous Steve Albini. This is a record that constantly treads the line between innovative extreme music and pure sonic warfare, and does so brilliantly.
Jane Hawkes has been lighting up broadway with this in her ears:
SONIC YOUTH – Rather Ripped
(Geffen)
www.sonicyouth.com
With a career that spans 25 years, Sonic Youth have influenced some of the finest bands around in recent times. With bands like Nirvana, Babes In Toyland, dEUS, Placebo and Bloc Party all citing Sonic Youth as inspiration, it’s clear just what a formidable force Sonic Youth were and still continue to be. ‘Rather Ripped’ is amazingly the bands 20th album and as usual, is far from ordinary. Every song feels like a soundtrack to the summer, dreamily flowing together with effortless precision. Add to that the ethereal quality of Kim Gordon’s voice and what spills out of your speakers is nothing short of exquisite.
Sonic Youth have managed to meld the extensive yet laid back feel of previous albums with a slightly more unembellished, naked sound which, if you are already a fan of SY, will once again leave you captivated and possibly frothing at the mouth. Kicking off the album with the incredibly uplifting ‘Reena‘ and winding up with bonus tracks ‘Helen Lundeberg’ and ‘Eyeliner‘ Sonic Youth return full of confidence and conviction to deliver an album that’s as creative and inspired as ever.
PEARL JAM – Pearl Jam
(Sony/BMG)
www.pearljam.com
Considering the greatness of Pearl Jam, it would be easy to just fall to the floor and give a Wayne’s World ‘We’re not worthy’ style bow instead of a review. But, to be fair their past few studio albums, have not been the best. This long awaited eighth release however proves that Pearl Jam have found their creative juices once again and continue to move with the times. Covering a broad spectrum of sounds and emotions from the angry, political first single ‘World Wide Suicide’ to the anguish and aching melody wrapped around Eddie Vedders naked vocal on ‘Come Back’, it’s the ‘Yellow Ledbetter’ of the album. The more you listen, the more it invites you in to an overwhelming mix of introspective song writing and consistently well-balanced musicianship. Truly outstanding.
BULLETS AND OCTANE – In the Mouth Of The Young
(BMG)
www.bullets-and-octane.com
Rapidly snowballing into a band with a huge following, Southern Californian based Bullets & Octane have been working hard out on the road making a name for themselves with bands like Flogging Molly, Avenged Sevenfold and most recently a set at this years Download festival. The end of May saw them release their second album ‘In the Mouth Of the Young’ which was produced by Page Hamilton, front man with Helmet. Running through these 12 tracks is a punk-inspired backbone and when teamed with jagged riffs and pummelling drums, B&O appear somewhat less polished than many of the bands around today. They are scuzzy yet ballsy and with Gene Louis’ impeccable vocals carried out with just the right intensity, it’s a winning formula. Notable tracks include ‘Bathroom Floor’ which is as close to a ballad as it gets, and opener ‘Going Blind’ which effortlessly rises above many of the other tracks on the album. You can hear hints of Billy Idol, Therapy?, The Almighty and even Motorhead in the mix. It’s fast, anthemic and rocks like a motherfucker. Go get.
LIVE – Songs from Black Mountain
(BMG)
www.friendsoflive.com
Since releasing their phenomenal second album ‘Throwing Copper’ in 1994, Pennsylvanian quartet Live have always seemed to be playing catch up. Because, truth be told, from that point on, nothing they have released has ever managed to come remotely close to their 12 million selling masterpiece.
Fast forward twelve years and unfortunately it’s the same old story with current offering ‘Songs from Black Mountain‘. Never ones for your average happy-go-lucky tracks, Live stay true to form and deliver 12 utterly depressing songs. Even when the lyrics Ed Kowalczyk is wailing are upbeat, every tune seems to have a knack of stripping away any trace of the good mood you were in before you gave this a spin. Now having aged a few years, Live are calling the release of this album ‘A new chapter of their career’, but honestly, it just sounds like they have side stepped to more mature musical pastures. It’s full of promising intro’s that don’t really materialise into anything significant and as a whole is simply lacklustre. Think Nickelback, think Staind and you get the gist of this album. Do yourself a favour a give this one to your dad.
THE ANSWER – Rise
(Albert)
www.albertmusic.co.uk
If you haven’t had the pleasure of discovering Northern Ireland’s The Answer yet, then there is obviously something wrong with you. As if having recently been voted Best New Band by Classic Rock after only their second single wasn’t enough, the band have had live supporting slots with legends Deep Purple, Whitesnake and The Who nonetheless. On hearing the album it’s clear they were perfect choices to open for those acts.
Within the 11 songs featured here in this cracking debut album are several that evoke feelings of what it must have been like listening to bands like Led Zeppelin, Lynyrd Skynyrd and Free in the 70’s.
Sounding ‘retro’ without sounding like rip off merchants is a tricky little business but it’s safe to say The Answer have nailed it. It’s out and out plain and simple rock n roll with guitar slides and widdling all the way. With every track as glorious as the last it’s not often in this reviewing lark you get to say that. ‘Rise’ is a somewhat incredible introduction to an extraordinary band.
James Sherry has been making milk spurt out of his nose to the sounds of:
MISSION OF BURMA – The Obliterati
(Matador)
www.missionofburma.com
Let’s face it, the world is not short on old punk bands reforming for one last desperate attempt to re-live their youths or to milk those last few pounds. The ones that count, however, are the bands that can reform and continue to mean something now rather than then. Mission Of Burma are one such band. This is no useless exercise in nostalgia and this collection of new songs is all the proof you’ll need. Back in the early eighties, these Boston based art-punks stretched the limitations of punk rock and exposed the scene to new sounds and new ideas, constantly on a quest to push things forward (read their chapter in the incredible history of the American music underground ‘Our Band Could Be Your Life’ for the full story) and ‘The Obliterati’ features fourteen brand new reasons why you need this band in your life. Each song bristles with fresh ideas, spine tingling melodies and crushing noise. Like the book said, this band could be your life.
SUNS OF THE TUNDRA – Tunguska
(Shiny Mack)
www.sunsofthetundra.co.uk
Suns Of The Tundra evolved from the early-90s cult UK rock band Peach, famous for featuring Tool bassist Justin Chancellor. Combined with members of Mint 400 and Cortizone, Suns Of The Tundra enter a new era of progressive rock with their second full length album ‘Tunguska’ and it’s huge! A sprawling mass of sonic noise and grooves, these guys successfully take rock to the next level and every second of this CD is epic in it’s scope and sound. If you were lazy you could call them the UK equivalent of Tool, but we’re not and we won’t. Just be safe in the knowledge that Suns Of The Tundra will grow to Radiohead proportions or sink into obscurity because they’re just too damn clever for the lowest common denominator that you need to appeal too for success in the mainstream. Either way, this is a fucking great record.
BOXED IN – 2001-2005
(Flat Earth)
www.flatearth.free-online.co.uk
While vinyl will always rule within the world of underground DIY hardcore and punk, these CD discography compilations are perfect for those who want to hear all of the music in one go or missed out on the original limited runs of singles. Boxed In specialise in bursts of high-speed hardcore noise that will knock you flat off your feet. Taking their cues from classic eighties hardcore acts like Anti Cimex and Poison Idea and the UK punk of Discharge, between 2001 and 2005 (as the title cleverly suggests), Boxed In tore up and down the country screaming their throats raw in squats and the back rooms of pubs as people bounced off the walls. Need a wake up call? This is it.
WINNEBAGO DEAL – Flight Of The Raven
(Fierce Panda)
www.winnebagodeal.com
I know it’s been said a million times before but when talking about Winnebago Deal it’s still impossible not to exclaim in a loud and excitable voice ‘how the fuck do two people alone make such a screeching rock n’roll racket?’. Raised on a diet of Black Flag, Black Sabbath (all the blacks) and a endless parade of obnoxious rock n’roll, the two Bens (that’s Ben Perrier vocals, guitar and Ben Thomas on drums) return here with the first release on Fierce Panda records and scorch through fifteen tracks of high voltage rock n’roll that will melt your skin off. Produced by Seattle producer extraordinaire and the king of grunge Jack Endino, the is the Deal at their best, finally delivering the record they’ve been threatening to make for years. Plus, it ends with a suitably belligerent version of Black Flag’s ‘Revenge’. Perfect.
BLACK SABBATH – Black Sabbath
(Vertigo)
www.black-sabbath.com
Are Black Sabbath the greatest and first heavy metal band of all time? Yes they fucking are. It’s not often you can pinpoint the exact moment when a whole genre of music starts but it’s fair to say that when Sabbath’s first ground-breaking album was unleashed from the beast in 1970, Iommi’s demonic riffs kick started metal. The real beauty of Sabbath is despite how old these records are, they still sound absolutely amazing. This, their first album, is as good a place to start as any, kicking off with their signature tune that sets the scene with a gigantic doom-laden riff that killed the peace and love hippy era dead with one burst of distortion, housed in a record sleeve that is genuinely creepy. In short, if you don’t have this and the rest of Sabbath’s Ozzy era albums then you’re not into metal my friend.
Ryan Bird is trying to ignore Satan’s jibes by listening to:
STRAPPING YOUNG LAD – The New Black
(Century Media)
www.strappingyounglad.com
Their fifth and reportedly last ever album, Canadian maniacal mob Strapping Young Lad have produced what may also be their best in the form of forthcoming masterpiece ‘The New Black’. Packed full of grinding riffs, rampant drum bursts, hilariously insane lyrics and even a sprinkling of jazz flute; this is already without doubt an easy contender for metal album of the year. Jaw-dropping and utterly fucked up chaos.
SHADOWS FALL – Fallout From The War
(Century Media)
www.shadowsfall.com
While 2004’s ‘The War Within’ received mixed reviews from metal’s mainstream music press, it would still go on to become one of Century Media’s biggest selling albums – smashing its way into the US Top 20 in the process. Although little more than a contractual obligation before beginning work on their Roadrunner/Atlantic debut, ‘Fallout From The War’ continues the band’s trademark retro metal sound, smashing together a collection of covers, rarities and typically awesome fresh cuts. A fitting appetiser of things to come.
UNDEROATH – Define The Great Line
(Virgin / Tooth and Nail)
www.underoath777.com
Having drafted in Killswitch Engage guitarist and respected genre producer Adam D to give both vocals and guitars a kick up the backside of the most epic proportions, the result of this follow-up to 2004’s mega-selling ‘They’re Only Chasing Safety’ is a career defining album that oozes quality and drips emotion from every pore. From the all-out assault of ‘In Regards To Myself’ to the piano-led ‘To Whom It May Concern’, the result is never anyting less than spectacular.
EXIT TEN – This World They’ll Drown
(Deepburn)
www.exit-ten.co.uk
Hailing from the emo sweep-ridden metropolis of Reading, Exit Ten are fast becoming one of the UK’s hottest properties. Following on from high profile appearances at the Download Festival and support slots with everyone from Sikth to Avenged Sevenfold – this Andy Sneap produced EP offers little in originality but bucket loads in potential, adding a melodic twist to otherwise raging metalcore that hints at bigger things to come.
DOWN – NOLA
(Atlantic)
www.down-nola.com
What do you get when you combine members of Pantera, Eyehategod, Crowbar and Corrosion of Conformity with a shitload of whisky and more than their fair share of marijuana? The answer is possibly THE definitive metal album of the last decade, rammed full of stunning grooves, mellowed-out southern American harmonies and a vocal performance little short of incredible courtesy of one Philip H. Anselmo. If you were unlucky or just plain stupid enough to miss their recent whirlwind tour of the UK, consider this album your ‘get out of jail free’ card.
Zac Slack has been cursing technology alongside the delightful noise of:
RYE COALITION – Curses
(Gern Balndsten Records)
www.ryecoalition.com
Rye Coalition have been around since 1994 or thereabouts and over the years have released cool records with an edge that would turn the ears of people that were into hardcore and alternative rock. The last record they released that I thought was great was “On Top“, where the band had a distinctly heavy sound that featured Steve Albini at the recording session.
I guess they could have gone one way or another with this new release titled Curses, but they decided to go down the full-on rock route and even pulled in a favour from one Dave Grohl who produced this new record and also added some backing vocals, percussion and guitars. The result is an album that seems to lack punchy songs and if you have to compare it with another similar record it would have to be Drunk Horse – In Tongues but Rye Coalition have nothing on this record in Curses. So I guess if you like your rock crunchy and a bit messy you should check this out but it’s certainly not a record that will blow your ears off, even if Dave Grohls name is splashed all over it.
RICH – Neon One
(Marine Parade)
www.rich.fm
Those of you who skated in the early 90’s with Zac, Richie Hopson, Gorm etc may well have bumped into our friend Richard File skating curbs and ledges schralping in Sutton and Croydon with Curtis McCann and Paul Shier. Since then, he has shared duties with James Lavelle on the U.N.K.L.E project, released a bunch of stuff on Mo’Wax Records and has also co-written the film score to cult film Sexy Beast.
On July 3rd, File’s brand new EP is released to the general public that witnesses a different side of his musical talents than heard before. “Neon One” is 3 tracks of subtle guitar work with an indie feel akin to the likes of Ambulance Ltd, Radiohead and The Verve’s psychedelic offerings, leaving you with subtlety and deepness only found in the higher regions of the Dead Meadow.
The fact that skaters continue to push music all over the world, assures me that music from this EP will end up on a skate video at some point, as lead track Big Mistake would fit like a pork pie in the hands of Shakespeare. Support other skaters and check this record out.
Take members from four of the most popular bands, add into the mix one of the most successful producers of our generation, Tom Lord Alge – and in theory, you should have the mother of all records on your hands. Does Tom DeLonge’s project live up to the hype? Well…..yes and no. If you’re expecting Blink 182 Version 2 then you’ll be in for a disappointment. Gone are the immature lyrics, gone are the easy on the ear hooks and singalong bouncing choruses – Angels & Airwaves is a very different beast indeed.
Hope of the States spent most of 2005 holed up in a studio, with only 6 live dates to keep their fans satisfied. With their limited release EP Blood Meridian being lapped up, the Chichester 6 piece return to the airwaves with ‘Sing It Out’, the first single from their eagerly awaited second album ‘Left‘. ‘Sing It Out‘ grabs your attention from the start, Sam Herlihy’s dark vocals almost veer towards menacing at first, but with the chorus comes a wave of reassurance ‘ you are not alone, you are not the only one, you were lost and now you’re found, sing it out.’ There’s no clever effects, this is stripped down and simple – and it works. Hope of the States have come back stronger than ever, this wonderful compact, tight track is everything you can hope for – they’ve overcome tragedy and if this taster is anything to go by – their new album is going be an absolute blinder. 
Louie blasted onto the scene last year with the irrepressible single “Trees“, and step up to the fold again with another scorcher of a track “Dead Man“. If Louie was a person, he’d strutting round the room threatening to take on everyone in the place who so much as looked at him weirdly, this track steps up, grabs you by the collar and gives you a good shake. Jordan Smith and Gaz Tomlinson’s vocal chemistry produces a wonderfully high octane flash in the pan, combined with snarling guitars and punk driven chords – it’s a short and sweet, but not hugely memorable. This track’s like a Chinese takeaway, you’re only satisfied for half an hour and then you want more. Enough of the starter size portions – Louie need to provide the main course now. 
The downsized Stars of Track and Field follow up their well received EP ‘You Came Here for the Sunset Last Year‘ with a full length album, brimmed full of ambient, piano driven tracks that seem to wheedle their way into your head for days on end. Entrancing tunes, wonderful effects from the previously studio based 3 piece, and an air of innocence and sincerity to the proceedings have produced an album that combines the best of guitars, twinkling percussion effects and lyrics that embrace the listener. If you’re looking for something to melt into then look no further- this is one for dusky summer evenings. Kevin Calaba’s vocals are persuasive, seductive but with an edge – this multi-faceted record is a must for anyone’s record collection. 
Exeter has churned out some of the UK’s most popular acts in recent years, Thom Yorke, Muse and er….Coldplay to name a few. Hot on their heels come Thousand Natural Shocks, a four piece who live and breathe music – and over the years have even pieced together their own studio, a focal point for many bands in this thriving West Country scene. The debut single ‘Under The Sun‘ is a easy mix of post hardcore, with new wave indie sensibilities strewn into the mix. Emotive lyrics combine with darker echoes, to provide a sound that instantly accessible without being same same. The tracks tight and compact, mirroring the fact these guys have been playing together since they were kids – they bounce and spar off each other with relentless energy. If they can recreate their studio sound live, they’ll be a very exciting prospect indeed… watch this space. 
If it is sunny outside or even if it’s raining, this debut album from Scott Matthews should fit the bill regardless. Deciding to do it the independent route, Matthews has put together a full album that will simply melt in your mouth from start to finish and why? Because talent this good comes once in a blue moon and if you miss it, you end up being one of those people that discovers classic records in later years and misses out on the growth of something completely special.
It’s hard not to love the Chilis. Widely hailed as pioneers of the genre, they triumphantly return after a four year absence with a absolute corker in Stadium Arcadium. Rhythmically infectious, it’s rammed with epic grooves tinged with ska and funk just as you’d expect. And in a world where hoards of bands all scream the same, the RHCP’s remain a strong and constant force not to be fucked with. Although double albums generally have the tendency to be self-indulgent, the Chilis have once again found that higher plane which sets them apart from everyone else by remaining true to their roots. With funky, inspired and punchy tunes like ‘Hump de Bump’ and the insanely raw but captivating ‘Readymade‘ both albums are of epic proportions. What’s more, we will all be singing along to their choruses once again this summer, because these songs will not leave your head. Even the more sombre tracks come with enough passion to make them fly. The Red Hot Chili Peppers vie for world domination is not over just yet…
Love ’em or hate ’em, Feeder have had some great singles. So, they may not be cool or particularly ‘scene’ but I bet you have all at least bobbed your head to ‘Buck Rogers’ and laughed at that emo kid in the video for ‘Just A Day’ whilst tapping your foot. Feeder have a staunch following of hardcore fans but to us less obsessive followers, it’s easy to forget about Feeder. Just when you have, they pop up again in a video game or on the radio and then you remember, they’re actually not that bad. Catchy choruses have always been Feeders greatest asset and here are 20 songs full of packed with them. Included is even the particularly broody ‘Suffocate‘ from as far back as the Polythene album. Fans will probably own all of these tracks already but may buy it for the bonus DVD which has loads of cool extras on it. Ok, so you may want to hide this album from your mates but you know behind closed doors, you will be dancing round the room with your limbs flailing all over the shop. Pop-rock at its happy, shiny best.
It’s so easy to get bored with black metal these days. What with its overflowing pot of lustrous Cradle wannabes, you sometimes wonder where the hell, the grittiness and out and out fucking evilness of it all went. Until now. Enter Norwegen two piece Satyricon. They’ve come to beat you round the ears with their new album Now, Diabolical which is actually a bit of a grower.
It’s safe to say that if you haven’t heard of Trivium by now you must have spent the last couple of years living under a rock. Since inking a deal with Roadrunner the Florida based four-piece have managed to push their way to the front of the metal scene at the pace of a speeding juggernaut, with a massive main stage appearance at last years Download fest, many upgraded sell-out tours and an upcoming support slot to the legendary Iron Maiden already to their credit. ‘Ascendancy’ was the bands highly acclaimed 2nd full length release (1st on Roadrunner) from last year which has already been deemed worthy of the re-release treatment once before. What you’ll find here is simply one of the best metal records of last year complete with a bonus DVD and 4 extra tracks tacked on to the original version CD. One of which being a highly ambitious but excellent cover of Metallica’s ‘Master of Puppets’ Whilst being tagged as the next Metallica may just be a little over the top, it’s safe to say this band on their current form have a promising career ahead of them and if you don’t own either of the previous discs, I highly recommend you add this one to your collection.
Chicago rockers Soil have endured tough times in the past eighteen months or so, having lost previous front man Ryan McCombs who upped and left citing family reasons only to turn up months later as the new vocalist for Drowning Pool, many could be forgiven for thinking Soil would struggle to regain former glories. It’s safe to say that any band with a new vocalist is always going to come under scrutiny, but Soil need not worry as going off this album, the transition has not only gone smoothly but is also actually a positive change. New guy A.J Cavalier manages to add a little something to Soil’s already trademark edgy sound on tracks such as opener and undoubted crowd pleaser ‘Fight for Life’ whilst also bringing in a more melodic and cleaner side to his vocals, giving the album a fresher and more varied feel than previous releases. One thing that you really sense here is the new level of harmony within the group and this can only be a good thing. If Soil can continue on this new path a bright future is most surely in store.
If you think of the French what do you normally come up with? Berets? Onions?, Thierry Henry? Not metal right? Well Scarve should change all that. Most people will probably recognise drummer and founding member Dirk Verbeuren who has recently joined Soilwork as a full time member for starters, and his work here shows exactly why he’d be in demand. 2004’s ‘Irradiant‘ goes a long way to showing that you don’t have to head for Scandinavia to find metal that’ll knock your teeth into the back of your throat. Drawing on influences such as Meshuggah and Strapping Young Lad to name but two, Scarve have everything any self respecting metal fan needs. Gut wrenching screams? Check. Crunching riffs that bore into your brain? Check. Double kick drumming like a pneumatic drill? Check. Overall Irradiant is a brutally crushing album that casually slipped under the radar over here and definitely needs checking out.
Having been clean from heroin for the last four years many could question whether Al Jourgensen still has the same vision and creativity upon which his Ministry work is known for. Hell even Al himself questioned it. But upon listening to ‘Rio Grande Blood’ all fears are dispelled immediately. Al has not only returned to form, he’s returned with possibly his most political and heaviest work to date. ‘Rio Grande Blood’ can only be described as a relentless assault on the senses from start to finish, much like being repeatedly beaten around the head with a blunt instrument. There simply is no let up. Whether it’s the marine inspired ‘Gangreen’ complete with Sergeant screaming obscenities, or the fist pounding, riot inducing anthems such as ‘Lies, Lies, Lies’ and the title track ‘Rio Grande Blood’ is a perfect example of industrial heavy fucking metal at its finest.
It’s commonly known that movie stars and bands are not usually a good mix (hello Keanu Reeves) but try telling that to Jared Leto. Not content with starring in Hollywood, Jared also fronts upcoming rock band 30 Seconds To Mars in his spare time, and there’s nothing here which suggests it’s merely a hobby. Now onto their 2nd release ‘A Beautiful Lie’ the band, which also includes Jared’s brother Shannon on drums, seamlessly fuse alternative rock and nu-metal with a hint of industrial samples and catchy hooks. Leto himself shows off a good range of vocal abilities swiftly moving between soaring melodic choruses and eardrum busting growls in favourites such as album opener ‘I’ll Attack’ while the band also show their versatility with the more laid back numbers such as 2nd single release ‘The Kill’ and the much smoother and enchanting title track. Catchy, refreshing and inspiring, 30 Seconds to Mars prove that should Leto decide to ease back on the movies there’s most definitely a well deserved place for him within the music scene.
Good, solid, tuneful hard rock bands seem to be something of a rarity these days; the kind of bands that are melodic enough to sound good on the radio, but loud enough to upset the Coldplay fans (which, let’s face it, is never a bad thing). Step forward please, the B-Movie Heroes – a band who certainly deserve a lot more attention than they’ve received lately. ‘Calibrate‘ is a feast of punchy, melodic tunes, lush harmonies and crunchy riffs; often reminiscent of the Wildhearts and 3 Colours Red, but with a stronger punk rock influence. B-Movie Heroes they may be, but this record is Grade-A material. Turn up loud and enjoy with a cold beer.
Nearly three years after the slightly patchy ‘Anchors Aweigh’, the Bouncing Souls are back on form with a great seventh record. In an ideal world, it would be this lot who made it big (instead of the likes of Blink 182) – their brand of melodic punk is smart, streetwise and boasts a hardcore edge that many of their peers would kill for. Songs like ‘Sarah Saturday’ and ‘So Jersey’ are bursting with anthemic lyrics and fists-in-the-air choruses, and there’s even some experimentation afoot on ‘The Pizza Song’, a reflective number built around an acoustic guitar and accordion. Quite simply, it’s a brilliant punk rock record from one of New Jersey’s finest. Got ‘Souls?
If you can only remember Jesse James for the song ‘Shoes‘ (which is not even their best song, by a mile), then you seriously need to hear this, their best and most varied album to date. The stop-start rhythms of ‘Wake Up’ and the irresistible hooks of – ahem – ‘Hooks‘ are sure to become future crowd favourites, whilst recent single ‘Everything‘ boasts a chorus that will stick in your head on first listen. Lyrically, it’s darkly humorous and more contemplative than previous efforts, but nevertheless does a great job of capturing the spirit of their frenetic live shows. There’s also a couple of amusing promo videos tacked on for good measure. ‘The Assassination Of Jesse James’ – it’s a killer record.
The early-period Less Than Jake purists will probably hate this one, but it’s their loss. Not only are there some great songs on offer here, but if there’s any justice, ‘In With The Out Crowd’ will be the record to finally kill off any remaining perception of LTJ as a happy-go-lucky ska punk band. After all, this is a record of very little ska, sparing horns and some of the most bitter, cynical lyrics this band have ever written. ‘Soundtrack Of My Life’ and ‘Overrated‘ are typically catchy odes to frustration, whilst the melancholic, reflective ‘Rest Of My Life’ ranks highly amongst LTJ’s finest efforts. A record for the outsider in all of us.
Winnebago Deal records are not for the faint-hearted. Let’s not forget that the Oxford duo have played with former QOTSA bassist Nick Oliveri, drank with Motorhead, and toured almost non-stop since their inception; so it shouldn’t be much of a surprise that ‘Flight Of The Raven’ sounds no less fast, furious, or downright filthy than any of their previous efforts. Sure, they’ve introduced the odd flash of melody and a few guitar solos, but the foundations of songs like ‘Not Human’ and ‘Venomized‘ are mired deep in the band’s usual recipe of thunderous stoner-punk riffs and Ben Perrier’s gravel-throated vocals. How on earth can two people sound so utterly ferocious?
Following Conflict‘s recent run-in with the Inland Revenue, the band have signed their back catalogue over to Cherry Red for a run of reissues. The good news is this will not only help pay off the band’s tax bill, but the people at Cherry Red have done a fine job in representing these UK anarcho punk classics. All of the band’s albums have been remastered and sound better than they ever have before. The original CD releases suffered from an overly quiet mastering job but this new series rectifies that by finally giving these records the crunch they deserve. Better still, they’ve been packed in swanky digi-packs, bolstered with extra tracks and packed with extra photos. And then of course there’s the music. Inspired by the anarchist punk rantings of Crass, Conflict led the early eighties punk movement in an angry, far more directly political direction and ‘The Ungovernable Force’ is by far their most focused and vicious piece of work. This is the sound of grown men exploding with rage. And they sound like they mean it too.
The set of ‘Don’t Look Back’ concerts organised by the fine people at ATP were one of the musical highlights of last year. Inviting bands to play a classic album from beginning to end, the likes of Mudhoney, Dirty 3, The Stooges, The Lemonheads all joined the fun, taking nostalgic trips back to their chosen peak recordings. Grunge over-lords The Melvins were asked to play their classic 1993 Kurt Cobain produced ‘Houdini‘ album in its entirety and in true Melvins style, reduced the crowd and venue to rubble as they pounded through the album from beginning to end and reduced our brains to mulch. And here we have the live recording of the event. Now, whilst a live album can never hope to fully capture the intensity of the night, this comes damn close to recording the truly majestic power of the Melvins onto tape. Either way, if you were there, this is a great souvenir, and if you weren’t, have a little listen to what you missed.
There’s a certain style to the way Australians play rock and roll. There’s something darker and more menacing about the way they swing when they’re kicking out the punk rock jams down under. The Scientists, The Saints, Radio Birdman, Celibate Rifles and many more Aussie punk rock greats all have a feeling and attitude that separates them from their European and American counter-parts. And Tiger By The Tail are keeping the tradition alive and strong. Recorded and mixed in 48 hours at the legendary Birdland Studios in Melbourne, this, their debut album is a whiskey soaked, boozy bluesy wretched rock n’roll record that oozes primal screams and howling guitars, then moments of clear clarity and aching melody. It’s hard to believe this is the band’s debut release as there is music here that should be far beyond their experience and years. In short, this is ace.
Neil Young is back and he’s pissed. One of America’s true originals and most expressive song-writers, Neil Young has often used his music to vent his spleen but none more so than on this, his bitter verbal attack on Bush’s leadership and the sickening war in Iraq. Consequently, ‘Living With War’ is up there with some of his greats. Inspired and motivated by the war and the politics surrounding it, he’s never sounded more focused and utterly pissed off. Songs like ‘Let’s Impeach The President’ and ‘Shock & Awe’ are quite literally spat out in disgust as Young channels his aggression and aims for the target. Yet, it’s a sad state of affairs when we have to rely on the ’60s generation to stand up and say what needs to be said.
Back in the eighties Imperial Leather was every punks preferred soap for spiking up their hair. Yeah, we didn’t have gel or fudge in those days, we just used glue and soap ‘cos things were much more punk back then and this record celebrates those glory days! Musically Imperial Leather are classic punk rock with an early eighties sound that is packed full of high-energy tunes and buzzing riffs. The only difference from the old days being that ‘Something Out Of Nothing’ is blessed with a great production that is just on the right side of raw but clear enough to do the killer tunes justice. 
This is it. The album that you either have, or damn well should have been, waiting for for almost half a decade. Their first batch of fresh material since 2001’s classic ‘Lateralus‘, Los Angeles based quartet Tool return with the outstanding ‘10,000 Days’. Packed full of 10-minute plus marathons bursting with the off-kilter rhythms, twisted riffs and soaring vocal harmonies many have come to know and love so dearly, it’s already certain to top the end of year polls for fans and critics alike. Drag yourselves to stores from May 8th and form an orderly queue.
Whether you care to acknowledge it or not, Motley Crue are simply one of the most influential and legendary bands in rock history. Bursting onto the LA strip scene of the early 1980’s their unique hard rock stylings – as well as their sex, drugs and alcohol fuelled rampages – would go on to form the blueprint of which countless classic bands would follow thereafter. Recorded on their hugely successful ‘Carnival of Sins’ world tour, this double-disc set clocking in at over 100 minutes is a shining example of how heavy music deserves to be played. Loud, fast, and fucking filthy. 
Any seasoned Sworn Enemy fan will tell you that upon first listen ‘The Beginning of the End’ is not so much a mere album title as it is a lip-splitting statement of intent. Though several years on the road with a host of modern day metal’s leading lights has clearly had more than a slight influence on proceedings, the band’s previous hardcore roots are by no means severed; but rather moulded into a 45 minute slice of groove-laden brutality. Jaw-breaking devastation at its absolute finest. 
In a metal world dominated by overseas exports, it’s refreshing to have yet another member of the ever growing and ever improving UK underground to call our own. A whiplash-inducing nod to the early 90’s groove metal formula perfected by the likes of Pantera and Machine Head, Oxford based five-piece Chokehold have planted the foundations for what may just be a long, successful, and ridiculously heavy career. If the killing has begun then grab your bullet-proof vest, because this is one band you can’t afford to slip away from.
By the summer of 1998 the word “metal” had become a largely dirty word in the minds of many. That is, of course, unless preceded by the words “nu” or “rap”. Thankfully, lurking sinisterly in the Swedish shadows were The Haunted. Formed from the ashes of Gothenburg legends At The Gates, this self-titled debut was the shot in the arm that so many owe so much to. Frantic, uncompromising and utterly irate in its delivery; it was, is, and always will be a true classic in every sense of the word. 
Following from their debut top ten single, East London upstarts Boy Kill Boy keep the momentum up with new release Suzie. This upbeat dance floor filler combines a disco vibe with an awesome indie slant intertwined with thumping drums, keyboards and a tongue in cheek disco smattering. Frontman Chris Peck’s distinctive vocals put a dark spin on lyrics of a faltering love affair, crumbling before our very eyes. With a slot of the NME new bands tour on the horizon and the forthcoming album due for release on May 22nd – these guys are whetting our appetites for what promises to be a absolute stormer of an album.
If you missed out on the original release of this single on limited edition last July, then be grateful you have another chance to savour this indie gem. Seductive guitars, layers of sound slithered together with fast packed riffs and an overpowering chorus – this is the track that catapulted the New York three piece into the limelight last summer. With the unforgettably suggestive ‘My body is your body, I won’t tell anybody’, this track will wheedle its way into your head. Describing their sound as “advanced high level sectional articulation” We Are Scientists straddle the gap between darker pop punk and indie chic – and this single is the perfect showcase of their talents. 
Hailing from Wisconsin, Delaware, this indie six piece, follow their album release with the intoxicating Did I Tell You. Twinkling keyboards fade into a wonderfully infectious, bitter sweet track, Nick Krill’s heart wrenching vocals grab your attention, to provide a vibrant and memorable offering. The tracks thunders along with an endearing fuzziness, there’s a mellow shadow cast over the proceedings, it’s a sound you can sink into and enjoy. There’s nothing hugely original or breath taking – but this is a well structured, multi faceted feel good single, that’ll prove a good soundtrack to chilled summer evenings…if summer ever arrives that it. 
French four piece Phoenix precede their third album release with the dynamic and quirky Long Distance Call. Both enticing yet understated as ever, with great keyboard and cross fader effects, it’s a bracing track, with a smooth winding keyboard sound sliding into almost staccato guitar effect on the choruses. Phoenix are essentially a pop band with good dose of indie sensibility, and this track really deserves to enjoy mainstream airplay. With their quirky choppy sound, they apparently revel in their studio time and this shines through in a coherent and beautifully presented single. Vive la France! 
Currently capturing the hearts of the UK audiences on tour around the country, NY alt country singer/songwriter Teddy Thompson has come to our attention, and really hits his stride with a simply exquisite second album. Rich chords, simple melodies layered to compliment his smooth and reassuring vocals, this supremely talented artist really seems to be coming into his own. With guest appearances from Rufus and Martha Wainwright, and Thompson’s musician parents (dad Richard was in folk rock outfit Fairport Convention and mum Linda was a solo artist), the album is over brimming with catchy, endearing and beautiful tracks that really stick in your mind. Title track Separate Ways is a highlight, with it’s moving, touching lyrics, but there’s really no low point in this album that brings together the elements of folk, alt country and rock. A worthy addition to anyone’s record collection. 
Originally formed six years ago in Florida, The Autumn Offering are doing a fine job of mixing old-school metal influences with the speed and fury of hardcore. ‘Revelations Of The Unsung’ (their debut album, originally released in 2003) is bursting with thunderously heavy grooves and gravel-throated vocals, but is set apart from the generic metalcore masses by some amazingly intricate guitar work – such as the Van Halen style shredding on ‘Shadows Of Betrayal’. Keep an eye out for this lot; their new album ‘Embrace The Gutter’ will be released soon.
The Orange County hardcore stalwarts finally return with an absolute stormer of a fourth album. Frontman Zoli Teglas’ soaring voice often resembles that of the Offspring’s Dexter Holland, and much of ‘Our Darkest Days’ is indicative of what the latter band might have sounded like, had they followed a darker, harder musical path instead of writing rubbish pop songs. This is, quite simply, an awesome hardcore record: heavy, yet melodic, and sure to get you singing along with your fist in the air.
Given that Rezurex count members of Tiger Army and Nekromantix among their ranks, it’s no surprise that the Californian quartet’s debut album is a feast of prime quality psychobilly. Imagine the dark, horror-influenced aesthetic of the Misfits (complete with vocals reminiscent of Danzig) paired with the hyperactive pace and style of the Stray Cats; the results are songs like the arresting stomp of ‘Dia De Los Muertos’ and the none-more-black comedy of ‘Everyday Is Halloween’. Truly, ‘Beyond The Grave’ is to die for.
‘A Guide To Better Listening’, more like. S.O.S. hail from New York, and deal a mean trade in raw stoner-punk, in a Corrosion Of Conformity/Helmet vein. Having been together nearly a decade, they’re one well-oiled rock n’ roll machine, ripping through monolithic riffs and squalling solos with no shortage of panache. Turn this one up loud, feel the grooves of songs like ‘Star Killers’ and ‘The Wedding Guy’, and be amazed. The fact that this lot are still unsigned is nothing short of criminal.
Household Name Records have done a lot for the UK punk scene over the past few years, so it only seems fitting that they should release this album; a collaboration between members of various UK bands like The Filaments, King Prawn, Ex-Cathedra and Operation Nailbomb. ‘This Is The Generation’ is a refreshingly raw mix of ska, reggae, punk and dub, along with politically aware lyrics that intelligently tackle subjects such as the July 7th bomb attacks and anti-war demonstrations. A message for the head and a beat for the feet – essential stuff.
If there’s one thing you should expect from a decent crust punk record is that it has to sound fucking dirty and this new 6-song EP from hardcore powerhouse The Holy Mountain is pure filth! Each song is awash with noise, filth and fury, drawing on the raw power of classic hardcore punk bands like Discharge, Tragedy and Poison Idea played with a jaw dropping intensity that can’t be beat. Listening to songs like ‘The Will Of The People’ and ‘Rope Or Bullet’ you can practically see the veins bulging and the sweat pouring from their heads as they pound living hell out of their instruments. This, my friends, is some heavy shit.
I think it was Ozzy that once said ‘you have to have quiet bits to make the loud bits sound loud,’ and the befuddled Brummie metal god hit the nail on the head. Feathers feature Kyle and Asa from the monstrously heavy Witch and Feathers is the light to Witch’s all consuming darkness. Specialising in beautifully chilled out almost medieval folk music, Feathers draw obvious comparisons to Devendra Banhart, but their influences come from simpler times when folk collided head-on with psychedelic music and progressive rock and bands like The Incredible String Band, Comus and Fairport Convention stripped their music down to some of the deepest roots in music. Likewise, this album is full of gorgeous, simple songs that make you want to smash your mobile phone, computer and ipod into a thousand pieces and live in a tent. Perhaps.
Available for the first time in the UK, this is Bedouin Soundclash’s first album showing how the band got started and how they sounded before the success of their ‘Sounding A Mosaic’ album and their hit single ‘When The Night Fells My Son’ awoke the world to their innovative fusion of reggae, rock, punk and soul. With their roots firmly embedded in the ground-breaking sounds of fellow fusion punk bands like The Clash and Bad Brains, ‘Rootfire‘ shows the band finding their sound and feel through ten tracks of smooth , hypnotic grooves and rolling dub bass. The key to their success, however, is that Bedouin Soundclash understand the importance of memorable sound-writing and hooks and while there is nothing here quite as commercial and addictive as ‘When The Night…’ it’s fun listening to them work their way towards that ultimate goal whilst always retaining their roots and a positive vibe.
If you like your classic seventies rock and think you have the best of the period covered with your Led Zep, Thin Lizzy, Black Sabbath and Deep Purple records, think again. If you dig a little deeper and peek under a few stones there’s treasures there that will blow your brain. Captain Beyond may never have achieved the commercial success of the era’s monsters of rock but their debut album is artistically up their with the greats. The whole album just buzzes with genius, classic riffs, jaw-dropping drumming and rhythmic percussion and brilliant songs. Stoner rock greats Monster Magnet covered ‘Mesmerization Eclipse’ and re-invented it for their ‘Twin Earth’ single, exposing the band to a whole new generation of rock freaks. And what’s good enough for Monster Magnet, is good enough for us. 
No other genre of music has revelled in it’s own stupidity quite as much as punk rock. Right from the very beginning The Ramones, who started it all, played up on their lobotomised brain-dead idiocy. The Exploited, however, dragged punk rock to all new lows in stupidity, spitting songs of gang violence (‘Fuck The Mods’) and endless cliches over-simplistic slogans and brain drool. But boy did they fucking rock. The Exploited played some of the most essential high-energy thug rock you could ever hope to hear, appealing to the pent up violent idiot in all of us in a blitzkrieg of knuckle-dragging pure noise and hate. This CD has all of their singles on it (the clue is in the title). It ain’t pretty, but this is the place to go if you just wanna reduce your brain cells without the use of drugs.
Say the name Slipknot and what comes to mind? Masks, Vomit, Blood curdling growls and all manner of ill shit for starters. But slap on this latest disc and be prepared for a shock. Sure you still get the kick in the face slabs of heaviness such as ‘Three Nil’ and ‘The Blister Exists’ along with the fist pounding Kerrang! friendly anthems such as ‘Duality‘ that we’ve all come to know and love from the well oiled 18 legged machine. However there’s a new side to Slipknot these days. A couple of slow paced tracks that you’d more expect to see on the latest Stone Sour record pop in here, and you know what? They’re actually bloody good. Credit must go to the band for mixing things up a bit when they could easily have cashed in with their trademark sound. All in all everything here ties together to form a fresh, varied and ultimately essential record for any collection.
Ill Nino have reached the point in their career where they need a very strong offering to keep up with the modern metal world. Following an interesting debut and a largely disappointing sophomore effort combined with rumours of performing to backing tracks and warring words with former members, it’s essential they pull it off with their third release. Unfortunately, they don’t by far. One Nation Underground is a weak, half hearted attempt at fusing nu-metal with detuned guitars that were popular around 5 years ago and tribal elements. Opening track “This is War” gives you the impression that it could be worth a go and just possibly a sleeping giant of an album, but alas it’s all spectacularly downhill from there. And it’s blatant at several stages that Cristian Machado just doesn’t have the vocal ability to fit into the style which he’s trying to mimic. The best way I can describe this? Soulfly-ExtraLite. And that’s pushing it.
It’s satisfying in this current age where fashion bands and the next fad rule MTV and the music publications – to see a band with genuine and undisputed talent who have quite frankly worked their bollocks off, finally come through to the masses. Opeth are truly a band that you just can’t lump into any genre no matter how hard you try. It’s also possible that ‘Ghost Reveries’ is some of their most accomplished work to date. This disc can only be described as an epic 8 track journey that twists and turns at every opportunity, crushing you at one moment before picking you up and stroking you gently the next. Mikael Akerfeldt has never sounded better, and with striking tracks such as ‘The Grand Conjuration’ and ‘The Baying of the Hounds’ as evidence, it’s hard to think of anything else that should be sat at the top of any music fans collection this year.
Another group who have recently hit the headlines for all the wrong reasons, Static-X are a band who have enjoyed relative success riding on the coat tails of industrial tinged nu-metal. Having replaced the recently incarcerated Tripp Eisen with original guitarist Koichi Fukuda, the band are proclaiming to have gone back to their roots with this their 4th full length release. This is all well and good until you come to realise that this isn’t the direction they should probably be heading in. Nu-metal has had it’s day and the times are a changing as they say. Sure there’s several short (and I do mean short) sharp punchy efforts on here, but there’s nothing remotely substantial or inspiring to speak of. If the band are to stay afloat it’s definitely time to make a few changes and steer clear of the tried and trusted method. One for the diehard fans only I’m afraid.
KoRn, former nu-metal kings of yesteryear re-emerge with their 7th album having freshly signed to new label Virgin and now parading as a four piece thanks to Brian ‘Head’ Welch’s decision to follow Christianity, it’s hard to mention KoRn these days without cringing and waiting for the inevitable barrage of abuse to come. But when they roll out efforts like this you’ve got to ask yourself if it’s really any wonder. KoRn are blatantly one of those bands that just don’t know when to quit. Thriving on making a fortune out of teen angst well into their thirties, the band don’t even see fit to write all their own lyrics anymore. Whether that’s a good thing in the end or not I really don’t know but on this showing it’s definitely time to quit the day job. I’d name a couple of tracks that stand out but in truth none actually do. So to sum up, if you get your rocks off listening to a rich thirty something, rock star singing in a whiny voice about how shit his life is then no doubt you’ll think this is once again a fantastic album. However the rest of us lucifer loving metal fans may just start seeking out god ourselves after being subjected to this.
Raising from the ashes of The Libertines, Carl Barat and drummer Gary Powell are here to wipe the smug grin off Pete Doherty’s face with their debut single BANG BANG YOU’RE DEAD. Produced by Dave Sardy ( Jet/Oasis/Dandy Warhols) it’s the perfect appetizer for their album ( set for release on May 8th) Jumping off with a mournful New Orleans-esque fanfare, the tracks bounces along – with Barat’s wonderfully familiar vocals swinging along with the thumping drums. There’s no denying the single has the same jaunty swagger and the same wonderfully addictive chorus as some Libertines tracks, which leads to the question – can Dirty Pretty Things ever shake off the Libertines mantle, and more pointedly – do they want? With a ready made loyal fan base already in place what more could they ask for? But with 3 ex Libertines in the race now, what of the fourth? I’d recommend putting your money on the dark horse in this race. Ex Libertine bassist John Hassell’s and his as yet unsigned band YETI have just finished a hard slog in the studio – what this space for their debut , they could yet come out on top.
I can’t quite take Fallout Boy seriously now I’ve seen the pictures of guitarist Pete Wentz’s ‘Little Pete’ floating about online, but nevertheless the pop punk pranksters from Chicago demand our attention with their second single Dance Dance. Basically if you liked ‘Sugar We’re Going Down’ you’re going to like Dance Dance; it’s cut from the same cloth, an upbeat anthemic ditty with sing-along choruses, which wheedles it’s way into your head. Some clever little person’s coined the word ‘Mainstr-emo’ and that’s what this is : emo for the masses. Glorious guitars, tambourines meshed with anxious tones coupled with angst ridden lyrics – Fall Out Boy have hit on a successful formula and this rough and tumble single is another notch in their belt ( just keep that belt done up next time Pete..).
The Fades describes themselves as ‘punk soul rockers’ – and they may have hit the nail on the head. CACA bounces out of the stalls with a racing bass, coupled with pulsating drums and jagged guitars. Vocals are almost spoken but it’s the chorus that hits you squarely between the eyes with its contemptuous, in-your-face turns. Ultimately this offering is accessible punk; racing along, twisting and turning with new intensity, there’s a sense of urgency which carries the tracks along. B side Fruit Machine is reminiscent of The Clash, production is raw and unpolished, edgy vocals coupled with dirty guitars – in a world of super slick production and vocals auto tuned to hell The Fades have a real’ sound that’s a breathe of fresh air, and this London based four piece are anything but generic. If you’re sick of of the sugar coated American punk pop and overly produced indie – then THE FADES could be the perfect antidote. 
The self titled mini album from Cincinnati upstarts FIZZGIG is bursting with up-tempo beats, easy on the ear choruses coupled with heavy guitars and endearing melodic lyrics. Tracks seem familiar after only a few listens, there’s nothing overly original or different to make them stand out from the legions of same same pop punk bands out there which is a shame, because ultimately this is a really likeable and talented four piece, who sound like a cross between Weezer and Smashing Pumpkins. But despite the lack of originality, kudos to FIZZGIG for recording and producing this album off their own back and on their own label. With the current love affair with punk tinged power pop this guys will be successful but here’s hoping their next release have a little more of their own identity stamped on it.
With a name like THE ORGAN you’d be forgiven assuming this was a full on grunt-rock outfit, and so it’s a pleasant surprise to find a wonderfully talented quintet of girls behind the name. Hailing from Vancouver, THE ORGAN’s debut UK single ‘Brother‘ paves the way for their album ‘GRAB THAT GUN’, which touches down this week. Tinged with a light melancholy, the track is a simple arrangement, but starkly beautiful. The vocals courtesy, of Kate Sketch, have a tragic air of vulnerability to them. But this isn’t cry-into-your-pillow emo, rather it’s an almost folk meshed indie, and The Smiths’ and The Cure’s influence wheedles it’s way through the track. THE ORGAN prove to be an unexpected treat, their atmospheric, poignant take on life is both charming and uplifting. 
If you like loud, fast, chaotic rock n’ roll, then you ought to like the Dead Pets – it’s that simple. Imagine Motorhead brawling with Madness for the last can of super-strength cider in the fridge; a mix of buzzsaw guitar and brash horns that’s guaranteed to get any self-respecting punk rock fan dancing. Smart, and often side-splittingly funny, ‘Village Idiots’ sees the band taking issue with the tabloid mentality (‘If It Sells, It Sells’), drug addiction (‘Mother’s Ruin’) and debt problems (‘Never Never’) with no shortage of tunes or charisma. They’re probably playing near you soon; you know what to do.
The colourful Swedish rockers have returned with another helping of Stockholm-via-Sunset-Strip rock n’ roll, and boy, does this one taste good. Hellacopters main man Nicke Andersson is on production duties; and there are echoes of his band on the swaggering riffs of ‘Cockblocker Blues’ and the soulful ‘Roads‘. For the most part, though, it’s bubblegum sleaze punk anthems of the highest order, with the chorus of ‘Dysfunctional Professional’ sure to lodge itself in your brain within first listen. A life affirming record that is best enjoyed with the volume cranked up and the booze flowing freely.
The term ‘metalcore’ is fast becoming a dirty word, largely due to the legions of bands peddling plagiarised Iron Maiden riffs over a horribly over-produced approximation of hardcore. So be grateful for the existence of Darkest Hour, a band who inject some much needed intensity and integrity into the genre. This re-release of their second album (from 2001) hits home with the force of a fully grown tiger chasing a wounded wildebeest; with all the speed, roaring and shredding you could wish for. The two bonus tracks are highly worthwhile, but the real surprise lies in what follows you’ll have to discover that for yourself, though!
Welsh trio Mclusky were never really afforded the recognition they deserved, despite three excellent albums and some frenetic live shows. Finding themselves in a scene awash with Strokes clones, they took a raw garage punk sound and twisted into bizarre new shapes, topping it off with a dark, often-sarcastic sense of humour. Songs like ‘Joy‘ and ‘To Hell With Good Intentions’ rock in a Sonic Youth/Pixies manner, with a shot of small-town rage thrown in for good measure, and there are doubtlessly many more treats to be found on the b-sides and rarities CDs (available as part of a limited edition 3CD set). Sadly, they split up last year; but here’s your chance to catch up on what you might have missed.
The legendary New York hardcore stalwarts have been in the game for twenty years now, and ‘Death To Tyrants’ is proof enough that they’ve lost none of the righteous fury and urgency that made classics like ‘Scratch The Surface’ so compelling. There’s no showing off here; just track after track of fast, furious, no-frills hardcore, with potential future live favourites in the likes of ‘Die Alone’ and the heavyweight riffing of ‘Uprising Nation’. There are many younger bands out there who’ve taken inspiration from Sick Of It All‘s legacy, but on ‘Death To Tyrants‘, Lou Koller’s crew have struck a hefty blow for the old guard.
Chances are that whether they realise it or not, everyone has either seen or heard Cannibal Corpse at some point in their futile lives. Though they made a little-known appearance in the Jim Carrey classic ‘Ace Ventura’, the aptly titled ‘Kill’ is yet another mainstream-loathing and delightfully disgusting masterpiece from one of death metal’s longest serving legends. Let the bloodbath begin. 
Hailing from Greensboro, North Carolina; Facedowninshit melds the ethos of hardcore and punk, the sincerity of blues and a forceful urgency to create their own unique brand of southern fried dirt metal. With latest opus ‘NPON‘, the trio have delivered the type of honesty that resonates in every word, every riff, and through every last drum beat. Pure sludge brilliance. 
If you were unfortunate or just plain stupid enough to miss Lamb of God’s now infamous Metal Blade / Prosthetic released debut ‘New American Gospel’, then on April 17th comes to chance to redeem yourself. Re-packaged with 4 bonus tracks including the fan favourite rarity ‘Nippon‘, this was to be the album that would lay down the foundations for modern day metal as we know it.
Much like fellow underground royalty Eyehategod (of whom they share six-stringer Brian Patton), New Orleans’ sludge-metal masters Soilent Green are undoubtedly one of heavy metal’s most criminally unsung heroes. Hailed as one of the genre’s “top 10 most important bands” by US super-mag Rolling Stone, ‘Confrontation‘ is possibly the most devastating and intensely focussed album of their career.
Within 12 months, chances are that any self-respecting metalhead will know the name Sylosis. The Reading based quintet are one of the UK scene’s fastest rising and most talented prospects; currently attracting various major label interest with a blistering concoction of classic and contemporary metal ferocity. Beat the rush and pick up a copy of their forthcoming ‘Casting Shadows’ EP to discover the UK’s next breakthrough sensation. 
From the mid to late eighties, Heresy were the absolute kings of the UK hardcore scene. They were blindingly fast and heavy, yet their short and viciously sharp songs were infected with enough buzzing riffs and melodic hooks to keep you coming back for more. In short, they wrote good songs! Their live shows were heroically high energy affairs, with each member high jumping around the stage as each track exploded into life. They only ever recorded one full length LP, reissued here with twelve bonus tracks recorded in rehearsal. The album’s original recording was plagued with problems and the band were never happy with the thin, tinny sound they got from the studio but had no money left and no other choice than to go with what they had. The songs themselves, however, made it all worth it and the album still did well on release. Thankfully, this reissue has been completely remastered and ‘Face Up To It!’ finally has the punchy sound it deserves. A must for fans of real hardcore.
Talking of real hardcore, let me introduce you to the sheer raw power of The Horror. Fuck all of that metal shit masquerading as hardcore, this is the real deal. Fast, pissed off and utterly direct, The Horror plug into the roots of hardcore, feeding off the power of seminal bands like SSD, Void, Negative Approach, DRI etc and spewing them back into the present in a wave of bile and hate. This is vicious stuff. Their second full album and just as short and razor sharp as before. They’ve certainly not fucked with the formula and stick to what they do best. 
When Black Sabbath single-handily created heavy metal back in 1970 with their dark, morbidly black debut album, greasy haired teens the world over filled their lungs full of thick dope smoke and took their cue to take rock music in a much heavier, darker direction. Pentagram hailed from Washington DC and throughout the seventies created some of the best and most influential doom rock, combining those classic Tony Iommi riffs with the heavy blues of the Groundhogs and The Who and the obscure, twisted heavy rock of Sir Lord Baltimore and Captain Beyond. Although the band came very close to success throughout the seventies, that big record deal never came their way and it wasn’t until the eighties that they finally started releasing records. But their seventies material is the best and Relapse have done the right thing and expanded on their previous demo collection with this double CD of primal rock grooves. Unmissable.
In many respects, the art of the compilation album is dead. Destroyed by endless record label samplers, magazine giveaways and thoughtless cash-ins, to find one with some love and passion put into it is rare. Anyone old enough to remember the joy of compiling a compilation tape for a friend will be able to relate to this. Hours were spent selecting and compiling, sometimes working to a theme, sometimes just selecting your choice tunes of the week. Well, ‘Creative Outlaws’ has that vibe. Created from American Underground music recorded between 1962 and 1970, ‘Creative Outlaws’ is the perfect title for this collection of freaks and misfits, ranging from the blasting rock of Hendrix and MC5 to the weirdy-beardy lunacy of Captain Beefheart and The Fugs, this is a truly challenging romp through the American Underground when the times they were a changing. A true piece of history.
Although this is their first album in three years, usually prolific Norwegian art-rockers Motorpsycho have not been lazy in their absence. ‘Black Hole/Blank Canvas’ is a double album of sprawling moods, sounds and styles. Mixing indie, post-punk, stoner rock and Krautrock to stunning effect, this is constantly challenging and absolutely never boring! Songs like ‘No Evil’ ride that difficult divide between experimentation and melody, making sure the songs still have enough hooks in them to keep reeling you in like wet flappy fish whilst never resorting to the obvious or retracing their steps. Great stuff. Highly recommended.
It’s punk rock. It’s not rocket science. Or brain surgery. Or a really tough round of ‘Who Wants To Be A Millionaire’. It’s simple, it’s direct and it can’t be beat. No Trigger hail from the East Coast and deliver here twelve tracks of solid gritty punk rock that is jammed full of killer melodic hooks with more energy than a gang of kids cut loose in a Red Bull factory. Taking their influences from classic melodic punk bands like Lifetime, Hot Water Music and Jawbreaker, No Trigger are emotional without being emo and tough without being hardcore. Like we said, there’s no game plan, no hidden agenda and no blatant attempt to cash in and make their money on the commercial punk circuit. This is the real deal and every song sounds like the band are putting everything they possibly have into their music. Real and raw, just the way we like it.
To understand Venom you really had to be a teenager in the mid-eighties. They had everything any pissed off teenager could want; they were horrendously loud and brash, blatantly satanic and crammed full of occult imagery, explosions, death and skulls! Having practically invented black metal back in 1981, the band are back again to reclaim their crown as the heaviest and sickest band on the planet. And although ‘Metal Black’ doesn’t feature the original Venom line-up, newer members Antton and Mykus do a fine job of backing up original singer/bassist Cronos’ demonic howl. Sure, songs like ‘Antechrist’ and ‘Death & Dying’ are not as raw and harsh as the original classic Venom material, but they’ve created a dense heaviness here that they should be proud of. Their UK tour in March promises to be explosive. Don’t miss your chance to see this classic UK metal band.
The fact that Fixit Kid had to form their own label in defiance against the many independent labels that felt the band didn’t fit any particular genre says all you need to know. In an age when, more than ever, music is tidied away into neat little boxes ready for mass consumption, Fixit Kid’s stubborn refusal to fit-in must be encouraged.
Here’s yet another incredible album of rock action from the fine folk at Deranged Records who just keep on pumping out the hits. Following hot on the heels of recent godlike releases from Career Suicide, Dead Stop and Fucked Up, Brutal Knights effortlessly fuse the sheer speed and raw power of early eighties hardcore with the gurning garage punk of bands like Zeke and the New Bomb Turks. It’s an awesome mix and thunders along at break-neck speed, played at maximum intensity with all the suitably of a band that sound like they’ve had their fingers removed and replaced by hammers to play their instruments with. They’re from Toronto, we’ll probably never get to see them live but fuck it, buy this CD, turn it up and peel your own skin off baby.
You’re not going to be able to move for teary-eyed nostalgia for the 30th anniversary of punk this year and while all and sundry will be waxing lyrical about the Sex Pistols and The Clash, you can bet The Ruts will hardly get a mention despite the fact that they are, without doubt, the greatest punk band off all time. This CD does exactly what is says on the tin and collects all of the bands single tracks, combining both A and B-sides for an unbeatable collection of punk rock energy. Who knows what this band would have achieved had singer Malcolm Owen’s dumb heroin death not cut their career so cruelly short. Despite that, they left behind some incredible recordings and still inspire to this day. Do yourself a favour. Buy this.
In the summer of 2002 came an album that was to change the face of modern day metal as we knew it. A jaw-shattering mix of thrash metal mayhem with a melodic hardcore twist, Killswitch Engage laid down the foundations of metalcore for the hundreds of clones that would follow. Re-packaged with a bonus disc containing previously unreleased live and demo materials – as well as exclusive band member interviews – this is one album you can’t afford to miss out on again.
Hailing from the deepest and darkest depths of California’s death metal underground, Suicide Silence are possibly one of the most sonically terrifying bands to grace the planet thus far. It’s no coincidence that their very name portrays a self-destructive death, because this torturous collection of vengeful screams and drums capable of drowning out even the most violent of stampedes; the great unknown is almost certainly the only escape from terror. Utterly devastating.
Fewer bands have come in for more stick in recent years than Brazil’s thrash veterans Sepultura. Though the initial material that followed front man Max Cavalera’s sudden departure in 1996 would be less than inspirational, the follow-up to 2003’s promising ‘Roorback’ is an undeniable sign that after almost a decade of apparent struggle; Sao Paolo’s finest are ready and raring to reclaim their crown as one of metal’s true leading lights.
Pantera. Crowbar. Corrosion of Conformity – the list is endless. Groove-laden heavy metal peppered with raw hardcore attitude and deep fried in a crunchy southern batter. While Atlanta’s Organ may not yet have achieved the same stellar status as the aforementioned greats, ‘Volume of Hate’ is a foot-stomping and spine-shattering statement of intent – and one that may just be the missing spice in the secret ingredient to future success.
They may hail from the Northern America heartland of New Hampshire, but with whisky-soaked vocal harmonies and riffs the size of bulldozers; Scissorfight are living proof that the South is by no means the only place to have a good time. Their first full-length in almost three years, ‘Juggernaut’ is packed full of bottle-smashing anthems capable of getting even the most raging rockaholic absolutely shitfaced. Hold on to your beers.
This one isn’t for the faint-hearted. How can three good-looking Essex lads have created such a twisted, cynical and downright malevolent debut album? Musically reminiscent of ‘Troublegum’ era Therapy? and the Pixies at their most abrasive, Engerica’s not-so-secret weapon is the Jekyll-and-Hyde persona of frontman David Gardner, who unleashes semi-garbled lyrical hell and razorblade guitar on eerily insistent anthems like ‘Funeral Song’ and recent single ‘The Smell’. One of the best British debuts in recent memory – misanthropy has rarely sounded so good.
Formerly the singer of LA art punk legends X, Exene Cervenka’s early solo efforts went largely unnoticed, but 2002’s self-titled debut Original Sinners album was a real return to form. ‘Sev7en’ is arguably even better: a clutch of melodic folk-punk songs with hints of country and rockabilly, refreshing in its musical simplicity. Among the highlights are the arresting stomp of ‘Sky Blue Pink’ and the semi-acoustic lilt of ‘Tavern’; both sounding oddly upbeat, given the often serious lyrical matter. Quite simply, a great American roots record with a strong rebellious streak.
NYC based rapper MC Lars describes his music as ‘post-punk laptop rap’- intriguing, eh? This, his second album, includes amusing fictional tales (‘The Roommate From Hell’), critiques of the record industry and commercialisation of alternative culture (‘Hot Topic Is Not Punk Rock’; ‘Download This Song’), and even a warning of the perils of chat-rooms (‘Internet Relationships’), whilst incorporating samples from diverse sources such as Iggy Pop, Supergrass and – ahem – the ‘Tetris’ theme tune. Both entertaining and thought-provoking, Lars is clearly on to something here. He’ll be touring the UK in April.
Imagine a gang of Mancunian ska-punkers going nuts with a sampler and with a hyperactive female MC on lead vocals; the result is one of the best live bands around. This is a mini-compilation, including eight tracks from the band’s two EPs (‘Sounds To Consume’ and ‘Turbo’), four demos and four remixes. For the most part, it’s highly addictive stuff; a musical melange of ska, dub, hardcore, funk and hip-hop, all topped off with socially-aware lyrics and a renegade attitude. It’s the sound of a British multicultural band with something to say; you’d be well advised to listen up and to get dancing.
Swedish rockers Diamond Dogs formed over a decade ago, but have only just got around to their debut UK release. Listening to ‘Bound To Ravage’ will make you wonder why they took so long; as this 12-track compilation is bursting with quality rock n’ roll tunes in a Hellacopters/Quireboys/Hanoi Rocks vein (the Hellacopters’ Nicke Anderson even provides guest vocals on ‘Gotta Be Gone’). There’s a storming opener in ‘Sad To Say I’m Sorry’, the brass-laden brilliance of ‘From Now On’ and a couple of heartfelt weepies in ‘Somebody Else’s Lord’ and ‘Passing Through My Heart’. Listen to this one in a smoky barroom with a large JD and coke to hand; it’ll make perfect sense.
This debut single from the London 3 piece is anything but run of the mill. ‘All Ones and Zeros’ bounces out of the gates with a soaring beat, followed by raw guitars, building up your expectations for a strong vocal to kick in…but it never really does. But therein lies the charm of this band, all three tracks on this debut are mood and emotion driven – drawing on the bands main influences of more experimental bands and movements. If you’re expecting catchy hooks and melodies, then you’ll be disappointed – these guys are on a different level and are unlike anything else out there. Psychedelic guitars and some out of this world effects pedals harp back to the 60’s s, and combine to make one of the most original ambient sounds out there. If you’re sick of the same same stuff out there, ignore the emo-esque band name and shrug this on for size.
When the major-signed Audiovent faltered, guitarist Ben Einziger and bassist Paul Fried rejected the idea of going back to a 9-5 job. Instead they bought together a new act in the form of Agent Sparks, whose debut on Immortal Records is a really promising, gutsy indie/pop EP which really delivers. From the onset guitarist Einziger’s vocals bond perfectly with Stephanie Eitel – who was bought on bought onboard on the strength of her lyrics and vocals -and what a contribution she brings to the table. She has a catch to her voice which seems to really emphasise the captivating pop punk choruses, and extend lyrics further than just mere words. It feels like they’re really finding their feet with this album, each of the 5 tracks has it’s own identity, ranging from the poppy ‘Choke‘, the angsty ‘Mr Insecurity’ and the crunching guitars and heavy bass of ‘So Long, Darlings’ All in all this is an exciting and enjoy able EP from a band who, with some direction and focus in the new recording could really become a force to be reckoned with.
Every so often you come across a band that you really can’t label, and Young People is one of those bands. Made up of three friends, the multi talented Katie and Jeff Josenburg and Jarrett Silberman, they are almost a mini Arcade Fire, swapping instruments between songs and producing an array of moods rather than prevalent verse-bridge-chorus tracks. Katie’s vocals are raw and almost sound disjointed from the rest of the recording, sometimes swinging to southern soul and other times almost veering towards native american chanting – someone pass the war paint please. The production is simple, stripped down to the bare minimum, the sound clear and pure. This experimental album is an antidote to today’s mainstream, but could be too way out there for most.
Dirty Perfect are a bit of a global group, hailing from Cardiff – via Manchester, Australia and New Zealand – and yet they sound like a dirty American garage band mixed with a hefty dose of British cynicism and talent. If you’re looking for a kick arse EP to pick up your spirits look no further – these guys storm through a pitifully short track listing with attitude, raw energy, a spot-on mix of hooks, ripping guitars and angry vocals – it’s no wonder they’ve been enjoying Radio One airplay already. ‘Condo Royale’ is a dramatic affair, whilst ‘Scheme Eugene’ rips through you with a smile- all tracks maintain a gloriously sleazy air without becoming too fuzzy or confused. I! t’s been a while coming but this EP almost does everything is says on the tin, yes its beautifully dirty..and it’s not far off perfect either.
East London’s BOY KILL BOY really shift up a gear with this disco-fantastic indie twist of a single. Dramatic and sharp vocals courtesy of front man Chris Peck pull the track together -the production is bright and clear, the disco vibe making this an instant dance floor filler. They’ve been described by one music rag as a split between The Smiths and Hard-Fi (who they toured with last year) and add a heft dose of The Killers spongy verve into the mix and you’re not far off. Whilst the overall tone is upbeat, there’s darker undertones which hopefully Muse/Razorlight producer John Cornfield will coax out of them with the upcoming album, which if it’s anything as good! as this sampler is going to be very exciting indeed.
Throwing a spine shattering nod towards the early 90’s death metal glory days, as well as contemporary hardcore-meets-thrash mayhem, Through The Eyes of the Dead are one of modern metal’s most terrifying acts. Alongside such fellow genre heavyweights as The Black Dahlia Murder they’re a band pushing sonic extremities to the next level, with new album ‘Bloodlust‘ acting as a devastating blueprint for the future generations.
With possibly their biggest and best sounding effort to date, Norwegian black metal leaders Dimmu Borgir further extend their lead at the front of the pack with an astoundingly epic soundscape. Re-recorded, re-produced and totally revamped, this stunning hour long take on their previously released ‘Stormblast‘ album surpasses all previous works and expectations; and is a must have for any and all followers of the dark side.
Only such historically repressed eastern European nations as Poland could produce such ferocious and utterly horrifying bands as death metal superstars Decapitated. Their fifth release to date – and first with new vocalist Covan – ‘Organic Hallucinosis’ is the next step towards total domination. Relentless, venomous and with more shit-kicking grooves than you can shake a stick at, it’s the petrifying soundtrack to future glories.
Hailing from the grunge capital of the world, Seattle quintet Himsa set out their stall to bring further accolades to the Pacific North-West with new album ‘Hail Horror’. A foot-stomping mix of contemporary thrash and heavy hitting hardcore delights, if ever and album were to rebuild the cities previously gloomy image into a new and exciting heavy metal heartland; there’ll be few more capable than this.
In a metal world seemingly dominated by overseas exports, Manchester four-piece I-Def-I look set to become one of the UK’s leading insurgents. Having secured previous high-profile support slots with everybody from cyber-metal overlords Fear Factory to legendary politi-punk maniacs Killing Joke, newly released EP ‘Bloodlust Casualty’ may just be the groove-laden ammunition needed to blast opposition forces into oblivion.
Damage Case is the story of Lemmy’s musical projects outside of Motorhead. Side projects and collaborations have been frequent events in Lemmy’s career. This two CD set features the best of his work outside of Motorhead, starting with his first sixties beat band The Rockin’ Vickers and moving through the spaced-out psychedelic sounds of Hawkwind and Sam Gopal. You also get the infamous collaborations with shrieking female rockers Girlschool and Wendy O Williams, on top of a multitude of oddities, cover versions and studio freak outs. In short, this is the perfect addition to any Motorhead collection with plenty of surprises along the way!
Somewhere along the way what makes a true hardcore band has become confused and blurred. Much of what passes for hardcore in the mainstream today is little more than souped up death metal. Dig a little deeper, however, and you find bands like Belgium based Dead Stop who understand exactly what was truly exciting about the original early eighties hardcore explosion, blasting through an eleven track album in just over eleven minutes! Dead Stop, you see, understand the real excitement in hardcore is in it’s sheer speed and ‘Live For Nothing’ doesn’t let us down on that front, thundering along at a ferocious place as each song explodes into life before grinding to an abrupt halt. Utterly explosive!
There’s something immensely evil and unsettling about bands from Texas. Look at the Butthole Surfers for fucks sake. Must be all the lysergic cactus in the desert. The Sword sound like they’ve been munching on them for breakfast as their epic slabs of metal are both tripped out and psychedelic, yet as tough and brutal as anything High On Fire could muster. You’re going to be hearing a lot about this band over the coming months because metal really doesn’t get any better or more powerful than The Sword. Start sharpening your blade now!
Imagine a world without the internet and the communication we take for granted today. There’s no myspace, no email, no texting, no nothing. Yet, in the mid to late eighties, inspired by the militant independent stance that Anarchist punks Crass instigated, hardcore punk scene flourished with bands such as Napalm Death, Heresy, Ripcord and many more trading music, ideas and gigs through a network of fanzines and hastily scribbled letters. Pleasant Valley Children were one such band. Having existed between 1988 and 1991, they were as fast and thrashy as their contempories, but stood apart from the pack by adding a dark, quirky twist to their music combined with intelligent and satirical lyrics and imagery akin to the Dead Kennedys at their most confrontational. There’s forty tracks on this CD in total and every single one of them will melt your mind.
When two US hardcore punk legends unite to vent their rage against George Bush and American politics, you know the end results are going to be ferocious. Report Suspicious Activity is the work of Vic Bondi (formally of Articles Of Faith and Alloy) and J. Robbins (of Jawbox and Burning Airlines fame) who together have created a record of immensely heavy proportions. Unsurprisingly sounding like a cross between Jawbox and Articles Of Faith, with some Helmet style metallic noise thrown in for good measure, it’s refreshing to hear two of the older guard so riled up and angry by the state of the world. Now if only the younger generation could be bothered to give a shit.
It’s always a pleasure to uncover a total gem of an album sitting on the shelf and this is a beauty. We Will Be Pilots’ are part of Captain of Industry’s growing stable of unfettered talent and this mini album is over brimming with fuzzy unpolished vocals, catchy hooks and a tight guitar disco-vibe sound that hits the spot. The storming ‘We are Not The Doctors’ rampages out of control with a growing sense of urgency – pop punk seared with screamo (without the caterwauling vocals) pounding out like a wrecking ball to the senses. This London based four piece have all the ingredients and talent in bucket loads – the only bad thing about this album is that the ride is over all too quickly.
Loughborough four piece The Voom Blooms’ are currently plotting the seduction of NME Club tour goers with their killer live sets. Their debut single ‘ Politics and Cigarettes’ and B Side ‘ Thoughts of Rena’ are both stand alone pieces that form the perfect introduction to this exciting new talent. Politics kicks off with a shuddering beat and a quiet confidence that belies the fact these guys! haven’t even been together a year. There’s an Interpol/Bloc Party vibe, vocals are clear cut and unhurried with emotion driven guitars kicking off with swagger. The Voom Blooms stake their very valid claim on the british indie scene with this single – roll on the album.
In this fourth album Beth Orton has pulled in producer Jim O’Rourke (Sonic Youth) and the result is a dusky, soulful and chilled offering. She almost nurtures the listener with her soothing vocals, twinkling percussion, scratchy guitar sound and reassuring lyrics. This is more alt country than her earlier folk releases, but less morose with warm harmonies and romance ( Feral Children ) and even uplifting ( Heart of Soul) . The album as an entirety is beautiful and moving in places, but is one for the fans. Orton has struggled to find her own musical identity and one might say that she’s almost playing it too safe here with an album that promises a warm fuzzy glow but gives few thrills along the way . Having been described in the past as the more alternative Dido, this album won’t go far to shrug off that mantle.
Morning Runner are being touted about as the next big thing, so does this album live up to the hype? Well..yes and no. Having seen an awesome live performance from this band I was left feeling much like I did on Valentines Day..a little disappointed having got my hopes up.. but not really surprised. Some tracks are sublime – clashes of crunching guitars, storming vocals and inspiring melodies (the epic Burning Benches and Gone up In Flames)..whilst some just fizzle along the same same indie schmindy schmaltz. It almost feels like they’re reeling themselves in to appeal to the mass James Blunt loving markets – instead of unleashing their raw and original talent. Having said that I could be totally wrong and they could be very happy sounding like the love child of Coldplay and Starsailor in some tracks. You’re left feeling this band have a hell of a lot more to give – but unfortunately not on this album.
Totally disregarding the poignant A side from The Magic Numbers ‘ I See You, You See Me’ the real star of this release is the B side version of ‘Forever Lost’ as performed by the 29 10 and 11 years olds from Timsbury School in Bath. Having chosen The ‘Magic Numbers’ as their bands of the year, their teacher got in contact with the band via the message board and lo’ and behold, a few months later the kids are singing away at Real World Studios. No there’s nothing dynamic or earth shatteringly amazing about the track, it’s cute and a little saccharine sweet- but with some bands with ego’s barely fit through the door – isn’t it refreshing to hear that some bands really do look after their fans…even if they’re only 10 years old. Buy it and give it to your Mum for Mother’s Day – she’ll get all misty eyed and you’ll get your washing done for months.
Granted, this is just a sampler CD, but it certainly bodes well for Bullets And Octane’s forthcoming album (expected sometime this spring). This Orange County quartet play fast, raucous, Supersuckers-style rock n’ roll at its finest; with the likes of Going Blind and My Disease sounding like the aural equivalent of speed-biking down Sunset Strip with one hand cranking the accelerator and the other clutching a bottle of JD. Hurry up with that album, guys! They’ll be touring the UK with Avenged Sevenfold in March.
All ye who worship unashamedly at the altar of the guitar riff, make way for Rye Coalition and their new EP. Hailing from New Jersey, these guys sound like they were raised on a diet of Led Zep, AC/DC et al, and they spit these influences back out in the form of short but addictive anthems like Pussy Footin and Burn The Masters. It’s highly invigorating stuff, and in case you’re not convinced yet, did I mention that both this EP and the band’s forthcoming album (Curses) were produced by a certain Dave Grohl?
The veteran Yorkshire gothic rockers return with arguably their best album in years. Paradise Lost haven’t so much changed their sound as refined it for this self-titled effort, which boasts a clutch of muscular yet melodic metal anthems. Don’t Belong and Accept The Pain are sure to be future live favourites, whilst’Grey and Forever After are an indication of where the likes of HIM may have found their influences (they’ll need to listen to more Black Sabbath to be as good as PL, though). Here’s hoping the band get some much-deserved recognition for this one.
Given that Babar Luck played bass in King Prawn for several years, it’s no surprise that his solo debut boasts the same bold, inventive and musically multi-cultural streaks of his former band. Care In The Community combines elements of folk, dub, ska and hip-hop into memorable, socially-aware songs. Check out 1 Luv and Lions to get your feet tapping, whilst the closing Inner Glow shows the more reflective side of Babar’s coin. It seems lazy to mention the Clash here, but it has to be said that Joe Strummer would be proud.
Arguably one of the finest traditional ska bands around, the New York crew return with a stunner of a sixth album. Immediately more accessible than previous record Close My Eyes, Peculiar was partly recorded live, and captures the band’s onstage passion in songs that touch on both political and personal issues. Propaganda, Set The Girl Free and What Went Wrong are among the highlights of a record bereft of duff tracks; this is quite possibly the Slackers’ best effort to date. They’ll be touring the UK in April – go see.
However, that was then, and this is now. A new year with new and exciting musical prospects awaits us, and already it’s looking to be a corker courtesy of our very own speed metal merchants Dragonforce and their stunning new album Inhuman Rampage. Having spent the past 3 years mesmerising audiences up and down the country – as well as several jaunts through Europe and a US debut at the legendary CBGB’s – the time has come for the London sextet to make their mark the world over. Boasting staggering dual guitars, swirling keyboard and larger than life vocal harmonies; they’re simply the type of band that comes along once in a decade. Grab your swords and prepare for battle.
Waving the flag further for our fare isles are Scotland’s Mendeed and their brutal Rising Records debut This War Will Last Forever. Don’t let the appearance fool you. These cheeky chappies may look like the type of young man Zac would love to take home to mummy, but armed with such sonic tongue lashings as The Black Death, the Glaswegians may prove to be one of the biggest success stories of the coming months. Pick up your copy from February 6th at all fine retail establishments.
Rarely equalled and almost never outdone, the coming weeks are shaping up to be equally electrifying courtesy of our friends from the great north Children of Bodom, accompanied by fresh offering ‘Are You Dead Yet?‘. The thrash-rock quintet may be regular chart toppers in their native Finland, but with fist-pumping stompers like current single ‘In Your Face‘ there can be no doubt that this is a band unaffected by such mainstream statistics. Dynamic, blistering and as heavy as your daddy’s ball sack; Children of Bodom are here to change your life. 
Following the somewhat lacking Reroute To Remain and the steaming pile of nu-metal crap that was Soundtrack To Your Escape, In Flames fans the world over had been praying that with the impending Come Clarity the Swedish five-piece would at last return to their death metal routes; placing themselves firmly at the top of the continents ever impressive pile once more. Unfortunately for those teenage angst-bags, this is not the case, but the result is never the less a mature and expertly prepared piece of contemporary music. With such ambitious efforts as the female-led (OMG11!!!one!1) Dead End there can be little doubt that the golden boys of Gothenburg are firmly back on track. Catch them on tour throughout the UK with thrash legends Sepultura in the coming months.
Before a certain Mr. Robb Flynn decided to permanently alter the face of 90’s metal with popular beat combo Machine Head, he spent his time in hi-top sneakers and scandalously tight trousers thrashing his way through the Bay Area scene with the legendary Vio-Lence. Focussing more on beating the living shit out of their instruments than the technical proficiency of their peers, the fruits of their labour undoubtedly came into fruition with 1989’s cult classic Eternal Nightmare. Featuring a bonus disc containing a full live set from the band’s 2001 L.A. re-union, it’s a purchase irrefutably worth a few of those hard earned pennies.
As we often do in these here parts, the best has most certainly been left for last, as we present to you the brilliant new album from the Devin Townsend Band in the form of Synchestra. While many will recognise the terrifying front man as the dark and sinister force behind shit-kicking maniacs Strapping Young Lad, the DTB sees Canada’s resident lunatic engaging more in creating classic, unpredictable prog-rock masterpieces than devastating cyber-metal soundscapes. A stunning and beautifully crafted piece of music – featuring guest spots from none other than guitar overlord Steve Vai – there are unlikely to be many contenders for Album of the Year even at this early stage. Quite simply; you need this album in your life. Prepare to be born again as of January 30th.
Ryan Adam’s latest offering harks back to his whiskey town roots. It’s a welcome return to his bluesy guitars, drawling vocals and alt country vibe which made 2000’sHeartbreaker so acclaimed. Produced by Ethan Jones tracks meander from the distressing overwrought love songs (The Sadness), to simple guitars (Starlite Diner) to the almost upbeat (Blue Sky Blue). Adams seems in touch with his own mortality and this poignant, emotional charged album from a talented songwriter.
Straddling the line between indie and pop punk California based We Are Scientistsare keeping it real with their debut EP. Singer Keith Murray has a seductively great voice, and coupled with intense guitars seemingly bursting out of every track, and sing-along chorus lines, they give it there all in every track ( Can’t Lose stands out) – and whilst this isn’t the greatest album ever recorded – it shows a hell of a lot of promise.
Don’t let the unbelievably twee name put you off. Somewhat deranged – sometimes slurred sometimes energetic – vocals courtesy of enigmatic frontman Alan Ounsworth are churned up with bouncing drums, jagged guitars and a retro pop vibe not unlike the Artic Monkeys. Pointless instrumentals are forgotten as the Brooklyn five piece toss and turn, shimmying through Self recorded and self released – it’s a scrappy album that is anything but forgettable.
TEAM’s second album comes blasting out at the listener with unabashed ferocity. Bass heavy, thumping beats recreate their powerful live act, and there’s more a little nod to 80’s/90’s hair metal – which is probably why this album is so intoxicating – it’s four guys really going for it. The Guilty Language Of Gossip stands out, and whilst the album’s not some high brow statement – it’s refreshing to have a band do away with the bullshit and just rock out.
The much anticipated second album from irish singer/songwriter Hayes is a somewhat more commercial offering than her Mercury nominated debut. The same melancholic undertones are mixed in with almost toe tapping beats, multi track guitars layered into beautiful melodies. Stand out tracks Happy Sad and Helen show Hayes, who struggled with writer’s block with this album, has much more to give.
Hailing from Tokyo, the legendary Guitar Wolf formed in the late 80’s, and ever since then the trio have played loud, fast, dirty punk rock n’ roll like it oughta be. With a terrifically raw production that many of today’s
2006 looks set to be the Year of the Dragonforce, as the multi-national, London-based quintet return with arguably their best effort to date. The band’s usual trademarks are present and correct: soaring vocals,
All you eyeliner-wearing, riff-plagiarising metalcore types can start quaking in your boots, because here comes the debut Some Girls album to put you all to shame. Featuring members of bands like Give Up The Ghost and The Locust, ‘Heaven’t Pregnant Teens’ was never gonna be easy listening; thirteen beautifully chaotic, frazzled blasts of hardcore noise that at first seem almost unlistenable, but will soon grow on you in their own sinister way.
Roll up a fat one, because it’s time for a dose of prime Scandinavian stoner rock. Yep, Dozer clearly love their Sabbath and Kyuss records, and aren’t afraid to let these influences show on their fourth album. Whiskey-soaked vocals, gigantic riffs and thunderous grooves are here in abundance – and as if that wasn’t enough, Troy Sanders of the almighty Mastodon pops up to lend vocals on ‘Until Man Exists No More’. Be sure to turn this one up loud.
The Wildhearts frontman finally returns after a troubled 2005, with his most personal and varied record to date. Taking in nineteen tracks over two CDs, the quality control occasionally dips, but anthemic efforts such as ‘Mother City’ and ‘The Man Who Cheated Death’ are amongst the best songs the flame-haired one has ever recorded. The ‘Ginger and the Sonic Circus’ live show also comes highly recommended.
A fairly new 2 piece that is slowly taking the world by storm. Their albums are always sold out, at gigs, Amazon, and most stores. So if you see one grab it! They have a BIG sound for 2 people. A voice as smooth as honey masks the dark, pretty fucked up lyrics. A heavy Rock-a-Billy base-line feel meets electro punk. Their truly bizarre stage presence exudes through this album. A purely addictive album, from an equally addictive band you will wish you could mainline.
A feel good album for those chilled or, hung-over days. An emo album, that separates itself from the rest by its clean sound. Another successful side project by Jonah, a vital voice in laying the brick work for the emo movement as a whole. The right amount of layered sound to give it depth, without over-complicating and washing out the sound completely!-which I find a common error for most emo bands. The lyrics are about day-to-day life, getting by and moving on. Positive enough for you not to want to slit your wrists after the first 5 tracks!~which is always a bonus. A balanced mix of fast and slow tempo songs. This album will easily hold your attention for the full generous 12 tracks.
Retro-rock from Sweden, donned by a few out-of-the-ordinary sounds. Strong guitar, strong baseline, keyboard under currents and …tambourines? Great harmonising. Good balance of female and male vocals. Love at first listen. Lyrics to melt your heart and, rhythm to get those feet moving without you realising. This band might not be the most popular, they may be new, but they have a formed unique sound. With only a few singles paving the way to this full length, they have done a splendid job. No track is the same, they are all different. A pure gem! 
Strangely enough this is one of their few albums which was not released by Nitro. Screaming haunting lyrics, with a raw energetic voice this album will stay with you long after you hear it. It is poetic, melodic and passionate. This band is deeply talented and this is one of their best albums. It is a cult classic that is pivotal in any collection. You can always go back to it, listen to it and love every moment. Every time I play this album, I’m 150% stoked I have it in my collection. If you had to choose 1 A.F.I album to take onto a desert island, then you can’t go wrong with this one. Also worth a mention are the bonus tracks you get on the UK edition! 
One hell of an album to make a comeback on! More rock than electro pop this time round. Depeche Mode have a trademark sound, which gets rustled up by fog horns and sirens. The album has a monochrome quality. Some tracks come across a little dancy, or industrial which they pull off without selling out. While some bands would sound disastrous trying to pull it off, Depeche Mode encompass it into their new sound flawlessly. Refreshingly different without losing the appeal we love them for. Their tour in April is bound to be a winner!
With a schizophrenic blend of death metal ferocity, jazz-core unpredictability and a relentless desire to produce the unexpected, Between The Buried And Me remain one of metal’s most vastly undiscovered gems. The Jamie King produced follow-up to 2003’s underground classic ‘The Silent Circus’; ‘Alaska‘ succeeded in pushing both metal and music in general into brave new territories.
For more than a decade, bearded rock heroes Clutch have been firmly at the forefront of America’s underground scene. Bursting with tongue-in-cheek political commentary and hilarious sociological observations, ‘Robot Hive / Exodus’ is resounding proof that the greater things in life nearly always improve with age. Visit 
It’s no surprise that a band like High On Fire and indeed an album such as ‘Blessed Black Wings’ would be brought to the masses courtesy of Relapse Records. Planting its feet firmly outside of the box, this tantalising Slayer-meets-Motorhead mindfuck is a slice of pure rock fury capable of satisfying even the most hard to please 30-something elitist. Go to 
There are few bands on the planet more devoted to melting the minds of all who they meet than Scandinavian metal-mentalists Meshuggah. Packed full of the type of complex patterns usually only found in your grannies knitting, ‘Catch 33′ is a benchmark release in the history of one of the world’s most innovative acts. Visit 
He may have the attitude and appearance of the crazy old man across the street, but Devin Townsend and co. kicked off the spring season in 2005 with what would go on to be one of the year’s stellar efforts. With its throbbing electro-industrial pulse, ‘Alien‘ is a gloriously innovative chunk of revolutionary metal. Go surf over to 
‘TRANSMIT DISRUPT’ silenced all the cynics who questioned whether- having parted ways with EMI – Hell is For Heroes could produce an album of the same quality as their debut ‘The Neon Handshake’ on a small indy label. Well the results speak for themselves.
With generic indie guitar music flooding the airwaves relief this year came courtesy of 15 musicians going by the name ‘THE ARCADE FIRE’. Recorded in Montreal in the depths of winter and feeding off raw emotion as close friends died and marriages collapsed during their time in the studio – ‘FUNERAL’ is a truly eclectic, rewardingly beautiful record. Siblings Win Butler and Regine Chassagne lead the way through a winding tale of neighborhoods, f! antasies, tales of love and woe with harps, accordions, xylophones and a symphony of other instruments moulding an album that constantly has you guessing,. From the hymn like downers to thumping disco beats in Rebellion (Lies) – this is theatrical, stunning and wonderfully quirky album.
‘JACK’S MANNEQUIN’, the side project of Something Corporate’s Andrew McMahon, springs to life in an album bursting with piano based California pop punk. ‘Everything in Transmit’ combines the catchy hooks, effervescent guitars, soaring piano melodies and beautifully narrative lyrics with a dose of attitude that SC sometimes lacks. With Motley Crue’s Tommy Lee on drums, pop-punk guru Chris Lord Alge mixing and Andrew McMahon at the top of his writing game – every track stands it’s ground, every lyric hits home. What makes it especially poignant is McMahon’s diagnosis with Acute Lymphatic Leukaemia shortly after recording wrapped up; lines like ‘ She thinks I’m much too thin, she asks me if I sick..” suddenly have new meaning. ‘Everything in Transmit’ is a ray of California sunshine for 2005, and shows McMahon, who is currently undergoing treatment, for who he is – one of the best young songwriters of his generation. 
Its been a long time in the making but rising from the ashes of The Crocketts ‘THE CRIMEA’ step up to the breach with this intelligent, bright, sometime infectiously poppy (Lottery Winners on Acid’), sometimes dark ‘ (Someone’s Crying) and sometimes uptempo (‘White Russian Galaxy’) album. Davey MacManus’s writing veers towards fervent, and the passion of his live performance is captured on the album. Lyrics are spun with sometimes disturbing undertones, yet balanced with every present catchy hooks, and a bright round sound, the album and soaring melodies – it’s a tidy little package bursting with promise that leaves you buzzing – it’s no wonder John Peel was such an ardent supporter of the band.
Hailing from Chiswick, THE MAGIC NUMBERS were the band who took the festival season by storm this year. Nominated for the Mercury Music Prize, their eponymous album is a collection of harmonies, stunning vocal arrangements, engaging melodies and a sincerity that so many cheesy generic manufactured pop lacks. The brother/sister combination adds to the feeling of genuine warmth throughout the album, stunning musical arrangements, an alt-country vibe crossed with The Mamas and the Papas – this is an honest and uplifting album, a dynamic mix of melancholy and love, california pop and folk. They seem to be the marmite of the music world, but taken at face value, this album is a beautifully produced memento of the summer.
Arguably more popular than ever since they reformed three years ago, Hank Von Helvete and co. delivered another fine chapter in the deathpunk saga with ‘Party Animals’.
2005 saw the continuing invasion of metalcore territory by the emo hordes; resulting in far too many bands peddling whiny vocals over recycled Iron Maiden riffs. So thank goodness for Darkest Hour, who brought some
Sounding like a 1950’s rockabilly bar’s house band, the Fat Cats came swaggering out of Stoke-On-Trent to deliver one of the most infectious debuts of the year; a hybrid of ska, swing, punk, and traditional R&B – all topped off with a suitably dark sense of humour.
Having got over the worst of his personal demons, Trent Reznor abandoned the over-elaborate style of previous NIN album ‘The Fragile’, in favour of the back-to-basics approach that made ‘Pretty Hate Machine’ such a success. The result was arguably his finest album in a decade, with songs like ‘The Hand That Feeds’, ‘Only’ and the melancholy ‘Right Where It Belongs’ sure to remain fan favourites.
An eight-piece folk-punk band with a bizarre stage show is hardly your typical Warped Tour band, as several thousand Americans recently discovered. But hey, isn’t great punk music meant to be original and provocative? ‘Gypsy Punks.’ is both of these and more, combining traditional folk and gypsy sounds with the urgency and rebellious attitude of punk. It’s a brilliant record, but more importantly, you’ll have heard nothing quite like it before.
That’s right kiddies, it’s that time of the year again. A time when a fat fucker in a red suit comes down your chimney, steals all your presents and drinks your milk before pissing off through the front door. What’s that you say? That’s not how it goes? Then just who the hell was the guy I stumbled upon last year?!
Label mates and fellow modern day titans Killswitch Engage also throw their rather camp hats into the ring with their debut release ‘Set This World Ablaze‘. Undoubtedly the single biggest success story of the “New Wave” thrash movement thus far, it contains not only a blistering set featuring all of the band’s classic cuts, but also an in depth look back over their career thus far – covering everything from the early days spent toiling in the Massachusetts underground, right up until their stint as second stage headliners on this year’s Ozzfest.
Those of you who are familiar with us here at Crossfire know by now that there’s a little saying around these parts, and that’s that nobody does it quite like the oldies where good old fashioned rocking goes. As if our word wasn’t enough, there’s a host of mullet-sporting treasures straight from the 80’s thrash metal scene just waiting to be lapped up. While Brazilian revolutionaries Sepultura present their double-disc treat ‘Live In Sao Paulo‘, the legendary Testament make a more than welcome return with the punishing experience that is ‘Live In London‘. If you were fortunate enough to catch Skolnick and co on their brief yet memorably reunion tour all those months ago, then you’ll know how electric North London was that evening. If not, then you do indeed suck a huge amount of ass; but buy this stripped down yet satisfying slab of thrash metal madness and you may just redeem yourself.
Also coming out of the woodwork was underground heroes S.O.D. with their DIY presentation ‘20 Years of Dysfunction‘. Consisting of live performance footage and on the road hysterics shot almost entirely by loyal followers, it’s a shining example of how things should be done – by the fans; FOR the fans.
As the former thoroughly assaults the senses with a barrage of the biggest and best videos from the biggest and best bands the label has to offer (Shadows Fall, God Forbid, and The Haunted to name but a few), the latter offers viewers a chance to feast their eyes upon some of the most devastating and electrifying performances from the US leg of the tour in 2005, featuring select cuts from both established headliners and upcoming opening acts alike.
Less than 18 months after the release of the critically acclaimed ‘Gone Forever’, New Jersey five-piece 
Out of the States and into the continent; Danish groove-metal upstarts 
Finally, we come to the granddaddy of them all – 
It’s 14 minutes of absolute aural mayhem – each minute an inch of meat in your ass! Created for your pleasure by members of post-hardcore mavericks Garrison, Instruction and Errortype: 11, this release also features appearances from members of Hundred Reasons, Copperpot Journals and Hopewell. It’s like one big gay porno post-hardcore orgy and also happens to be one of the most exciting hardcore records I’ve heard this year, combining the sheer hardcore chaos of Das Oath with the tech-metal of the Dillinger Escape Plan and the punk ferocity of Bad Brains. This will give you a stiffy whether you fancy other men or not. Out now on Captains Of Industry Records. Crack open the lube at 
While you’re all probably sick to death of hearing old people moaning about how punk rock just isn’t punk rock anymore, for the most part, it’s horribly true. So much of the rage, creativity and anger has been glossed over to help shift units that the rebellion has all but gone. L.A. scenesters Wives, however, are so fucking punk rock it hurts. Originally inspired by the ferocious spurt of creativity that was the early eighties D.C. hardcore scene (Minor Threat, SOA, Government Issue, Void), they have successfully harnessed that vital youthful energy and brought it bang up to date with beweildering jabs of Lightning Bolt and The Locust style abrupt noise shocks. ‘Erect The Youth Problem’ is out now on Sweet Nothing Records. More info at 
It’s a good time to be a spliffhead. There’s some killer space rock shit blowing minds the world over at the moment; both Dead Meadow and Black Mountain provided incredible albums this year that stretch the limitations of rock and boldly went where no-one had dared been since the prog-rock seventies. And now here comes Earthless. ‘Sonic Prayer‘ is over forty minutes long and consists of only two songs. These demented spacelord motherfuckers take a riff and blast it into submission, creating a hypnotic swirling void of prog-metal-headfuck noise that drags you into it’s space and sucks you into it’s freak flag waving world. God damn this shit sounds good on drugs. God damn this shit sounds just as good not on drugs. Grade A, class A primo psychedelic noise rock drone. You need this shit in your life. Go to 
South Carolina melodic hardcore quintet Stretch Arm Strong have a new album titled ‘Free At Last’ on WPO Records this month. What you get is twelve tracks of crunchy hardcore with a melodic rock suss played by guys who cut their teeth on classic bands like Minor Threat and Gorilla Biscuits but Stretch Arm Strong have brought the sound squarely up to date with massive melodic hooks and a production that is both heavy, yet utterly commercial. Check it out. These guys could be huge. Go to 
What’s this, another duo? Early Man are two metalheads from Columbus that grew up on a diet of classic metal and thrash and have just unleashed their album ‘Closing In’ on Matador Records. Like Lightning Bolt, you wonder how the hell they make the noise they do, but then you also wonder where the rest of the band is, or are these guys such outcasts that they don’t actually have enough friends to form a complete band? Like, surely everyone can find a bassplayer – it’s only got four strings for fuck’s sake, any idiot can play that. Still, that aside, the metallic noise they make is is great. Proper metal, for real men who play on ten. Push it up to 11 at 
Time to wind up The Pit with some killer new punk rock shit. I’ve never been too impressed by Swedish melodic punks Randy but their new album is just great. Titled ‘Randy The Band’ and out on Burning Heart Records, it’s high-energy old-school punk rock with great hooks, awesome lyrics and a sound that falls somewhere between the contemporary punk rock sound of The Hives and The Damned. Tracks like ‘Punk Rock High’ and, in particular, ‘The World Is Getting Bored’ are infectious beyond belief. ‘The Kids these days are fed up with the music industry, they don’t care about the product, so they download their music on MP3. This is what you get when you get greedy for too long, the kids don’t want the plastic box no more they just want the songs’, they sing on the album’s final track. Great stuff. Download it now at