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Parkway Drive

PARKWAY DRIVE
‘Atlas’
[Epitaph]

After creating an exceptional album with ‘Deep Blue’ expectations are high for Parkway Drive‘s November 2012 full length release ‘Atlas‘. Having such a large and passionate fan-base, Parkway Drive could put out a duff record and it still be widely adored, but there is no need for concern as the Australian quintet have yet again composed an astounding record.

Despite moving away from the completely conceptual approach of ‘Deep Blue’, Parkway Drive stick to the same format as other releases and open with an instrumental piece that slowly builds expectation when dark lyrics capture attention. Anticipation is intensely hanging in the air as ‘Old Ghosts / New Regrets’ roars into action with a driven speed that demands a mosh-pit to open.

Noting the success of the anthemic ‘Home Is For The Heartless’ from their last album, Parkway Drive have offered a few more dramatic and powerful moments which will surely cause unity at a live show. ‘The River’ and ‘Wild Eyes’ could easily fill a stadium whilst title-track ‘Atlas’ includes some exciting moments that reflect Bleeding Through’s orchestral approach.

If old-school, meaty Parkway Drive riffs are what you are crave there are still several tracks that cater for those hungry needs including ‘Sleigh of Hand’ which hosts licks similar to ‘Idols And Anchors’. And for those after a fast-paced assault on the ears, look no further than one of the closing tracks ‘Snake Oil And Holy Water’ which is sure to rip a new one into any venue.

As a whole ‘Atlas’ encompasses the true essence of what every fan loves about Parkway Drive. It could be seen as a more polished version of ‘Killing With A Smile’ whilst embracing the mature moments of ‘Deep Blue’.

Parkway Drive aren’t doing anything unconventional, they aren’t re-writing metalcore; they are continuing to define it. Each album the band produce develops over time as a milestone in the genre, in a few years time ‘Atlas’ will be reflected upon in the same inspiring light as all of their other works. Ultimately, Parkway Drive continue to set the standard in metalcore, a marker in musical excellence that very few others will reach.

Words: Emma Wallace

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Live Reviews Music

Hildamay, Album Launch Show – The Garage, London

HILDAMAY
w/ Landscapes, Tu Amore, Black Shapes, Insurgents
The Garage, Islington
22nd October 2012

Hildamay have had a hell of a year already, the quintet from Kent had a busy summer wowing the likes of BBC Radio 1, Reading and Leeds festival as well as preparing the release of their debut album ‘Miles Away’. Now they’re back on the road ahead of that release and everyone here tonight is in for a real treat, plugging an exclusive-listening of the new tracks.

Insurgents picked the shortest straw and are up first. The trio from Watford perform like they have everything relying on it. It’s not until they bring out an additional two drums into the centre of the crowd to form a drum battle which see’s frontman Ant Giannaccini and bassist Bentley Levy bash away to a beat that their show becomes is three dimensional.

‘It’s like a twelve year old school disco,’ frontman Gareth Evans of Black Shapes tells the half empty venue. The result? Gareth resorts to joining the intimate crowd, performing majority of the set off the stage. On the plus side, the fans that are present have more space to hard-core dance and the opportunity to share the frontman’s microphone for numerous choruses. We’d be lying if we said we weren’t looking forward to the release of their new EP ‘In The Mourning Light‘ out later this month.

Tu Amore have a soulful, indie sort of sound to them stirring in drumbeats that bring the show alive. The four members from Peterborough seem to have established a sound that sets them apart with energy of a much heavier band. Up next is Landscapes who have the challenge of getting some kind of crowd engagement. ‘I can’t even see you!’ Complains vocalist Shaun. What welcomes them though are a small group of hard-core kids and the band seem far from impressed. The quartet from Somerset no doubt have the songs to put other British rising rock bands on the edge of their seat. Whether they stick to half-hearted shows such as tonight’s is another story.

Just after 10pm and the half empty venue turns into a tightly squeezed room eager for the headliners. Hildamay strike up ‘We Loved, We Lost’ and ‘This House Became Our Home’ plunging down a route of heavy rock, but what these clever lads have managed to do is put meaning into a genre that is known to be full of mosh-pit mayhem melodies. Their tunes are extremely rough round the edges but you can tell they’re genuinely heart-felt.

The band are truely passionate which shows in tonight’s performance, pushing through songs that are bounded together by fist pumping beats and gritty guitar riffs. Usually it’s the frontman that captures the attention but Hildamay are a band that have so much going for them as a whole. Recent single ‘Changing The Key’ even managed to turn the heads of those at Radio 1’s Rock Show gaining Track Of The Week status. Tonight’s live performance of that track certainly showed it was worthy of that title and what Hildamay are made of as a whole.

Words: Jenny Chu

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Peace’d Out

Peace’d Out
Peace’d Out
[Siren Records]
www.facebook.com/peacedoutmusic

Vinnie of The Movielife / I Am The Avalanche fame has unveiled his new project with this first self-titled EP. And it’s an altogether more raucous affair than his past endeavours. With Steve Choi (RX Bandits), Casey Deitz (The Velvet Teen) and Roger Camero (No Motiv) completing the line-up, Peace’d Out unravel in cascading riffs and angry vocal outbursts. There’s barely even a hint of pop punk here as this collection of musicians channel the likes of The Dillinger Escape Plan to create a collection of exciting and unpredictable tracks that appear to almost career out of control whilst actually maintaining a carefully judged tightness of musicianship that’s impressive and admirable.

Far from being merely an intensely noisy affair, Peace’d Out have experimented with sounds making this a far more exciting ride than you initially expect.‘White Pyramid’ alternates simple synth interludes with driving riff-fuelled grittiness. The twists and turns are what really make this debut release.

It’s a five track assault on the ears that announces the band’s arrival in the world with no holds barred. Certainly a thrilling introduction and one which leaves us hoping and praying that this isn’t a fleeting experimental outing into the world of the more noise-filled music for Mr Caruana. Who knew he had that scream in him?

Words: Sarah Maynard

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Live Reviews Music

Gallows Live at The Underworld, Camden

GALLOWS
w/ Feed The Rhino, Brotherhood of the Lake
London Camden Underworld
19th October 2012

Brotherhood Of The Lake’s recent ‘Desperation Is The English Way Vol. 1’ debut is a dark-hearted, brooding beast indeed – but whatever fuels their rage, they’re not shy to vent it live. The likes of ‘You’ll Never Dream’ are shot through with the kind of grit and determination that saw Andy Dufresne through to the end of that 500-yard sewage tunnel in ‘The Shawshank Redemption’, and though their precise, Helmet-esque metallic attack falls on all too few ears, it’s a fine start to an evening that can only get louder and ever more chaotic.

A case in point: Feed The Rhino, who provide a lesson in how to utterly dominate a stage. The guitarists lurch around like a hardcore tag-team, whilst Lee Tobin is a larger than life frontman, less likely to exhort the crowd to greater efforts than to jump in and show them how it’s done. Oh, and they sound amazing – punishingly heavy, yet also anthemic, and with some killer grooves to boot. The closing ‘The Butcher’ heralds a wall of death worthy of a headline act, and amidst the ruckus, you can’t help but wonder if you’re witnessing the start of something big for Feed The Rhino.

All that remains is for Gallows to take any lingering ‘new guy on vocals’ doubts and smash them into dust before our eyes. Back in their natural environment – with no barriers getting in the way – that glorious sense of chaos is there from the off, with guitarist Lags and bassist Stu frequently to be seen rocking out in (or on top of) the maelstrom of a pit, and a steady stream of stagedivers eager to help out on backing vocals.

The new self-titled record is rightfully given a good airing, with ‘Depravers’, ‘Outsider Art’ and ‘Everybody Loves You…’ among the best things this band have ever done. Throughout, Wade cuts an imposing figure; having not only brought his own brand of fury to the Gallows table, but also – like the audience – taking his band’s older songs of discontent and doomed romance in as his own, and then blasting them out again with complete conviction.

‘Abandon Ship’? Tonight, they damn well torch the fucker, and make sushi out of the shark’s belly into the bargain. Gallows 2012, then – still as visceral as ever and, more importantly, still a band to believe in.

Words: Alex Gosman

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The Story So Far

The Story So Far
‘Under Soil And Dirt’
[Pure Noise]

The California bred outfit The Story So Far, play homage to their pure punk rock roots with their debut full length release of ‘Under Soil And Dirt’.

The Story So Far really does remind of the early Four Year Strong and Set Your Goals era. Taking the raw sound of a band straight out of high school and rehearsing in their parents garage, ‘Under Soil And Dirt’ is the epitome of the American punk vibe. While attacking the genre with nail biting, teeth grinding and frankly pretty awesome guitars. There’s a ferocious thirst for destruction and an intense affection in songs ‘Roam’ and ‘Four Years’.

What does come up fighting fit is ‘High Regard’ which advocates a soaring melody that is without a doubt catchy. The quintet must have vision playing this live in front of a herd of troubled hardcore kids’ fist pumping along. ‘Daughters’ will ensure everyone gives this underrated band a head turning reaction. It could be said that many bands in their genre are dumping various random break downs and heartless arrangements, but with the Story So Far it is crystal clear they put in some serious thought as to who they are.

‘Mt. Diablo’ is super eager to break the punk mold, it certainly does depict a poppier aura with contagious hooks and guitar picking that come straight out of summer, showing the underground scene how it’s done. Frontman Parker Cannon projects a primitive tone with a rebel edge that suggests the likes of ‘Rally Cap’ could play the role of a theme tune in a riot.

The 10 tracks on the album takes anyone listening, to the youthful days spent on the beach, using music to express and reveal all their youthful rollercoaster emotions. It’s not brain surgery to write lyrics that capture those early days but Parker and co are not just a bunch of guys in a band, they’re a talented force to be reckoned with.

The Story So Far’s release definitely fascinates and it’s certainly intriguing to see what they will come up with next. They have the potential to be a favourite on the pop-punk/rock menu rivaling even the big dogs in the game.

Words: Jenny Chu

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Live Reviews Music

Negative Approach Live at The Underworld

Negative Approach
w/ Blasted
The Underworld, Camden
15th October 2012

Boasting former members of Winnebago Deal and Do Me Bad Things amongst their ranks, Blasted’s high pedigree kicks off tonight’s proceedings in an incendiary manner. Their furious, two minute, hardcore rock n’roll songs are face-rippers delivered with a sweat soaked brilliance that bodes well for the future.

Detroit hardcore legends Negative Approach return to London for the third time since their 2006 Thurston Moore approved reunion, and despite a heckler calling them a ‘covers band’ (only two of the four original members remain) they are greeted with a suitable maelstrom not often seen on an autumnal Monday night.

Vocalist John Brannon’s face is a picture of hate and distain as he bellows through a set of classics that includes ‘Sick Of Talk’, ‘Ready To Fight’ and the pit enraging ‘Tied Down’. This band may be over thirty years old but they still play with a fire and conviction that would put their younger contemporaries to shame. Guitarist Chris Moore stands with his back to the seething crowd for the duration of a set, perspiration pouring from his brow. Like the bands original three year career, their set is short and sweet, climaxing in a rousing gang vocal of Sham 69’s ‘Borstal Breakout’.

Shows like these are largely based upon nostalgia or the term ‘heritage bands’, but for 45 minutes tonight, it was 1982 again in the Underworld. More bands should take a leaf out of NA’s reformation book.

Words: Miles Hackettt
Photo: Greg Wheeler

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DVD Reviews Film Reviews Reviews

Danko Jones – Bring on The Mountain

DANKO JONES
‘Bring on The Mountain DVD’
[Bad Taste]

Formed in Toronto in the mid-Nineties the Canadian trio Danko Jones have been belting out their own punked up homage to the golden years of harder than hard, hard hard rock ever since, with half a dozen albums to their name, and a solid fan base at home, and in mainland Europe.

The main feature of this expansive 2x DVD package is the rockumentary ‘Bring On The Mountain’ where mainstays, and band founders, Danko Jones (vocals/guitar) and bassist John ‘JC’ Calabrese, talk us through the bands history. Format wise, this is a pretty standard setup, as the groups members and their inner circle of crew, soundmen, producers, et al, spill the beans on the ups and downs they’ve experienced over the years. What I liked was, the DJ guys come across as really regular fellas, who primarily let their music do the talking, and whose only ‘gimmick’ as such is the bellowing self-testifying witticisms of front man Danko, a man blessed with a booming set of vocal pipes, and endless stash of one liners and tongue in cheek innuendo. Politically correct they are not, but, as we’re reminded, in the timeless words of Nigel Tufnel… “What’s wrong with bein’ sexy?”

The key message of the DJ story is they’ve gotten where they have through sheer hard work, following the dictate of AC/DC that it’s a long way to the top, if you wanna Rock’n’Roll. Danko and JC have dedicated themselves to the cause, forgoing the 9 to 5, and keeping their heads above water between tours and recording, by working low pay jobs. When it comes to releasing music, the band refuse to sign to any label that would see them relinquishing their publishing rights. A very smart decision, and one a lot of bands over the years will have regretted not doing themselves. Not all members have shared the Danko vision, and at least half a dozen drummers have fallen by the wayside, but as the 90minutes draw to a conclusion there is a positive note with the addition of former Rocket From The Crypt drummer Atom Willard, who’s also served time in The Offspring, and Angels and Airwaves. This solidified line up has been recording a brand new album, and get ready to take to the road again.

Also on Disc One, is a 20minute short film that sees the Danko boys starring in a short thriller that features a host of cameos including Lemmy, Mike Watt, Selma Blair and Elijah Wood. It’s a pretty predictable plot line, but buoyed by decent acting, hard jams, and nice cinematography. Disc Two collates all the bands videos and a stack of live performances, making it a great companion piece to all Danko Jones fans collections.

Words: Pete Craven

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Anberlin

Anberlin
‘Vital’
[Universal Republic]

To call this a masterpiece does not even justify Anberlin’s sixth studio album ‘Vital’.

It seems there is in fact much more to Anberlin than head-banging, mosh pit worthy breakdowns and rowdy screams based around the lyrics of heartbreak and growing up. The band make a stand for this with songs ‘Other Side’ and ‘Someone Anyone’. ‘Vital’ is more mature. It’s sophisticated. It channels their music into a different dimension. With frequent Innerpartysystem meet Nine Inch Nails synth effects pursuing ‘Vital’ down a path of more modern musical styles.

Vocalist Stephen Christian describes it as ‘youthful, energetic energy’ saying its their most aggressive record yet, which is agreeable when listening to the eleven track album. The piercing first song can safely represent ‘Vital’ as a journey of nostalgia and tension. Continuing this adventure with ‘Little Tyrants’, Stephen takes the opportunity to define his dynamic tone, from the fiercely monstrous aggression in the chorus straight through to the melodic, more delicate verses. Yet its not just vocal power, let’s not forget the overall great effort from the band who indulge in supreme guitar riffs and paramount beats in the flawless bridge.

The album is far from a bore, rattling the airwaves with ‘Intensions’. The exploding arrangement involves a crunchy guitar intro darting into an apocalyptic synth melody. Lyrics: ‘I want a love that I don’t deserve/I want the gold that I didn’t earn/I want a fire that will never burn’ are fundamentally catchy. What makes ‘Vital’ really glisten and flourish is their seventh track ‘Desires’. The veteran musicians craft this by exploring the unknown, experimenting with challenging rhythms and shaping a melody nothing less than extraordinary.

Only Anberlin could come up with this recipe. The essence of experts coming together to create something refreshing can be heard in ‘Type Three’. Unlike the rest of ‘Vital’ it’s almost a ballad, the instrumentation laying the foundations to a melody that tells a story. It’s evident they pushed the boundaries and every song emphasises their treasure like talent.

Anberlin maximise their music ability and as the album artwork suggests it does blow everything out of the water. Possibly saving the best until last is ‘God, Drugs & Sex’ captures the epic sound of Amberlin as a whole. This track also features guest vocals but this time from US singer songwriter Christine DuPree, who has previously appeared on the New Found Glory- ‘Coming Home’ album.

‘Vital’ is an essential album and will hopefully inspire change and further creativity in alternative music.

Words: Jenny Chu

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I Call Fives

I Call Fives
‘I Call Fives’
[Pure Noise]

If you feel as if your life is lacking some fun pop punk turn your heads to I Call Fives. The quintet from New Jersey left their distinctive sound tickling everyone’s taste buds with their debut album ‘First Things First’ back in 2008. Two years later came the release of ‘Bad Advice’ and now they’ve unveiled their self-title album.

‘Late Nights’ is a confident start to the eleven track album. From the bold, crunching riffs to drums that are full of power providing a true dose of pop punk. Frontman Jeff Todd’s tremendously lively vocals are fitting for such genre. The energy is undeniably contagious and should find its home to all pop punk fans record radar.

Setting I Call Fives apart from other bands in the genre is how they have managed to maintain a certain power throughout their band, despite a change in singer. Jeff has so far made a splendid first impression with this release. ‘Obvious’ seems like the perfect sing along with chorus lyrics ‘When it all comes down to the facts/you can’t admit when you’re wrong’.

From first listen ‘Back Up Plan’ is at the heart of I Call Fives style, bringing attention to a greatly memorable melody. Fourth track ‘The Fall Guy’ stays true to their pop punk roots, avoiding a mature style that the likes of All Time Low and Hit The Lights have recently adopted, yet what still exists with I Call Fives is a genuinely raw sound that the five guys have mastered throughout this record. There doesn’t seem to be any intension of pleasing the mainstream radio stations or setting their sights on playing big production shows at arenas across the globe, it still feels sincere.

‘Stuck In ‘03’ and ‘Enemy’ are a tornado of energy which never gets boring. The lyrics remain stubborn, youthful and fun with lyrically the best chorus emotive pop punk has to show:
‘Sometimes you just can’t wait
, I’m more than happy to not fit in (with your friends), 
I hope you don’t make it home
, Someday that you’ll face it, 
Cause the world doesn’t spin for you’.

If there’s anyone still waiting to be won over, ‘Two Sides Of Every Story’ can guarantee to do the job. With an irresistible intro, layered vocals and an effortless tougher edge, I Call Fives are carrying the flame for a genre they are taking lead of. Closing songs ‘Regrets and Setbacks’ and ‘Sleep Well’ have the potential to stay stuck in many an existing fan’s head, they’ve also got the potential for them to spread their wings and gain interest from a wider audience.

Words: Jenny Chu

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Between The Buried And Me

BETWEEN THE BURIED AND ME
‘The Parallax II: Future Sequence’
[Metal Blade Records]

The Prog Metal warriors, Between the Buried and Me return with a dominating new full length, ‘The Parallax II: Future Sequence‘, in which they truly came, saw and conquered, yet again.

The LP starts off with ‘Goodbye to Everything’, a subtle introduction, acoustic guitars, clean vocals with harmonies, a very peaceful start. This isn’t something they have often done before, but it has you wondering what else is to be expected. Soon enough, we’re back on track with ‘Astral Body‘ which has a more familiar shredy-prog metal feel about it; with soaring clean vocals over some amazing melodic guitar work, this is the definition of what Progressive Metal is. It’s intricately written, and performed by these virtuosos.

‘The Parallax II: Future Sequence‘, has a very ‘Astro Physics’ feel about it, with space aged synth patterns delicately placed in-between thunderous arpeggio riffs. The album is filled with tiny interludes where they drift off into jazz rhythms or an odd clean section, even strange retro computer game style sounds in the midst of growled vocals and pure shred action.

The album is varied in song styles, there are some shorter ones which remain instrumental and melodic, and there are the thunderous tracks such as ‘Silent Flight Parliament‘ and ‘Lay Your Ghosts to Rest‘.

Between the Buried and Me have returned with a great album and potentially one of the best of the year. It slightly different perspective with a somewhat concept feel about it. Not many stand out bands these days in Progressive Metal, but who needs others anyway when there is BTBAM, they more than fill the void. They do Prog Metal so well, there’s no need real to elaborate. Between The Buried And Me are just masters of their craft. All those years listening to bands like Dream Theater has rubbed off on them, with a development of spell bounding musicianship displayed through this album.

Words: Arif Noor