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Live Reviews Music

The Xcerts Live at The Borderline

The Xcerts
The Borderline, London
13th September 2012

I remember the first time I saw The Xcerts. It was a cold and damp late summer night up in Glasgow. Having just moved there, and therefore knowing nothing about the Scottish music scene, I was truly happy and surprised to be watching them play in the crypt of a converted Church. So I set off for Soho, pumped and in an almost euphoric state, to see this trio blast their own brand of distorted punk-rock pop laced music into the faces of Londoners.

The first thing to mention is that the Borderline has never been the biggest venue, but tonight it is rammed, as you walk down the stairs you have to squeeze past people trying to get a view of the stage. On top of this it’s hot as hell, but there’s a real buzz in the air as we all wait for the band to walk on stage. All of a sudden they appear and the music starts.

Now this is the part where I’m suppose to tell you how much I loved the show, and how it was ‘THE BEST GIG EVER!’, but it wasn’t. The sound at the start of the set was shocking, and when I say shocking I mean really crap, as you can hardly hear the guitar or vocals beyond a wall of distortion. Thankfully after about three songs the problems with the P.A. is sorted, however, although the majority of the audience seems to be really loving this play-through of their 2011 Scatterbrain album, I’m not blown away at all. I loved their first album, 2009’s ‘In The Cold Wind We Smile’, and I have to admit that I’m not the biggest fan of ‘Scatterbrain’, but I really thought it would gain a whole new dimension live. It didn’t really have that effect. While you can’t really say it’s a bad album, in my opinion, it’s just not as good as their debut effort.

The crowd are ready enough to sing-along towards the end and the band thank everyone for their enthusiasm. You can really tell it means a lot to them to see an audience who has embraced their music and a gig format such as this completely, but then it’s all over as they round up the set up after about 45 minutes and there’s not a trace of any earlier material, just one older track could have done the job.

You can’t fault the band’s musicianship, they played exactly the same way as the very first time I saw them in Glasgow, but the poor sound at the venue added to the lack of a truly gob-smacking set list made this, very sadly, just another ‘good but not great’ gig.

If you went and were new to the band, then I can appreciate you’re going to disagree entirely, but for anyone who’s seen them play live before this was not the best gig the boys have played.

Words: JJ Nattrass

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Album Reviews Buzz Chart Music Preview Reviews

Proxies

Proxies_Lost_Tapes_Volume_II_Dead WeightProxies
Lost Tapes, Volume II: Deadwieght

A little while back we bought you an introducing interview with a band we find very exciting. That band is Proxies. Their latest release, ‘Lost Tapes, Volume II: Dead-Weight’ explains why we see such potential in this young band.

Opening up with ‘Deadweight, Veritas’ vocals seductively dance around a repetitive, slow-tempo clean guitar riff whilst electronic atmospherics are absorbed into your ears making for a sensual yet eerie start to the EP.

Another clean guitar lick invites the listener into an already established fan favourite ‘Trojan (Inside Your Chest)’. Here Proxies really begin to shine. A pounding kick drums ups the tempo just before a ridiculously catchy bridge and chorus take hold. Again with ‘Masquerade’ the band nail ‘catchy’ with perfect song structure. The track reflects a similar style to early, Panic! At The Disco (think ‘Time To Dance’ taken from ‘A Fever You Can’t Sweat Out’). In fact, it could be said Proxies are one of the first bands to display the same amount of ingenious pop/rock and electronica crossover appeal since Panic!.

Proxies have begun to refine a sound that is as accessible as a mainstream version of Enter Shikari, late Pendulum and something undeniably unique. They’ve even managed to capture a bit of radio friendly dub-step in there which is oh so fashionable at the moment. With a bit more beef put into the riffs and production, Proxies will have it spot. This band will take over the hearts of teenagers everywhere.

Words: Emma Wallace

Categories
Live Reviews Music

B.Dolan’s Church of Love and Ruin Live

B Dolan Portrait B.DOLAN’S CHURCH OF LOVE & RUIN TOUR
Feat: B.Dolan, Sage Francis, Madge of Honor, The What Cheer Bridage, Dan Le Sac
Sub89, Reading
06th September 2012

*FULL GALLERY FEATURE BELOW*

As Dan Le Sac wrapped up his triumphant home town DJ set, there came an alarming sound from the back of the venue. A procession appears and they kept on coming, taking everyone by surprise like an ambush. Masked and covered in zombie-like make-up, the marching band arrives from all angles. Drums, cowbells, trumpets, flutes, it was a complete free for all in the intimate venue and the crowed were left in utter shock…

They have no interest in the stage, as far as they’re concerned, the whole venue is a stage. So the crowd dodges drum sticks, ducks under the dude with the massive trombone and dances along with the band. What an into. It was something special.

As the the tempo slowed down the band started to lower themselves to the ground, kneeling, then eventually sitting down, taking everyone with them. Now that’s the 1st time I’ve ever seen a room full of people, at a gig, boogieing their buts off whilst actually sitting down!

They eventually found the stage. But not until after the percussionists had sat chanting together in the centre of the venue like a tribe from the depths of the amazon rainforest. They then did laps getting everyone involved. Reading’s Sub89 was treated like a carnival. We were all in shock. What the heck was that, who are these guys B Dolan found? They are, The What Cheer Brigade.

Its clear straight away that ‘The Church of Love and Ruin’ tour is an experience, not you’re average concert. None of the tedious waiting around whilst each performer finishes their set. After What Cheer left for the back-room, there is an interim performance, B Dolan welcomes the next act on tonight’s bill, Madge of Honor, a burlesque artist. “Does anyone know what burlesque is? It is the art of ass and titties” says Dolan as Madge takes the stage and deliverers her somewhat titillating performance

B Dolan reappears dressed in a robe, with an ornate cross around his neck and black wayfarer sunglasses. He is the pope, the priest of the Church of Love & Ruin. He takes the stage, the bass drops, and he does what he does best, the lyrical mastermind keeps the audience engaged for the next hour. Delivering the best of the best from his albums ‘The Failure’ and ‘Fallen House, Sunken City’. He also opts for the controversial, yet hilarious ‘Open Letter to JT’.

Meanwhile Sage Francis comes on stage dressed like a Biblical shepherd, with a cloak and a white scarf around his head, and of course sporting his legendary lengthy beard. If all shepherds could rap like that, they’d be a force to be reckoned with! The mix of spoken word poetry and and hip-hop was received well by the audience, Finished off with the gripping fan favorite, ‘Best of Times.’

The Church of Love & Ruin is going to be an experience which will be hard to forget!
Dan Le Sac Sub 89

The What Cheer Brigade

The What Cheer Brigade

The What Cheer Brigade

Sage Francis Sub 89

B Dolan Sub 89

B Dolan's Church of Love and Ruin Sub89

Words: Arif Noor
Photos: Adam Waugh

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Album Reviews Buzz Chart Music Reviews

Title Fight

Title Fight Floral Green Album Artwork Cover
Title Fight
Floral Green
[Side One Dummy]

Title Fight are back with their second album, ‘Floral Green’, via label Side One Dummy, and it’s nothing short of amazing.

‘Floral Green‘ is one of those albums where right from the first track you know in your bones that its going to special. The album is a master class in post-hardcore punk, and it’s all rounded off with the perfect hint of melody.

The first three tracks have so much energy that they rattle out at you, like bullets fired from a machine gun. Yet they aren’t the only stars, on ‘Floral Green‘ every track is a gem. From the uplifting, high-tempo rawness of ‘Leaf’, to the slow waltzing, dissonance of ‘Head In The Ceiling Fan’ you can’t fault the band or the record.

If you like your punk in the post-hardcore vein, and for good measure you like energy broken up by a few slowed down melodies then you’ll love this album. If you hadn’t previously heard of Title Fight but you’re a fan of Crime In Stereo, The Wonder Years or Man Overboard, this one’s for you.

If you’re already part of the passionate Title Fight fan base then you’ll eagerly be wanting to buy this album anyway.

Words: JJ Nattrass

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Album Reviews Buzz Chart Music New Releases

As I Lay Dying


As I Lay Dying
‘Awakened’
[Metal Blade]

As far as metalcore is concerned, few have made the impact that As I Lay Dying have achieved. Arguably pioneers of the movement, and still its leaders, ‘Awakened’ is As I Lay Dying‘s 6th studio album. Expectations for the record are high.

As a whole it doesn’t disappoint; laden with meaty riffs and a tried and tested scream and clean vocal pattern, ‘Awakened‘ is quintessentially an As I Lay Dying record. Blasting in with ‘Cauterize‘ (which was offered as a free download in advance), the band’s intent is made clear from the the first note.

Tracks like ‘Resilience‘ show why the band have stayed close to so many hearts over the years; delicious shredding, tight drums, intoxicating melody and powerful vocals. Tim Lambesis is ever the dominant front man, with a scream second to none, his vocals resound over the music full of strength delivered at high intensity.

Despite ‘Awakened‘ having numerous positives, its hard not to compare it to previous full length, ‘The Powerless Rise’ and unfortunately it doesn’t quite match up. However, this isn’t a real criticism as it is hard to compete with the perfection displayed on their 2010 release. Nonetheless, ‘Awakened‘ will go down as one of this years best metal albums.

Words: Emma Wallace

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Album Reviews Music New Releases

We Are The Ocean

WE ARE THE OCEAN
Maybe Today, Maybe Tomorrow
Hassle Records

With ‘Maybe Today, Maybe Tomorrow’ being the first album to come from British band We Are The Ocean since the slightly controversial departure of unclean vocalist Dan Brown, full attention will be paid to every move the band make on this one by fans and critics alike.

The first – and maybe most obvious thing – to say is that if you’re expecting more Alexisonfire inspired post-hardcore like their earlier releases ‘Cutting Our Teeth’ and ‘Look Alive’ you will be disappointed. Its clear that after Dan’s departure the band have sharpened up their image and gone for a more refined, mainstream sound with Liam Cromby stepping in to the lime light. Interestingly it’s similar process to what once tour partners Deaf Havana went through; who previously were a southern-hardcore inspired quintet lead by aggressive vocalist Ryan Mellor, now a straight-forward (but still bloody good) rock quartet with guitarist/clean-vocalist James Veck-Gilodi at the helm.

Its no surprise that Zane Lowe picked single ‘Bleed’ as his ‘Hottest Record In The World’ as it jumps straight out as the real star of the album. Other highlights include anthemic title-track ‘Maybe Today, Maybe Tomorrow’, sensitive opener ‘Stanford Rivers’ and ‘Pass Me By’ which has an almost Frank Turner-esque vibe to it.

Despite the album being solid, it may turn off some of their older fan base. With their newfound maturity, We Are The Ocean have lost a bit of charm; the gritty spark that saw them leap out of their local scene to dominate the underground market. The band won’t be too disheartened though as ‘Maybe Today, Maybe Tomorrow’ will sit comfortably on Radio 1’s playlist and HMV’s shelves, instantly appeal to fans of You Me At Six, Kids In Glass Houses, Lostprophets and (new) Deaf Havana. ‘Maybe Today, Maybe Tomorrow‘ is an focused and accessible album showcasing whats hot in British rock music right now. Its sure to be a hit and will see the We Are The Ocean boys go far.

Words: Emma Wallace

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Album Reviews Buzz Chart Music Reviews

Nuclear Death Terror

NUCLEAR DEATH TERROR
Chaos Reigns
(Southern Lord)

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

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

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

Pete Craven

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Film Reviews

Searching For The Sugarman

“Searching For Sugarman”
(2012)

I’m always game for an interesting Rock’n’Roll documentary, even if it’s about a musician or genre I’m not that familiar with. If the subject’s story is told and filmed well, then I’m sure to get something out of it. And I sure got something out of this truly unique tale.

“Searching For Sugarman” follows the curious journey of Sixto Rodriguez, an enigmatic young Hispanic troubadour, who plays in the bars of Sixties Detroit, and soon draws the attention of a local record producer. For an idealistic working class lad, that doesn’t exactly seem to have his eye on the prize, Rodriguez lands a record deal with Hollywood based Sussex Records, which takes him to California. Sussex thinks they have just signed the new Bob Dylan, and their boy is going to be a mega-star. But his debut album “Cold Fact” is a total flop, and its follow up, “Coming From Reality”, fares little better. Dropped by his label, Rodriguez returns to Detroit, and soon drops completely off the radar.

The entertainment business is littered with similar tales of artistes whose careers were over before they’d even begun, and barely even made the ‘Where Are They Now’ file. So here’s the twist; a copy of “Cold Fact” turns up in early Seventies South Africa, a country under the control of an ugly government, determined to enforce their twisted vision of racial superiority through apartheid. But lots of young white Afrikaners had no interest in living in a country divided upon racial lines, and were determined to make their opinions heard. Via word of mouth, and copied tapes, imports, and no doubt a fair few bootlegs, “Cold Fact” becomes the soundtrack to their protests, and a massive hit in South Africa, selling by the bucket load. Licensed to at least 3 local labels, the owners, who are all interviewed, confirm they sent royalties diligently back to the publishers. And I believed them. Unlike the most likely recipient of the funds, former Sussex Records head honcho Clarence Avant, who reacts to questions of the royalties whereabouts with an aggressive hostility that implies he’s trying to cover up the truth.

Back in the USA, Rodriguez was oblivious to his cult status, thousands of miles away, in Southern Africa, where, the fate of their musical icon is somewhat more distorted, and rumors of his demise include him having committed suicide on stage. The rumors become folklore, and accepted as fact. Rodriguez RIP.

Enter the wonderful Stephen “Sugar” Segerman, a super fan of Rodriguez’s music, and determined to learn what did actually happen to the man whose music inspired his generation. He studies the lyrics for clues, utilizes the internet, and makes an ally in music journalist Craig Bartholomew-Strydom. Between them… well, I wont give too much more away, but needless to say, they come up trumps, and not only succeed with satisfying their own obsessive curiosity, but fulfill a dream that no-one in their home country thought possible.

I left the cinema totally bowled over by this fascinating story. The filming by Malik Bendjelloul and Camilla Skagerström is wonderfully shot, and incredibly creative. Honestly, if you get a chance to catch this either on the big screen, or when it’s released on DVD, don’t snooze on it, this is one of the best films I’ve seen in ages.

Pete Craven

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Album Reviews Buzz Chart Music Reviews

Circa Survive

CIRCA SURVIVE
Violent Waves

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

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

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

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

WORDS: EMMA WALLACE

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Album Reviews Buzz Chart Music

Obey The Brave

OBEY THE BRAVE
Young Blood
Epitaph Records

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

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

Words: Emma Wallace