British alt metal/deathcore band Vexed returned last week with their sophomore album. After setting the underground scene on fire with their debut back in 2021, the band return with even more anger, heaviness and drive. Without further ado, let’s dive into the review!
After a brief, perfectly building intro track, the album explodes in with the lead single, ‘Anti-Fetish’. A sludgy, modern deathcore riff leads to some fantastic heavy growls from Megan Targett. Despite the heaviness, the chorus is surprisingly catchy, the vocals cleaning up slightly at times. This heavier edge than their previous sound reminds me a lot of Darko US, which is fine by me. It definitely has the same quirkiness and energy; aggression and talent and passion.
‘We don’t talk about it’ is pretty similar in feel and structure to the previous track. However, it does have a slightly more radio friendly feel to it. The spoken work stuff was cool, too, adding an almost Marylin Manson quality to it all.
‘X my <3’ is a banger, despite it’s cringy (albeit clever) title. Opening with the catchy, almost radio-friendly chorus was a great call. The guitars are a little less out there and technical, too, it being more of a sludgy, groovy wall of heavy. The fully clean vocals were a nice touch too, only making the screams even heavier. The breakdown was tasty too, the bends being amazing and reminding me a little of early Architects. It’s one of my favourite tracks on the album and easily makes the playlist.
The chuggy opener of ‘Panic Attack’ is fun, the drum tone almost giving off Slipknot vibes with that massive hit between guitar notes. The quick vocal delivery almost confirmed the sound too, while the brutal screams for the chorus backed by the rather open groove-metal instrumentation made for an interesting dynamic. It somehow fits the subject matter perfectly too, the claustrophobic, fast riffing combining with the slower(ish) drums making everything feel close and anxious. Another amazing track.
Alpha Wolf lends their talents perfectly for ‘Lay down your flowers’. The added male screams added some fun variety, especially when they are higher and more metalcore. The whole track has a metalcore style to it, from the quick guitar runs to the quieter interlude in the middle. It was a nice way to break-up the album after a few fairly similar tracks. Clearly, I need to check out more Alpha Wolf, as his vocals were great!
Unfortunately, ‘There’s no place like home’ is where I start to really feel the album. While Overtone has helped me get into the heavier end of music a lot, like this band and album, I’m a sucker for variety. My brain gets easily distracted and if a lot of tracks sound similar, it’ll want to check out something else. As much as I love this album and love each individual track, it did start to wear on me a little by the halfway mark. 45+ minutes of balls to the wall melodeath is a bit much for me, where’s the ballad, Vexed? Still, as I’ve said, I loved each track individually, and feel like this all would be INCREDIBLE live.
Ironically, I’m obsessed with the following track ‘Extremist’. The way everything was stabbing on each beat, the drums, vocals and guitars all working in sync together, was AMAZING. It’s so incredibly written and packs one hell of a punch. The whole track is great, but those verses are somthing else. It’s another massive highlight of the album, and another track that makes the playlist!
Tracks like ‘Default’ and closer ‘Nepotism’ are similar to a lot of the rest. However, to Vexed ‘s credit, single ‘Trauma Euphoria’ and ‘It’s not the End’ both mix it up a bit. Both feature more of a focus on cleaner vocals and slower, radio-friendlier sections around the heavy, harsh screams. The former is a very good choice as a single as it combines the bands trademark heaviness with a genuinely huge, anthemic and catchy chorus. Oh, and it also has a fantastic guitar solo, something I have only just realised now have been absent for much of the album. It only made this one hit harder, though, it was awesome. The track could be massive off that chorus alone, and it should, as it’s amazing. Playlisted!
Meanwhile the latter feels the closest thing to a ballad the album has. It opens slow and clean, decending into a very angry chorus. The ambient sounds behind it though is so beautiful and so Spiritbox. Controversial opinion though, Vexed do it better than Spiritbox. It’s another highlight track of the album, and I only wish it was put earlier on to break things up a little more.
Overall: I LOVED THIS. While the whole album was amazing, there’s a good 5/6 tracks here that are going to stay in my frequent rotation for the rest of the year, guaranteed. Given that I am typically not as into this style as a lot of others are, I couldn’t get enough of it. They’re the sub-genre leaders after this, in my opinion, and they are going to be a massive deal in the years to come. They have a big new fan in me, and now I just need to see this live!
A STACKED week of new music this time, with everything from country to melodeath and everything in between! Let’s waste no time and check it out!
The Smashing Pumpkins: ATUM, Act III
The third and thankfully final part of the ATUM trilogy. As you can tell by our previous reviews, the previous two parts have been mid at best. Let’s see if this one finally ends things on a high note.
It has the weakest opening track of the three, 7+ minutes (!) of boringness. The following track is at least rockier and a little heavier, but it’s not massively more interesting. It could be good live if I didn’t already know from experience that they’re boring as FUCK live. ‘In Lieu of Failure’ is another rocking track with a decent riff running through it. It’s easily my favourite track on the album, and feels almost old-school TSP. ‘Harmageddon’ also has a pretty decent riff running through it. ‘Spellbinding’ has the typical big pop chorus for a single, but the track in general is meh.
All of the rest of the tracks are the same mid-to-slow-tempo synth-pop/ballad bollocks. Imagine having the balls to release a 2+ hour long triple album, and 85% of it is the same boring, slow crap that isn’t anything like the tracks that made you big. On the one hand I admire the hustle, but on the other hand I really didn’t enjoy the concept overall. Trimming the fat, they could have had one really strong album here, not three. Bloated isn’t even the word, and it feels massively uncreative to constantly make the same sounding stuff. 3/10, thank god I don’t have any more of these to sit through now.
Therapy?: Hard Cold Fire
One of the lost bands of the 90s, the Irish rockers have been one of the most consistent bands around for decades, this being their 16th album. Most of their discography is solid in quality, too. Let’s see if this one holds up to the others!
It’s 30 minutes of big, fuzzy riffs and early 2000s radio metal melodies. I loved it. ‘Woe’, ‘Bewildered Herd’ and ‘Poundland Hope and Glory’ are all excellent tracks. There isn’t really a bad track on the album, either. It is somehow both grunge and post-grunge at the same time, which is awesome. If you are into either genre at all, check this out, you won’t be disappointed! 7/10
Deathstars: Everything Destroys You
The industrial metal Swedes finally return with their fifth studio album. After almost a decade of waiting (a few of those years because of the pandemic) it is finally here.
It’s alright. There’s nothing at all inherently bad about it, it’s all good, enjoyable music. But none of it hooked me. I’m writing this after the first full listen to the album and I honestly couldn’t repeat a single hook or moment from it. It’s a fun industrial metal album joining together elements of Rammstein, Avatar and even ASP. But it doesn’t do anything new in its execution, just makes me want to listen to the aforementioned bands instead.
If you’re into slower, gothic industrial metal, this may very well be right up your street. But this didn’t really scratch any itch for me. 5/10
Justin Moore: Stray Dog
The most stadium country album I’ve heard in a while, and I loved every second of it. Right from the opening duet with Riley Green where they just list off country things, you know exactly what to expect from the rest. But damn if it isn’t one of the best stadium country albums I’ve heard in a good long while.
There really isn’t a bad track on the album. ‘That wasn’t Jack’ is a stadium filling ballad if I’ve ever heard one. So is ‘With a Woman You Love’. So is ‘Better Slow’. See where I’m going with this? It’s all very much the same pace and vibe throughout. However, it’s also only eight tracks and 27-minutes, so it’s a lot more palliable and easier to let off than most country albums. I’m not usually a big Priscilla Block fan either, but ‘You Me and Whiskey’ with her as a guest is one of my favourite tracks on the album.
If you’re into radio country these days that still has a little old-school feel and integrity, you’ll love this. 8.5/10, this was great!
Statues: Black Arcs Rising
Another Swedish band, this time alt rock and the third album by the band! The first thing that sprung out to me about it was the mixing. The guitars felt really far forward, with the bass being quiet and muddy and not filling out the sound as much. Because of this, it felt like there was a big empty hole in the sound in the middle. That’s what it sounded like to me through my headphones, anyway, others may hear different. It wasn’t as bad during the odd big chorus when the power chords fill out the sound fully, but the rest of the time it sounded odd.
The tracks themselves were actually pretty enjoyable. I’d LOVE to see it live, I feel like a big round sound for it and a couple of drinks and I’d have the best time. Tracks like ‘Chemicals’ and ‘Phantasm’ are highlights for sure. The band are at their best for me when they let their punk edge take over. Short and sweet, quick tracks like ‘Hiding in a Hole’ are great. 7.5/10, good stuff!
Burning Witches: The Dark Tower
The all-female heavy/power metal band are back with their fifth album in six years. Considering how consistent that release schedule is, the quality is still ridiculously high.
‘Unleash the Beast’ is one of the best opening tracks on an album I’ve heard in quite some time, and features the amazing (no, not that one) Courtney Cox on guitar. Tracks like ‘Renegade’, ‘Doomed to Die’ And the title track are all incredible. ‘Tomorrow’ is a fantastic ballad, too. The whole thing reminds me of Judas Priest’s Painkiller, which is a HUGE compliment as that’s one of my favourite albums ever. It feels like an modern evolution of that sound, adding a little more power and heaviness to it.
I honestly cannot praise this album enough. Every track is incredible and you don’t feel its hour plus length at all. I’m going to have this blasting for weeks/months to come. 9.5/10
Megan Moroney: Lucky
More radio-country, and more very good music. Megan Moroney’s debut is finally out! There’s a little more variety to this album at least, too, as we go from slower acoustic stuff on ‘I’m Not Pretty’ to a more upbeat, Shania Twain style title track and plenty in between. It’s needed too, as it’s a bit longer than Moore’s, though still nowhere near as insuferably long as 80% of modern country albums.
The darker, rockier ‘Another on the Way’ is my favourite track on the album and a HUGE highlight. However, there is a lot to love on this album. Tracks like ‘God Plays a Gibson’ and ‘Sad Songs for Sad People’ are also great. It hits all the right beats for a good country album, and does it masterfully. For someone so young, too, she has a massively bright future in the industry. If she isn’t big already, this album will push her to the top for sure. 9/10. I cannot wait to see her at The Long Road!
Frail: Stand by Me in the Storm
The start of a lot of metalcore on this list, not that I’m complaining. The Finnish band’s sophomore album combines metalcore with a lot of alt and hard rock sounds too, making an incredibly interesting, varied sound. Opener ‘Zealot’, as well as being amazing, gave off lots of ‘Heart from your Hate’ style Trivium vibes. Meanwhile followup ‘Come Back to Me’ is a slower, more anthemic, radio metal track akin to more of a modern BMTH track.
‘Children of Depravity’, ‘Mirror’ and the beautiful ballad ‘Demon Dopamine’ are all massive highlights, too. However, that’s not saying a huge about, as there isn’t a bad track on the album. They definitely have a new fan in me after this album, and anyone who’s into rock or metal should check it out immediately. 9/10
Unearth: The Wreched, The Ruinous
Some tasty metalcore, this is. Feeling like a combination of early All that Remains and that heavier Atreyu album, all combined with their usual heavy brand of melodic music, there’s a lot to fall in love with. It’s honestly hard to pick favourite tracks as they’re all great. From the heavy riffs and breakdowns to the perfect screams and insane lead guitar and drumming work, it’s all amazing. If you’re into earlier 2000s metalcore, then you’ll love this. Every member of the band is on top form throughout, I can’t fault a thing. 8.5/10
Velvet Rodeo: Back in the Saddle
An country/Americana duo up next, with their debut album! Having never heard the band before, I’m damn happy I check it out. Opener ‘Bridges That I’ve Burned’ is the perfect introduction to the act, while ‘Wasted on You’ is a great followup to showcase the second half of the duo. ‘High Heel on the Pedal’ and the title track are two massive highlights of the album.
It’s a great 38-minute piece of music to put on and chill too. It’s a fantastic debut filled with catchy melodies, huge choruses and some great lyrics. It reminds me of a band I covered a few weeks ago, White Rose Motor Oil (check it out here). Can’t fault it at all, I’ll be listening to it a lot more in the coming months and can’t wait for more! 8/10
Currents: The Death we Seek
The djenty metalcore band are back with their third album. I’ve seen a lot of buzz in the buildup to this album and even more after it’s release. Safe to say, I can see why. Damn, this is awesome.
Right from the album opener and title track, the aggression and heaviness hits you square in the nose, and doesn’t let up much at all. The guitar tone is filthy and the low, heavy riff that opens ‘Living is Tragedy’ is phenomenal. It reminds me a lot of the stuff that Darko US are doing at the minute, but with a cleaner, metalcore edge to the heaviness too. ‘Unfamiliar’ is kinda lighter, if huge chuggy riffs and screams can be considered lighter. But the ethereal verses are great. Tracks like ‘So Alone’ and ‘Gone Astray’ are also HUGE highlights.
Again, I fully see why this band are getting the hype they are right now. This is an amazing album. They’re going to be the next big heavy band, I can feel it. It feels reminiscent of when Parkway and Architects started breaking through into the mainstream. 9/10
Enforcer: Nostalgia
And we finish this week on some aptly titled NWOCR revival music. It definitely rides the wave of nostalgia for bands like Judas Priest, Journey and Anvil. In that vein, it’s fine. It reminds me a lot of bands like Eclipse and W.E.T, that heavier, modern AOR sound. I feel like I’d get into it a lot more after seeing it live, hearing it on track isn’t doing a great deal for me. Still, tracks like ‘Unshackle Me’ and ‘Metal Supremacia’ are awesome highlights. 7/10, good but felt like something was missing.
The Swiss Nu Metal band Chaoseum rose to prominence during the pandemic era off their HUGE single ‘Smile Again’. The first thing they have done since then, aside a live album, the bands third studio album has a lot of hype to live up to? How does it fair against Second Life? Let’s take a listen and find out…
A brief organ intro starts off ‘I, Sexy Zombie’ with an eerie feel. A heavy, Korn-ish riff comes in over the top, especially with the faint vocals too. It stays quick and heavy heading into the verse, the growls making it have an almost death metal feel to it. However, when it cleans up and half-times that nu/industrial metal sound comes back, sounding amazing. It all builds into a very catchy, very Korn chorus. The chanted backing vocals are very memorable and will go down a storm live, while CK Smile does a great job at a clean, melodical hook. A short bridge leads to a great little guitar solo. We then get a final catchy chorus to round out an awesome opening track.
Single ‘Unreal’ opens on a great riff, soon exploding into the heaviness just like before. The drums are a real highlight here, Greg Turini working overtime on a fantastic beat or two. All of the vocal melodies throughout the track are infectiously catchy, from the clean verse and chorus to the growled, call-and-response style of the pre. I don’t want to keep comparing Chaoseum to Korn as they do have their own talents and sound, being slightly more metalcore, but the nu-metal titans are definitely the closest band to compare them to. The spoken word in the bridge, especially when the gang vocals are added after the drop, is all awesome. It almost gives off Static X vibes and is another part I’d love to see live. Another great guitar solo and double chorus take us home in style. Another fantastic song and the second already to make the playlist.
The slow build intro for ‘Dance on my Grave’ is awesome, the electro parts working so well with the riff. It has a real bound to it all too, definitely fitting with the song title. It gives off Wednesday 13 and Manson vibes this time too. It’s a catchy track and one that doesn’t take itself all too seriously. Heck, it has the most casual ‘suck my dick’ I think I’ve ever heard put into a song! The track as a whole is a lot of fun and would go down a storm live.
Surprisingly, the title track is a short instrumental interlude. It was tribal and folky and definitely enjoyable, it’s just odd these days for a band not to have a massive single as the title track of the album. It did, however, lead pretty perfectly into the following track, ‘Fly Away’. It’s another heavy track clearly inspired by Korn. However, it’s another massive, arena-filling chorus filled with great main and backing vocal lines. Outside of that chorus it’s another fun nu-metal track, the growls in the bridge also being good.
‘My Wonderland’ opens on a very Slipknot riff, especially with the laugh and scream over the top. It’s a balls to the wall track that barely lets up at all, though still has plenty of catchy hooks and melodies from the vocals. It is a fantastic track and was definitely a good choice to be a single, as it highlights everything Chaoseum is about while also being radio-friendly and amazing in its won right. It’s made our playlist!
‘Welcome Home’ ‘Until the End’ and ‘Sanctum Cinerem’ were a little slower than the other tracks on the album, especially the middle track. It was a nice change of pace and definitely helped me stay interested in the album which, until this point, had all been rather similar. In fact, ‘Until the End’ is one of my favourite tracks on the album and makes our playlist. It’s a slower, dark, doomy track, and is really awesome. Plus, the guitar solo was amazing!
Finally, closing track ‘What If’, opens on an album Slim Shady/Slipknot’s ‘Custer’ style voice recording. Said voice recording from CK does lay the grounds for a phat riff, though. We also get some cool Linkin Park style electronic bits throughout, especially in the verses, which added a great new layer to their sound. However, it was unfortunately a song that felt a bit like an album track. It was good, but didn’t feel as huge and catchy as a lot of the others. Still, it’s a fun, impactful way too close a good album!
Overall: This was great. I’m a sucker for that nu/industrial metal sound, having grown up in that time period, and Chaoseum do a fantastic job of modernising it here. They’re bringing the early 2000s sound to a whole new audience, and doing so through awesome songwriting and musicianship. It’s an album I’ll be listening to a lot in the coming months, as there is not a bad track on it!
Another big week for rock music, from metalcore to sleaze. Check it all out down below!
Alter Bridge: Pawns & Kings
We’ve already reviewed this very good album. Check it out, alongside the score we gave it, here.
Red Hot Chili Peppers: Return of the Dream Canteen
This fucking thing is 17 tracks and 75 minutes long. Why is it so SLOW. I used to be a HUGE fan of this band in my youth, from Mother’s Milk to I’m With You all being amazing. However, these last three albums now have not been good. Of those albums, the only track that really feels like the RHCP I grew up loving is ‘Dark Necessities’, and it’s a good few years old at this point.
I reviewed their last album earlier this year when it was release and didn’t score it too high, giving it a lowly 3.5/10 (you can read it here). I don’t even think this one gets that high. There was nothing on here that I remember as soon as I stopped listening to it, nothing about it was at all memorable. Just a collection of almost easy-listening tracks, with the odd good bassline or guitar work. Kedis’ lyrics were all over the place again and there was barely a vocal hook in sight. If it wasn’t for Overtone, I wouldn’t be checking this album out, which is a real shame. The band have slipped so far and even with Frusciante back, they cannot capture the magic they once had. 3/10
Lorna Shore: Pain Remains
Max: So, the deathcore greats are back with a new album and the first full length release since Will Ramos joined the band. This album really proves that they are the new faces of this entire genre. From the painful beauty of ‘Pain Remains I’, to the intensity of ‘In To The Earth’ and ‘Sun//Eater’, this album is genuinely amazing and is a game changing album for the genre. There is so much that makes this album stand about, from the aggressive precision of the drumming, the breakdowns and the solo’s all the way to Will’s vocals going from the ultra-low all the way to the pain filled yells in the bridge of ‘Pain Remains I’.
This band is phenomenal in so many ways. I may be biased to some level since this is one of my favourite bands and I have been looking forward to this album for quite a while and I did see them only a couple of weeks ago when they were on tour with While She Sleeps and Parkway Drive. However, I do believe that everyone should listen to this album and experience the beauty for themselves so they can understand why everyone is so enamoured by this band. Whether there is bias here or not I think this is one of the best albums in this genre, so it really does deserve the 10/10 rating. Now, hurry up and go listen to this album.
Skid Row: The Gang’s All Here
I’ve seen a lot of people gushing over this album already, it being their first in a while and with new singer, Erik Gronwall of H.E.A.T fame. Personally, I wouldn’t go as far as a lot have, but it’s not a bad album!
I somehow didn’t have time to check out the singles before this, but I actually thought the lead single ‘The Gang’s All Here’ was the weakest track on the album. Between that and the equally weak opening track, I was worried about this album to begin with, and thought I was missing what everyone else heard. However, ‘Not Dead Yet’ then began a fantastic run of tracks. In fact, with the exception of the average ‘Nowhere Fast’, the rest of the album is pretty great. Even the slower ‘October’s Song’ was good, Erik channelling his best Bach energy here. I’d put ‘Tear it Down’ and tracks 3-5 up there with some of the very best Skid Row songs, period. 8.5/10
We Came as Romans: Darkbloom
We Came as Romans obviously didn’t get the memo. Metalcore in 2022 is supposed to try and sound like Deep Blue, not Sempiternal. Then again, WCAR push it even further than BMTH ever have with their Linkin Park inspiration here. However, all jokes aside, this was a pretty decent album.
It feels like just about every metalcore band of my teens came out of the woodwork with a new album within the last year. As a result, I feel rather metalcore-d out. But, this felt just different and interesting enough to hold my attention, at least for most of it. Tracks like the opener and the brutal ‘Daggers’ are personal highlights, but the first 2/3rds of the album are definitely worth a listen. I have to admit, I got a tad bored after that. Definitely a good album, though, and the most I’ve enjoyed the band in a while. I must get back into these! 7.5/10
Sleeping with Sirens: Complete Collapse
This was heavier than I expected it to be at times. It was also… fine. The heavier tracks and parts were okay, and the poppier sections and tracks were okay. But nothing at all about this made me want to listen again. Even the guests (including two I’m a big fan of in Dorothy and Spencer Chamberlain) couldn’t really save the album or tracks they were on. Heck, ‘Us’ is a terrible track, with Dorothy very much feeling like she was phoning it in.
I remember not being into this band when they were first getting big a decade ago (mainly because of Quinn’s grating clean vocals), and this did little to nothing to change my mind. It was okay, but absolutely nothing to write home about. 5/10
Nothing More: SPIRITS
The vast majority of their descriptions say that Nothing More are a rock band. I got far more metal vibes from the band’s sixth album, from the heavy riffs, dark lyrics and a good few harsh, screamed vocals. Honestly, it all worked perfectly, and this was an awesome album. Right from the opener the band come across as pissed off and ready to take names (pun intended). It’s great fun and a real infectious level of energy. The vocals also reminded me of My Chemical Romance at times with the level of expression and cadence, which is never a bad thing.
I honestly can’t pick fault with a single track on this album. It reminds me of Coldrain and Palisades’ albums this year too: two bands that I knew of but hadn’t checked out really before but put out insanely good albums that are right up my alley, sound-wise. I NEED to check out more of their back catalogue, ASAP. 9/10
Boston Manor: Datura
Another album that surprised me with its heaviness, Boston Manor channelled their inner BMTH with their short fourth album. Emo pop is definitely the best way to describe it, as it feels like a dark blend of modern metal and indie. There are some good riffs and melodies in here, but ultimately it isn’t especially my sort of music. It’d be fantastic to see live I feel, but on track it felt a little more like background music. I’d not skip it if it came on, but I won’t go out of my way to listen to it again. 5/10
Another week, another batch if great new music for us all to check out. Let’s not waste time, and Let’s get into it! However, also a big shout out to Burridge. and her new EP, which also came out this week and we reviewed here!
Slipknot: The End, For Now
One of the biggest albums of the year from one of the biggest bands of the century, and boy has it got people divided. Check out our opinion of it here.
Monster Truck: Warriors
The Canadian southern rockers returned with their much anticipated fourth album this last week. I’ve been a fan of the band since their debut, but even I can admit that you know exactly what you’re getting from the band. Big riffs, powerful vocals, plenty of fuzz and attitude and a good guitar lick or two. This album is that to a T. Tracks like the opener, ‘Golden Woman’ and ‘Wild Man’ are all great. However, they don’t quite stack up to the likes of ‘Sweet Mountain River’ or ‘Old Train’. The issue with doing the same formula over and over is that if you already perfected it the first time it’s hard to capture that same magic again. 7/10. Definitely good, but I’ve heard better from the band.
Pixies: Doggerel
This went harder than I ever expected it to. The alt/indie rock band hit us with their eighth studio album and it caught me off guard, at the very least. From the punk AF opening track to a more Americana sound on ‘Thunder and Lightening’ to even some classic rock leanings and inspiration throughout, there is a LOT of variety here. Not all of it is my sort of thing and I do think that if a few of the tracks are going to sound so similar maybe cut a few out as it feels a little bloated. However, there isn’t really a bad song on the album and it’s definitely one I’d chuck on if I was driving or had stuff to do. Clearly I need to check out some more Pixies stuff. 7/10
Drowning Pool: Strike a Nerve
A band that 90% of people wrote off after the untimely passing of Dave Williams, the band are now seven albums deep into their careers with generally some pretty great output. I have to say, though, that while Jasen Moreno is good live with them, I haven’t enjoyed all too much of their last two albums since he took over vocals.
However, despite the ugly album artwork, I really enjoyed this. It finally feels like Jasen fits in the band. It has a renewed sense of attitude, aggression and motivation behind it. It sounds like the band wanted to make this album, not just put it out because of the label or as an excuse to tour. ‘Hate Against Hate’, ‘Stay and Bleed’, ‘Mind Right’ and ‘Down in the Dirt’ are all huge highlights on a very good album. I’d put them up against any other single the band have done, including any of Sinner. People definitely need to give this and another chance, and this is a fantastic album to dive back into them with. 8.5/10
Adam Doleac: Barstool Whiskey Wonderland
It feels like it’s been a couple of quiet weeks for country, so let’s dive into the next rising star in Nashville’s debut album.
Firstly, to get my usual gripe with country music out of the way, 18 tracks is just far too long. I love the genre, but nearly an hour spread out into 18 songs is going to bore the hell out of me at times unless Adam plans on exploring different forms of the genre too. Spoiler alert, he doesn’t. It’s 18 slower tempo country ballads. Now typically that wouldn’t be an issue, and there’s some great songs on the album, but my ADD made this album rather had to make it through in one sitting.
Tracks like the title one, ‘Drinkin’ it Wrong’ and ‘Somewhere Cool With You’ are really good and definite high points of the album. However, between them is a lot of slowish, similar music. I’d had enough around 10 tracks in, and I do think there are nine tracks you could cut to make this a fantastic, concise album. It’s another album that I’d happily stick on in the car, but outside of that I fear a fair few of the tracks will be lost to obscurity, only listened to on full album listens. And it’s a shame, because Adam is a fantastic songwriter, and half of this is amazing. 6/10
The Dead Daisies: Radiance
Another album we’ve already reviewed, this time ahead of release! Check out our thoughts and score on the supergroup’s sixth studio album here.
Darko US: Oni
If you want to know what hell sounds like, this is it. It’s like the Doom soundtrack on acid. It’s ludicrously heavy, and even if you aren’t into the music at all, you kinda have to admire and love them for that. The pair push every boundary they come across and the results are honestly like your favourite horror film. I honestly don’t understand how Tom Barber does most of this with his voice, and Josh Miller’s instrumentation is off the charts. Tracks like ‘Hyper Kill’, ‘Dragon Chaser’, ‘Evolving’ and ‘Acid Inject’ all had my face both scrunched up and grinning throughout, in the best ways. But it also has variety too, as ‘Infinite Beauty’ veered into an ethereal, almost Spiritbox style.
It’s definitely not going to be everyones cup of tea, I get that. I didn’t think it’d be mine, but it’s so heavy it’s come out the other end and laugh in far, shock and adoration. It’s insane in every way and I couldn’t stop listening to it. 9/10
Pulled Apart by Horses: Reality Cheques
Another indie/alt rock band suddenly channelling a lot more punk influence than they normally would. Heck, the bands 5th album wouldn’t look out of place in the Ramones or Iggy and the Stooges discography. The band are a bit more known for this sound than Pixies, but it still caught me off guard for some reason. And being a big fan of this style of early punk, I loved this. Being just eight tracks and half an hour in length too, I can’t really pick out a highlight. If you’re a fan of the other bands I mentioned or of punk at all, check this out, you’ll love it. I’m going to have this in rotation for the rest of the ye3ar now. 8.5/10
Icon for Hire: The Reckoning
I’ve heard the band name around for a while now and don’t know why I thought these were more of a deathcore band. Instead, they are a more pop/metalcore In This Moment. While I wasn’t sold on their opening track, they really grew on me by a few tracks in. Whether it’s ‘Ready for Combat’, ‘Shadow’, ‘Garekeepers’ or ‘All I See is Darkness’, there are some fantastic heavier track on here.
There are one or two duds too, though. ‘Sunflower’ is a glorified pop song and ‘Emo Dreams’ is probably a fair bit more cringy than they’d have hoped. Having said that, she is actually a good rapper, and I think if the lyrics had a little more substance than ‘I’m good’ then the track would have been a huge standout on the album.
However, it was far better than I was expecting. I can see it becoming more and more of a favourite with each listen. I need to.cjeck out more Icon for Hire, because this was sick. 8/10
Coldworld: Isolation
It feels like it’s been a while since I covered straight-up black metal here on New Music Mondays. Don’t get me wrong, my feelings generally haven’t changed about it, but the ambient nature of it, mixed with the very infrequent vocals, made this at least listenable. Don’t get me wrong, I wouldn’t go out of my way to listen to it, but I also wouldn’t go out of my way to turn it off if it came on again. It was atmospheric as hell and really well put together and produced. I also haven’t found an album that matched its artwork so well in a while, this was a eerie, depressing album, and while I won’t probably listen to it much going forward, it was good. 6/10
Autopsy: Morbidity Triumphant
Old-school, straight up death metal from one of the pioneers of the genre in the US. It’s aggressive, it’s brutal, and it’s insanely fast. I don’t really know what else to say, really. It’s exactly what you’d expect when you the words ‘death metal’. If you’re a fan of Cannibal Corpse, you’ll love this. I’d love to see them live, even if on track I could take it or leave it. Still though, the band are insanely talented players and it shines through in every track. 5/10
Kristian Bush: 52/New Blue
A fantastic, but this time appropriately lengthed, country album. It’s heavily blues driven, meaning it’s a little more rock than Adam’s album earlier on, too. It’s another album that I’m struggling to pick highlights from too, as it’s all great. The first five tracks are how to do country perfectly, but the whole album is a masterclass in good songwriting really. I can’t praise this album enough, 8.5/10
Amaurot: …To Tread the Ancient Waters
And onto the last album of the week, a dark, symphonic power metal one. I have to admit, while this was definitely atmospheric and epic, it didn’t grab me much. It’s an incredibly cluttered sub-genre, especially this year, and I unfortunately feel like I’ve heard better. It’s not bad by any stretch, but it didn’t hold my attention at all. ‘Des Wanderers Leid’ is probably my highlight. 4/10
Derby Alt Fest is the biggest metal festival to hit Derby city in maybe ever, we just had to cover it, right? Go and check out the line-up now if you haven’t already, it’s insane. Liam has put on one hell of a bill for everyone this year at the famous, already nearing packed-out Hairy Dog, and we’re here to give you a taste of what to expect!
Thursday:
‘Thrash Thursday’, as it has been dubbed, plays host to six of the very best in the genre in the UK scene right now. From Elyrean, Helgrind and our good friends at Thrasherwolf, it’s a damn strong opening to the day and the festival. We managed to get a few words from the frontman of the latter band, sharing his thoughts on the festival:
“Hi wolvers! Dan from Thrasherwolf here! Just to say we can’t wait to bring the pack down to ALT FEST and get some good old-fashioned violence started! We hope you’re ready for the carnage that night because you won’t be leaving the same way you came in! “
The evening then continues on its brutal ways with All Consumed and Hellfekted. Both are fantastic bands which you have to see live to get the full brunt of their energy and force. Then we reach the headliner of the evening, the mighty Cage Fight. The band have gone from strength to strength in the last few months since dropping their monster of a debut album, and this writer in particular cannot wait to be in the pit for them! They’re all worth the price of admission alone, and we still have two days left!
The more alternative day on the wonderfully odd Dacara. The band bring their big hooks and huge guitar tones to the Dog to open up a stellar day of music. Medusa Touch bring an air of old-school, NWOBHM sound to the proceedings while WarlocK A.D. bring the power metal in spectacular fashion.
Then we reach possibly the most interesting band on the line-up, Luna Kiss. They are the lightest on the bill by quite a margin, being the only real rock band on the bill. Despite that, the band seem more than excited to be playing:
“Wil here from Luna Kiss. We’re stoked to be playing on the bill at this years Alt festival at the Hairy Dog. We’ve got a beast of a set planned and it’s going to be a good ’en’”
They are going to be a band not to be missed, and I’m curious to see how the crowd will react!
The insane local boys, Raised by Owls, are up afterwards, sharing their own brand of craziness and heaviness with the attendees. The guys have been going years at this point and have perfectly honed their craft with a show that should definitely not be missed.
Then we reach the awesome headliners of the evening, the death metal legends at this point themselves, Evil Scarecrow. The comedic, heavy band are possibly the biggest to ever grace the Alt Fest stage, and always bring with them one hell of a stage show to entertain their audience with. Not to mention, their songs are incredible, and they are all at the top of the game at what they do.
We managed to get a few words from the band too about their sure to be legendary set:
“Evil Scarecrow are so excited to be back at The Hairy Dog for the first time in a long time and looking forward to be returning back since the big room was opened. So get them crab claws, karate moves and robotic dancing at the ready as we look forward to seeing you all on the Friday night!”
Saturday:
The final day is packed full of incredible bands, with a whole afternoon and evening of great music. OATHS bring the heavy straight away with some great deathcore while Past the Fall are set to follow them with their own brand of brutality. The crushing heaviness continues with the likes of Beyond Extinction, Worship the Sacrifice and Hounds before Abduction give us a more black metal tint.
Inhuman Nature bring it back to the thrash sound again but with an extreme edge while Monasteries look to blast everyone away with their heaviness and insane talent. Fairly local band The Five Hundred return to blow the roof off the Dog as they always do, while crowd favourites Osiah pile on more insane brutality to the proceedings.
Then we reach the headliner and final band of the festival, the incredible Martyr Defiled. What more could you ask for? They are the perfect way to close out a heavy festival. Huge, heavy, at the top of their game and ready to put on an insane show to a roaring crowd. This is going to be a fantastic set, I’m sure, and one that I cannot wait to see!
We also managed to get a quick interview with the organiser and Unearthed main-man Liam about the festival, which you can check out below!
How did you decide on the bands?
Alt fest has always been as alternative as I can make it. It used to be a lot more difficult when I had just one day to smash as many genres as we could into it but now, we can really experiment. For this year I’ve based it on Thrash Thursday, Alternative Friday, and Heavy Saturday, so then I built it around that model.
How long does it take to plan an event like this and how many people are involved?
Planning pretty much starts when the previous year finishes, you look at what went well and what might have not and then begin building from there, looking at potential headliners and then opening applications and seeing who’s about. I have to shout out my guy Harry who I run Unearthed with, he’s not only helped structure the line up with me this year but also done all the graphics internally, and also everyone at The Hairy Dog, for continuing to allow me to put as many bands as physically possible on over the weekend and looking after us all.
What’s the history of Derby Alt Fest?
I actually started it as a standalone in 2016 to go along with my old bands EP release show, and it really just spiralled from that. I’ve tried to make it bigger and better every year and to not only bring bands back who have become fest favourites but also bring bigger bands who have never played. Were now in the sixth year of the event.
What can we expect at the festival this year?
Every day is going to be different. The style of bands make the shows great as standalones as well as forming into the three-day weekend. Thursday we have Cage Fight who are just rising at a rapid rate, and after just smashing Bloodstock second stage I can’t wait to see them destroy the Dog. Friday really is mental thinking about it, EVIL SCARECROW. I’ve seen this band on huge stages in the past and it’s going to be an incredible show. The Saturday is just going to be flat out brutal from start to finish. Headlined by Martyr Defiled.
Another huge week of New Music Mondays, with everything from metalcore to… well… The Proclaimers. Now that I have your attention, let’s dive into it!
Electric Callboy: Tekkno
The band that have taken 2022 by storm with the growing anticipation of this album thanks to their singles. We loved all of them and just had to review the album fully. You can check it out, alongside our review for it, here.
Behemoth: Opvs Contra Natvram
I’ve tried for years now to get into Behemoth, and it’s just not happened. I have heard tit may happen if I see them live. I feel like it must do, because this album did nothing for me. Those who read these regularly know that I don’t really get black metal, and it turns out big, well produced black metal still isn’t my thing. Sorry to any Behemoth fans out there, I know you’re quite the devoted lot. I really tried, listening to the entire album in one sitting. It just seemed like noise; I couldn’t pick out a highlight track. 3/10… please don’t cancel me…
Clutch: Sunrise on Slaughter Beach
Now, this is more my sort of speed. The stoner rock band have been consistently great for years now, and this is no exception. From the opener, ‘Red Alert’, the tone and quality of the album is set and it doesn’t waiver at all. I don’t understand how this band aren’t bigger than they are, given how fantastic tracks like ‘Slaughter Beach’ and ‘Nosferatu Madre’ are. Hopefully tracks like the ones I just named will finally help push them to greater heights.
If you are into blues or stoner rock at all I can guarantee you’ll love this, and it’s maybe one of the best albums the band themselves have done so far. Each track is amazing, it’s had to pick specific highlights. 8.5/10
Marco Mendoza: New Direction
Yep, we’ve been busy this week and given you TWO full reviews of albums before Monday. Aren’t we good? Check out our review of the awesome new Marco Mendoza album here.
The Devil Wears Prada: Colour Decay
In a world where bands that have been around for a while (especially in the metalcore scene) either go lighter and more pop or heavier after complaints from fans, The Devil Wears Prada laughed, flipped them of and said ‘we’ll do both’. I remember checking out the ZII EP last year and while none of this is quite as heavy as ‘Nightfall’, it’s still a heavy album. ‘Watchtower’ and ‘Exhibition’ for the most part might as well be deathcore tracks. But then at the same time we have plenty of clean vocals and tracks like ‘Salt’ and ‘Broken’. It’s an amazingly diverse album, and both sides of the coin are very good.
From the riffs to the INSANE breakdowns and both types of vocals, it’s all amazing. This is the best I’ve heard the band sound in years and is up there with some of my favourite work by them. This album will be on a lot in the Griffiths household over the next few weeks and months, as it really does have something for nearly every emotion. Another 9/10. A solid week so far!
The Mars Volta: Self-Titled
A complete change of pace now as we get to the US prog rock band’s seventh album. I have a confession to make; I don’t think I’ve heard a track by the band before. I know the name but have at least never gone out of my way to check them out. So I guess where better to start than with the band’s first album in a decade, since their breakup and recent reformation.
They’re weird… but I kinda dig it. It took me a couple of tracks to get into the groove with them, but by the time ‘Graveyard Love’ finished I was all in. The remind me of a darker Scissor Sisters, giving me a big nostalgia kick as I loved that band as a kid. While some of it isn’t typically the sort of thing we’d cover or that I’d like too much, there is enough awesome upbeat stuff to keep me entertained. Tracks like ‘No Case Gain’ and ‘Equus 3’ are strangely awesome. It’s not all for me, but I certainly wouldn’t be opposed or turn it off if the album was on again at some point. 6.5/10
The Proclaimers: Dentures Out
Yes, they haven’t just done ‘500 Miles’ and that song from Shrek. They do in fact now have 12 studio albums, and I have to say, this new one is fantastic. The opening and title track is one of my is one of the best soft rock songs I’ve heard in years. ‘Feast Your Eyes’ is a fantastic, epic ballad with a good point and seniment behind it. And ‘Praise’ is almost a surfer rock track with that riff. There is plenty of great stuff to sink your teeth into here if you like it softer and, while there could have been another faster track or two, I thoroughly enjoyed it and will definitely be listening to it again! A surprisingly great album from a band I’m sure most haven’t listened to in years. 7.5/10
No Devotion: No Oblivion
This was not at all what I was expecting. Given the name and album artwork, I was thinking I was in for heavy, not alt/indie. While I’m sure it’s great to the band’s fans, I wasn’t too into it. There was some fun, catchy synth and some interesting vocals, but I felt this was a bit of a slog to get through. I feel like/hope it’ll grow on me as they are all very clearly talented musicians and songwriters and I feel like I should get it, but I currently do not. 4/10 at a push, I’m sorry.
Starcrawler: She Said
This bands image doesn’t quite fit with their sound. From their artwork and pictures, I went into this expecting glam. This was not glam. I have to admit, I’m a little disappointed. It wasn’t bad by any stretch, built I’d have preferred glam or NWOCR over the punk/old school rock I got. It is interesting to hear an American indie tinge to the British punk rock sound, but I found it didn’t do much to hold my attention. Having said that, ‘Stranded”s chorus did seem vaguely familiar, and it was a definite highlight of the album. Not a bad album by any stretch and I feel like it might grow on me with another couple of listens., it just didn’t catch my attention immediately. 6/10
Sinnery: Black Bile
This is right up my street. Heavy-ass death/thrash metal, filled with big fast riffs that will break your neck after the full 50-minute album. Having never heard of them before, ‘The Burning’ was as fantastic introduction to them as any. Between the huge riffs, hardcore screams, gang vocals and filthy lows, it’s a highlight for sure. However, the album goes HARD for its entire run, giving the world some of the best the genre has to offer in 2022. ‘Sever’ and ‘Bleak’ are also highlights of a very strong album. I honestly feel like they are the second coming of Slayer, they are that good and heavy. I can see them getting the same cult following, and I am definitely going to be in there in it! 8.5/10
Somehow Jo: Scales and Details
Tool’s crazier child are back with their third studio album. Heck, just the two fantastic opening tracks, ‘Fata Morgana’ and ‘Freind’, channel so many different styles and genres it’s insane. From prog to folk to death metal to whatever the hell people classify SOAD as, there is something for everyone. Both are insanely impressive track and easily make the playlist, and there’s another seven tracks still!
I have to say though, every track had me hooked from start to finish. This was a damn good album full of some of the best playing I have heard in a LONG time. I have not a single negative thing I can say about the album, and I am desperate to see the band live now. Check this out if you are into any sort of music at all, you won’t be disappointed! 8.5/10
Dead City Ruins: Shockwave
This is what I was expecting Starcrawler. Just good old-fashioned hard/sleaze rock. I’ve been a fan of the band for a few years now after checking them ahead of a HRH (They unfortunately didn’t end up playing) and after the album being postponed a little, I’m excited to finally hear it.
It’s really good. Unfortunately, you’re wanting me to write more than that, aren’t you? Fine… It’s honestly as good as anything the rest of the NWOCR scene is putting out at the minute, and that’s saying something as the scene is currently at its peak. Opening track ‘Preacher’ feels like a fan-favourite live right off the bat and the album honestly doesn’t slip on quality afterwards. ‘Vision’ is another huge highlight. ‘Madness’ and ‘Speed Machine’ are both also awesome. ‘Rain’ gives me Alice in Chains vibes in the best way, and also makes the playlist with a bunch of other stuff on this album.
I honestly cannot say enough good things about this album. It’s the best they’ve put out so far and may be one of my favourite albums of the year. CHECK THIS OUT! 9.5/10
It’s here. It’s finally out. Electric Callboy (formerly Eskimo Callboy) have finally released their first album since new vocalist Nico Sallach. After MONTHS of teasing with the odd fantastic single, they have released a ten-track album. I’ve been excited for this for months so let’s get right into it!
One of the best tracks written over the last year period, ‘Pump It’ opens the album. Now, I’ve been obsessed with this track since it was released at the back end of last year so have heard it a BUNCH. Heck, it’s on our Track of the Week playlist. The band’s gym song is the perfect blend of 80s pop music and metalcore, as crazy as that feels to type.
Opening on Nico’s infectiously catchy, clean vocals for the first run of the chorus, it’s hard not to be hooked in from the opening seconds. The video perfectly encapsulates the feel, too. It’s not long before the metalcore comes in though, the ch0nky riffs and Kevin’s fantastic screams changing the pace and tone completely. It’s amazing though, and somehow fits perfectly while being completely different. The pre is incredible, with the spacing between the huge riffs and low screams and slow drums sounding amazing. Also, the big riffs continue through the chorus, making it all sound massive. After the second chorus we get a HUGE breakdown, heavy and dirty and full of screams. Then it ends. Less than three minutes of perfection. This has been on the playlist for months already and for very good reason.
Next up is the bands biggest hit and party anthem, ‘We’ve got the Moves’. Opening on some club tekkno so infectious it’s hard not to bob your head or tap your foot, the spoken word vocals coming in over the top enhance that even more. The second half of the verse gets dirty, with Kevin’s screams coming over the top of another heavy riff. It builds to some more amazingly catchy vocals for a chorus, high in Nico’s register but so damn enjoyable. The track channels even more club energy as it builds through a couple of bridges into a HUGELY catchy gang vocal part that would (and does) go down amazingly live. Then we of course get some breakdown and another huge chorus to close out the track. It really is the perfect metal track in 2021/22, at least in this writers opinion. Playlisted.
The band don’t exactly take themselves seriously and that definitely shows in the video. But it’s because of that that it’s all so much more enjoyable. Rock/metal is too serious these days, Electric Callboy are definitely a breath of fresh air in that regard.
‘Fuckboi’… no. Moving on.
No, in all seriousness, I’m a fan of Conquer Divide. They have some great covers and original tracks too. However, this felt more like a To the Rats and Wolves track over an Elenctric Callboy one. It’s practically a pop punk track. While all of this is okay on its own, it was a letdown from a band that usually go much harder and are, honestly, much more funny. Especially for a single, this seemed like a bad choice.
FiNCH, the guest vocalist on next track ‘Spaceman’ is singlehandedly responsible for starting to get me into German techno. I both love and hate him for that. He’s a massive highlight of this track though, and of the album as a whole if I’m honest. His comedic timing is great and he’s not afraid to make a fool of himself, much like the band aren’t. It makes for a fun dynamic, both contrasting while also being similar.
The track itself is another great one. Similarly structured to ‘Pump It’ though we get a final chorus after the breakdown, it’s more silly, catchy metal music. Also, the German rapping in the bridge is fantastic and provides the perfect build-up to the best breakdown on the album.
We’re nearly halfway through the album before we reach the first non-single. Unfortunately, it’s the other track that doesn’t quite do it for me. It’s the most metalcore track on the album and a rather serious one for a change. It’s mainly heavy and screams, but I do enjoy Nico’s clean vocal hook for the choruses too. I don’t know, it just felt like there was something missing. I’m hoping this one grows on me with a few more listens, but for now, eh.
Completely changing the pace again, ‘Arrow of Love’ is three-and-a-half-minutes of 80s pop-inspired awesomeness. The chorus is infectiously catchy from the vocals to the synth. The verses are heavy and full of some fantastic riffs and screams. And the bridge builds perfect through the clean vocals and heavy synth into an almost Link Park style breakdown. My only slight gripe is that it’s the exact same formula again as another three tracks on the album. It’s good, but may start to get a little old if it’s done a whole lot more without some variety.
‘Parasite’ is a bit of that change of pace, at least. While it is still a bit of a similar structure, it at least feels different. It has more of a Sempiternal feeling to it which is nice. Even the clean-vocalled parts were heavy, making this another straight-up metalcore track. Everything between the second and third choruses is amazing and super heavy, another highlight of the album. A good track!
‘Tekkno Train’ is brilliant. Any track that has the lyrics “You make my spaghetti ready” is bound to be. It’s another party song, complete with plenty of electronics and club-style synths. It’s clearly not a serious track at all, which is another big plus, and is massively catchy. I find it hard to say much though, given that again it’s a similar track to half the album, just with different lyrics and hooks. However, Kevin growling “choo choo choo” will never not make me laugh.
Finally, we reach possibly the best track on the album. The band knew what their audience would be expecting, and hit them with something completely different. It’s German Schlager for a minute and a half, I promise. Check it out if you don’t believe me…
Closing track ‘Neon’ feels like a bit of a comedown after the previous nine tracks. It’s similar to ‘Parasite’ in its feel and sound, but the chorus is huge and arguably better. This somehow feels like it blends together a bit of everything else on the album, but never quite kicks into that top gear I hoped it would. However, that chorus is incredible, and may be Nico’s best vocal performance I’ve heard. A big, if not monumental, way to close a great album!
Overal: Of course this was amazing. The hype behind it has been insane thanks to their great live shows and fantastic music videos, and I do think the album delivers big. It’s packed full of amazing songs and even the ones that aren’t as good as the rest are great tracks. However, it isn’t quite perfect for me. I cannot help but compare them to the other crazy, newly-huge metal band that got big off their videos, Ice Nine Kills. I would say INK’s latest album as a whole was stronger, while Callboy put out the stronger singles. But still, this is a damn impressive release that will be high up there for album of the year for me.
Some great new music in both the rock and metal worlds this week. Let’s waste no time, let’s look at some!
Arch Enemy: Deceivers
For a band that contains the guitar god Jeff Loomis, Arch Enemy definitely don’t get a lot of praise. Yes, I know their more recent stuff after Alissa joined isn’t a lot of peoples favourite stuff by the band but honestly, the singles for this album have been great and if they are anything to go by, it should be fantastic.
I can confirm it is indeed, in my opinion, fantastic. Alissa has one of the most effortlessly powerful screams in the game today, and the introduction of more cleans to their sound adds a great commercial range to the band. It’s (almost) radio-friendly death metal, which is a damn impressive genre if I do say so myself. And while Loomis doesn’t have a huge amount of writing credit for the album, his lead and rhythm playing is incredible and shows that he is stuill very much at the top of his game.
‘Handshake With Hell’ is an amazing single and the perfect way to open the album. ‘Deceiver, Deceiver’ is a good balls-to-the-wall follow-up but it’s the stadium-filling ‘In the Eye of the Storm’ and ‘House of Mirrors’ that are the real highlights of the album. This heavier take on European power metal that bands like these and Parkway Drive are doing these days is controversial but, in this writers humble opinion, amazing. The whole album is great and a really good jumping off point for anyone who wants to get into the heavier side of metal. 9/10
Hollywood Undead: Hotel Kalifornia
What a 180. I never got Hollywood Undead even back in the day, but then I don’t think I was their target audience. But then again I’m a fan of RATM, Fever 333, Hyro The Hero, Linkin Park etc, so I don’t really know why this didn’t click for me. I think it’s more the 2edgy4U lyrics, it comes across as rather cringy.
It wasn’t quite as bad as some of their older stuff. There were hits of decent riffs in the likes of ‘CHAOS’ and ‘Alone at the Top’ (by far the saving grace of the album), and there are plenty of big choruses. But then there are tracks like ‘Ruin My Life’ and ‘Trap God’ that are just terrible. If you are a fan of the band I am sorry for most likely offending you, but I found this hard to get even halfway through this album. I’m going to leave it here otherwise I’ll continue to be negative. 3/10
The Goo Goo Dolls: Chaos In Bloom
Yes, they’ve done more than ‘Iris’. This was actually a pretty good album. A combination of Matchbox Twenty, the slower Aerosmith tracks and a surprising amount of Britpop. Tracks like ‘War’ and ‘Going Crazy’ were personal highlights for me, but the whole album was decent. Don’t go in expecting much more than slower, ballady pop-rock, but if that’s your thing than it’s a good album for just relax to or have on while you’re doing other things! 6.5/10
The Halo Effect: Days of the Lost
In Flames in everything but name alone, The Halo Effect’s debut album is okay. I have to admit that I never quite ‘got’ In Flames outside of a track or two, and this didn’t do much for me either. Everyone is clearly very good at what they do but nothing gripped me or stood out to me at all. It’s all pretty samey and that sound just doesn’t make me want to listen to more. The closest thing to a track I enjoyed here was ‘A Truth Worth Dying For’, and that’s probably because it’s basically a Trivium song. Sorry guys, I feel like I’m going to catch some flack for this. 4/10
The Japanese experimental band put out their third Heavy Rocks album in which they explore the rock and metal genre. It’s weird. Like as an experimental art piece I get it, especially if they are constantly exploring different genres. However, I cannot envision myself listening to this much more after this review. Tracks like the early-Nirvana-inspired ‘My Name is Blank’ and the almost Black Metal ‘Question 1’ are as close to highlights as the album has. None of it is bad, it just feels like exactly what it is, a group of people deciding “lets make a rock album, that could be cool!”, instead of wanting to write the genre their entire lives, like most in rock have. 4.5/10
Thee Oh Sees/Osees: A Foul Form
The alt/punk rock band put out a lot of music under various different incarnations of the band name, though it would always be similar. Somehow, while always writing music within the rock genre, this channelled as lot of the same energies as the previous album for me. I’m not quite into the experimental side of rock as some people so if you love this, I can understand why. However, this is not for me. At least it’s a short album, as I’d gotten bored by the fourth track and it changed very little in the final six tracks. 3.5/10
Pale Waves: Unwanted
Leaning harder into the pop elements over the rock or indie ones of their sound, I almost didn’t cover this album. Then I remembered I’ve already done the likes of Avril Lavigne and Stand Atlantic so I might as well! And, to tell you the truth, this album is better than half the others this week. The slow build of ‘The Hard Way’ won me over, and tracks like ‘Alone’ and ‘Only Problem’ are other great highlights of the album. It’s just catchy, inoffensive pop-rock, and it was enjoyable to listen to. Yes, I’m going to score this higher than Halo Effect, and I’d also probably put it above most In Flames albums too. Sue me. 7/10
Norma Jean: Deathrattle Sing for Me
Time for some of the dirtiest metalcore I’ve ever heard. It grew on me more and more the more I listened. I pretty much had a breakdown face for a full 53-minutes. ‘Spearmint Revolt’ is one of the best metalcore tracks I’ve heard period, never mind just this year. That riff is CH0NKY. ‘Aria Obscura’ is also packed full of great, heavy riffs while having a more radio-friendly edge. But honestly, this whole album is worth a listen. Even if you’re not typically into heavy stuff and screaming, there’s enough commercial edge to ease you in. 8.5/10
Seventh Storm: Maledictus
A more thrashy version of pirate metal, like a heavier, more serious Alestorm. I fucking love it. Right from the offset, this had me hooked (pun intended) and I loved it from start to finish. And, it’s another example of an utterly fantastic debut album, something that has happened a lot in recent weeks. It’s somehow an amagamation of bands like Alestorm, Machine Head, Amon Amarth, Disturbed and even some Behemoth in the riffs. It’s a fantastic blend of styles and really has something for everyone. The opener and ‘The Reckoning’ are personal favourites of mine, but again the whole album is fantastic. The only thing that could possibly put people off is the song lengths but honestly, the band does so much per track it’s easy to get lost and not realise seven minutes have been and gone. 8.5/10
Carrion Vael: Abhorrent Obsessions
The melodeath band round out this week’s New Music Mondays with a brutal album. It’s heavier than a lot in the genre, definitely adding in a lot of extreme and blackened elements. Still, tracks like ‘The Devil in Me’ and ‘Disturbia’ are great. A good album for anyone who’s into quick, heavy music! 7/10
Patient Sixty-Seven are a metalcore outfit from Perth. Their debut EP, Home Truths, immediately put the band on the map, and their debut album looks to continue that same momentum. I found this band through social media a few months ago and have been eagerly anticipating this release. Without further ado, let’s get into this!
Opening on part two of ‘Stay Paranoid’, the first part being on their previous release, was a fantastic way of maintaining a fun narrative and continuity. A quick, distant build launches into a HUGE metalcore riff, the screams fittingly heavy over the top. It builds in some clean vocals around the growls for the chorus, adding a catchy element to it all. Outside of these momentary reprieve though this is a damn heavy track. It’s a fantastic way to set the pace at the start of an album.
This leads into one of the main singles of the album, ‘Scattered’. It opens on a great, slightly slower guitar riff, setting a mid-tempo pace. Dropping down a little for the verse; the more hardcore-style scream is awesome, especially with the odd clean gang vocal in between. It reminds me a lot of old-school metalcore, a heavy verse and pre building to a massive clean chorus. It only makes the chorus feel catcher and even bigger, enough to easily fill an arena. I was hoping for some sort of breakdown between the second and third choruses but instead we got a short bridge and stripped back chorus part. It was good, but felt a little basic in this day and age. Heck, this was a single though, and it’s definitely more of a radio-friendly structure! Playlisted!
‘Fatebringer’ picks up the heaviness and pace again immediately with an amazing riff between the guitar and bass, the drums working overtime to keep up. The harsh vocals sound great over the top of it, giving off almost death metal vibes. Even despite the heaviness, it still heads into one of the catchiest choruses on the album by the second time round. I LOVE all the different vocal styles on this album, it all fits the situation perfectly and all sound so good. But saying that, everyone involved is massively talented. Another awesome, playlisted track.
‘Try Hard’ plays around with the structure a little. It opens on the catchy, clean chorus vocals before heading into most of the screaming and djent-ish riffs after. I’m not sure why, but the cleans here remind me quite a lot of Gerrard Way’s style. Maybe it’s the melody? As a big MCR fan, I love it. Plus, when it gets heavy, it gets HEAVY. The low screams in this were incredible, especially when they were surrounded by more extreme style ones. The synth was also a nice touch to this, adding so much to the sound and atmosphere. Patient Sixty-Seven have managed to draw together each different phase and sound metalcore has gone through over the years and moulded it all together beautifully.
Time for the ballad, ‘Feel Alive’. Opening straight into clean vocals and a clean guitar chord progression, it’s already a huge change of pace to the rest of the album so far. We get a scream or two when it gets bigger around the choruses, but it still fits perfectly. The chorus itself is another arena-filler too, huge and distorted guitars providing a fantastic backdrop for the catchy clean vocals.
Guest vocalist Kellin Quinn fits in well in the second verse, too. His voice, while I wouldn’t have recognised it without reading it was him, is so beautifully clean that it worked well with the balladier track. The dynamics are fun in this track too, dropping down and exploding back up at the perfect moments. We even get a guitar solo to close, and a great one at that. This is how you write a metalcore ballad, and I can’t get enough of it. Playlisted.
I’ve heard lead single ‘Wayfair’ a few times now, heck, it was the track that drew me to the band in the first place, and I still find myself loving it more and more with each listen. From the heavy opening riff to the multiple different, brutal screams through to the catchy clean chorus, this is everything I want from a metalcore track. The breakdown is awesome, the riff being both technical and heavy. And we get another good guitar solo behind the final chorus. I have nothing negative to say here, this is another awesome track. Playlisted.
VRSTY’s own Joey Varela lends his vocals to this interesting, very good track. It is simply vocals, a basic electric drumbeat and some synths. Nothing more. However, the vocals are so full of emotions that it drew me in immediately. For what it is, a two-and-a-half minute essentially interlude track, it’s a masterpiece. Amazing stuff from Patient Sixty-Seven who seem to keep surprising me.
‘Damage Plan’ again heavy’s things up with an almost nu-metal riff running through it. There’s also a fantastic vocal highlight early on in the first verse with a simple laugh through them, adding so much more feeling and emotion to the words. It drew me in instantly to their meaning. Another amazing clean chorus breaks up the heaviness, the lyrics here being my favourite of the album. A great breakdown separates the choruses, it being so simple yet so effective. Another excellent song!
‘Fault Lines’ is a slow but heavy track, again almost bordering on deathcore with its heaviness. But, again, the chorus vocal melody gives off My Chemical Romance vibes, evening out the heaviness somewhat. The background stuff in this was awesome too, between the nice little guitar lead line, the synths and even some strings I think I heard at times. All of it give the track so much depth and intrigue, holding my attention in the palm of their hands. There is also the most perfect ‘bleh’ as it builds up into the final chorus, something I thought I’d hear a lot more of in this album.
Final track ‘Colours’ is another slower track, giving off similar energy to ‘Feel Alive’. Now, any long-time readers of Overtone know that I’m not the biggest fan of closing out with a slower track. However, the album has been so full on and heavy almost all the way through that it sits fine with me. That and the fact that it’s still fairly heavy in terms of music (and metal in general actually) that it works well. It has an epic finale feel to it and works well to close out the album. A good song to close a great album.
Overall: This was awesome. For a genre that is so up and down for a lot of people recently, this was it at its very best. Patent Sixty-Seven have all of the talent and songwriting ability to be the leading lights in metalcore for years to come, and they very much demonstrated it with this release. Fun and heavy while dripping with emotion, this album has a bit of it all. I cannot wait to hear where they go from here, and can only hope they venture out to the UK soon!
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