REVIEW: OF KINGS AND CAPTAINS – “All We Have” [Single]

Of Kings And Captains – ‘All We Have’ [Single]

Reviewed by Meghan Player

Stourbridge four-piece Of Kings And Captains are a band causing a stir in the Midlands. With their rock/pop, radio friendly sound – it’s not hard to see why.

‘All We Have‘ is a great little teaser into the sound, style, personality and presence of the band. Combining catchy hooks with punk laden ‘gang’ vocals, and Luke Wassell’s soaring vocals – this band has all the potential to be the UK’s answer to Fall Out Boy.

Undoubtedly, it’s the simple structure and style of the track that wins you over – and while it doesn’t immediately blow your mind, it’s the little gems within the song that demonstrate the potential this young band have.

Definitely a band to keep an eye on.

REVIEW: YELLOWCARD – “Always Summer” [Single]

Yellowcard – Always Summer (Single)

Reviewed by Mark Plummer

It’s been a little over fourteen months since the release of Yellowcard’s long awaited album When You’re Through Thinking, Say Yes, yet after constant touring to promote their first release after a two year hiatus, they’re already back in the studio working on their eighth studio album.

From the first guitar riff, Always Summer is a straight up Yellowcard song, there’s no messing about and nothing out of the ordinary, but that’s just fine for the opening single off of a brand new release. We need something to reassure that they haven’t totally changed what their sound is all about. The Violin, which is unusually held back to begin with, has had it’s entry timed to perfection. After it finally shows up in the post-Chorus, it starts to make its more accustomed entrances throughout the final Verse and Chorus before imparting a scorching solo. The Drums offer the usual mix of solid and thorough playing with a few technical parts thrown in here and there. Where the hits on the bell of the ride cymbal are lost in the second Verse, it’s complimented wonderfully with the introduction of the Violin instead. The Bass holds its own very well in the Verses, feeling full of warmth and along with the changing guitar parts through the Verses, they help to add plenty of texture and versatility.

This is a song that showcases a good array of balance and maturity whilst still holding down values in Yellowcard’s roots and growth. It’s almost a trip down memory lane to the songs of Ocean Avenue, with it’s big time summer feel accompanied by the line “It’s always summer in my heart and in my soul”. It’s definitely a track worth splurging a few of those hard earned pennies on.

5 out of 5

REVIEW: ART BY NUMBERS – Various Tracks

Art By Numbers – Various Tracks

Reviewed by Paul Fellowes

There has been a lot of talk about up and coming Fresno band, Art By Numbers in the lead up to the release of their debut album, ”Reticence: The Musical” – at the end of this month. Fortunately, the band have given listeners, including myself, the chance to have a taste of things to come – and, without a doubt, this is an intriguing band.

‘The Man In The Box‘ delivers a similar intensity that you would expect from London band Dragonforce. While the signature guitar riffs that spank any competition out of the park are almost second nature to Dragonforce, Art By Numbers give the Londoner’s a run for their money.

Upon the first listen of the track, the vocals are somewhat drowned out by the blistering, somewhat overbearing guitars, however, the further the track progresses, and the more involved the listener becomes – it becomes apparent that Art By Numbers have a distinct way in which they create music.

The style of the track does switch paths throughout – creating an almost Panic! At The Disco sound. The piano-esque hook that carries the track is unbelievably good – and while the song itself is, relatively crazy, it’s that style that sells the track over.

‘Best Laid Plans‘ begins with an eerie sounding whistle and “doo-doo” that opens the listener up to the ambiance of the track. The jazz style drum tap and bass riff show an undoubtedly different side to the band – emphasised by the astounding vocals that kick in. Comparisons to 30 Seconds to Mars spring to mind, as the track continues into a wonderful array of melody and sound.

‘Memoire Insuffisante‘ follows suit – the levels collaborating beautifully with the whimsical vocals that take complete charge during the track. The drum beat and self-confessed metal genre becomes more apparent in a minute or so – with raging guitars that still manage to keep their cool in terms of volume –  and the rise in tempo that creates another area of potential for this bands bright future.

Watching my intrigue for Art By Numbers grow, the beginning of Twelve Days was slightly too much. It’s a pity to see that, after three songs, I’d become a little lethargic and disinterested when this track came about.

The melody doesn’t seem so comfortable and it becomes, almost a mould of inhabitable music to which a patchwork of unfinished business has been created. Unfortunately, the songs structure is fragmented – and, while the musicality is still there, [and there’s no doubting that these guys have a unique and pretty special set of talents], for the listener, this one will be at the end of the metaphorical list.

Comforted by the fact that I’d enjoyed three of the four tracks on offer, final track Reyes sees the band return to the structure, competitiveness and estranged pleasure of the earlier tracks. The authentically classic way of opening on a changing radio station, to then come up with a pretty and pranced guitar riff, verging on metal rage, is brilliant and picks up the listener no matter their state of mind.

Undoubtedly, this is a great way to finish off the ‘taster’ of tracks. While the track doesn’t allow the listener to bow out and calm down, it leaves a lasting impression and means that Art By Numbers won’t be forgotten.

This is one little band to keep your eyes on this year.

REVIEW: HURON – “War Party” [EP]

Huron – War Party (EP)

Reviewed by Rob Barker

Taking their name from native North Americans, Plymouth’s Huron are relatively unknown despite some fairly heavyweight backing.

With previously tour-mates including Valient Thorr and Viking Skull, their style’s pretty easy to predict, stripped back old-school thrash with solid riffs and no frills.

Their latest EP, War Party, is cast from the same mould, but thanks to following such a formulaic structure it does suffer from sounding a touch predictable. The opening track, ‘Fight For Your Life’ does a respectable job of showing the band’s old-school style, but nothing in particular stands out, resulting in it sounding like a wrestler’s entrance music.

The lyrics in the opener are equally tried and tested, with lines such as “Fighting on foreign shores, a war to make us one religion” drawing obvious comparisons to Slayer’s ‘Christ Illusion’ LP, which dealt with the subject in a thrash context in a far more interesting way.

The rest of the record is consistent, but again, nothing shines through. Room 174 features a great Black Label Society style riff, complete with popping harmonics, but it feels like one of Zakk Wylde’s cast-offs.

By far the most solid track is Mercy Killing, complete with great double-kick drums and snappy clean basslines. Vocalist Sean Kenivel really shows what he can do, mixing sneering, Randy Blythe-like shouts with funereal downbeat cleans.

With the follow up EP, War Party II, set for release later in the summer, it really makes you wonder why Huron didn’t just wait and release the record as one LP, although hopefully they’ll have learnt from the weak points of their first effort to bring us something really special.

2/5

REVIEW: SLASH FEATURING MYLES KENNEDY AND THE CONSPIRATORS – “Apocalyptic Love”

Slash featuring Myles Kennedy and the Conspirators – Apocalyptic Love

Reviewed by Emma Dean

In his first offering as a solo artist, Slash’s 2010 self-titled debut featured a range of artists taking over on vocals, including big names such as Dave Grohl, Ozzy Osbourne and Chris Cornell. This time around for Apocalyptic Love, touring vocalist Myles Kennedy of Alter Bridge has turned collaborator, taking the helm and blowing everyone out of the water.

With music by the exquisite guitarist that is Slash and lyrics by Kennedy, Apocalyptic Love is a heavy and twisted journey into addiction.

Starting off with doomsday rock, title track Apocalyptic Love speeds into life before dragging you down into hell. One Last Thrill is classic punk rock, Kennedy’s vocals stealing the show and continuing to do so throughout the rest of the record.

You’re a Lie is by far my favourite track – the guitars shred to perfection and Kennedy’s passionate vocals are so powerful they nearly punch you in the throat.

Unsurprisingly, Slash is in his element in every track, with no guitar solo out of place or too long so as to bore the listener.

Anastasia, Not For Me and Far and Away mellow out the record. Hard & Fast is exactly that, and you can’t help feeling like you’re speeding down a freeway with the top down and the radio blaring. Final track Crazy Life could easily become the next rock anthem with its infectious hooks.

The album is pure dirty rock ‘n’ roll and an example of artist collaboration at its finest. Modern, passionate, infectious and downright rocking, Kennedy and Slash were made for each other.

10/10

REVIEW: FLY THIS FOR ME – “Making Shadows”

Fly This For Me – Making Shadows

Reviewed by Mark Plummer

Few bands have the ability to captivate a listener from the first listen, but the first five seconds of opener She Said certainly makes an impression. The verses do seem a bit lack lustre, the vocal work doesn’t seem to be quite sure of what it should be doing, but come the chorus and that male vocal quickly comes alive. After this the second verse is another step up and seems to set in concrete how the song should have started. What sets this EP apart from others is just how raw and yet professional it all sounds. Fly This For Me give off this great persona of being that brand new band that everyone wants to know first, yet also having their feet well grounded and knowing how to bring out a decent record.

We All Fall sets off at a blistering pace with some quality guitar work that is echoed through out the four tracks. The opening fills on the drums that lead into the quick guitar riff give this an edginess that is hard to beat and whilst it’s definitely not a Funeral For A Friend  or Story Of The Year tribute band, there’s certainly a bit of resemblance here and there. It’s this resemblance that will help them appeal to a wider market, different yet similar all in one, they’re appealing and easy to listen to. Whilst there is plenty of room for improvement, this is still an excellent release and deserves plenty of praise. These sorts of releases are hard to come by and should be grabbed and held onto. Magical and amazing all in one, all that’s remaining is a full length release.

4 out of 5

REVIEW: BURY THE HATCHET – “It Was Never Enough” [EP]

Bury The Hatchet – It Was Never Enough

Reviewed by Adam Smith

There are a number of bands across the UK who have tried to blend the intensity of hardcore with metal elements, yet many have struggled to do so with aplomb.

Thankfully, Bury The Hatchet are not one of those bands.

The E.P’s opener “It Was Never Enough” sets the motif of the record, with impressive guitar work intertwined with caustic vocals in a one minute long sonic assault.

In ‘But We Still Keep Moving’, the up-and-comers impress even further, adding a dark, monolithic outro that is comparable Architects’ early material.

Although the production of the E.P is decidedly raw, it only complements the band’s gloomy sound. This is exemplified in “Protest”, where intricate guitar work is juxtaposed expertly with the menacing musical undertones usually associated with Defeater or Touche Amore.

As the frenetic ‘Broken Soul’ brings this release to an end, it’s going to be intriguing to see how the band evolve,  as they’ve already shown the credentials necessary to make noises in Britain’s overcrowded hardcore and metal circuits.

4/5

REVIEW: VERA GRACE – “Rotations”

Vera Grace – Rotations

Reviewed by Adam Smith

From an instrumental perspective, “Rotations” begins as a remarkable exhibition of musicianship.

Some of the riffs heard on this release are titanic and destined to induce carnage on venue floors throughout the country, but the band tragically let themselves down when it comes to their vocal work.

Simply put, Vera Grace just cannot find the correct balance between clean vocals and screams. It’s an issue that has hindered the sound of many bands at the heavier end of the spectrum, and it’s unfortunately occurred again.

‘Wasting Away’ blasts through the speakers with riffs heavier than Greece’s debt, while the drumming skills on show are equally as impressive. However, at about the one-minute mark, clean vocals arrive which threaten to undermine all of the positives and place Vera Grace alongside the rest of the UK’s metalcore also-rans.

The problem is that the singing only serves to subdue the track, lowering its intensity and slowing the band’s commendable momentum.

A clear musical comparison can be made with Architects during “Esther’s Imagination” and, while this is far from a bad thing, it’s hard to see where the band’s inventiveness lies.

The E.P’s title track is a refreshing departure from the Oxfordshire group’s generic sound, featuring ethereal guitar work, but it’s merely an intro to “I Am The Earth”, which yet again boasts the aforementioned scream/sing formula.

“Rotations” is far from a terrible E.P, but it should be strictly left to partisan fans of the currently over-saturated metalcore genre.

2.5/5

REVIEW: CABLE35 – “Louder”

Cable35 – Louder

Reviewed by Paul Fellowes

Diving into the album, the first thing I notice about Louder, is that, unlike the conventional album – in which the idea is to grab you at the beginning and keep you listening throughout – the opener doesn’t take you on that journey you were hoping for. Unfortunately, it’s not until the second track, that the listener really begins to listen.

Cow Head manages to capture the essence of Cable 35 – however, it’s that insight that worried me as a listener.

Whilst, you can appreciate the musicality and presence that they bring forth, you find that when there is no indication that singing is going to happen, and that the musical melodies became a mishmash of apocalyptic and death-thirsty noise – you start to lose interest.

Can I follows suit to the previous track and it automatically became apparent that Cable 35 are targeting one particular audience – which, sadly narrows the scope for potential new fans.

Bobby Funk brings forth a whole new way in which you find it hard to be drawn in by the music. The words are spoken/muttered throughout – with the melodies repetition proving tiresome. Undoubtedly, it all seems that this is one long track that has haunting and misery within it.

Moving throughout the solemn album it seems that Factory Floor, Come Down To Party and Lost City all use the same formula – which sadly, detracts from the core persona of the band.  Whatever edge Cable 35 could have had, unfortunately, gets lost.

Saturated and House Of Fire have the same intrusive riff that once again, overstays it’s welcome. By this point, it almost seems like the band have become uninterested in their own work – relying on repetition, rather than bringing a new sound/idea to the table.

Abducted - the interlude of the album however, becomes a God-send when it comes around. It changes the presence of the album with reversed sound – and allows the listener a break from the constructs of the album.

Surfing Africa sis undoubtedly the best song on the album. The varying styles and elements offering a slight hope of potential for the band and their future sound.

However, just after that small ray of hope beams down on the latter of this album, Memories, Fat Snowman and Crops come in to break down the proverbial wall. The estranged and out of tune singing/screaming with overbearing bass and repeated riffs pull it all down by the wayside.

The same chord progression is apparent throughout Matonto, but it seems that the vocalist has been changed in this track. There is no screech in his voice and finally there is a rock song that has some essence and excitement to it.

The finale to this … noise, is another version of Lost City, aptly titled the “pussy version”. Assuming this is due to the tracks acoustic guitars and stripped back ambiance – this song is undoubtedly meant for those, like myself, who enjoy a humble singer with an acoustic, and some simple drums.

Overall, I unfortunately became more and more unimpressed with this album the further it played out. The repetitive melodies and screaming vocals left me with a, sadly, very lazy and very mundane album.

2/10.

REVIEW: THE FEAR – “Here Goes Nothing”

The Fear – Here Goes Nothing

By Emma Dean

Five piece punk rockers The Fear are a breath of fresh air to the scene, and if their debut album ‘Here Goes Nothing’ is anything to go by, then punk is definitely NOT dead.

Hailing from York, The Fear have been touring the world and wowing crowds with their live shows since 2004. Playing with the likes of MXPX, Zebrahead and Sonic Boom Six – as well as releasing EP ‘Heavy Hearts & Bloodshot Eyes’ last year – the time has finally come for their debut. And it has been worth the wait.

Opening track ‘There Lie Better Days Ahead’ rips straight into the riffs, with a full minute of crunching guitars that grab your attention before diving into melodic and heartfelt lyrics.

Favourite track ‘The Bitter Taste’, powers headfirst into crunching riffs, reminiscent of early records of The Used – with a twist of Sugarcult. Gang vocals from the rest of the band during the chorus add strength to the song, lifting it from the other tracks.

‘Great News for Typists’ is another stand out track – not afraid to cram in several over-the-top (but incredible) rounds of guitar riffs. Their hardcore influences shine, with more gang vocals and just a touch of growl to balance out the slightly softer vocals.

‘Brace yourself, this is gonna hurt for a while…’ singer Bob croons in ‘The Apple of My Eye’. The start of this track goes in a completely different direction to the rest of the album, but returns to the previous rhythm – as if they couldn’t stand to be out of character for more than a minute.

‘Open All Hours’ ends the album on a high note, a feast of riffs and a chorus that you won’t forget in a hurry.

‘Here Goes Nothing’ is a stunning debut, the result of years of The Fear perfecting their sound. With aggressive vocals, heartwrenching lyrics and faultless musical technique (especially from guitarists Dave & Pete), ‘Here Goes Nothing’ takes you by the hand and drags you down into melodic punk rock perfection.             

[9/10]