Music Release Reviews (Page 5)

The Robot Needs Home Collective Label releases No Feeling is Final, by Cinematic Instrumental band Maybeshewill. Between 2006 and 2016 they released four full-length albums and toured four continents, before bowing-out with a sold old show at London’s Koko venue. They briefly reformed in 2018 for a show at the Meltdown Festival. Now the band has returned with brand new material produced by bassist Jamie Ward. The rest of the band comprises James Collins on drums, Matthew Daly on keyboards, John Helps on guitar and Robin Southby also on guitar...

This release follows a theme of weary exasperation at all that is going wrong in the world, potential environmental catastrophe, and the worst aspects of human nature. But we have no choice but to remain engaged and carry on. The stay complacent and consume ethos seems to be lifted straight from John Carpenter’s They Live movie. I wonder if they’ve seen it.

Electronica introduces an off-beat drum pattern and piano, which begins to get away from us before being reeled-in as a grand, all-encompassing sound. Sampled strings turn the piece into a melancholy but up-beat half-pace. Wow, I’ve already been hooked by the opening track: 'We’ve Arrived at the Burning Building'. It simply sweeps you away. 'Zarah' follows, and I find myself impressed by the production; it’s such a warm sound. There is a voice-over making a statement about global warming, but you almost don’t need that touch, as the music practically explains itself in its driving emotion and heart-bleeding drama. Aside from perhaps the drums, the music is simple but multi-layered and far-reaching. It’s almost a transcendence of yourself, without being spacey or psychedelic.

'Complicity' begins with an electronic percussion. The quirkiness is overridden by a nice drum sequence that powers this one along on a targeted emotion. It changes direction, becoming lighter and more plaintive with sensitive touches, before returning to the previous driven music theme. 'Invincible Summer' has a plucking guitar piece, soared over by electronic keyboard strings. All the while backed solidly by a mad drum beat. This one introduces noises such as scraping amidst a piano synth repeating chord sequence. As the whole continues it becomes wider and more grand, tearing at the fabric of the human condition. It almost makes you want to cry, and that’s no mean feat. 'The Weight of Light' cuts it back to a simple piano scale sequence and two different bass string melodies that come together. A very nice full-band burst of sound and sadness erupts into a rolling wall of despair, and then pulls back to a much more tentative feel.

'Refuturing' is an almost John Carpenter film like piece. Electronic, with a ultra-low bass and clattering. It soon breaks through with a piano tune and more prominent strings. The Electronica takes a step up, with a heaviness and fuzz, but never moves away from its ultimate score-like theme. This is the most diverse track yet, as it rips back to a basic piano sound soon moved into the background by an expressive saxophone. 'Green Unpleasant Land' starts with an old fashioned acoustic banjo and a rustic feel with added strings. It moves in to a fuller smooth piece, maintaining that Pagan feel even with a full band aspect. It adds sampled voices. But then with a slipping effect we are thrust into a thicker, wider and heavier version of the music which I wish had continued for a little longer. 'Even Tide' begins with a simple but nice guitar piece, inspiring that melancholy again. A drum sequence joins it with the bass, and it rolls and evolves into a fuller version with  added changes as it goes along. Stripped back for a while a brass keyboard sound is added which sounds like the latter parts of Pink Floyd’s 'Shine On You Crazy Diamond'. The Electronica ups the ante, sounding like an angry swarm of bees with touches that wouldn’t be out of place in a horror film (string slashes, rumbling, etc.).

'The Last Hours' incorporates a mechanical clicking and clattering, with piano and overriding synth. We slide into that comforting but exciting and trepidacious thick, warm full-band sound – and isn’t it just lovely. An orchestral string piece takes over but pulls back to a light piano musing, before gradually building up via the ticking clock piece again. I can’t emphasise enough the power and emotion portrayed by that driving smooth sound. It’s like there are hidden human conditions in there somewhere; regret, sadness and melancholia are prodded, but there is also a sense of hope and enjoyment mixed in. It’s quite an experience. We conclude the proceedings with 'Tomorrow', which is like an epilogue of sad piano notes that builds into quite a sense of loss and hope, and lingers on a fading note and birdsong heard in the silence.

I think I’ve said all I need to say  about this one. Maybeshewill have proved to be a very pleasant surprise, being not only entertaining but possessing a gifted – if somewhat macabre – ability to make the instrumental music speak volumes and connect with the soul. I may find myself seeking out their previous releases. But can any of them be as complete a package as  this? Buy it now.

(Review originally written by Ty Power for reviewgraveyard 2022)  

Pelagic Records releases Norwegian Gothic, by Black Metal/Punk (dubbed Noise Rock) band Arabrot. Couple of the world, Kjetil ‘Tall Man’ Nernes and Karin ‘Dark Diva’ Park live in an old church in the Swedish countryside. They have collaborated on several projects and composed music for the silent movies Die Niebelungen and Doctor Caligari. This is their ninth full album, which is said to be not only the  culmination of their music journey through the last ten years (they have been around for 20 years), but an indication of what is to come. It’s influenced by their church location, their record and book collections, homeland scenery and a hint of philosophy. Production on the album is by Jaime Gomez (Black Eyed Peas, Paradise Lost, Hexvessel, and Oranssi Pazusu). Guest musicians include Lars Horntveth (Jaga Jazzist), cellist Jo Quail, Thomas Jarmyr (Motorpsycho) Anders Moller (Turbonegro, Ulver) and Massimo Pupillo (Zu)...

The track listing is: 'Carnival of  Love'; 'The Rule of Silence'; 'Feel it On'; 'The Lie'; 'The Crows'; 'Kinks of the Heart'; 'Hailstones for Rain'; 'The Voice'; 'Hallucinational'; 'This is the Night'; 'Hard Love'; 'Impact Heavily onto the Concrete'; 'Hounds of Heaven'; 'Deadlock'; 'The Moon is Dead'; and 'You’re Not That Special'.

The overall feel is very mystical at first, but as the opening track unfolds we are introduced to elements of Industrial and Electronica. In fact, the change in vocal style between the verse and chorus actually dictates a change in genre. There is a definite groove which pulls you in. The following tracks are quite different in some respects. A drum beat and simple but compelling melody brings forth vocals inspired by The Velvet Underground and Johnny Cash, but the more you listen to the style the greater number of diverse singers you connect this common and brooding mood to. There are elements of The Smiths, Iggy Pop, early David Bowie, Gary Numan, and even the Gothic Metal sound of Tiamat.

Whilst not straying too much from the brooding undercurrents, an injection of other moods is hinted at, with a Funky bassline and Grungy guitar in 'Feel it On' (definite single material); minor Celtic sounds in 'The Crows'; and off-beat drumming, bass and Electronica in 'Hailstones for Rain'. Other tracks keep it simple but effective, such as in 'Kinks of the Heart'. For me, the best three songs come together. With 'Hallucinational', Karin Park brings real emotion and atmosphere into the collection from this  point. It has the feeling of an ambience piece, such as those which introduce a latter Pink Floyd album, or link the tracks together. 'This is the Night' is like a late 1970s Post Punk song. Again, simple but very effective. In the chorus parts Karin’s voice is slightly in the background, but all the better for its presence. 'Hard Love' is the outstanding track for me. A great sound is created when the male and female singers perform separately, and then chillingly mesmeric when they sing together. I have to wonder why this winning tactic isn’t employed more often.

This release ranges from the  brilliant to the mediocre. I would say it’s overly long, and at least four throw-away tracks could have been cut to tighten-up the package. However, it is unusual and diverse, and overall a strong album.

(Review originally written by Ty Power for reviewgraveyard 2021)  

Pelagic Records releases The End Of All Things, by Industrial/Dark Metal band Crown. David Husser and Stephane Azam have taken this album in a new direction, creating a balance of genres and atmospheres; in particular coming away from the normal screamed vocals and instead employing Stephane’s soothing low-range. The release also includes the much sought vocal prowess of Karin Park from Årabrot on the closing track. Stephane Azam is not only the founding member of Crown, and the singer, but has also worked as a live producer for a number of years. David Husser has worked as a sound engineer, producer and musician with the likes of Alan Wilder of Depeche Mode, Peter Gabriel’s Real World Studio, and Nick Cave...

We ‘kick-off’ with 'Violence', which has a science fiction-like opening followed by an electronic drumbeat and a moderate-paced atmospheric song with clean vocals. This is very much Goth Rock/Metal. It borrows somewhat from Lacuna Coil, but with touches of Doom and Industrial genres. A very strong start. 'Neverland' incorporates acoustic drums (thank goodness) with an off-beat. Fuzz enters the fray in the chorus instrumental, with reverb-heavy keyboards making up much of the song’s substance. Emotional, intense and yet soaring. 'Shades' is more of an upbeat tune that begins like ZZ Top’s 'Legs' single, but is changed by the fluttering and clattering sounds – and in particular the Electronica tinged screamed vocals. Dark and energetic, with just enough melody to make it exciting without breaking away from its genre grounding. Easily the outstanding track so far.

'Illumination' retains the fuzz whilst returning to the Goth and Industrial hybrid aspect. I love how the instruments are doused in Electronica, which is heavy and brooding within the moderate-paced format. I’m enjoying this outing very much. It’s a pleasant surprise. There is a low and basic melody on 'Nails' that is visited by surrounding noises and a voice-over recording describing possession. This one is somewhat mystical with a bass backing. The myriad sounds create a weird and surreal world in the mind of the listener. Voice dubs and hints of screams further create a backdrop of otherworldliness. 'Gallow' has another motoring Electronica start, as in 'Shades'. However, a riff melody hooks you in immediately. The vocals are clean but dubbed to sound like the singer is vocalising with himself. An energising track which uses the riff to create a plethora of sounds and noises. There is real effort on this album to create original music. It works so well.

'Extinction' has a fuzzy clattering main backing which reminds me of ZZ Top’s Afterburner album without ever sounding like them. The fast-paced backdrop mixes excellently with the moderate pace of the clean, sorrowful vocals. The music has the strange contradicting effect of both relaxing and invigorating you. A smooth combination. 'Fleuves' is a diversion into acoustic guitar territory with meaningful slow vocals. The Electronica enters the arena, making the whole a dreamlike experience. There is a build-up of weird noises which is effective without intruding on the beautifully simple vocal structure.

In 'Firebearer', a dancelike confusion of Electronica and drums come together as music which has the effect of minutely changing the straight vocal aspect. There are backing vocals inherent in this too, and screams at the chorus points which then join the clean tones.

What I like about this collection of songs is that something subtly different is instigated with each track. There is a lot going on in these songs which perhaps only having a producer and engineer in the band can handle with ease. It feels full, rich and earthy.

We conclude the proceedings with 'Utopia'. Electric piano and synthesisers back the entry of Karin Park from the band Årabrot. After getting used to Stephane’s brooding but brilliant vocals, it’s quite a jolt to end with a completely alternative singing style. Is it me, or is she singing with a strange accent? Karin has a good voice but, frankly, they didn’t need her to lift this album, which I’ve enjoyed very much. This album has been a pleasure from start to finish.      

(Review originally written by Ty Power for reviewgraveyard 2021)  

InsideOut Music (Century Media) releases Alone Together by Prog Rock trio Gungfly. Swedish multi-instrumentalist Rikard Sjoblom is best known for his earlier contributions with Beardfish and English Progressive Rockers Big Big Train. However, with his own project Gungfly he has created a suitable follow-up to 2018’s Friendship album. His objective with fellow musicians Petter and Rasmus Diamant (on drums and bass respectively) was to keep it simple by focusing the emphasis on Rock rather than Prog. Alone Together is available as a Limited CD Digipack (with 2 bonus tracks), a Gatefold 180g LP + CD, and as a Digital Album for download...

I haven’t listened to any Gungfly before, so I came to this review cold… which is probably the best way to write a subjective analysis. My first thought when listening to 'Traveler', the opening 13-minute magnum opus was that, although overly long, it does have structure with nice vocals and a little of everything – including acoustic and electric guitar breaks, keyboards, and balanced style changes of light, slightly heavier and plaintive mixes. 'Happy Somewhere in Between' jumps between the early Southern Boogie riff, the segue into country, the medieval, and finally settling uncomfortably into Prog –  with allusions at times to Emerson, Lake and Palmer, particularly the nice keyboard outro. I think Keith Emerson can rest easily though.

'Clean as a Whistle' goes for more of the atmospheric acoustic sound. At times this has an old-fashioned nightclub feel, before attempting to emerge this time as a Rick Wakeman keyboard representation. Unfortunately, I found this one a little dull. 'Alone Together' is a typical Prog meandering mess – closer to jazz in format than Rock. Its only saving grace is the guitar outro. 'From Afar', at less than 3 minutes in duration, is a nice little acoustic number which would work perfectly well as a linking piece on any number of Rock albums. We finish with 'On the Shoulders of Giants', another overly long track. It has its moments, with piano or guitar pieces, but on the whole leaves the sense of continuous on-the-spot improvisation.

I don’t think I would actively seek out this type of music, as I tend to avoid most Progressive Rock (with a few exceptions), my personal  tastes leaning significantly more towards harder-edged metal. Personally, I discovered it works better as background music rather than that you would sit and concentrate on. However, I wouldn’t dissuade anyone from giving this album a try. More dedicated Prog Rock fans will undoubtedly love it, regardless of using other band’s styles on occasion. 

(Review originally written by Ty Power for reviewgraveyard 2020)  

Pelagic Records releases Alter, a collaborative project by Electronic and primordial pioneer Lustmord and the haunting emotional vocals of Karin Park of the band Årabrot. Brian Williams was raised in North Wales. He formed Lustmord as far back as 1980, quickly becoming a pivotal figure in the early Industrial music scene. After working on his own and other people’s projects, he moved to Los Angeles in 1993, where he worked on many movie soundtracks – including The Crow, and Underworld. He has also worked on video games, TV scores and solo albums. He has collaborated with The Melvins, Tool, John Balance of Coil, Paul Haslinger of Tangerine Dream, and others. Solo artist and member of Årabrot, Karin Park is the multiple winner of Norway’s Spellemann Award, and co-writer of the Norwegian entry for 2013’s Eurovision Song Contest (finishing fourth). She is known for her darkly rich compositions. Alter is described as a ritual of our times...

The tracklist is: 'Hiraeth', 'The Void Between', 'Perihelion', 'Twin Flames', 'Entwined', 'Kindred', 'Song of Sol' and 'Sele'.

Karin Park’s vocals create an ambient and atmospheric effect, backed by keyboards and other Electronica. Resonance builds for her voice to slowly come forward. It is at this point you realise the album is much more about soundscape than conventional song music. Ominous deep resonance is periodically applied, along with whispered voices. It only takes four of the eight tracks to realise this is all very similar and disappointingly dull. With offerings lasting seven, nine or even eleven minutes long, it makes you wonder what mileage can be obtained from these basic sounds. With vocal sounds floating over the top of what is essentially background material, Karin’s vocal talents are woefully underutilised.

Dripping water, wind and a minor rushing sound constitutes… not very much, really. And Karin Park supplies the same mystical vocals for nearly every track. Lots of bass noise, rumbling and other occasional sounds such as added organ make you feel as if you’re listening to a soundtrac rather than a band’s music album. The structure which is probably the most suited to Karin’s voice comes in 'Song of Sol', although the entirety of the experience makes this album less than interesting when, with more variation, it could have been bright and original.

(Review originally written by Ty Power for reviewgraveyard 2021)  

Xtra Mile Recordings releases Fractured Party Music, the debut album by Colchester-based Punk band Pet Needs. Guitarist brothers George and Johnny created some energetic ‘anti-anthems’ before adding Jack on drums and Rich on bass to their ranks. Already, they’ve played on bills alongside Buzzcocks, PIL, and The Undertones. But it was their live performance at Camden Rocks that got them noticed by Producer Frank Turner. Pet Needs turned the lockdown into something positive, using the time and pent-up energy to record their first album. 'Pavlovian' is the first single. Fractured Party Music is described as a ‘blitz upon apathy’ with musings on ambition against commercial success, pretence, and creativity/failure. The release is available on Vinyl, CD and for Download...

I’mnot much of a fan of original 1970s Punk Rock, but I like the late 1970s Post Punk wave and modern Pop-Punk, if it’s kept fresh. My main criteria for any Rock, Metal or close variations is energy and melody. I have to say that this release has it in spades. It’s always nice to be pleasantly surprised by a release, and this one both brought a smile and at times made me wish I was at a live gig and experiencing this in person, leaping about down the front. The opening screeching feedback informs of the energy the listener is about to receive, and I am truly thankful. The strained vocals are a hundred miles an hour, with retrospective slower breaks featuring piano. This is very clearly an intro, because 'Tracy Emin’s Bed' breaks though with a nice driving beat and shades of Green Day, but made more Punk courtesy of the commonly spoken English vocals. The guitar break is great and a large part of the structure. 'Sympathetic Accent Syndrome' has clearly shouted distanced vocals which seem to take lead over the music, aside from instrumental parts. Many of the songs on offer here could easily be singles and 'Toothpaste' is a prime example. It has a nice guitar and bass groove, and melodic rough vocals. The singing style on this album is quite versatile. Most are two to three-and-a-half minute tracks, with great riff hooks and soloing. No song makes the mistake of outstaying its welcome.

'Overcompensating' is a heavy Pop-Punk song. I love the space noise when this one changes structure in the middle, before returning to the  early energy. 'As the Spin Cycle Span' is an enjoyable Punk ballad. Wow, is this one great! The words really mean something: the boring cycle of life, being stuck in an endless job, being lonely, getting old, and trying to be creative to the point of being noticed. This is wholly different; definitely, a standout track. 'Pavlovian' is moderate but heavy in parts. Every song completely reels you in with the earnest but clear vocals, interwoven tightly with fantastic catchy music. 'Kayak' follows the brothers’ experiences before forming the band. It’s a fast moving Punk melody, with the fastest guitar solo of the bunch. 'You Look Like You Never Bought a Scratchcard' is a fast ditty reminiscent of a hoedown or a Western barroom brawl. There is a more laidback middle section before the onslaught returns. By now, I  just want to leap about with expressionistic joy and energetic mania. You can’t stay still to most of this stuff.

'Roses' has an unusual beginning and opening riff. The words don’t seem to fit the music on this one, and that makes them fit even better – if that makes sense. It’s an uncommon amalgamation that works well. This has some heavy backbeat moments, inspiring some screaming. It turns Metal in style – which is fine by me. 'Embers' tells us to “Grab life by the balls and live it, because before I know it I’ll be lying there with eyes like embers.” An atmospheric effects-laden guitar solo sees us out. All I can say is it’s an excellent debut album by a home-grown band that looks like they’re going places. There isn’t a duff track, and every song has its own individual identity. Highly recommended. 

(Review originally written by Ty Power for reviewgraveyard 2021)  

InsideOut Music (Century Media) releases for the first time Polish Rock band Riverside’s debut album, Out of Myself – first released on a different label back in 2003. It features the then line-up of Mariusz Duda on vocals and bass, the sadly departed Piotr Grudzinski on guitar, Piotr Kozieradzki on drums, and Jacek  Melnicki on keyboards. It is remastered by Dan Swano/Unisound (Opeth, Katatonia, Nightingale), and features artwork by Travis Smith (Opeth, Katatonia, Psychotic Waltz). This re-release is available as a Special Edition CD Digipak with sticker, and on 180g vinyl with bonus CD...

'The Same River' begins with a switching radio tuner, like in Pink  Floyd’s 'Wish You Were Here'. Touches of delay guitar is supported by rumbling bass and water-like keyboards. There is a nice drum rolling pattern to accompany a guitar piece as the track picks-up the pace. Mystical voices swim into the background, before the whole becomes much heavier with a timing change and a new melody. One riff is briefly reminiscent of Iron Maiden. But this is most definitely forever-changing Progressive Rock. The vocals are half-spoken, half-sung. The feel turns funky for a keyboard solo. Then the entire thing slows down a little for the finale guitar solo. The music is very much influenced by Pink Floyd, but without the quirky individualism.

'Out of Myself' has whispered vocals (‘Voices in my head’) accompanied at first by a bass riff, then drums, before the Rock guitar – albeit  rather trebly – intercedes. Angry vocals for a while are much more to my liking as a Metal fan. Background talking voices at a party  introduce 'I Believe', with weird keyboard sounds and an internal voice (‘I think I’m getting out of myself’). A nice acoustic piece and low, heartfelt words work really well. It has a sort of Jethro Tull feel – or, perhaps, early Marillion. Very nice. In 'Reality Dream' we have a ticking clock which brings in a warbling and throbbing. Bang! And suddenly piercing keyboards and chunky guitar takes over with solos. This is an instrumental, and not a very entertaining one.

'Loose Heart' has a choppy beat with keyboards soaring behind it. The  vocals are hesitant in keeping with the mood of the song. There is a very nice guitar solo in this one. The great angry vocals make a late entry, too. 'Reality Dream II' is heavy on the drums, and hints at an unattainable telephone contact. I love the thick and heavy guitar pattern riff, which is then copied by something similar on the keyboards. Infinitely more exciting than the first 'Reality Dream'. 'In Two Minds' has acoustic guitar with almost whispered vocals, which then become steadily more normal. Cutting guitar enters at certain points. The vocals on this one are very good. An electric guitar solo is kept mercifully short. Another really   strong song.

'The Curtain Falls' allows a keyboard melody to lead it in. The reverb guitar is effective, interspaced by breathy vocals which create quite  an atmosphere. The second half is much heavier with guitar riffs and breaks. We end with the softly-spoken words of 'OK'. This sound is closer to Nightclub Jazz, and so the beat is repetitive. A very weak song with which to finish an otherwise strong debut album.  

(Review originally written by Ty Power for reviewgraveyard 2021)  

Sub Pop releases Uppers, the debut album from London-based Post-Punk band TV Priest. The four-piece comprises Charlie Drinkwater on vocals, Alex Sprogis on guitar, Nic Bueth on bass and keyboards, and Ed Kelland on drums. The four childhood friends made music together in their teens before drifting apart. They reformed in 2019, playing their first small gig later the same year. Their first single was 'House of York', a very Punk-like examination of the Monarchy. TV Priest strives to embrace the beautiful and terrifying unknowns that exist personally, politically and culturally. The album is available for Download or Streaming...

'The Big Curve' is a shocking introduction to this album, but not in the way you would expect. “This could be the first day of the rest of your life.” Okay, but on and on goes the spoken intro until you sadly have to admit that these are the vocals for the track. There is a moderate discordant off-beat with overdriven guitars. Touches of keyboard makesan entrance. The charged, rolling pace of the music is great, but I’m not certain I like the overbearing, totally plain and unmelodic vocals. 'Press Gang' has the drums and bass guitar back up the raw spoken words, before pushing through as a great full-band sound. The vocals are too prominent, so that you long for any instrumental break. This is a tribute to Charlie’s grandfather who worked as a photojournalist and war correspondent in Fleet Street. 'Leg Room' takes a while to get going, but the music is different and exciting. It’s plain to realise, however, that it is only there to  support the angry vocals.

'Journal of a Plague Year' has a repeated riff spoken over. This is  pretty non-descript and dull. 'History Week' is a filler. The stand-out track is 'Decoration' (“I’ve never seen a dog do what that dog does.”), halfway through the listing. It sounds energetic and purposeful so that you can almost forgive the vocal style. This still owes much to the solid drumming, but it has guts. You could say it’s more visceral as you would expect. It explores the absurdity of life, using Britain’s Got Talent as a kind of allegory. The following track, 'Slideshow', bursts in on the consciousness. The melody is catchy, the guitar raucous, and even the vocalist tries a little bit of actual singing. The quality – in my opinion – plummets from this point. It’s a real shame, because this band has so much potential. The music of 'Fathers and Sons' is inventive, but you can’t help feeling it’s a little repressed, and that they should let go more. 'The Ref' is a short noise piece leading into 'The Powers of Ten'.

'This Island' has a nice intro riff but the song goes off-the-boil. I don’t believe the full potential of this band has been realised  yet. 'Saintless' is an unfortunate mess to finish with. With such a poignant subject matter regarding Charlie’s wife’s difficulty during and after the birth of his son, it somehow fails to make its point. The promise of Punk has me confused and a little disappointed. It’s original, yes. It’s an amalgamation of different sounds and genres. Perhaps TV Priest is still experimenting, searching for its style. That is perfectly fine and to be expected from a new band. If the words were sung, rather than stated, and brought down in the mix a little, this band might become a force to be reckoned with. 

(Review originally written by Ty Power for reviewgraveyard 2021)  

Epitaph Music releases Lament, the fifth studio album by Post-Hardcore quintet Touché Amoré. The band was formed in Burbank, California, USA between 2007 and 2008, and incorporates Jeremy Bolm on vocals, Nick Steinhardt on guitar, Clayton Stevens also on guitar, Tyler Kirby on bass, and Elliot Babin on drums. Previous releases consist of …To the Beat of a Dead Horse (2009), Parting the Sea Between Brightness and Me (2011), Art-Punk piece Survived By (2013), and the critically acclaimed Stage Four (2016) – as well as EPs and singles. They also released the 10-year anniversary live album 10 Years / 1000 Shows at The Regent Theatre (2018). Lament is available on Vinyl, CD, and for Download...

This band has quite a reputation already. I believe the Emo-Punk pigeon hole fits well to the genre they are already known by, which is Post-Hardcore. The vocals are screamed but extremely clear. In 'Come Heroine' there is a nice mixture of styles, with allegro, moderate and slow paces in turn. You can definitely discern the Punk in this, not only by the music but more essentially from the open ‘this is how it is’ attitude. 'Lament' has nice melodies, with two guitars each doing their own thing and complementing not only each other but the whole. One has a high reverb sound, the other more rasping. The break in the  middle of the song has the vocals placed very nicely in the  background, like a distant echo. 'Feign' is Pop-Rock with very solid drums. It’s a similar style to track one, wherein the verses are moderate and the choruses at double-quick time. 'Reminders' has very uplifting music, considering the dark subject matter. However, the band also knows exactly how to make the low-key, quieter moments intriguing linking pieces. 'Limelight' has a nice building structure; a strong central melody and some spoken words to accompany the rougher edges works extremely well. Other sounds inspire exotic open spaces – at least in my scary mind.

'Exit Row' has a curious opening drum pattern. The song has a clever stop/start structure which must be difficult to play live and without cues. 'Savoring' incorporates quite a Summery sound and is, prospectively, a great driving song. There is undeniably a lot going on in these songs, and this one has a more moderate introspective outro. 'A Broadcast' is a ballad of sorts. I’m not a fan of this format, as it is very difficult to master. This one is helped, however, by the strained vocals and the fuller chorus. Like all of these tracks, it avoids outstaying its welcome. 'I’ll Be Your Host' has the full and wide sound making it feel strangely comfortable. I have to say that this is artistry at work; conveying mental pain and anguish, whilst striving to reach the light. It’s straight in at full-pelt for 'Deflector' – a great Pop-Punk song with enjoyable melodies and a recognisable chorus. There are several sections to this. It’s not surprising it was chosen to be the first single (released in late 2019). Produced by Ross Robinson (Slipknot, Korn, At the Drive-In – starkly different music in my view), it proves to be a  stand-out track.

We finish in noble fashion with 'A Forecast'. A piano solo piece and clean vocals make this a true ballad… until it isn’t anymore, and we’re back to more enjoyable angst-ridden territory. Nice cold drum outro, too. I have never come across this band until now (you can’t follow them all). It’s always very welcome to be pleasantly surprised. This is very cool stuff, with a rich sound and plenty of melodic energy. The vocals make it feel edgy and breathless. Seek this one out, you won’t be sorry. 

(Review originally written by Ty Power for reviewgraveyard 2020)  

BMG releases Sons of Satan: Rare and Unreleased – an album of early demo material recorded between 1979 and 1983 – by Venom, the band credited with creating the Black Metal sub-genre of music. It features the original line-up of Cronos, Mantas and Abaddon. The collection includes new sleeve notes and interviews, plus rare and unseen photos from the early years. The retail formats include a Gatefold 2-LP Splatter Vinyl, a Digipack CD, and Digital  Download...

This release will unsettle – if not outright annoy many dedicated Venom fans, because by purchasing 2019’s large and very expensive In Nomine Satanas deluxe vinyl boxset (which I also reviewed), they have now lost the main rarity of interest therein to a mass market lower price release. Bands have done this sort of thing before, and I have no respect for the money-making enterprise at the expense of fan loyalty.

Early demos are always of interest to followers of music interested to learn of their origins. However, much as these recording have apparently gained a near mythical status, there is little here to  satisfy the casual listener. As you might expect of original material from the early days, the sound quality is in most cases pretty poor. The first five tracks: 'Angel Dust'; 'Buried Alive'; 'Raise the Dead'; 'Red Light Fever'; and 'Venom' are all recorded rehearsals in 1979 at Westgate Road Church Hall in Newcastle’s West End. They also feature the original singer Clive Archer on vocals. Let’s be honest here and say that these songs are barely audible. Low rumbling bass and barely discerned vocals are all we   get.

Tracks 6 to 15: 'Sons of Satan'; 'In League With Satan'; 'Angel Dust'; 'Live Like An Angel'; 'Schizo'; 'Venom; Angel Dust' (again); 'Raise the Dead'; 'Red Light Fever'; and 'At War With Satan' –  incorporate £50 demos from 1980 recorded at Impulse Studios, further demos from the same year, and a single 1983 studio demo of 'At War With Satan'. I never really followed Venom (not my cup of Metal), but I must say that this latter batch are significantly clearer and so not a chore to listen to. I like the stop/start warts-and-all effect. It’s like having an ear to a promising amateur band playing in their garage. In my opinion, it’s eighties Traditional Metal with a Thrash edge. The Black Metal angle comes not from the music or mood created, but via the satanic song content. 

(Review originally written by Ty Power for reviewgraveyard 2020)