A debut album should stand as a bold statement of intent. Some bands absolutely nail the formula that they will rigidly stick to for their illustrious careers like Slayer did with Show No Mercy (Metal Blade Records). For others, it can be the start of a journey that is a mystery yet to unfold as they explore their own sounds and find comfort in their own abilities, see Undertow (Zoo Entertainment) by Prog Metal maestros, Tool. With their first full-length and self-titled effort (Sharptone), where do Holding Absence sit? Continue reading →
Demon Hunter has been around for a while so they can pretty much do whatever they want. War and Peace (Solid State Records) is proof that they probably shouldn’t. The compilations are polar opposites. War is alright—mildly entertaining filled with your typical Demon Hunter tracks. Peace is just a soft listen of nine uninspired songs and one decent ballad. Continue reading →
We’ve seen a lot of bands evolve in their discography in recent years, and it seems more and more, heavier bands are taking on the Pop side of things. But what happens when a band known for its Pop Rock tunes tries to diversify their sound? Continue reading →
Taking Back Sunday (TBS) made dancing to heartfelt Emo music a pastime. It is crazy to think that it has been twenty years since the Long Island natives introduced us all to ‘Cute Without The E’ and the dynamic that would become one of Emo’s most beloved staple: Tell All Your Friends (Victory). To celebrate those two decades that came up so quick, the band has gathered nineteen of their repertoire and two new songs into a greatest hits album perfectly titled, Twenty (Craft).Continue reading →
It’s a sell-out. This won’t come as any surprise to those who have followed the rapid, upward trajectory of Brighton’s Black Peaks but this is, as they say, a bit of a “moment” for a band that many have got justifiably excited about. This current tour, a showcase for their second album, the widely admired All That Divides (Rise Records), will see the band traverse the UK, but this stop off in the capital, on the same day that Marmozets are playing up the road and Crossfaith playing down the road still has touts asking (and getting) silly amounts of money outside the tube station is proof positive that this band have engineered more than a little bit of excitement about them. Continue reading →
The self-titled album is an interesting concept. Where the eponymous opus is not a debut, it is usually installed into a band’s canon as a way of stating that a specific album is either a summation of everything that represents a band – their pinnacle and natural conclusion of a journey of sound – or a launch of a bold new chapter, a “look at me now” redesign and rebranding. Fourth album in, and Australian Alternative Rock act Dead Letter Circus have opted to go down that route as a way of combining both those factors – a presentation of all that they have been, and a refocusing and refining of direction. Continue reading →
It’s hard to fathom that Good Charlotte has been around for over twenty years – it doesn’t seem that long since the Maryland natives were the one band to really thrive in the pop-punk MTV explosion of the early 2000’s with the very successful The Young and The Hopeless (Epic/Daylight). They’re released a number of hits since then, the Madden brothers took time off for a side project, got married to Hollywood darlings, and came back with 2016’s Youth Authority (MDDN) to much praise from old fans, and not so much from others.