Grammy-nominated band I Prevail has a hit song on the Billboard charts with their recent song ‘Hurricane’, with 200 Million Streams, from their recent album Trauma, out now on Fearless Records. Now the band has shared a new “unplugged” version of the song! Jam it out right now!Continue reading
Gus G. will be releasing his highly anticipated new album, Fearless, on April 20th via AFM Records. Continue reading
August Burns Red recently confirmed that they will be releasing their new album, Phantom Anthem, on October 6th via Fearless. Today we have, not one, but two new songs for your listening pleasure. Continue reading
Ahh, Metalcore. That much maligned subgenre of metal that some naysayers would have you believe was dead and gone. But here come Wage War from Florida to press the reset button with their sophomore album Deadweight (Fearless) and show you Metalcore is far from over. Continue reading
Pheonix, Arizona’s rock troupe Blessthefall are premiering their first single ‘Up In Flames’ from their much anticipated fall opus To Those Left Behind.
The post-hardcore five piece are currently part of the Warped Tour and release their fifth album, To Those Left Behind through Fearless Records on September 18th.
I loved Pennsylvanian quintet August Burns Red, purveyors of fulminating Metalcore with an extra double-shot of espresso in the form of dynamic, rabble-rousing screamer Jacob Luhrs. Then came the queer melodies and repetitive codas of the comparatively anodyne Leveler and Rescue & Restore (both Solid State Records)…
‘The Wake’, the opening gambit from seventh studio album Found in Far Away Places (Fearless), possesses the ferocity of former years: the extra edge to JB Brubaker’s rapid, Eastern-tinged leadplay assisted by Rob Greiner’s bludgeoning sticks and Luhrs’ tar-stripping larynx. The juddering, scything attack of ‘Martyr’ is a further improvement: trademark staccato breakdowns invaded by a gentle lead and string section break, while Brubaker’s delicate, intricate patterns show his continuing evolution.
The mix of light and shade is given a real kick in ‘Identity’, technical savagery traversing the same road as some seriously emotive guitar; an out-of-place 50’s Country / Rock ‘n’ Roll mid-section, however, raises eyebrows. The chaotic battery of ‘Separating the Seas’ is similarly affected by a tango / polka-style bridge, and all of a sudden we’re back in the silly country of the last two albums. The machine-gun riff of the Jeremy McKinnon-graced ‘Ghosts’ is brutal, and even the faux-emotion of the clean vocals is acceptable in the intensity of their surroundings. The howling melodies of ‘Majoring in the Minors’, however, can’t save it from a ludicrous ‘cartoon western’ interlude.
Here, it seems, we have a band who have grown so keen to display the breadth of their invention and myriad influences that utterly pointless incursions into whimsy appear de rigeur: breaking any flow and leaving us wondering what in the blue blazes is occurring.
The soaring, moving lead breaks of standout track ‘Broken Promises’ are far more fitting and more organic, whilst the wanton aggression of ‘Blackwood’ and ‘Twenty-one Grams’ is beautifully tempered by Brubaker’s increasingly judicious, occasionally dainty solos. Repeated plays focus the listener on the overwhelming positives of the album but, lads, for the sake of all that’s holy, stop the excursions into surreal fancy. They cheapen the memorable output of a largely incredible band of musicians.