It’s ambitious, which is good because it has a lot to live up to. Only Revolutions was an album that could very easily be listened to from start to finish (without noticing, either). To boot, Puzzle was exactly the same, so consistency is definitely a must with Opposites. Happily, it lives up to it – Biffy Clyro set the tone with opener Different People, which starts slowly and patiently, as if the band know that they have a lot of time on the album to get their musical point across, and that they’re certainly going to take their time about it. Next up is the familiar notes of released-single Black Chandelier, and listeners know that they’re settling in for the long haul. The first disc proceeds to up-and-down its way through to the end, and the second disc opens with the again, familiar sounding Stingin’ Belle, bringing a first-time listener back into familiar territory and keeping them going. Clever.  

Opposites is a showcase of a much darker sounding Biffy Clyro. Not so much musically, as the music itself sounds very similar to previous albums, but instead more thematically. The music is as consistently interesting, different and idiosyncratic as it ever was, and the heavier guitar parts sound very similar to previous albums (well, if it’s not broken then don’t fix it). But the lyrics and themes of the songs get across the feeling that this album is the culmination of a lot of emotional effort, sweat and tears. Next-to-gone are the more quirky, comical sounding songs such asWho’s Got a Match? and Born on a Horse, but instead in the upbeat songs, the themes are more ‘serious’ than before. There’s a prevalence of more emotive sounding songs, too. The Joke’s on Us and Little Hospitals are great examples of this, speedy and interesting, but somehow more weighty and substantial than before.

There’s not many issues with this album either, but the main one is that new listeners of Biffy Clyro won’t appreciate the differences in sound and theme that an experienced Biffy listener might. That doesn’t matter, though, because it’s still a great album to start listening to. It might be a little overwhelming to a casual listener, though, because there’s a heck of a lot to take in. It also cannot be listened to in one go, from the beginning of one disc to the end of the other, because there’s purely just too much.

Biffy Clyro have managed to pull off something very special, overall. Opposites is a very consistent album from start to finish, with so much to listen to it’s almost like a project to undertake when listening to it for the first time. It showcases more mature, deep sounding and thoughtful Biffy Clyro, if that’s even possible, and that’s great to see.

Read the original article on Planetmosh here: http://planetmosh.com/biffy-clyro-opposites/

The South Wales metal machine is at it again. Not content with producing several already world-famous metal bands, now metalcore/grindcore band When We Were Wolves have reared their heads with brand new EP, imaginatively titled The More Things Change, The More We Stay the Same.  

It’s easy to say this from the outset with this record. It makes a lot of other records look rushed.The More Things Change… is so tightly performed, it makes precision engineering look like it’s done with a jackhammer. It opens with the atmospheric and soft-sounding All Good People Must Come to An End (they really have a way with names, don’t they?) which is a bit of a gamble, as a soft opener on a short EP means that a lot of showcasing time is taken up with it.

Happily, it works well, and the EP drops into the onslaught that is Under the Water, which very much sets the tone for the rest of the record. It’s quick, talented metal that could almost be classed as djent if it was slightly more chaotic – it’s certainly tight enough to come under that umbrella, but isn’t quite there. It puts one in mind of Parkway Drive (in fact the screaming sounds extremely Parkway-esque), Architects or While She Sleeps, a great line up to be compared to.     

Issues – very few and far between for this one. The More Things Change… is going to projectWhen We Were Wolves very far indeed. It might sound a little like ‘more of the same’ to someone who listens to a lot of this type of music, but that’s not necessarily a bad thing. Instead it just means that a listener like that has one more ban d to add to their tastes.

So, The More Things Change, the More We Stay the Same is an extremely tight, well written and well performed EP, that’s definitely going to blast When We Were Wolves into the big-leagues. They’re going to be appearing on the radar very, very soon, expect big things. As for this EP, a great 9/10.

Read the original article here: http://planetmosh.com/when-we-were-wolves-the-more-things-change-the-more-we-stay-the-same/

As goodbyes go, there are definitely worse ones out there. It would be an understandable concern that Death Letter would end up more of a completely sad affair, or a tantalising release that would leave fans more annoyed that Alexisonfire won’t be producing any more music, rather than as a fond farewell to a great band. Happily, though, Death Letteris talented enough to make fans remember what the band were capable of, but mature enough to let the fans know that it’s for the best that they called it a day.

It’s an enjoyable listen on its own, outside of the context of the record. It’s slow, melodic, thoughtful and talented, and there’s some wonderful reworking of some classic songs. Midnight Regulations is a complete triumph, and can really change the mood of a room within seconds. It has some wonderful vocal work, a great juxtaposition of satisfyingly husky and sparkling clean singing that punctuate a beautifully bright sounding acoustic guitar.

The guitars, as mentioned before, are wonderfully tinny and bright, and don’t cover up the vocal work that’s so melancholy it’s impossible to stop listening to it. Issues? Just one. And that’s that it’s tough to forget just how much the music scene is going to missAlexisonfire after eleven years of wonderful music whilst listening to Death Letter.

In the end, Death Letter is obviously designed as a final farewell to the fans, almost ‘something for the road’. Alexisonfire, embarking on their final tour, are going to be missed once they are gone, and this lament is something that won’t be forgotten in a hurry. Great work, it’s a shame that it won’t happen again.

Read the original article here: http://www.bringthenoiseuk.com/201301/music/reviews/ep-review-alexisonfire-death-letter

Watson has an immense amount of talent. Despite the EP being called Another Four Sad Songs, the music isn’t exactly what one would call wholly depressing. Melancholy, maybe, but it’s definitely not as sad as the title makes out. If anything, the songs are actually very pleasant to listen to, in fact, Sink or Swim is really quite wonderful.

Musically, Another Four Sad Songs is enjoyable if a little bit predictable. Lewis Watson has clear songwriting skill, but don’t expect anything groundbreaking – the singer/songwriter, guy-with-an-acoustic guitar thing isn’t exactly original. But, groundbreaking isn’t exactly the point, but instead the order for the day here is bags and bags of passion in the music. It’s easy to get the impression that Watson has poured his heart and soul into every song, and that he’s clearly enjoyed writing, recording and releasing the songs, songs that clearly mean a heck of a lot to him. And let’s be honest, that’s the point of music.

Bad points – there really aren’t any, unless a listener doesn’t like the sound of a well played acoustic guitar and a great singing voice. Those people are going to be few and far between, and so there’s really little to say against Another Four Sad Songs. If one were to nit-pick, it could be claimed that the songs sound too similar, but it’s one voice and an acoustic guitar, it’s pretty much impossible to stop that from happening, and Watsonplays so beautifully that it won’t be noticed.

Maybe the only thing that needs changing about this EP is the title itself – the music really isn’t that sad! It’s just great, relaxing and passionate music, with possible downhearted lyrical themes, but that’s really about it. What’s not to like?

9/10.

Read the original article here:  http://www.neverenoughnotes.co.uk/2012/11/lewis-watson-another-four-sad-songs-out-now-warner-records/#.UK_ZGIftR2A

In a nutshell? This is big. This is huge. And, to boot, it’s really bloody excellent. Parkway Drive have pulled out all the stops with this album, and it’s abundantly clear that they’re intent on world domination. And with music like this, the world is going to have no choice but to lie down and let them achieve it. Atlas begins with a subtle, soft opening and drops into the speedily-chugged chaos of Old Ghosts/New Regrets, leaving a listener with their jaw dropped at what’s coming out of their speakers. This feeling continues throughout the rest of the album, as it’s full of ups, downs, slow bits, fast bits, emotive lyrics (all screamed to perfection) and ridiculously fast-picked and catchy breakdowns. To top it all off, it’s all very well constructed, well recorded and doesn’t like a hideous fuzzy mess.

Content wise, clearly Parkway Drive have a social and political agenda within this album, and it would be a neglectful review to ignore that fact. It’s not preachy, though, it just sounds really quite angry (this might be the genre coming into effect, though.) This shows a great level of maturity within the band, and the fact that the music itself, to the untrained and possibly unappreciative listener, is terrifying, that message ought to get across with at least a certain degree of gusto. Excellent! Why do it any other way?

So, the highlights of this album? Well – Wild Eyes is most certainly one of the best moments on the entire record, and looks set to become a metal anthem of 2012 – definitely alongside already-released-and-ridiculously-catchy Dark Days and amazing-opener Old Ghosts/New Regrets. The chanting section (alongside an amazing breakdown) in Swing is also set to catch on with crowds around the globe.

In fact, there’s very little to fault with Atlas, it has the capacity to make the genre of metalcore be taken a little bit more seriously by some listeners. This isn’t music for kids, make no mistake. This album has actually got a bit of everything to keep any metal-head happy, including the ability to easily put Parkway Drive in contention for the best album of the year.

10/10

Standout Track: Wild Eyes

For Fans Of: Bring Me the Horizon, Architects, August Burns Red

Musically, ‘Paid To Fake It’ sounds like an odd kind of post-modern type of dance music, with samples absolutely everywhere to create a chaotic sound that wouldn’t sound out of place in a disused warehouse at 3am, pervading through an atmosphere of intense smoke, flashing strobes and lasers and a crowd who don’t really know where they are. ‘Paid To Fake It’ begins with ‘Savages Go Modern!’ which is full of hefty, apocalyptic dance sounds straight out of the eighties but with a more sinister twist to them. Think ‘Rammstein’ meets ‘Jean Michel Jarre’ or ‘Kraftwerk’ and you’re in about the right ballpark.

Good points – once a listener is completely over how strange it sounds, it’s oddly addictive. It makes a listener actually want to be in that warehouse at 3am, just so they can hear how this would sound in that atmosphere. It also borders on dubstep, without having to actually call itself that and therefore being tarred with the same brush as some other, rather worse artists (no naming names here.)

It’s not completely without its issues though. Some songs (for example, ‘Big City Buzz Band’) are all samples and no beat, giving it an obviously deliberate but still rather irritating disjointed feel that never really grabs a listener’s attention. It’s also very clearly not going to be to everyone’s tastes, it’s way too post-modern and psychedelic to be attractive to anybody except a few hardcore fans of the style and some very open minded listeners.

It’s not meant to appeal to the wide audience, though, it’s meant to do exactly what it does, and that’s raise a few eyebrows.

So overall, ‘Paid To Fake It’ can be called a good album in so far as it does exactly what it originally actually set out to do, and that’s cause a bit of a stir. It’s very strange, strange to listen to, strange to write about and strange to even accept as music. Saying that, though, if listened to with a (very) open mind, it has the ability to grow on a listener, especially if listened to within the right context.

Read the original article here: http://www.neverenoughnotes.co.uk/2012/09/conformist-paid-to-fake-it-out-now-sound-vision-pr/#.UJvX02996So

There’s so much in their music, it’s impossible to listen to it all in one go without missing something. In fact, their latest EP, a self titled record is only four songs long, and yet it seems like they’ve managed to pack so much into it that they’re almost impossible to put into a genre without missing out a huge chunk of the music.

It might sound from this that Crushing Blows are too technical and too complicated for their own good. Cries of “it’s too complex and overpacked, it’ll sound a mess” would be well reasoned, justified arguments. But they’d also be dead wrong. Opener The People You Will Never Meet sets the tone for the rest of the record – it has a slow, plodding and yet peaceful feel to it, but there’s still elements from thrash (trebly sounding, distorted guitars) to psychedelic funk in there that mix up the sound nicely, don’t sound too complicated and make the music hard to classify. It’s really talented, and really well done, because this style of music is something that could be quite easily ruined if not properly paid attention to.

The rest of the EP continues in this fashion, I Dream of Becoming a Girl is a psychedelic, trippy masterpiece of crystallised sounding synthesizers and dance-track-esque basslines that have the capacity either get a listener lying back and relaxing, or on their feet bounding up and down like a loon. In some ways, the music is quite scary.

Issues – really not many at all, but there’s a couple. As a sound, the fact that it’s hard to classify(whilst a good thing when it comes to originality) means that some listeners might shy away from it (their loss) because it’s not what they’re used to. Going deeper into this idea, those who do dare to listen to it might find that it’s just too strange to listen to. In Lehman’s terms, the music is almost post-modern.

Overall, then a great EP, if a little bit weird and trippy. Nothing wrong with this, though, it will just take a bit of getting used to if Crushing Blows are to make it into the mainstream. Nobody is denying that the guys have songwriting talent, though, they’re really onto something that could make them very successful, as well as very expressive. Keep it up, it’d be great to hear more.

8/10

Read the original article here: http://www.neverenoughnotes.co.uk/2012/11/crushing-blows-crushing-blows-12-11-2012-super-heavy-weight-records/#.UJvT9m996So

Matthias Hoene

Whilst the original plot might initially sound a little bit weak, it’s definitely a film that has to be seen to be appreciated properly. The film opens with the release of the zombie plague, as a pair of workers on a building site unwittingly release an ancient and terrible zombie plague on the East End of London, after opening a buried and sealed vault. But there’s no back-story to this, at all.

Cutting to the main plot, the film sees two plucky brothers (Harry Treadaway, Rasmus Hardiker), along with their cousin (Michelle Ryan), who are attempting to rob a bank. They intend to save their grandfather’s retirement home from developers, with the help of friends Davey Tuppence (Jack Dooley) and Mental Mickey (Ashley ‘Bashy’ Thomas).

Unbeknownst to them, however, whilst they are mid-robbery (or mid-failing, should we say), the zombie mayhem is spreading its chaotic way across the East End, trapping the unfortunate OAPs inside their retirement home. Gruesome hilarity ensues as the unlikely heroes attempt a daring rescue, and shoot, slice and hack their way across East London to the rescue.

Good points – this film is probably one of the funniest films of the year. The tagline on the jewel-case states that it’s a “mash-up of Shaun of the Dead and Lock, Stock and Two Smoking Barrels”, which is a description that hits the nail right on the head. There’s a great variety of characters, from the completely insane to the ridiculously timid, and this array of personalities gives it a more realistic feel, even in the middle of the highly unlikely scenario. The film manages to give the impression that the reaction of the characters would be what any other normal person would do in that situation, and yet somehow maintains a complete air of ridiculousness throughout. It’s great.

There are some sterling performances, including from Alan Ford, who portrays the elderly, hard-as-nails war veteran granddad, who leads the OAPs to safety whilst surrounded by flesh-hungry zombies. There’s a great moment involving him and an M16 machine gun, which should really say it all. Treadaway and Hardiker have great onscreen rapport, but sometimes manage to give off the feeling that they are more like best friends than brothers, although this becomes less apparent towards the end of the film.

Bad points – Cockneys Vs Zombies isn’t exactly going to be a blockbuster. It’s good for a couple of laughs, or, getting into the spirit of the season, it’ll be a great Halloween film – but that’s really about it. It’s not groundbreaking, it’s not completely original either (see the comparison to two other major films). It has zombies, guns, and angry Londoners, and that’s about as deep as it goes.

So overall, Cockneys Vs Zombies is great for a good laugh with your friends, a little bit of a gore session (though it does become easier to watch the gory moments as the film progresses – the beginning part is the absolute worst) and, almost literally, to kill a couple of hours. A great, but not innovative film, it is still a lot of good fun to watch.

7/10

Read the original article here: http://www.bringthenoiseuk.com/201210/films/film-review-cockneys-vs-zombies

A newcomer to the band will be very, very surprised by Rolo Tomassi. Singer Eva Spence’s trademark (and frightening) high pitched screaming almost speaks of some more intense forms of djent music. The rest of the instruments keep this theme going, the presence of effected-up synthesizer and the hefty bass guitars, punctuating their way through some whiny, picked guitar creates a very ghostly and haunting feel throughout the whole sound, and it leaves a listener asking “what just happened?” in the same way that djent music is actually designed to do.

In terms of this album, Astraea itself starts off in very sinister fashion, building up to an explosion of screams, synths and massively bass heavy chugs that weight down in a satisfying way. Tomassi have matured hugely in their sound for this album, it’s the same as before but done in a less chaotic (though it’s by no means less chaotic-sounding) and more thoughtful way than before.

There’s some real brilliant moments on this album, too. The ending to The Scales of Balance is fabulously done, and the bass guitars in Remancer are to be envied across the metal world. Spence’s vocals are consistently brilliant, causing just enough apprehensive feelings within a listener (especially a new one) to cause genuine feelings of “eek, it’s actually quite scary!”

Issues with the album – this reviewer found himself consistently wanting the guitars to be louder, as if they were too far back in the sound to do them justice. The music is all about bass, synth and vocals, and the standard idea of the guitar being the staple of the metal band seems to have taken a sidestep to make room. It’s not that this is a bad thing, and the music certainly doesn’t suffer for it, but the guitars are so talented it seems a shame to hide them behind other instruments, deliberately or not.

So in short, Rolo Tomassi seem set on world domination, and with an album like this, they’re likely to get just that. Described as ‘mathcore’ in some circles, Tomassi are different enough to avoid being branded ‘just another metal band’, and that’s a massive advantage for them. In terms of Astraea, the best thing to say is that it’s fabulous. If listeners like progressive metal styles, high pitched squealing screams (or in other words, any kind of djent), then it’s worth buying.

8/10

For Fans Of: Fellsilent, Tesseract

Read the original article here: http://www.bringthenoiseuk.com/201210/music/reviews/album-review-rolo-tomassi-astraea

Write it on Your Skin is, in a nutshell, everything one would come to expect from a Newton Faulkner album. It’s fair to say, he hasn’t exactly pushed the boat out in terms of how the songs are constructed. It’s typical Newton Faulkner, but this isn’t necessarily a bad thing. Typical Newton Faulkner has a history of being great to listen to, so typicality isn’t a reason to not give this album a fair shot. Clouds, the first single to be released from the album makes an appearance on the tracklist, and is definitely up there in the high points of the entire record.

One of the most instantly noticeable things about Write it on Your Skin is the fact that there’s some lovely moments that really shine out from the rest. Sometimes it’s an entire song, such as Pick Up Your Broken Heart, which is especially emotive, well put together and, on the whole, a rather special song. Other times, it’s specific sections of the songs, such as the intro to title track Write it on Your Skin, which is brilliant.

What’s especially good about this album is that there’s nothing specific to have an issue with. Every song, whilst different, is enjoyable to listen to which is fast becoming Newton Faulkner’s trademark. The songs are lyrically emotive, wonderfully constructed, beautifully played and sung. Roll all that into one, and a listener ends up with something really special.

Issues – few and far between. Faulkner knows his stuff and knows how to make beautiful music. If one was to nitpick, it can be said that it won’t be to everyone’s tastes, and with others it will only be fit for them to listen to at certain times. Put it this way, don’t listen to it in the car after a hard day, it will put you to sleep at the wheel. It’s not fair to take away from the release itself with this argument, though, Faulkner is hardly going to think ‘this is lullaby-esque, music; I don’t want to be responsible for the deaths of tired drivers, better write something else.’

Write it on Your Skin is therefore set to become another unparalleled success for Newton Faulkner. It’s wonderfully written, excellently played and packed full of so much songwriting talent, it’s hard to know where to start. All that’s left to say is that this reviewer hopes that he’ll carry on exactly the same way for a long time.

Read the original article here: http://www.contactmusic.com/album-review/newton-faulkner-write-it-on-your-skin-new