When We Were Wolves – The More Things Change, The More We Stay The Same EP Review (Planetmosh Review)
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/
The demise of Alexisonfire came as a tough blow to many in the rock music world. Formed in 2001, their best releases included the self released and self titled debut Alexisonfire, as well as probably their most famous full length album, Crisis. Almost as if it were a self-made lament to their career’s ending, the band have released a short EP, entitled Death Letter, which includes some re-imagined versions of classic songs from the releases spanning their career.
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
Oxford based singer/songwriter Lewis Watson has grabbed musical opportunity with both hands. His first debut and self-produced EP, It’s Got Four Sad Songs On It, BTW topped the iTunes singer/songwriter charts, and now the young lad is back with a second EP, imaginatively named Another Four Sad Songs.
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?
Read the original article here: http://www.neverenoughnotes.co.uk/2012/11/lewis-watson-another-four-sad-songs-out-now-warner-records/#.UK_ZGIftR2A
Let’s start this one with a sweeping yet thoughtful statement. Derbyshire-based electro-rock-pop duoCrushing Blows are extraordinarily hard to describe. Put it this way, they descrive themselves as ‘noise-pop’. That’s not even a thing.
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.
Read the original article here: http://www.neverenoughnotes.co.uk/2012/11/crushing-blows-crushing-blows-12-11-2012-super-heavy-weight-records/#.UJvT9m996So
Hertfordshire is getting a bit of a habit of producing excellent bands. First Enter Shikari appear out of St. Albans, then The Subways out of Welwyn Garden City. Now, it looks like the musical county is at it again, with Welwyn Garden City based metallers Thousand Autumns cooking up a big storm. Their latest EP, entitled Chasing Boatsis out now for the public to get hold of, and it looks set to be a huge release for the band.
Chasing Boats kicks off as it apparently means to go on. And to use exactly the right word, it kicks off hard. It’s a hefty-yet-melodic sounding EP, chock full of almost metal-core type sounds with throaty screams and overdriven guitars everywhere. There’s some really great sounding instruments, heavy, thumping basslines, uplifting, sing-along choruses and riffs that actually have the ability to really strongly remind a listener of now broken-up metallers Disturbed on the one hand, but with faster, more full-sounding choruses and more meaningful song construction. In other words, by the time the listener gets to the end, with the endless chants of ‘I’m chasing boats!’ they feel as if they’ve come a long way from the opener, despite the EP only being short. And that takes real production talent.
There aren’t really that many problems with this record, either. The vocals could use a small amount of work, because the clean singing voice sometimes comes across as a little bit thin, and it has a slight tendency to sit in the background of the music, underneath the guitars as if they’re not meant to be in the foreground. Apart from anything else, though, that’s a slight production hitch that has absolutely nothing to do with the music itself, and therefore it shouldn’t be assumed that this is a musical issue. It isn’t.
So overall, Chasing Boats is a successful, heavy and yet melodic EP that’s sure to be popular. Hertfordshire seems to have pulled it off again, producing a metal band of the highest quality and with the highest prospects. Keep a close eye on these guys, there could be another Enter Shikari in the pipeline.
Read the original article here: http://planetmosh.com/thousand-autumns-chasing-boats/
Oxfordshire all-female rock quartet Evarose release their five-track EP Elements this year, and a listener can’t help but feel a little bit sorry for them. They’re brilliant, extremely talented, excellent songwriters and fantastic musicians, and yet they’re still going to be compared to Hayley Williams as soon as Elements hits the shelves. That’s the curse of the female fronted band, brought about by the unstoppable Paramore-machine, and it’s a curse that Evarose cannot avoid. That’s not stopped them, though, and Elements is set to be released in the UK later this year.
When it comes to the music itself, Elements is energetic, uplifting and very talented. It’s mixed fantastically; all the parts of the music are clearly audible, and they’re all brilliant. Evarose can write a heck of a catchy tune, a perfect example being There’s No Such Thing as Something for Nothing. One of the best comparisons for them is actually a much heavier version of We Are the In Crowd, as they have a similar amount of punk type energy, but with a much heavier sound on their guitars. Possibly American rockersVersaEmerge might make a better comparison.
Therefore, the only issues with Elements are those that Evarose cannot control. Being ‘tarred with the same brush’ as Paramore is an occupational hazard of female fronted bands, and it’s fantastic to see that the Oxfordshire quartet aren’t phased by this at all. Instead they’ve made a great sounding EP, the way that they wanted to make it, without worrying about it, and that’s great to see.
So it’s fair to say that Evarose are on to something, something big. If they carry on this way, they’ll be bigger than Paramore in a few years. All they have to do is ignore the comparisons, carry on the way they’re going and keep making insanely catchy and great music. Fantastic.
Standout Track: There’s No Such Thing as Something for Nothing
For Fans Of: VersaEmerge, We Are the In Crowd, Paramore
Read the original article here: http://www.bringthenoiseuk.com/201208/music/reviews/ep-review-evarose-elements
New York based rockers Event Horizon are poised to pounce straight into the mainstream music scene. Claiming to be the infusion of many genres of music, from metal toThe Beatles-style of rock, Event Horizon want to put something ‘fresh’ into a stagnated and “repetitive” music industry.
Event Horizon’s modern take on the traditional rock style of music is nothing short of refreshing. Harking back to the glory days of Pearl Jam and the heyday of The Red Hot Chili Peppers, and infusing it with the electronic-rock style of modern day musicians Muse, Event Horizon take their groovy, funk style of rock and bring it into the 21st century by curiously and brilliantly adding in modern elements.
Stylistically, it sounds somewhere between Alter Bridge,(and Human Continuum really sounds like an Alter Bridge track), and Dead By April. The groove really gets the head going, and the shrill, wah-wah’d solos are nothing short of, to use an overused phrase, face-melting.
Vocally, the high pitched sounds of the singing add to the ‘different-yet-nostalgic’ edge to Event Horizon. It’s definitely a new style of singing for this style of music, one that hasn’t been tried (at least successfully) before. It works, too, and makes a listener wonder why it hasn’t worked before. Musically, the band clearly have talent and know how to use their instruments. There’s great variety in the guitar sounds, which go from hard-hitting, crunchy distortion to echoed, space age sounds. The rest of the instruments are clearly audible, in fact this reviewer found himself focusing in on how great the bass guitar sounded over a solo. Not often that happens.
It’s not all grunge and rock, either. Event Horizon have a lot of variety between their tracks, too. For instance, there’s a heck of a long way between the grunge/funk feel on Human Continuum to the softer, more emotional and psychedelic echoes on Sputnik, which seems more like electro-rock than a salute to early grunge/funk. That really shows the band’s talents, and the bonus is that, despite all their songs sound different, they’re all really good to listen to.
Cons – happily, few and far between. The vocals, being so high pitched and different, might not be to everyone’s tastes, or at the very least might take some getting used to, but other than that there’s literally nothing wrong with Event Horizon’s style of music. It actually is a fresh injection into the music industry, and it’s not every day a band actually achieves exactly what they set out to do.
Overall, then, Event Horizon should, in theory, be set for super-stardom very, very soon. Watch their space.
Read the original article here: http://www.hevypetal.com/release-reviews/1094/event-horizon–harbinger-ep
Indie rock four piece Mere Moths, hailing from Co. Down in Northern Ireland release their debut, three track EP, entitled Water of the Land this month, through Circulation Recordings. Mixing crunchy distorted bass and funk-esque tempos, the band create a mixture of rock tones that give it a groovier feel than most indie rock available on the market at the moment.
It’s clear to see from the offset that Mere Moths have bags of potential, and have only just begun to tap into it. For such a newly signed and, at the moment, small band, the production quality of Water of the Land is really rather good. It’s well recorded, mixed and produced, giving a good representation of both what the band are capable of sounding like, and the attitude that the band have towards their recordings. The fact that the EP is so short just goes to show this attitude even more clearly, that Mere Moths put so much effort into each individual track that it takes as long as many other bands would take to put together a seven track EP has materialised into three, meticulously produced tracks that sound nothing less of professional. Now that’s dedication.
Musically, again it’s got a great groove to it, a refreshing take on the rock/indie genre to put something a little more funky into it, and it makes it interesting to listen to and that little bit special. The standout track on this EP has to be Mine, a song that just oozes feel-good tones, sing along vocals and talented instrument work that makes it a great track to listen to all the way through.
One of the only problems with this EP is, as previously mentioned, the fact that it’s a little bit short. Three tracks weren’t enough to get a proper appreciation of the talent that’s gone into creating the music. But, on the flipside of this, being so new, Mere Moths are only just getting started, and three tracks on this Water of the Land does definitely enough to whet the appetite of the hungry listener, and leave them want a lot more. It’s not an EP, it’s a starter.
So, overall then, Water of the Land is a very good and well put together EP, with just enough to give across the right impression of the style of music that Mere Moths are going for, without giving too much away, and just enough to leave the listener wanting that little bit more. Clever and teasing, this reviewer hopes to be hearing a lot more from them very soon.
Read the original article here: http://chordblossom.com/musicreviews-meremoths-wateroftheland
Scary metallers Simbiose, hailing from the exotic land of Portgual, grind their way back on to the scene three years after their last release, Fake Dimension, with this, new studio album entitled Economical Terrorism. Describing themselves as “crust”, a word for a genre that conjures up all sorts of interesting images, Simbiose claim that they are a “no-holds-barred attack current social, political and economical events”. Expect loud and furious, then.
This reviewer has to be honest, the opener, Payback Time, made him jump out of his skin. In fact, this will probably happen for most listeners, especially if they have headphones on with the volume turned right up. Just a slight word of warning take this as advice against doing that. It does however set the tone for the whole album afterwards very effectively. Beyond the terrifying opening, the music itself is chaotic, fast, heavy, low and generally angry.
It’s good, too, as music of this type is generally quite hard to follow along with (there are always complaints that it’s hard to tell when one song ends and another begins) but with Simbiose, this is not the case. Despite the choice of genre and style of playing, it’s still very plain to see that the band are very talented. The guitars, though distorted heavily can be plainly heard, and everything just feels very well balanced. The speed is also very, very impressive, as the band manage to maintain the quickness without every song sounding the same (Dragonforce), which is another tick in the box as well.
Improvements – the vocals could use a little more variety, although they do fit with the music style perfectly. They do however get a little tedious after a while, so a little break up in the might be useful for a listener making their way through the whole album. Other than that, it’s a well mixed, surprisingly clear (as in all the instruments are clearly audible) mixture of sounds, which is a pleasant surprise for metal of this speed and level of distortion.
Overall, a rather scary, dark and yet extraordinarily talented album. Not to everyone’s tastes, but sure to set the band on the road to musical success. It’s been too long since metal of this kind caught anyone’s attention, a comeback is needed, and it looks like it’s going to be in the form of Simbiose. Excellent.
Read the original article here: http://www.hevypetal.com/release-reviews/974/simbiose–economical-terrorism-ep
Heavy progressive metallers Everyone An Army release their imaginatively titled EP The Thundering Triumph of Knowing What’s Right. A fuzzy, distorted and extremely ‘heavy’ (by definition of the word!) EP, it looks set to blast its way onto the metal scene upon release.
Again, heavy is the keyword for the day here. There are only three songs on this EP, but a listener wouldn’t know it. Slow and grungy, somehow mellow, yet terrifying at the same time, the hefty distorted fuzz effect put onto the guitars really creates the feeling of ‘pressing on the ear drums’, especially if listened to through headphones.
The title track The Thundering Triumph of Knowing What’s Right is even stranger, because it’s heavy on the ears and yet somehow very soft all at the same time, a skill that Everyone An Army seem to have mastered. Few bands have the ability to sing the lyrics “cut out your eyes” in such a nonchalant fashion, in such a softly sung voice and inspire that amount of fear in the pit of a listener’s stomach. It just sounds so serious, which is what makes it so scary. Other bands with lyrics along those lines, for example “put a gun to my head and paint the walls with my brains” (Bring Me the Horizon – Alligator Blood”) doesn’t give off the same ‘serious’ image with it that Everyone an Army do, and that’s what sets them apart from other metal.
Vocally, a listener could be forgiven for expecting low pig-squeal screams and growls, but they’d be wrong. In fact, the presence of completely clean (although mournful, monotone and quite low in pitch) vocals is actually more disconcerting than anything else. It has the capacity to remind of black metallers Akercocke, which is both a good and terrifying thing.
Overall, an extremely talented, deep and, at the end of it all, scary release. It’s heavy and yet soft, metal and yet not-metal, but above all else, it’s really rather good. It could be slightly improved with a little more variety, however, but from a three-track EP this is an unfair criticism. Lyrically, fantastic. Really moving, albeit maybe not in a comfortable way, which just adds to the talent. This reviewer (although only half of him, the other half is a coward) wants to hear more.
- Biffy Clyro – Opposites Album Review (Planetmosh Review)
- When We Were Wolves – The More Things Change, The More We Stay The Same EP Review (Planetmosh Review)
- Alexisonfire – Death Letter EP Review (Bring the Noise Review)
- Lewis Watson – Another Four Sad Songs EP Review (Never Enough Notes Review)
- Parkway Drive – Atlas Album Review (Bring the Noise Review)
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