Nottingham UK Modern Metal band Deathflux leveled up in their career in 2018, releasing their killer new album, Execrated, and playing a ton of gigs and festivals to support it. Vocalist Adam Jones has shared his top albums of 2018, a heavy yet eclectic mix, with Ghost Cult’s readers.Continue reading
Neurotic November claim to be “Hood Metal”, which if their latest effort, second album Fighting Words (Victory), is anything to go by appears to be fairly straight (Metalcore flavoured) djent lightly seasoned here and there with some low-rent rap sections. I genuinely struggle to see why these guys have gotten such a bad press. I’ve certainly had a lot worse presented to me as genius. While they’re never going to set the world on fire, they at least have their own sound and no-one should in good faith paint them as The Worst Band In The World whilst brokeNCYDE is still a thing…
Fighting Words is a solid improvement on the last album – 2013’s Anunnaki (Victory) – featuring a fatter, tighter sound and more lavish production (from Joey Sturgis, the man behind the deck for Asking Alexandria and The Devil Wears Prada) . The song-writing is a lot better too with some nice guitar hooks, and half-decent vocal flows that wouldn’t sound out of place on an early Stuck Mojo album.
‘The Truth About You’ is a synth-heavy start to the proceedings that is certainly decent enough to get the head nodding. ‘So Hollow’ is a Slipknot-inspired thrasher which leads us into ‘Everglades’ which features guest roars from King Conquer‘s James Mislow. ‘On The Come Up’ is the standout track on the album with the afore-mentioned Stuck Mojo similarities. ‘Rockstar’ bounces along quite nicely in an adequately average djent stylee through ‘2004 – present’ (more of the same) until we arrive at the quirky ‘Wasabi Anguish Pt. II’ which I have to admit I have a soft spot for; it’s basically a mashup of After The Burial and Eminem with some Die Antwoord influences.
So whilst Fighting Words isn’t great, it’s certainly not shit either. If non-mainstream rap metal’s your bag, it’s worth a look.
6.0/10
PHILIP PAGE
Kosha Dillz. Photo Credit: Amelia Burns (via Facebook)
Being an indie artist in modern times can be quite the adventure, as learning how to win over an audience becomes a challenge. For New Jersey (now Los Angeles based) indie rapper Kosha Dillz, he spent this past summer on the Vans Warped Tour and expanded is networking base in front of a new audience he has spent the past few years building up.
So how has the Warped Tour treated him? “So far so good – it’s a cliché answer but after yesterday we’re learning a lot every day. This is the third show and it went really well. We got a nice set and we’re alternating our sets too so everyone’s getting a different experience.”
“We’re learning how to promote ourselves. It’s a different beast out here. It’s not like anything I’ve ever done. I’m grateful for that but also I’m a novice here. I may be experienced at what I do but out here I’m a newbie and it’s nice to learn a lot. I love learning,” he said.
Kosha Dillz Live At Vans Warped Tour 2015
Dillz originates from Edison, NJ and was born to Israeli immigrants. While his musical origins began in rap battles in New York City, he gradually incorporated his Jewish roots into his music and slowly shaped his sound into something a bit outside of the norm in the hip hop world.
“I grew up in New Jersey so not New York. People think it’s New York. I grew up rapping in New York starting up. I would drive up to the city or take a train. I did mostly sports, like wrestling and soccer. [I] wrestled in college, then I had a big stint with drugs, addiction, jails, institutions, and then came hip hop and became a hip hop a mania. It was a hardcore hip hop and underground hip hop festivals in the Czech Republic and Eastern Europe, and winning rap battles in the rap battle scene. I was finding success late. We didn’t have social media when I was seventeen. It was a whole another world.”
Kosha Dillz Live At Vans Warped Tour 2015
Rapping in English, Spanish and Hebrew is something that sets Dillz apart from the pack. Fusing his cultural roots with his surroundings in New York and New Jersey has inspired him to create his music in a way to introduce listeners into his unique yet eclectic world.
“I really try to embrace the culture part. I understand that I’m very different to people, so I say let me do something special. Let me try to do something different that no one else is doing and be dope. You can do different stuff like standing on your head, but I don’t think that’s dope. If you are making an amazing song that’s completely different from everyone else, so I was the rapper in Hebrew and Spanish – I was known for that. It sort of has a street hip hop flow, and freestyle at all shows keeps it like who knows what’s going to happen and create that space and energy. I think you have to do that when not everyone knows you. It’s show and prove out here. You have to tell them you’re dope and let them know what’s up.”
Dillz has made a career of releasing his own music through Murs’ label Murs 316 and is running a Kickstarter campaign for his forthcoming album.
“The rapper Murs helped put out my last album (Awkward In a Good Way) digitally. I just did a Kickstarter for my new project called What I Do All Day and Pickle. It’s kind of a spoof on Velvet Underground and Nico.”
“The songs I’m performing are from Awkward in a Good Way, my album with Murs. It has Murs and Gangsta Boo (of Three 6 Mafia) on there, and I also have some tracks from Varsity Blues. It’s called “Varsity Blues.” I’ve got “What I Do All Day,” which features Flint Flossy from Turquoise Jeep, a real big YouTube sensation. I have a lot of songs with vocals on them, like singers experimenting with R & B. Just creating music and getting it out there.”
He admits that events like Warped Tour have pushed him to work harder to reach new fans on every step of his adventure. Every step of the way has helped him shape his approach on how to reach new fans.
“I was addicted to the hustle and the DIY nature of things and the personal interaction. I was always good at that. So on Warped Tour, I did a tent called Bring It Back. It was a hip hop tent and all elements of hip hop, breaking, graffiti, DJing, MCing, and dance. They’d stop people and start a show. Then you’d get a big crowd and making it look good for photos and everyone would get nuts. Next thing you know people are watching it. People enjoy watching the others that are working hard to get where they are.”
“On this tour, on the set it’s another beast because the heroes are the person that is travelling, passing out the fliers and helping others. In no other culture is there anything where people are like ‘I’ll help you get stuff out of the trunk’ or ‘do everything for free’ so people can hear my music. The platform has been created to reach over a half a million people of likewise weirdos that’s gonna be like ‘yeah!’ Does this world exist? It does exist. It’s Warped Tour. It’s all different kinds of music – Eminem, Yelawolf…Katy Perry, Rancid, Green Day…so many different kinds of acts. At least on the hip hop reign, I’m filling in big shoes and I’m doing pretty good. So far so good and it’s only gonna get better as we go on.”
Dillz learned how that a family oriented environment like Warped Tour has helped him reach new fans. The ethic behind helping one another has rubbed off on his in a positive way
“It’s a very family oriented thing. It’s a great example for regular music because it should be family oriented – Like I support you because I want to support you. Ideally you would support me too. You can do whatever you want but this is spoken for so of course you’re supporting other people.”
“One thing I’m doing is I’m leaving my promotional stuff around by the bands. I want to make sure the bands know when to come see me. Getting the respect I deserve on the musical level – people know me for the hustle but not everyone for my music. This is a great time for them to hear my music. That’s what I’m really so happy about because to be given a proper opportunity for promotion – this is it.”
He admits that punk rock was something he was also somewhat exposed to at an early age as well. “The first show I ever went to was sort of punk rock. It was punk rock. I was going to say a New Jersey hardcore show. Our neighbor was in the band. I headbanged until my neck got so sore. I remember it. I only remembered that story on this tour.”
“Then I did hip hop starting at 17 and performing. Now I’m rocking all over the hip hop, the rock, [and] indie rock. I really graduated from pop. I really love pop music. I’m trying to write a hit song. I would love that everyone loved a hit song that people like. So that’s cool.”
Lastly, Kosha Dillz shared his interaction with metal and punk with his music. While his sound leans more towards hip hop, he is open to collaborating with other artists.
“I did a remix over GWAR once. Years ago I rapped over GWAR. If anyone wants to work with me and say ‘hey man…let me get you on this’…I’m just grateful people step to me and ask me. If it interests anybody or if anyone out there is listening…it doesn’t matter if they’re small or big…I like anything that’s dope. I would like to do something with Knuckle Puck or Man Overboard because they’re from New Jersey.”
Rap/metal outfit Scare Don’t Fear will be supporting Nonpoint and 36 Crazyfists on an upcoming North Americans tour this spring, in support of their debut album From the Ground Up,” out now via Ben Bruce of Asking Alexandria’s KBB Records.
Mar 26: Limelight Eventplex – Peoria, IL
Mar 27: The Wicked Moose – Rochester, MN
Mar 29: The Original – Minot, ND
Mar 31: Stage 112 – Missoula, MT
Apr 01: The Peppertree – Idaho Falls, ID
Apr 03: Revolution – Boise, ID
Apr 04: The Palomino – Spokane, WA
Apr 05: Studio Seven – Seattle, WA
Apr 06: Tonic Lounge – Portland, OR
Apr 08: DNA Lounge – San Francisco, CA
Apr 09; House Of Blues – West Hollywood, CA
Apr 10: Vinyl – Las Vegas, NV
Apr 14: Austin, TX – Red 7
Apr 16: Scout Bar – Houston, TX
Apr 17: The Silo – Abilene, TX
Apr 19: Lonestar Amphitheater – Lubbock, TX
Apr 21: Juanita’s – Little Rock, AR
Apr 24: Club LA – Destin, FL
The band also are streaming a cover of Eminem’s “The Way I Am,” which can be streamed below.
“Na na na na, I’m aware I am an asshole” chirps Ronnie Radke seconds into the perky title track of the third Falling In Reverse album, Just Like You (Epitaph); a relevant self-aware line for the people who find the former Escape The Fate frontman a hurdle to get over in and of himself. While some won’t listen to Megadeth because of Dave Mustaine’s crazy-ass bollock spouting (rather than the valid reason they haven’t done anything worthwhile for 25 years), liking Falling in Reverse shouldn’t mean forgiving or condoning his actions, as there has to be a separation between the man and the band.
Because, while Just Like You is not the album where Radke and his compadres grow up, it is the one where they produce a convincing, enjoyable slice of modern pop-rock fun and catchy metalcore.
‘Chemical Prisoner’, an energetic tune that recalls A at their best, kicks things off as the opening quartet of tunes of the album bring the sun and the fun, with staccato rock bouncing shoulder to shoulder with pop sensibilities. There are dashes of My Chemical Romance as spirited verses drop to half-time anthemic choruses, while English lead guitarist Jackie Vincent shines with a series of Yngwie-esque classical tinged solos. Some of the lyrics are dreadful, and the “OMG! You make me cum!” on ‘Sexy Drug’ will make parents the world over cringe, but the sugary swagger, the hook-filled rapid-vocal delivery in the verses and the festival-friendly chorus more than make up for it.
There’s plenty of looking to the big hitters for influence as ‘Just Like You’ could be Blink 182 jamming with Fall Out Boy while choruses throughout point to Def Leppard and Warrant albums in the collection. Elsewhere, ‘Guillotine IV’ and ‘The Bitter End’ showcase the other side of Falling… as they head back to beatdown town and out Asking Alexandria Asking Alexandria as they churn through the metalcore, but never at the expense of the chorus or the song. ‘My Heart’s To Blame’ is a slower, more considered number, not a million miles away from some of the more thoughtful moments of Sempiternal (RCA/Epitaph), and ‘Wait and See’ flits from Eminem to King 810 to Panic! At The Disco, further showing the diversity on offer.
What is interesting is that, while the grind of a track like ‘Die For You’ spices up proceedings and adds an impetus, where Falling In Reverse truly shine is when they cast off the trappings of trying to hang with the heavy, and let the pop rock bravado shine through. These guys can write hits, and while they could be a great rock band, they’re not much better than average when they do their metalcore thang – it makes you wonder if they’re trying to prove something that doesn’t need proving.
However, when all is said and done, Just Like You is a swag-bag full of new toys for their hordes of teenage fans to sing along and lose their shit to, and I have a feeling Ronnie and the boys are going to do pretty damn well out of it, thank you very much.
OMG.
7.5/10
Falling In Reverse on Facebook
STEVE TOVEY
I’ve been to some pretty spectacular shows this year, but I don’t think I looked forward to them anywhere near as much as I looked forward to finally seeing my hometown heroes in Puya. I don’t mean to get sentimental, but it’s not every day that my Puerto Rican heritage and love of metal come together.
The first act to take the stage was a local group known as Zombie Frogs. They played a few instrumental numbers that were saturated in keyboards. I personally have a very low tolerance for that sort of thing but apart from keyboard overkill, the music was pretty good and they have the potential to make some interesting songs.
Another local band, Bloodline Theory, was up next. Their sound was reminiscent of nu-metal at the turn of the new millennium. Twelve year old me would have loved them and, to be honest, they weren’t half bad. One of the highlights of their set was a cover of Eminem’s ‘Lose Yourself’ simply because of how unexpected it was. However, the true peak of their performance was when the guitarist’s fly went down and our own Keefy got an eyeful of another man’s junk. That’s just one of the hazards that come with the job.
Headlining band Puya opened their set with fan favorite ‘Ride’ and had the entire room singing along. I was pleasantly surprised with how heavy they are live, even the lighter parts of songs still had a good kick behind them. Vocalist Sergio Curbelo loved showing off his inner salsero and occasionally assisted percussionist Oscar Santiago with a number of different instruments. Ramon Ortiz’s versatile guitar playing shone through all of the Latin, jazz, funk, and metal influences present in the band’s music. That being said, anyone who knows anything about me knows that I love a good bassist so you can bet that I was firmly parked in front of Harold Hopkins Miranda in the front row and he did not disappoint. I had expected a set that focused more on their heavier music but there was a fantastic mix of everything. Puya is a perfect example of Latin metal and Latin fusion done right. It was easy and natural to jump from something like ‘Solo’ to ‘Tirale’ without batting an eyelash. The Latin fusion juggernaut wrapped their performance with an encore of one of their most well-known and well-loved tracks, ‘Oasis’.
Puya was every bit as incredible as I had hoped they would be. I can cross them off of my bucket list for the time being but I’ll be waiting for them to come back to town. Come to think of it, heading back to the homeland to see one of my favorite bands sounds like a pretty good idea to me. Check out their impressive set list below.
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Puya Set List
Ride
Erizo
Areyto
Ni Antes Ni Despues
Sal Pa’ Fuera
Montate
Remora
Fundamental
Solo
Tirale
Pa’ Ti Pa’ Mi
Numbed
Puya
Oasis
WORDS: ALEIDA LA LLAVE
PHOTOS: ECHOES IN THE WELL
