Tag Archives: Self Released

Shrines – Shrines

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You know how it feels when you just can’t decide what to listen to? You cycle through ten albums in as many minutes, hearing bits and pieces of everything but not feeling entirely satisfied by any of it. The first time you listen to Shrines (Apocalyptic Witchcraft) you may well think that you’ve just done that without changing the album.

Shrines are one of those bands that it’s hard to pin down on paper, not because they’ve forced some uniquely individual style, but simply because they jump around so often that it’s frequently easy to forget that you’re listening to the same band. Across their debut’s ten tracks, Shrines cover sweeping Post-Metal, melancholic Black Metal, vaguely pastoral Doom, masterful Death Metal, bullish 90’s Metal chugging and some oddly laconic Gothy stuff about wolves that even manages to sound out of place on this album.

As this review is likely to focus on the negative, it needs to be said that the playing on Shrines is absolutely top notch – the band are in lockstep throughout, not missing a beat despite the complex and changing nature of the material – and there’s no shortage of excellent moments throughout. The problem is that they never manage to coalesce into anything meaningful. There’s nothing wrong with variety, of course, but the bands who really pull it off are the ones who invest every style they touch with a sense of their own identity – Shrines cover a lot of bases with style and precision, but there’s never a sense of who they are beneath that, and each time the album finishes you’re left with no greater idea of who they actually are as a band. The vocals also don’t help, moving (as you’d expect) from soaring clean singing to angry shouts and gruff roars, but never really committing to either and ultimately sounding passive and withdrawn.

Shrines is an impressive performance from a talented band who are undoubtedly trying to forge their own unique style, and for the right listener they may well “click” into something that truly transcends the sum of its parts. Unfortunately, for the rest of us, the abiding impression will be that of so many ideas that none of them really have chance to take root.

 

6.0/10

 

RICHIE HR


Fractal Generator – Apotheosynthesis

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It’s hardly a new observation, but one of the many effects of the home-production/internet release revolution was to completely change the expectations of what we can reasonably expect from a band at the stage of putting out their first album. There are many reasons to celebrate the death of the system by which labels were the sole gatekeepers of the power to record, but one thing we’ve arguably lost is the filter which used to block many amateur or poorly-conceived outings before they hit the studio.

Which makes it even more satisfying when a début album arrives so well-formed.

Every aspect of Fractal Generator’s aesthetic – from the name to their white lab-coats – tells us that this is that engagingly awkward nerd hybrid Science Fiction Death Metal. There are significant nods to Wormed and The Faceless in their sound, touches of first-album Cynic and even the odd distorted riff that Meshuggah would be happy with, but they’ve already started combining them into their own sound.

Apotheosynthis (Independent) doesn’t sound like the first self-released fumblings of a band who’ve skipped past the old gate-keepers and jumped straight to the album stage. One of the first things to catch your attention here is just how tight the performances are – a blinding blur of taut riffing, thunderous blasts and well-executed keyboard work exhibit a band with total confidence in their chosen style. They know what they’re doing, too, never allowing the more esoteric expanses of their sound to detract from the central task of writing powerful, urgent Death Metal.

Apotheosynthesis isn’t without its flaws, of course. It’s arguably longer than it needs to be, losing some of its momentum in the last ten-to-fifteen minutes, and though the production is crisp and crunchy it sometimes relegates the keyboards and spacey noises to sonic garnish, burying some of the atmospherics that the band are aiming for. For a self-released début, however, it’s an absolute revelation, and leaves behind several of the year’s more established Death Metal releases in its wake. Fractal Generator are not simply a band it’s worth keeping an eye on in the future, but one who deserve your attention right now.

 

8.0/10

 

RICHIE HR


Introducing… False Flags

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False Flags 2015

With their debut mini-album on the horizon, Yorkshire UK discordant hardcore newbies False Flags have made available the excellent preview track, ‘Last Screen Goddess’ that turned heads at Ghost Cult towers. Vocalist Chris Jenkinson helped us piece the puzzle of the band together…

 You all know each other from various bands (Red Stars Parade, Whores x 3, Year Of The Man) from a couple of years ago, so how did things come together, and considering you’ve had a break, why now?
We all met through playing gigs together in our old bands back in 2005ish. After all the bands split up, Charlie told me that he, Mark and our old drummer Kev were jamming some new material and I, being quite drunk at the time, said I would be up for doing vocals. The day after, I couldn’t remember saying that at all!

But I still joined anyway. 

A year or so of writing and playing the occasional show, Kev left the band so we met Mike through advertising for a new drummer. We’re all in our mid 30’s now, so I think we just do this to get out of the house and hang out.

You’re self-releasing your mini-album. What does “DIY” mean to you?
DIY, to me, is just cutting out all the bullshit and stress that we’ve had in the past with regards to putting the mini-album out. It’s just so easy to put it out ourselves these days rather than trying to get a label to do it.

Speaking of which, Hexmachine is out on 20th November. What can people expect who don’t know about you?
It’s a pretty heavy, straight to the point record from start to finish but you can tell that there’s a structure to it. Rather than most math/hardcore records being all out nuts, we’ve kept it so you can follow what’s going on so its a tad more palatable. I think it’s an age thing really.

You’ve made lead-off track, ‘Last Screen Goddess’, available. Tell us about it, and what do you think it brings that maybe others don’t?
It’s one of the last tracks that we wrote for the record and it kind of just wrote itself. The name came from a headline in the newspaper when Elizabeth Taylor died so I wrote the lyrics about a fictitious character and what they would do to become a famous film star. 

It’s pretty much a verse, chorus, verse tune which I don’t think many bands are doing in the DIY scene these days.

What bands do you relate to, and are there any in particular in mind when you’re looking in terms of what you want to emulate?
We’re still fans of the bands that we listened to when we were kids. Pixies, Nirvana, Deftones etc, so when it comes to writing I try to use the same dynamics with a cleaner vocal for the verses and then scream the “chorus”, but then put that into a hardcore band. I remember going to see The Chariot years ago and thinking, that’s the type of band I want to be in, so we bring that dynamic to the table too! Structured chaos!

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What’s the deal with the lyrics… Is it true you’re a bit random with them? Are you not worried about not connecting, or are the words just a means to an end? Or is it just trying to do something a bit different and not just bro-downing?
The lyrics are kind of weird really. Each song has a theme but they’re not really about anything in particular. Most of the time we come up with the title first, then I try to write around that. Charlie came in one day and said “Can we call a song ‘Pet Wolf’?” So that ended up being about one of my Chihuahuas being a little shit! 

I’m a big fan of lyricists like Cedric Bixler (The Mars Volta) and John Congleton (The Paperchase) so I try to do that “interpret it how you like” kind of thing.

How’s it all fit together with your every day lives? What you guys up to outside of the band?
I have a Mrs, 3 kids, a mortgage and work 6 days a week, so for me this is just a hobby that I love doing and it’s the best way for me to still hang out with old friends. The older you get, you tend to drift away from your mates with settling down and stuff, so it’s cool that my partner still lets me go out and pretend to be in my 20s and fuck about in a band!

 

Hexmachine is out on November 20. You can pre-order here.

 

WORDS BY STEVE TOVEY


Behold! the Monolith – Architects of the Void

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For all the talk of sophisticated song structures, syncopated rhythms and harmonised vocalising that can often dominate reviews of records nowadays, sometimes it’s just nice to sit back, relax and be absolutely pummelled into submission by an album that is considerably more metal than you. Architects of the Void (independent/self-released), the third album from doom metallers Behold! the Monolith (no, I have no idea why they dispensed with the rules of grammar either) is one such record.

Upon first listen, Architects of the Void appears to eschew anything that would remotely suggest a lightness of touch. It arrives as the sort of record that is unapologetic in its roots and sense of self; belligerent in its execution and resolutely single-minded with how it brings a smile to your face and a crick to your neck.

Upon repeated listens however, the album reveals a much richer palette of sounds and creative touches; there is an undoubted progressive sensibility at play here – whether in the blending of musical styles (admittedly from the far left of the heaviness range) or in the playful riffing and energised pounding that comes from an understanding that, as listeners, we want this music to move us. And moves it does.

The doom metal architecture of ‘Lord of Bones’ is gloriously sludgy, there is a heft and glowering to ‘Philosopher’s Blade’, and the extended, rhythmical menace to the title track is absolutely beguiling. In fact, the entire enterprise is imbued with that sort of glorious, we-know-exactly-what-we-are-doing-and-we-are-having-a-marvellous-time-whilst-we-are-doing-it schtick that will have you running around your abode looking for a cap, proverbial or otherwise, to doff at them.

Monolith’s journey to this agreeable space might have come from digesting quite a lot of Mastodon records but that is hardly a bad thing. In fact, on ‘The Mithriditist’, it is demonstrated with a combination of power, precision and panache. If imitation is the sincerest form of flattery then this is something akin to a love letter.

Architects of the Void is the sort of record that you could easily pass by such is the vying for competition in today’s musical marketplace; please don’t. It’s inventive, passionate and as heavy as you could possibly wish for. Do you need any more than that? No, no you don’t.

 

7.5/10

 

MAT DAVIES


Krallice – Ygg Hurr

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Sometimes a band shifts out from under you when your back is turned. The last time I really paid attention to Krallice – on their 2009 second album Dimensional Bleedthrough (Profound Lore) – they played a style of modern, distinctly un-necro Black Metal characterised by vast, otherworldly ambience and broken, alien riffing; fiercely technical, but also rooted firmly in atmospherics and the desire to transport the listener somewhere different.

Six years later, they’ve somehow managed to shift sideways while remaining broadly in the same place. The basic components of their sound – yelped vocals, broken dissonant riffs and rapid-fire picking – are still recognisable, but used to achieve a very different effect. The transcendent, other-worldly qualities of their first two albums has been replaced by something much more mundane and earthly. Their musical links to Black Metal (always somewhat controversial among the panda-faced orthodox) are now almost completely absent, their song-writing now rooted more firmly in Noisecore, or whatever it calls itself these days. Fellow New Yorkers Pyrrhon come to mind on several occasions, but the comparison is not a favourable one – where Pyrrhon rage and howl and storm against the urban madness of modern culture, Krallice don’t seem to conjure any emotional response beyond Look How Many Different Notes I Can Play.

At its best Ygg Hurr (Independent) can coalesce into something that combines both technical complexity and savage groove, but more often than not it collapses into a swarm of dissonant riffing with very little behind it. The vocals, perfectly effective when Krallice were searching the stars for alien worlds, also seem ill-suited to the bands more compact, technical style. Where someone like Doug Moore takes his voice on a trip every bit as convoluted and challenging as the music, Krallice’s vocals just screech along regardless of what’s happening around them.

Though in every meaningful way a hugely impressive achievement, Ygg Hurr feels like a triumph of technicality over character, a band who left behind who they used to be and haven’t yet decided who they’re going to be next. The playing is, of course, absolutely beyond fault, and those seeking technicality and virtuosity for its own sake will definitely find something worth listening to, but anyone else will find it hard to shake the feeling of a wasted opportunity.

 

6.5/10

 

RICHIE HR


Derange – The Awakening

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London rock band Derange, whose name has connotations of insanity, irregularity and craziness, state that their main influences are bands such as Rage Against The Machine, Limp Bizkit and Deftones, however, their musical style is similar to Lacuna Coil. This comparison is not just because their lead vocalist is female, it is because Cat Pereira’s are both melodic and haunting. The main difference between Cat and Cristina Scabbia is that Cat not only sings like an angel, she also growls like a demon too; her harsh vocals in particular are extremely powerful.

One of the most interesting tracks on their self-released debut album, The Awakening (self-released) is ‘The Thinker’, which has an almost Jekyll and Hyde feel to it. The melodic parts of the song are almost relaxing, whereas the heavier parts of the song are extremely powerful and aggressive. While not an unusual tactic, many bands often try to juxtapose different elements into their sound, however, Derange have managed to do this successfully.

‘Echo’ is a ferocious track full of technical guitar riffs and fast-paced drum beats. It is hard to describe ‘Echo’ as anything other than energetic and it would be interesting to see how this song would work live. If there is one Derange song that you need to listen to on repeat it is definitely this one.

It is obvious that Derange have spent a lot of time trying to create an album which showcases the diversity of Cat’s vocals, and it has definitely paid off. Their melodic yet aggressive musical style is nothing new, but Derange have put their heart and soul into an impressive debut album.

 

7.0/10

JULIA CONOPO


Hiraeth – The World Ends With You

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You can find out a lot about a band simply from their name. Take Hiraeth for example: Hiraeth is a Welsh word which has no direct English translation. The University of Wales has described it as ‘homesickness tinged with grief or sadness over the departed’, as well as a mixture of ‘longing, yearning and nostalgia’. With such a unique and interesting band name, it is clear from the beginning that there is something different about them. Their debut EP The World Ends With You is self-released, and they have recently finished their first UK tour with Black Polaris and wars.

Opening track ‘Words To Echo’ opens with a simplistic and distorted guitar riff, proving their melodic hardcore roots instantly. Lead vocalist Charlie Clayton demands your attention from the get go, using his harsh vocals to enhance the emotion-filled lyrics. ‘Barely Breathing’ kicks up the pace, proving that Hiraeth are not just a one trick pony. The song features William Alex Young from Clockwork, and their different vocal styles fuse together perfectly.

There is something almost reminiscent about Hiraeth: they are able to use all of the previously successful melodic hardcore techniques to a high standard. The World Ends With You is an easy EP to listen to, and if you like melodic hardcore then there is no reason why you would not enjoy this band. For a first EP it is impressive, however, it would be great to hear how their sound develops in time and find out what will make them stand out from the thousands of other bands on the UK underground scene at the moment.

 

7.0/10

 

JULIA CONOPO


Archaea – Catalyst

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When new bands form they usually aim to get their music ‘out there’ as soon as possible, often releasing their début full-length album in the first couple of years. However, Archaea do not adhere to this stereotype as they are finally releasing their début album nearly eight years after forming. Although this may seem like a strange move, it does prove that a lot of thought, effort and time has gone into the creation of Catalyst (Self-release).

One of the most impressive songs on the album is ‘Vacuum’, a dramatic and almost enchanting melodic metal song. The frantic nature of the song is highlighted by the fast-paced keyboard melodies, which manage to fuse well with Nils Bossius’ powerful vocals. There is definitely a theatrical element to this song, however, it does not sound tacky or over-rehearsed.

There are many stereotypes about Swedish melodic death metal all sounding the same, but that definitely is not true. Although Archaea are able to nail all of the genre tick-lists (heavy vocals, melodic keyboard, ect), there is something a bit different about the Gothenburg-based sextet. Every song on the album sounds unique and it is hard to get bored whilst listening to it. Although there may be a slight overload of keyboard melodies, which is slightly reminiscent of Children Of Bodom, it does not change the professionalism of Archaea’s sound.

If you gave this album to someone who was scared of the melodic metal genre it would definitely encourage them to listen to more ‘melodeath’ music. Catalyst is extremely easy to listen to as Archaea have made an album which focuses on creating high-quality music with hints of other genres embedded into their sound. Although it may not be the most ground-breaking record of the genre, Archaea have worked hard to create a release is sure to gain them respect in the metal community and a wide variety of new fans.

 

7.0/10

 

JULIA CONOPO


A Trust Unclean – Reality Relinquished EP

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A Trust Unclean Album cover

It’s been a while since UK mob A Trust Unclean battered our eardrums, four years between EP’s to be precise. Seeking to jumpstart their career, they’re self-releasing an EP, Reality Relinquished, with a real Jack-Nicholson-head-stuck-through-a-hole-in-the-door Whitechapel savagery to announce their return, which, in the main, they do in style.

When A Trust Unclean get it right, like on ‘Feckless Tradition’, they’re a raging, swirling, diverse ADD mass of deathcored Slipknotisms, confident enough in breaking out into atmospheric progressive guitaring, enhanced by some delightful sci-fi leadwork that spirals back to a violent chug; ‘Perverse Agenda’ curls into a juddering violent Cryptopsy-ed verse, broken by ubiquitious slab-paced stomps, a refined melodic build to solo under the chorus.

Business continues to pick up as we traverse the core of the EP, Scott Horne demonstrates his percussive abilities, not overusing blasts or kicks, like the demon carriage driver only letting the hellhounds off the leash intermittently and when it’s best needed; such as on the title track where technical interchanges sputter before a riff that feels deliberately restrained at the leash is tightly reigned in before exploding into the chorus.

All this is a relief as the EP actually kicks off with a tired, cliché car-crash of deathcore 101 – electronic build into a stop/start staccato riff, downtuned tech metal riff-to-squeal, sub bass leading to a brainless breakdowns; it’s a disjointed mess. When hanging around the lowest common denominator end of deathcore this is by numbers, but fortunately, due to the frequency with which the band flit from idea to idea, this occurs, track one aside, at brief intervals only.

Arrangements can, at times, feel they’re borne from a “chuck it all in the blender” approach to song-writing, though this leads to songs taking unexpected and interesting turns and when A Trust Unclean are at their most progressive and creative is when they are at their best; sprinkling deathcore tropes on top, like a demonic piri-piri, rather than utilizing their more generic ideas as the main sauce.

 

7.0/10

 

STEVE TOVEY

 


Trailight – The Primitive Mountain

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What are you supposed to do when you’ve got a love of Rush, progressive metal, Tool and all things prog? That’s right, you head off and make one of the most immersive and complete prog rock escapades that you are likely to hear this year. The musical talent in question here is Vancouver’s Omer Cordell, who, like many of his Canadian brethren, spent his formative years aping Neil Peart on his own drum kit, doubtless dreaming of emulating his teenage hero. A formative career in photography has now morphed into bringing his passion to life; the results, the ambitious ‘The Primitive Mountain’ (Independent/Bandcamp) are never less than interesting and, occasionally, absolutely terrific.

As can often be the case with prog, new records can be worn down by the sum total of their influences. Given prog fans ability to spot a minor chord change on one record and know that it’s previously appeared on a King Crimson b-side from 1969, it’s often a minor miracle that new records bring additional nuance and verve to the overloaded musical table. Trailight‘s debut The Primitive Mountain does that. And how.

Cordell has surrounded himself with some seriously talented musicians and whilst the phrase, ‘supergroup’ isn’t something that should be uttered in polite or serious company, there is some significant CV quality from the likes of former Annihilator vocalist Dave Padden and drummer Ryan Van Poederooyen who spends a lot of time with that other Vancouver based polymath, a certain Devin Townsend. This is the sort of group where one’s instinct would suggest that these guys know exactly what they are doing. Your instinct would be right.

There is a joy and a happiness to the songs on The Primitive Mountain that is infectious. From the Tool like strains of opening track ‘Open Doors’, down through the prog metal powerhouses of ‘We Are The Ocean’ and ‘Frail Human Form’, this is a record that revels in its inventiveness, positively lies back on its metaphoric chaise lounge, offering us new idea after new idea like an over enthusiastic confetti thrower at a wedding. The title track acts as a veritable tent pole for the whole album: reflective and ambitious, both of the personal life described therein and the musical soundtrack that has been created. Three minutes of introspection give way to second half that is determined, driven and resilient.

‘Passer By’s  melody and the harmony of ‘A Thousand Years’ are both songs of delicate loveliness whilst the acoustic strains of ‘Navarino’ will have the hairs on the back of your neck standing proudly on end. Closing track ‘Beyond the Rubicon’ is an absolute highlight, a brilliant distillation of the album’s themes and tenor, a soundtrack with a third party narrator that ruminates on man’s plundering of his environment which is by turns reflective, philosophical and plaintive.

There is a hoary old cliche of records being a bit of a “grower” which is often shorthand for a writer not paying enough attention to the record in the first place or changing their mind about a record’s quality because their mates now love it. Let’s be clear about this: The Primitive Mountain delivers immediately and then delivers even more upon repeated listens because it’s a record made with care and consideration. It’s a record made with love, for goodness sake. Sometimes you need to scratch that itch.

 

8.5/10

 

MAT DAVIES