1. Decoder - Believers (Video) (by riserecords)

    Check out DECODER, ones to watch out for.

  2. Bastions - Kingdom Of Dogs

    Bastions are a welsh hardcore band, who in 2009 released their mini album Kingdom Of Dogs in 2009…So whilst this album may not be brand spanking new, its definitely worth checking out.

    Album opener “Crooked Hands’ is an instantly frenetic frenzy of harsh hardcore screams and groove ridden rhythms proving an exciting start to the album.It isn’t long before ‘Misery King’ kick starts with its  southern felt guitars and constant up beat pace.This first two tracks are a blistering and intense few minutes. Whilst also maintaing a clear sense of originality Bastions dont just stop here, show casing their ability to keep a real hardcore edge to their art but also at times a more experimental vibe through out. Track such as “Matriarch’ fulfil  your need for this album to expand beyond fast paced drums and stern guitar by creating a more washy drone like sound - giving a post rock feel. Bastions spare no time at all getting straight back to the point for a brief few minutes of sonic debauchery in ‘Sea Of Teeth / Bleak Eyes,’ until the album suddenly drops all the momentum that it had gained and fades its self out, in (and it pains me to say this…) typical hardcore style - successfully destroying the excitement this band had so masterfully created. 

    This band have naturally attained their own sound and at times have also managed to really hone in on it. Bringing an interesting blend of hardcore that you couldn’t call ‘Melodic’, they keep you intrigued and curious. With extensive tour schedules set for 2011 and a debut LP, 2011 could well be Bastions year

  3. The Color Morale - My Devil In Your Eyes

    Illinois post hardcore group The Color Morale dish out some more of that good old chug - melody - chug- chug, but could it work this time?

    After the anti climax of  band’s first album ‘We all have demons’, The Color Morale most likely didn’t achieve what they might like to have done.Although being on US label Rise Records the band still are relatively unknown, at least in the UK.

    Album opener ‘Nerve Endings’ does little to en-tise the listener, with generic breakdowns and gritty growls it sounds bare and empty.This is at least the case until Garret Rapp (vocals) breaks even with some clean vocal hooks - showcasing a very obvious influence from DGD’s Johnny Craig. Tracks such as ‘Human(s) Being’ however, have much more depth and musicality. Proving that the band can move away from breakdowns and cliche growls - this song has a more melodic fast paced hardcore vibe that keeps you wanting more!

    Dont be fooled, there are some gems on this album.For example ‘Be Longing Always’ is a brilliant combination of catchy melodic chants and complex yet memorable rhythms, and almost the perfect ingredients for a great 21st century post hardcore anthem.

    A quater of the way through the album songs become mush’s of what was brilliant and what was not so brilliant in the first half…just with less heart. If The Color Morale are serious, then perhaps moving away from the ‘Oh lets just put a breakdown in!’ mind set ,would serve them well.

    2.5/5

    CT

  4. Dance Gavin Dance - Downtown Battle Mountain ||

    “Dance Gavin Dance baby!..”

    Looking Back on the entire career of DGD, it certainly has not been an easy ride. With line up changes in between every single album, and almost every tour, most other bands would have jumped off the horse..and stayed off it. Thankfully, DGD kept at it, regained their full original line up, including the return of vocalist Jonny Craig, and released their best album to date, Downtown Battle Mountain 2.

    4 years since the release of ‘Downtown Battle Mountain’, and in all honesty DGD have not gone to a great amount of effort to change their sound..perhaps because they just simply do not need to. The band still have their Fall of troy - esque sound, showing technical yet catchy guitar melodies show cased by one of the few original members Will Swan, he maintains a sense of delight- fullness through out the entire album, it is profoundly the guitar playing that brings this record to light.Capturing swells of happiness between the twiddly guitar work of Mr.Swan and screamer Jon Mess, is of course the man himself, Jonny Craig. Having been in and out of rehab for drug treatment over the last few years, and a miss endeavour relating to scamming his own fans for money to fund his drug habbit, Craig has certainly got a lot to prove, and on this record he proves it.

    Album opener “Spooks” starts with some vocal - wankery from Craig, and soars through into the sound that is DGD, the fiddly, epic-ness and  vastness that this band successfully create in every song is phenomenal. Every song is tinged with a sense of hope and comfort.

    Matt Mingus (Drums), the man responsible for the ridiculous groove that is so tightly locked into every track does what he does best, that is, filling in pretty much every note he can get a firm grasp on! “The Robot With Human Hair Part 2 1\2”, depicts this perfectly, showcasing a good old DGD feel, with Mess and Craig equally tearing this song to pieces.

    “Elder Goose” is a perfect example of what this band are all about. It has melodic guitars soaring though out, rhythms that simply make you want to do nothing other that MOVE, and stupidly catchy (I cant stress this enough!!) vocal that all in all add up to what makes this album the large,colour full sound scape it is.

    This entire album is a pool of luxurious melodies, heartfelt lyrics and superb musical talent.Whilst towards the end of the album there is a feeling of ‘how much longer can they pull this off?’, This band are still young, and have such a unique sound that a few hit and miss songs will not wreck their career (After all, they aren’t Metallica). With a little more dedication from its members, This could well be a band that finally get the recognition they deserve.

    CT

    4.5/5

  5. The Mire - Volume: ||

    Check out Brighton sludge stoner lads The Mire.With the release of their eagerly anticipated EP “Volume: ||” last december, The Mire could be in for a good year.

    First track ” Nobleman” begins with gentle push on the piano, provoking a creepy feeling until vocalist Robin Urbino soars through with a delicate vocal melody.The EP takes a turn and crashes’s  into “Shadows” which showcases Metallica style acoustic guitar dancing over a big phat chunky riff. The band create a dark landscape, similar to those created by bands such as Devilsoldhissoul and Rinoa. “The Rift” supplies possibly one of the chunkiest riffs on the EP, and once again soaring into an array of crisp clean vocal melodies which certainly add colour to this band’s musical palette. By the time sleepy interlude “Curse Variations” has blown over, come’s “Wheelwalker” and “Fears”, the 2 tracks that made The Mire’s first release “Volume: |” (strangely enough!).  ”Wheelwalker” cracks open with another storming slow tempo riff, which to be perfectly honest isn’t pushing any boundries. By the this point in the EP, The Mire appear to be churning out the same head-swaying notion grooves they have from day one. If only the band had something striking about them, something that was distinctly memorable.

    what they are doing is great,and what they are playing is more orginal than most bands by a long shot, but is it enough to make them?

    2.5/5

    CT

  6. Glassjaw - Coloring book EP

    So its been an interesting year so far for Glassjaw. Only 1 moth ago fans were treated to their first official  release, “Our Color Green (The Singles)”, since the bands 2002 album “Worship & Tribute”. Now with a heavy tour schedule lined up for 2011, they come armed.

    Glassjaw have recently become the innovators of the new music industry- Everyone knows the mess that major record labels are finding themselves in at the moment, and these hardcore legends are no exception of that knowledge. Splitting with their major label, Warner and doing it the good old fashioned DIY style, rather than opting for the norm of selling your music in shops, Glassjaw have decided to give it away for free! The “Coloring Book” EP is being handed out to thousands of Glassjaw fans that come to see them live, all around America, on every night of their headline tour. 

    After avoiding the bottomless pit of record deals, producers and money grabbing bastards that Glassjaw have unfortunately dealt with since their rise to fame in 2000 when they released “Everything You Ever Wanted To Know About Silence”, has it done them any good?

    In short, Yes. The “Coloring Book” Ep is an extraordinary slab of pure creativity, 6 tracks that reek of experimentation and diversity. Opener “Black Nurse” cracks open with a baggy drum groove and slides into reggae themed guitar riffs that any human would not be able to refrain from moving too. Next is “Gold”, a song that Glassjaw previously streamed on their official website, a month prior to the EP being handed out at shows. This track is a stunning array of diverse spanish felt rhythms and bass lines. Manny Carrero (Bass Guitar) is the man providing the shockingly large back bone to this EP, with the Bass Guitar being an unusually predominant instrument on this record. Even so that Justin Beck (Guitar) starts rocking a 6 string bass in the ridiculously catchy “Vanilla Poltergeist Snake”, a song of which vocalist Daryl Palumbo repeats the line “No one gets out alive”. Really he should be saying “No one gets this song out of their head after hearing it!” After the melodic onslaught of “Miracles and Inches”, the EP begins to breathe in a different way. Last Track “Daytona White” exposes Justing Beck putting down the Guitar, and taking a seat on Keys. Adding a whole new aspect to the image that GJ have built up since their days of aggression fuelled angst and when being straight edge was cool and baggy jeans meant everything.

    Glassjaw have recorded an absolutely stunning piece of art. Lets not forget that this an art form and an outlet of creativity. This is a band who magically carve themselves a new sound every time they record and write an album. As Justin Beck said himself : “As soon as it’s not fun anymore, we don’t want to do it”- and you can certainly tell that this is a band who want to do this and that they make this music for themselves and not for a record label. Whilst this EP does not pack all the punches that your ears are forced to deal with in older recordings, for example Worship & Tribute album opener “Tip Your Bartender”, which is face melting 3 minute fuse between heartfelt aggression and pure melodic highs. It is noticeably more mature lyrically and musically and it more than compensates. It only leaves you asking one question.. are enough people going to hear this?

    5/5

    CT

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