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’68 – In Humor And Sadness (2014)

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'68 - In Humor And Sadness (2014)

'68 - In Humor And Sadness (2014) I admit, I was afraid this will be another noiscore/crossover post-hardcore whatever album, but fortunately I was wrong. If you miss the raw energy and fury of the Bleach era Kurt Cobain, but you’re even more hardcore and garage punk oriented, it’s very possible that “In Humor And Sadness” might be your next very best friend. It’s neat, it’s wild, it’s in your face, still quite musical and hitting instantly, getting under your skin quickly and for good.
’68 was formed in 2013 by guitarist and vocalist Josh Scogin formerly of Norma Jean and The Chariot and drummer Michael McClellan. They released same year a self-released EP titled “Midnight” including two tracks: “Three is a Crowd” and “Third Time is a Charm”. The initial pressing of Midnight sold out in less than one day, and the indie label No Sleep Records re-released it with new artwork on April 1, 2014.
In May 2014, ’68 announced they signing to Good Fight Music and eOne Music for the release of their debut album, “In Humor and Sadness”, due to be released on July 8, 2014. To promote the album, ’68 released a pair of YouTube videos, which had to be played in unison in order to hear “Track Two: E”. Such a wild idea, isn’t it??! The song “Track One: R” was also available for online streaming ahead of the album’s release. Read more ’68 – In Humor And Sadness (2014) ›

One Morning Left – Our Sceneration (2013)

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If you think it’s the perfect time to wider your musical horizon while the music became boring – which it’s actually f*ckin’ true -, One Morning Left might be your perfect choice and from where you kick out. Merging trance flavoured electronic layers, dubstep drops and mad wobbling, with death metal rooted extreme metal butcheries, One Morning Left delivers all. This is fun and simultaneously deadly serious. Screaming like a slaughtered pig (Mika “Miksu” Lahti), or singing loud and clear (Tomi “Tomppa” Salonen), banging on techno beats (Veli-Matti “Vesku” Kananen) or heavy basses (Tuomas “Tumppi” Teittinen), murderous guitar riffs (Ari “Arska” Levola), blood vomiting growls and total brutality – One Morning Left covers all. And – surprisingly – this sounds great and make sense! Or not really surprisingly. Geerally speaking, Scandinavians delivers quality stuffs. Eventually, in the particular case of One Morning Left, blame it on the Finnish climate, Scooter, Lauri Tähkä and the mental hospitals… Read more One Morning Left – Our Sceneration (2013) ›

Funeral For a Friend – Conduit (2013)

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Funeral For a Friend - Conduit (2013) The sixth studio album by Welsh post-hardcore band Funeral for a Friend was released through Distiller Records on 28 January 2013 for Europe, and will be released on 5 February 2013 through The End Records In the United States.
Funeral For a Friend are considered one of the prominent influence on the British post-hardcore scene and their debut album, “Casually Dressed & Deep in Conversation” it’s considered by most of the critics and fans as a release which set a high standard for the band to rival in future releases.
With diverse roots back and gathered influences from heavy metal to melodic and post-hardcore, adding emo and screamo weaponry, Funeral For a Friend have shown a progression and maturity with each record, although, some fans disliked the changes while on the way they lost some brutality and became more melodic and the howling, screaming vocals were almost completeyly replaced by clean vocals. Read more Funeral For a Friend – Conduit (2013) ›

Cortez – Phoebus (2013)

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Cortez - Phoebus (2013) The Swiss trio are back and it’s time for the new set of dark and furious butchery! Although guitarist Antoine Tinguely (ex-Berserk For Tea Time) replaced former guitarist Samuel Vaney, Vaney is now supporting the band as composer/mixer.
While the drums were recorded in the REC Studio of Serge Morattel in Geneva, they recorded the guitars and vocals in their own rehearsal room, the new album is the result of hard work, giving the band big freedom in creation and the possibility to fully assume the production process. The sound it’s pretty raw, unpolished and have a pithy live vibe, if you pump up the volume high enough, almost feels like you are there in the rehearsal room. So, “Phoebus” it’s not about surgically clean sound and high-end production, but about the unleashed strength of metal, about the flesh ripper riffs and pounding like hell drums, about not making compromises, but expressing feelings through music. Read more Cortez – Phoebus (2013) ›

History of the Hawk – Future Ruins (2012)

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History of the Hawk Future Ruins 2012 Punk ain’t dead. Even more, the present it’s intense and murderous and definitively there are more then simple hopes for a future. And this is genuine Punk, I mean, not that soap-box/bubble-gum, Californian sun-burnt and Pop flavored “Punk” which the media and the multinationals selling for decades now. “Descending Light” explode like a grenade and the whole “Future Ruins” it’s a killer spiral of energy and aggression. With roots back to Black Flag, Minor Threat and Dead Kennedys, but related to contemporary challengers such as Gallows and Converge merging brutality and intensity, Hardcore energy and Post-Metal rawness, History of the Hawk delivered a truly unique and own flavored, pounding and crushing Punk album. It’s fresh, it’s furious, it’s colorful and re-inventing the heritage of the past to send it right into the future. Read more History of the Hawk – Future Ruins (2012) ›

Rolo Tomassi – Astrea (2012)

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Rolo Tomassi - Astrea (2012) To be brutally honest, at the first two or three listening, I wasn’t quite impressed by this third installment of this tumultuous, but brilliant, experimental, whatever-core band from Sheffield, England. While their debut, 2008’s “Hysterics” shake my world and blew me away, the following, 2010’s “Cosmology” was a fair, but less shocking follow-up.
After the 2011’s departure of two of their founding members, bassist Joseph Thorpe and guitarist Joe Nicholson, Rolo Tomassi bring two new spirits into the band, guitarist Chris Cayford (current vocalist/former guitarist of No Coast) and bassist Nathan Fairweather (who plays in Brontide); and band leader James Spence stating that the new members “breathed new life” in the band, while the music was already 70% complete when they had come.
Ethereal, chill and large spaces are nicely interlaced with the bands disturbing and brutal grindings – and this seems to be the key to decoding “Astrea”. Very groovy, extremely smartly build-up and throughout tensioned, the 10 tracks of “Astrea” will keep you focused and connected. Read more Rolo Tomassi – Astrea (2012) ›

Birds In Row – You, Me, and The Violence (2012)

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Chaotic, contorted and extremely noisy, Birds In Row sounds to me like a desperate protest. Listen throughout several times this “You, Me, and The Violence” and – honestly – still don’t came through anything else then anger and – eventually – bitterness. Without reading the printed lyrics, this raw fury seems lost in the hurricane of the noise.
The first three tracks are running through like a night train, “Guillotine” it’s their first track where they leave the tempo slower and the riffs with the screaming vocals finally making some – but not too much – sense. The following “Walter Freeman” is also a slower, but still weighty enough chaotic Hardcore piece while surprisingly, the very next “Last Last Chance” it’s an experimental dark Blues, in a very post-everything sense which blows directly into the explosive title track. One of their best butcheries throughout.
And like in a nightmare or a loop, everything comes back to rape your ears all over again starting with the slow grinding “Grey Hair”, through the fastest “The Illusionist” and the almost anthematic “Police & Thieves” (The Clash [dis]connection?). Then again, the closing “Lovers Have Their Say” it’s an escapade into smooth chords, acoustic teasing, counselor softness, being humanly gentle even when things are getting a little bit rough. It’s an almost 13 minutes long trip, a Shoegaze kind of closing with large, foggy spaces for a brutally disturbing material. Read more Birds In Row – You, Me, and The Violence (2012) ›

Promethee – Nothing happens, nobody comes, nobody goes (2012)

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Growing up from the solid ground of Technical Death Metal and from the sonic neighborhood of murderous bands such as The Dillinger Escape Plan and Converge, Promethee is a five-piece Metal band from Geneva, the heart of the Swiss metal scene.
Founded in the spring of 2008, and after only a few months of writing their first songs, the band started to play as many shows as they could, gaining quickly loads of local support from bands, friends and promoters.
Gathering experience, the band found it’s own personal sound in order to record a full-length album. Promethee doesn’t have a particular political, religious, philosophical message of any kind, but writes about the things that touches and effects them in this world and through their lives with the music they create.
Recorded at Conatus Studios, mixed by Vladimir Cochet and released on October 13th, 2012 through Bad Mood Records, the 10 tracks of “Nothing happens, nobody comes, nobody goes” will grind you into the ground without mercy. Read more Promethee – Nothing happens, nobody comes, nobody goes (2012) ›

Direwolves – Me From Myself, To Banish (2012)

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Direwolves Me From Myself To Banish 2012 In this age of communication and comfort, when public relation it’s more important then content and conformity killed creativity, art is an act of suicide. So, you must be crazy if you’re starting a band, if you start painting or writing poetry these days.
On the other hand, returning to the music now, any genre it’s commercial while appealing to a particular audience interested in that genre. Definitively Black Metal have less fans then Pop music, still, Black Metal generally speaking have a serious, conservator – almost orthodox, fan base you can always count on. Playing Black Metal and targeting that fan base might be considered quite commercial, isn’t it?
Direwoves. The dire wolf (Canis dirus) is an extinct carnivorous mammal of the genus Canis related to the smaller extant gray wolf. It was most common in North America and South America from the Irvingtonian stage to the Rancholabrean stage of the Pleistocene epoch, living 1.80 Ma—10,000 years ago, persisting for approximately 1.79 million years. At a first fast search, only on MySpace are two bands, one Blues/Country/Folk band from East Van, British Columbia, Canada called The Dire Wolves , then another, more relevant, a Black Metal/Metal/Progressive band called similarly Direwolves  from Brooklyn, New York, US. And googleing “Direwoves” you will find a few more bands across the world.
Once again, if somebody it’s not so inspired to came up with an original band name, what do I can expect from their music? Read more Direwolves – Me From Myself, To Banish (2012) ›

Bone Dance – Self-Titled (2012)

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Bone-Dance-Self-Titled-2012 Morgan Mechling – vocals, Phillip Davis – guitars and vocals, Kasey Richardson – guitars, Bryce Kresge – bass and visuals, and Patrick Santana – drums are here to unleash the Hell of fury and contorted, merciless Metal. Forging genres, melting into one Black Metal and (Post) Hardcore, Sludge and Doom, technical and extreme Metal, Bone Dance is not “just” a band, but an attitude, a state of spirit and mind, and they delivering not “only” music, but their work is a manifest. Back in the days, Rollins Band had this kind of attitude and energy, although Bone Dance speeding up wildly, just like you put a 33⅓ r.p.m. spinning vinyl record up on 45 while Morgan Mechling keep on howling bloody deadly.
Grinding the tooth of chaotic Hardcore/Metal, Bone Dance enforce the balance and sharpness, clarity in their music, find the equilibrium between rage and conscience, despair and revolt, gloom and grooves. And throughout this extremely consistent 10 tracks, Bone Dance manage to merge the extremes: slowly grinding moments with brutally fast overtakes; contorted and gloomy riffs with cutting to the bone sharp ones; truly distorted, twisted passages with groovy, powerful build-ups. This wild, but fluid approach keeps the listener attention sharp throughout this massacre. Give up all hopes and push play!! Read more Bone Dance – Self-Titled (2012) ›