Posted on Under The Gun Review on Sunday, January 15th 2012.
On first listen it’s clear why Boston’s The Saddest Landscape are part of the Topshelf Records roster, they have an abrasive post-hardcore sound that doesn’t hold back. It’s also no surprise that their past releases include split EP’s with Pianos Become The Teeth and We Were Skeletons, which should give you a general idea of what to expect with The Saddest Landscape.
Their latest release, ‘After The Lights’ is a blistering 24 minute tour-de-force of frantic post-hardcore screamo that instantly grabs your attention. ‘In Love With The Sound’ opens the record with delicate guitar plucks before bursting through with rolling, pummelling drums and stabbing guitars. It’s a combination that is instantaneous, and with the bands use of aggressive vocals, it adds to the bands overall energy and sets the tempo for what is to follow.
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Posted on Play Crack The Sky Music on December 2nd, 2011.
Listening to “Neighbors,” the opening track from Young English’s new EP, “I Hate My Friends,” it is clear that the Orange County, New York band are influenced by post-millennium alt-pop rock bands such as Hot Rod Circuit, Saves The Day and The Get Up Kids. As “Neighbors” is a bright, thriving number that neatly sets the tone for this four-track release.
“Anchors” is next and keeps up the momentum, as Young English show an effective blend of melody and upbeat tempo. Whilst the bands guitar tone hints a mid-90’s emo sound. It’s a sound that is pleasing and highly favourable, and “New England” takes on a similar approach.
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Posted on Under The Gun Review on Tuesday, December 6th 2011.
Earlier this year Frank Carter stunned fans by announcing he was leaving London Hardcore Punk mob, Gallows. Carter stated that the band were in a creative crossroads, and his ideas differed from the others. Shortly after Carter’s announcement, acclaimed Canadian post-hardcore group Alexisonfire disbanded with vocalist George Pettit stating two members had departed, and had ultimately led to the band splitting up. Wade MacNeil was one of those two members (City & Colour’s Dallas Green being the other,) and within days he was announced as Carter’s replacement in Gallows.
So you’re now up to date, how does Gallows version 2.0 sound? Well with Death is Birth coming in at a short 8 minutes, it could be considered to be a difficult task. Nevertheless MacNeil and company make an instant and heavy impact with “Mondo Chaos,” a riff-filled number with clear intentions showing this band are reinvigorated and passionate about what they’re doing. Whilst MacNeil quickly shows he is perfect replacement, as his raw vocals tear through the bands rough, thriving hardcore punk sound. Lyrically the band haven’t lost their way, with MacNeil declaring “Hey! Say fuck the world! I say it’s already fucked!“
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Posted on Under The Gun Review in November 2011.
On O’Brother’s last effort, 2009′s The Death of Day EP, the Atlanta, Georgia group produced a mix of layered alt-rock and post-rock, which resulted in a collection well-crafted, emotionally charged songs and on the whole, showed a lot of promise.
Two years on, the bands debut full-length, Garden Window sees the quintet growing and taking a huge step forward, as they take you on an intriguing, hour-long musical journey that goes back and forth from experimental to indie rock to softer, (slightly) ambient moments.
One of the first things you’ll notice on Garden Window is how much darker, intense O’Brother sound. From the opening fuzzy guitar chords of “Malum;” you’re welcomed with a thick, edgier sound that on first listen is discomforting yet compelling. Nevertheless “Malum” gives way to “Lo;” a vibrant, energetic number that takes the fuzzy guitar tone of the opener and combines it with a thriving energetic tempo and suitable melody, which gives it a (slightly) much needed sense of calm.
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Posted on Play Crack The Sky Music on November 23rd, 2011.
Fearless Records’ “Punk Goes…” series hasn’t always been welcomed with open arms by critics but with this being volume four of it’s “…Goes Pop” collection, it’s clear that fans continue to eat up these compilations that have never really been all that “Punk.”
The money-spinning fourth volume is your usual mix of post-hardcore, screamo, and (accessible) pop-punk bands putting their own spin on a number of radio hits over the last twelve months or so.
As always there is a mix bag, some of the offerings on show are truly disastrous but are expected from the band performing the cover. For example For All Those Sleeping’s take on Taylor Swift’s “You Belong To Me” keeps the bright, feel-good chorus of the original, but unfortunately mix it with horrible electronic swirls and heavy, nasty breakdowns that ruin the chance of the cover becoming passable.
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Posted on Under The Gun Review on Monday, November 22nd 2011.
One year on from their demo EP, Diamond are back with their second offering; Don’t Lose Your Cool; a seven-track mix of upbeat alt-rock with sensible pop harmonies, something which is an exit for members of this band, as it features members from two Hardcore bands; Down to Nothing and Trapped Under Ice.
Nevertheless Don’t Lose Your Control certainly rectifies the idea that Diamond is a separate project and does not come close in comparing to either of those bands. Much like their previous EP, Don’t Lose Your Control provides summery alt-rock that flows along a steady, feel-good pace.
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Posted on Under The Gun Review on Monday, November 14th 2011.
The thought of two of the best up and coming Pop Punks releasing a split 7-inch with two popular and emerging DIY labels, sounds incredibly exciting. The two bands in question are Rochester, New York’s Such Gold and Boston, Massachusetts’ A Loss For Words. Both are bands that have slowly and firmly been gathering on both sides of the Atlantic for the best part of 18 months.
The four-track split is jointly being released by two of the most well-respected DIY labels at the moment. No Sleep Records is home to the likes of Into It. Over It., Koji, Aficionado, Santah, Touché Amore and more. Whilst Mightier Than Sword Records is better known for re-pressing releases from Blink-182, The Ataris and The Movielife, but it’s roster does have notable name such as Bayonet, Last Call and So Many Ways.
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(Source: underthegunreview.net)
Posted on Play Crack The Sky Music in November 2011.
Before I start this review, I must state that before hearing The Tower and The Fool, I was unfamiliar vocalist Alex Correia’s previous group, Therefore I Am, something I am going to change as soon as possible, because if his voice as superb as it is on these two songs, I’m going to be impressed.
Nonetheless The Tower and The Fool is Correia’s post-Therfore I Am band and XIII is the bands first release since their self-titled mini-album of late 2010.
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Posted on Under The Gun Review on Tuesday, November 8 2011.
Excuse me while I start this review with a bold statement. You know this whole Pop Punk resurgence that’s been growing over the last 18 months or so? Well it’s going to end. I don’t know when, but like all trends, they eventually come down in terms of popularity. Sure, Pop Punk won’t die but the current height of its popularity isn’t going to last forever.
You know what else? Four Year Strong know this too. Their latest record, In Some Way, Shape, Or Form is, on the surface, a turning point for the band. Now performing as a four-piece; due to the decision to remove Josh Lyford and his synth keyboards from the mix. It was a move that received mixed opinion from fans, and more importantly, was a clear indication of the band evolving.
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(Source: underthegunreview.net)
Posted on Under The Gun Review on Saturday November 5th 2011.
With their previous release, Old Pride, Baltimore’s Pianos Become The Teeth created one of the best (but forgotten) records of 2010. Now as the band head into 2012, the follow-up, The Lack Long After doesn’t quite have the same zest and longevity as their last release.
On Old Pride, the quintet showcased a compelling blend of post-hardcore, screamo and (in places) post-rock. With The Lack Long After lean more towards the post-hardcore side yet they subtly keep that textured sound that made the band appealing first time around.
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