Albums of the Week: 26/03/19 (Venom Prison, Angel Du$t, La Dispute)

Venom Prison – Samsara

8.5/10

Best Tracks: Uterine Industrialisation, Asura’s Realm, Implementing the Metaphysics of Morals

FFO: Gatecreeper, The Black Dahlia Murder, Employed To Serve

Off the back of their brutal 2016 debut LP, Animus, Venom Prison became one of the most talked-about bands in extreme music, touring with bands like Trivium, Suicide Silence, Decapitated, and Dying Fetus, among others. The anticipation for their follow-up has been palpable – and goddamn, does it deliver.

Sticking on Samsara at full volume will have you looking like one of the Nazis at the end of ‘Raiders of the Lost Ark’. It’s hot-blooded, thick-textured, furious death metal, so densely produced it can be a struggle at times to pin down each individual element. Larissa Stupar’s brilliantly savage (and impressively versatile) vocal performance cuts through the mix like a hot chainsaw through butter. Her unflinchingly graphic lyrics - which vent rightful rage at a multitude of political and social injustices - ensure she effortlessly takes centre stage on the record, and cements her as one of the most significant voices in heavy music today.

Of course, that’s not to discredit the other musicians in the slightest. The complexities of the instrumentation on Samsara can be difficult to grasp upon first listen, but buried under the ocean of brutality are some staggering riffs and outstanding rhythmic passages. The influence from the world of hardcore is another factor that makes this album as thrilling as it is; it feels like Venom Prison are to death metal what Power Trip are to thrash. From the Jesus Piece-style breakdown on Uterine Industrialisation to the brilliant (though fleeting) two-step passage on Asura’s Realm, the band would fit just as comfortably on a bill alongside Code Orange as they would Cannibal Corpse.

At this rate, Venom Prison are undoubtedly set to become the most exciting act in death metal this side of the millennium, and Samsara only serves to legitimise that claim. For that reason, it’s my album of the week.

Angel Du$t – Pretty Buff

7.5/10

Best Tracks: On My Way, Push, Want It All

FFO: Culture Abuse, The Beach Boys, Turnstile

I can’t lie; the first time I listened to Pretty Buff, I really didn’t like it. It was such a jarring change from the sound of Angel Du$t’s previous work that I almost had no idea what to think about it, other than, “Oh, this doesn’t sound like it’s for me”. Turns out, of course, that I was an idiot. I’m now at least seven or eight listens in, and I can tell it’s only gonna grow on me more.

Pretty Buff is really in a genre of it’s own, but the two primary ingredients thrown in the cauldron are the melodic choruses and upbeat songwriting of power-pop, and the bounce and energy of a hardcore band like Turnstile. The latter isn’t surprising, considering drummer Daniel Fang and vocalist Justice Tripp are (first and foremost) members of Turnstile and Trapped Under Ice, respectively. But the heavy use of acoustic guitar, the pure pop lyrics, and the occasional sax solo are all elements which will initially surprise (and eventually delight) you if you’re at all familiar with the band’s previous albums. It all works amazingly well together, if you really give it a chance.

Far be it from Angel Du$t to release the album of the summer in mid-March.  Taking up the mantle that Culture Abuse laid claim to with Bay Dream last year, Pretty Buff inhabits the same realm of bright chords, sticky hooks, and unapologetic fun, but switches up the slacker vibe for a faster and more upbeat pace. Tracks such as On My Way and Bang My Drum, for their unavoidable sunniness,  are guaranteed to make you smile. Admittedly, there are a couple songs on here which I care less for, and they usually come in the form of more saccharine cuts like Light Blue and Park, which (whilst enjoyable) lack the energy of the rest of the record, and ultimately end up bringing it down a little.

I really feel like I’m reviewing this album pre-emptively, even after living with it for a week and a half. It continues to grow on me, and I’m sure I’ll be sticking it on throughout the summer whenever I wake up and see the sun peeking through my curtains.

La Dispute – Panorama

8/10

Best Tracks: FULTON STREET I, ANXIETY PANORAMA, THERE YOU ARE (HIDING PLACE)

FFO: Touché Amoré, Listener, Citizen

La Dispute have always been a band I’ve appreciated from afar. Wildlife and Somewhere at the Bottom of the River… are fantastic albums, and (after seeing it live last year) I now view King Park, in particular, as one of the most affecting songs ever written. Beyond that, though, my interest in the band has never really developed further, primarily because their style of post-hardcore and emo hasn’t ever been my go-to.

On Panorama, La Dispute’s focus on storytelling within their songwriting is still their primary draw. The lyricism is poignant, heartbreaking, and beautiful all at once, and it’s made all the more powerful by Jordan Dreyer’s unique vocal stylings. The man makes every word sound heavy with meaning, and when he transitions from near-whispered spoken word into a frantic yell on songs like FULTON STREET I and RHODONITE AND GRIEF, it’s hard not to get goosebumps. The overarching theme of the record concerns tragedy, loss, and emotional process that comes with it. It goes into specific detail regarding stories based on real-life incidents in an utterly poetic manner without being gratuitous in the slightest.

The instrumentation that backs the stories is tight all-round, as well, especially in tandem with another five-star production job from Will Yip. The guitars are drenched in reverb and delay effects which layer on top of each other in a haze, making any lead section that cuts through all the more impactful. The understated use of horns, tambourines, and other unexpected instrumental elements are all done excellently. There are, though, one or two tracks which, to me, seem a little meandering, and thus lack the emotional gut-punch of some of the others. IN NORTHERN MICHIGAN, for example, aims for a progressive and subtly haunting atmosphere, but ends up feeling like it never really gets off the ground. That said, these songs are few and far between.

Panorama is a worthy addition to La Dispute’s back-catalogue, and features the same level of effective storytelling which makes their classic records… well, classic. It's another one I predict will reward even more on repeat listens, and I recommend it whether or not you think this genre is for you. If not, then at least watch their video for ROSE QUARTZ/FULTON STREET I (linked below). It’s a legitimate work of art, and an early contender for video of the year.

In Praise Of... Polar Similar by Norma Jean

Norma Jean are, in my eyes, one of the greatest metalcore groups of all time, and that’s not an unpopular opinion by any stretch of the imagination. Their early output, in particular, is generally considered some of the best to come out of the early 2000s post-Botch wave of mathcore and metalcore. Albums like Redeemer, O God, The Aftermath, and especially Bless the Martyr And Kiss The Child (when the band was fronted by Josh Scogin, of The Chariot and ’68) are regularly upheld as genre-defining classics. It seems that in your average conversation about Norma Jean, these same albums will be brought up time and time again. Their later releases, though (from Meridional onwards), rather unfairly don’t seem to get the same level of reverence, and so I’m taking this opportunity to shine a light on my personal favourite – Polar Similar.

Released in 2016, Polar Similar is an absolute beast of a record, and it doesn’t get nearly enough praise considering how good it is. Ultimately, the star of the show here is the production job (done as a collaborative effort between the band themselves and Josh Barber) which adds about 10 tonnes to every single element. The drums are punchy, the bass tone is absolutely crushing, and the guitars are just perfectly wild. On tracks like Death Is a Living Partner, where everything fires on all cylinders, it feels like the aural equivalent to being trampled by a herd of buffalo, and it’s outstanding.

All this, and I haven’t mentioned the man at the eye of the storm: frontman Cory Brandan, who easily gives the performance of his career, as well as, honestly, one of my all-time favourite vocal performances on an album. His screams are at once emotive, brutal, technically sound, and stirring. The takes on 1,000,000 Watts and Synthetic Sun are some of the most powerful harsh vocals I’ve ever heard, and he utterly dominates each song, driving them forward like someone at the controls of a runaway train. His grasp on a hook isn’t lost on the record, either – far from it. Some of the cleaner lines on a song like Everyone Talking Over Everyone Else are even more notable than their screamed counterparts, especially with the subject matter of the track, which concerns an abusive relationship Brandan was once a part of. The darkness of the lyricism carries over onto the rest of Polar Similar, and thus the tone of the whole thing turns sinister, and almost dreadful at times.

The album is also one of the band’s most ambitious projects, clocking in at just under an hour and utilising instrumental breaks in a way that they hadn’t previously attempted. It concludes, as most Norma Jean records do, with a 10-minute-long epic (in the form of IV: The Nexus). What sets it apart from the others, from Disconnecktie to Innocent Bystanders United, is that it is simply the most effective of the band’s “long songs”, and by quite a distance: the use of structure and progression is next level; the melodic through-line is compelling; the middle-eight breakdown is as hefty as anything else on the album. It’s simply a perfect way to end a near-perfect LP.

Albums of the Week: 08/03/19 (Indoor Pets, The Picturebooks, Foals)

Indoor Pets – Be Content

7/10

Best Tracks: Teriyaki, Being Strange, Barbiturates

FFO: The Magic Gang, Weezer, Bad Sounds

It feels like Indoor Pets (FKA Get Inuit) have been overdue a full-length release for a few years now. They’ve been pumping out banger after banger in terms of their singles and EPs; from the great use of dynamics and structure on Barbiturates to hug-your friends-and-sing-along anthem Pro Procrastinator. This band have been steadily building a lot of justified hype for an LP.

It’s these aforementioned bangers which stand out on the album, now finally here. Eight out of the fourteen tracks on Be Content were available prior to its’ release, and it’s easy to see why, as they’re noticeably stronger than the other six. Standout moments include the feel-good Teriyaki, which introduces a wonderful summery vibe that flows through the veins of the entire record, and Being Strange, coming across as a celebration of how wondrously weird the band can sound in comparison to their contemporaries. And weird they are; first time listeners to Indoor Pets might be taken aback by vocalist Jamie Glass’ unique style (featuring a whole lot of nasally over-articulation), but it fits the music picture-perfectly, and without it, the band wouldn’t carry nearly as much as the natural charisma they do. This album overflows with character, which is a quality sorely missing from a lot of inhabitants of the modern indie pop/rock scene.

Though Be Content is a record dominated by its singles, that’s not to say that the other songs should be dismissed at all. The six deep cuts have their moments of brilliance, too – Couch, for the last minute, turns everything up to 11 in the best way, and the “we wait for something whilst living for nothing” battle cry at it’s close is undeniable air-punch material. If I’d change one thing, though, it’d be to swap My Amnesiac and Barbiturates around on the track listing; the latter feels like it’d be a much more fitting end to the whole thing. Regardless, Be Content is everything you could want as a debut from one of the UK’s most unapologetically fun bands.

The Picturebooks – The Hands of Time

8/10

Best Tracks: The Hands of Time, Rain, Tell Me Lies

FFO: The Temperance Movement, Queens of the Stone Age, Ennio Morricone

Nomadic two-piece The Picturebooks have been criminally overlooked since the release of 2014’s fantastic Imaginary Horse. Their sound is entirely unique to them; garage blues-rock played with simplicity and instrumental creativity, utilising decades-old guitars and massive, minimalist percussion.

On The Hands of Time, the band experiment further than they have before whilst keeping it grounded in their tried-and-tested style. Howling Wolf is the first obvious indication that The Picturebooks are trying out some new elements on this album, utilising a mandolin and a backing vocal refrain that could’ve come from the Mulan OST, and it actually works out pretty well. Across the rest of the album, there are more examples of the band stepping out of their comfort zone; the use of piano on The Day the Thunder Arrives, for example, and the brilliant harmonica on Like My World Explodes and You Can’t Let Go. Admittedly, some of the songs go over more effectively than others, but the majority of the experimentation is well-thought out and interesting.

What connects a lot of the material on The Hands of Time is the sense of cinematic scope. Whether it’s the pounding, adrenalised Electric Nights or the more subtle, brooding closer The Rising Fall, each track feels like it would perfectly fit a scene in something like ‘Django Unchained’ or ‘Easy Rider’. As a result, the defining quality of this album is its imagery and atmosphere, and this idea is epitomised on the record’s finest moment – Rain. It’s exceedingly difficult to listen to it and not picture a lone cowboy riding into a sparse township on the fringes of the Wild West, fingers hovering over a holstered revolver. The whistled hook is something straight out of the Ennio Morricone playbook, and to so vividly evoke the feeling of such spectacular composition is honestly an incredible feat.

I’m juggling with the idea that The Hands of Time is the best Picturebooks album thus far. Despite taking some risks which don’t work out all too well, on the whole the band succeed massively in pushing their sound forward whilst retaining what makes them great. The Hands of Time is my album of the week.

Foals - Everything Not Saved Will Be Lost – Part 1

6/10

Best Tracks: Exits, Syrups, On The Luna

FFO: Everything Everything, Gengahr, Kasabian

The first of two albums lined up for release from Oxford indie giants Foals this year, Everything Not Saved Will Be Lost - Part 1 is an exercise in ambitious, progressive pop-rock songwriting. Fans of the band’s other material won’t be disappointed, as all the familiar elements are there; the fuzzed-up, funky basslines; Yannis Philippakis’ instantly-recognisable vocal chops; the dreamy, chilled-out vibe that ties most of the band’s material together. It’s very obviously a Foals album, and at this point in their career that’s undoubtedly a good thing.

I really enjoyed the first half of this record, and the singles especially – Exits is layered, yet feels pretty simplistic, and attractive because of it. The syncopated open hi-hats in combination with the snaking bass and earworm vocal lines make it impossible to not tap your foot along. Perhaps my favourite track on the album is On The Luna, a dancey Everything Everything-esque song with some new-wave influenced synths (which can also be found more blatantly on In Degrees)  and higher-pitched singing which suit it really well. Just reading the title will have the refrain stuck in your head for hours on end.

After On The Luna, unfortunately, the quality dips a little, and all the songs seem to blend into one. Other than the latter half of Sunday sounding like a more mellow version of Underworld’s Born Slippy, there’s nothing particularly memorable about this portion of the record. Of course, it could possibly all take on a new meaning once I hear “Part 2” of Everything Not Saved Will Be Lost, especially since the eighth track, Surf, is labelled as Pt. 1. We’ll just have to wait and see. Still, as it stands, the album as a whole is a worthwhile listen, with some singles that should be set to become as timeless as Inhaler or Birch Tree.

Albums of the Week: 01/03/19 (While She Sleeps, Pkew Pkew Pkew, Minors)

While She Sleeps – SO WHAT?

6.5/10

Best Tracks: THE GUILTY PARTY, HAUNT ME, ELEPHANT

FFO: Bring Me The Horizon, Bury Tomorrow, Stick To Your Guns

Over the course of their career, While She Sleeps have become quite possibly the best metalcore band in the UK. From their seminal 2012 LP This Is The Six, to 2015’s masterpiece Brainwashed, to their most recent offering, the massive You Are We, the Sleeps brothers have built a sound unique to them which has evolved across an enviable track record.

On SO WHAT?, the band don’t necessarily make a complete departure from their previous work, but definitely shift to a different sonic focus; primarily an increased concern with melody and genre exploration. There’s a clear influence from their Sheffield brethren Bring Me The Horizon, though not in a blatant way – the band have begun to augment their music with different genres, from skate-punk (on ANTI-SOCIAL) to modern pop (on INSPIRE). The three tracks smack-bang in the middle of the album are easily my favourites; circle-pit inducing THE GUILTY PARTY, into the best song on the whole thing, HAUNT ME, which features an unforgettable melodic through-line, and finally ELEPHANT, which at times goes as heavy as it’s namesake.

Unfortunately, at a lot of points on this record, Sleeps seem to be playing against their strengths. SO WHAT?, on the whole, lacks a lot of the bite and aggression which made their previous work so exciting, partly due to the surprisingly (and frankly disappointingly) infrequent appearance of Loz Taylor’s vocals. Loz has one of the most powerful and recognisable voices in heavy music today, so the fact that he’s used as much more of a secondary vocalist on this album is a shame, to say the least. However, it does mean that there are more complex and involved clean vocal lines (primarily down to a great performance from guitarist Mat Welsh), many of which are clearly fashioned to be sung along to. If we're talking guitars, on the other hand, Mat and fellow guitarist Sean Long are once again on top form, crafting riffs miles better than anyone else in their genre circle with apparent ease.

Despite the substitution of harsher vocals for hook-y cleans, though, the sheer simplicity of Sleeps' gang-vocal choruses of old - on songs like Four Walls and Seven Hills – make them much more instantaneous and effective. I’ve listened to SO WHAT? four or five times now and the only song which truly sticks with me is HAUNT ME. A lot of the lyrics are lacking, as well, with the opening track proclaiming “I’m not anti-social, I’m anti-bullshit” like a 43-year-old woman on Facebook after two glasses of wine. The political commentary is straightforward, and works pretty well at times, but on the whole cries out for more nuance.

I love While She Sleeps, and their incredible, self-made story is one I’ll follow to the end, but despite some big singles, this is their weakest release thus far. Though, to be fair, it’s still better than most could do, and I can feel it growing on me already.

Pkew Pkew Pkew – Optimal Lifestyles

8.5/10

Best Tracks: Point Break, The Polynesian, Adult Party, Thirsty and Humble

FFO: PUP, The Menzingers, Gnarwolves

I don’t know what they’re putting in the water in Ontario, Canada, but I’m gonna have to get myself some. From The Dirty Nil and PUP to Cancer Bats and Alexisonfire, everyone and their mum making great music at the moment seems to be from the same state, and Pkew Pkew Pkew are here to prove that point even further.

Optimal Lifestyles doesn’t pretend to be anything but a Class-A punk n’ roll rager, clocking in fifteen songs in 34 minutes, and by the first couple tracks you’ll know whether it’s for you or not. Each track is an adrenaline shot of punchy drums, power chords, and PUP-esque guitar leads. The vocals are passionate, and full of turns of phrase on which you can almost hear the wry smile that accompanies them; from “I’m a rookie, I’m a fraud, but I’m free” on Point Break to the record’s shout-along crown jewel in the form of “Rich kids go fuck yourselves, if there’s some in the audience go somewhere else” on Adult Party.

Lyrically and thematically, the album has a lot in common with a band like The Menzingers; personal stories told with a nostalgic edge (best shown on the Springsteenian The Polynesian). In terms of the energy and attitude, though, there’s a lot more Jawbreaker here than Gaslight Anthem. It’s all the best bits of every type of punk rock shoved in a blender and given a good spin, which makes me grin like an idiot, but there are also brilliant moments of left-field influence. Point Break has an incredible sax solo halfway through which is pure, molten joy to listen to, and Everything’s The Same is a piano-driven, bittersweet mini-ballad  which can bring a tear to the eye in under a minute and a half.

Optimal Lifestyles is a beautiful ode to being young, struggling to get by, and trying to have a good time. With it, Pkew Pkew Pkew have given the PUP album coming out in April a run for it’s money ahead of time, and stolen my album of the week slot with ease.

Minors – Abject Bodies

7/10

Best Tracks: Consumed, Flesh Prison, Erode

FFO: Trap Them, Conjurer, Primitive Man

Want something hefty? Want to feel like you’re getting mugged at knifepoint by a tank? Yeah? Then Minors make music for you.

Blending brutal powerviolence with metallic hardcore and sludge metal, Abject Bodies consistently hits with all the force of a freight train. The songs are driven by an incredible drum performance which flits between manic, breakneck fills and rhythms and pounding, stoner-doom paced percussion. Pinning down a riff on this album in amongst the sea of feedback and huge, rumbling bass tone is difficult, but when one cuts through (like it does at start of Flesh Prison), it’s impossible to resist making a face like you’ve just smelled something foul. When Minors go full sludge on Abject Bodies (on a song such as Erode), the furious vocals come to centre-stage in an almost demonic manner, backed by slowly-lurching instrumentation that would make Primitive Man jealous.

This is another Holy Roar release, and another fantastic one. It’s nihilistic, bleak, and not fucking happy about it in the slightest. Minors, here, cement themselves as a force to be properly reckoned with in the world of heavy music.

Live Review: Vein/Higher Power/Narrow Head at The Joiners, Southampton

Photo by Ryan Manning (@ryanxmphoto)

Grungey Texans Narrow Head (6.5/10) are the openers for Vein’s first ever UK tour, and at first glance they might seem out of place on the bill. From the moment they set foot on stage, though, it’s clear that this is a band borne of the same fuck-you-if-you-don’t-like-us attitude as the others playing later on. Sonically, they combine Basement-style grunge and alt-rock with elements of shoegaze and early melodic hardcore. This particular amalgam isn’t my bag, personally, especially the monotonous, droning vocals which at times seem to almost ape the style of delivery of the Gallagher brothers. Still, Narrow Head put on a decent showing and occasionally pull out a riff which kicks everyone in the audience up the arse a little.

Up next, Higher Power (8/10) do us proud as the only British band on the lineup. It’s bratty, energetic hardcore with industrial-strength riffage in the vein (no pun intended) of bands like Turnstile, and it is brilliant. Limbs are flying in the audience from the get-go, and frontman Jimmy eggs on the two-stepping and spin-kicking with a youthful glee, shouting “Where the freaks at?” at any opportunity for a mosh call. The pummelling rhythm of every one of Higher Power’s songs almost forces you to headbang, and there’s an infectious sense of reckless abandon that overtakes the crowd every time a new riff kicks in. It’s an adrenaline-fueled, exciting set from one of UK hardcore’s hottest names.

As soon as Progenitor’s initial “Please remember – you are dealing with the human form” hits the P.A. system, Vein (9/10) open up Pandora’s Box inside the Joiners. The set is simply half an hour of utter carnage soundtracked by the most blistering, ferocious metallic hardcore anyone anywhere has to offer. Throughout the show, the band primarily stick to cuts from their 2018 debut, Errorzone,  and songs like Old Data In A Dead Machine and Demise Automation take on a whole new meaning in a live environment; impressively, impossibly, wielding even more power and brutality than on record. Not a single member of Vein lets up for one second, and it’s exhausting to just watch them in constant motion.

The real highlights, though, are moments like Doomtech and Virus//Vibrance, where the front of the stage is swamped by people screaming the lyrics and trying to get as close to the mic as they can. All the buzz that Vein have amounted in recent years is palpable, and when everyone in the pit starts to clamber over one another in a frenzy during the chorus of Doomtech, the raw energy and passion from the band and fans alike is something to truly behold. This feels like the dawn of an important moment in the history of hardcore, and a tour which people will still be talking about a long way down the line.

You can watch the entire set from Vein here, courtesy of Old Dog Music Collective. I recommend you do.