To coincide with the release of their new album Aftermath today, Danish modern metal outfit Aphyxion have just released a new video. The track in question is titled Same Kind of Different follows previous singles Dark Stains on Ivory and Destined to Fail which have collectively passed 250,000 views/streams across all platforms.
The album as a whole was recorded with Jacob Hansen (Volbeat, Promal Fear) at the Hansen Studios in their hometown of Ribe and features 11 tracks of solid, raging metal. In the past, Asphyxion have been noticed by several awards committees including Danish Metal Awards and Royal Metal Grand Prix and for a band in their twenties it does real testament to their brilliance.
Crises starts out with the only track released so far, titled Existential Crisis at the Cask ‘n Flagon which couldn’t be more in the styling of A Loss For Words – a punchy riff/drum combination with vocals from the rougher end of the pop punk spectrum that breaks out into a massive catchy chorus.
The momentum moves well into I Feel An Army In My Fist, which involves emo influences to create the melodic hardcore/pop punk cross that the band have created through the years. The vocals here are rough with more shouted/screamed backing vocals and power chord rhythm guitars keeping the whole tune in check. It provides the real kick-off point of Crises and pushes the energy right up to change the tracks following from becoming one of their good albums to perhaps their best.
In Your Company is a standout track, not only for its quality but for its style that is so different from the rest of the pieces on Crises. For the first three minutes, there are just vocals over a quick acoustic guitar part that keeps the pace of the song right up. The address to someone special allows the lyrics to dig deep yet the pace keeps it light and the breaking into full band means the words get a different feel to them despite keeping the same melodies and tempo.
Another standout is Boston’s Wayward Son (Exit 16B) which is both a comment on how far they have come from their humble roots and how they are still fond of their home back in Massachusetts. The opening line of “lately I’ve been looking back to where I fell off-track” sets the tone instantly for the song – a light-hearted view of the past while being serious about the present. The instrumentals throughout are also solid, with a soaring chorus and clever scale leads throughout.
Lyrically, the record is very diverse. It goes from themes of change, loss and home and switches between with ease. Lines like “I was a hollow shell of my former self, and I missed her so much I felt physically ill” from In Your Company show how they can manipulate word sounds however they like to fit the instrumental below it – a regular sign of good songwriting.
Overall, an album that sums up the music of A Loss For Words in the space of a 45-minute period. As final albums for bands go, this one is one of the finest not only for its nostalgic feel but also its ability to be a fantastic standalone album. A fitting end to a fitting career for one of the most downright awesome pop punk bands this century, a band that has left many people including the Musicology Team at A Loss For Words. They will be sorely missed.
With the return of the In The Spotlight feature comes an introduction to an extremely hardworking band called Within Shadows. The band originate in Canada and currently consists of Sean Farias (vocals), Jordan Heffernan (drums), Brad Tiessen (guitar) and Jacob Bailey (bass).
Sean Farias (vocals): “Within Shadows started in 2012, founded by me alone. I began this band as a solo project and I worked on songs by myself in the early days before releasing a few instrumentals in 2014. Since I had just recently left a band I was dedicated to at the time, The Culls, I wanted to keep pursuing music on my own. During that year, I met Jordan (Heffernan, drums) because we ended up working at the same workplace together. We both connected since we both have a passion for music and many bands like Slipknot and Avenged Sevenfold among others, so I invited him over to try recording some improvised sessions together. This quickly turned into an improvised EP which we called Release the Disease. Everything fell into place perfectly, and the songs basically wrote themselves since they were all on-the-spot performances. We then decided to keep the project progressing forward and became a duo officially in 2015. That summer, Jordan suggested to work with his friend Brad Tiessen (guitar), who has always been a close childhood friend. We all hit it off and then became a trio. With the EP released and being sold, we made a $500 profit from the sales and donated that money to our local food bank. The rest of the year and first half of 2016, we began working on our full length album Mind = Enemy, this time as a trio. During summer 2016, another close friend of the band named Jacob Bailey began playing bass for us. He filled the position perfectly and now has finalised the four-man band Within Shadows is now. Throughout the last 2 years of the band growing, we have held practices once a week to keep ongoing progress.”
Sean: “Within Shadows is currently putting the finishing touches on our upcoming album and to get ready for the release. The album will consist of 11 new songs and 4 remakes of our EP songs. We have just filmed our very first music video for a new song called Get Up, which will be the lead single to begin our new era. We have also had band photos done by Zeebrahmedia recently. We are currently planning out showing bookings and getting our name spread more throughout the media in preparation for the album.”
Sean: “We have have aspirations to take Within Shadows as far as we can go in the music industry, as any band does. We are working hard every day towards the possibility of being able to join a record label and doing music as a full-time job. Touring and releasing more music is a dream of ours that we are very much determined to make a reality. We plan on releasing more music videos in the coming year, playing a lot of shows and sending our new tunes out to radio stations and labels.
If you interested in new unsigned bands and hearing new music, please check out our band. Any form of support is greatly appreciated and helps us progress further to achieve our dream of doing this for a living. From every share follow, listen to post likes, we are so thankful and will keep producing more content in return, not to mention the fact that we love interacting with our fans. You can message us anytime on any of the platforms we have and we will respond to you. We are always here, and supportive people like you all are the reason why we enjoy doing what we do so much!
Watford’s finest Lower Than Atlantis have released another track from their upcoming album Safe In Sound, which is titled Had Enough. The song premiered on BBC Radio 1 tonight with Annie Mac and marks the third track to be released from the album so far ahead of its February release.
Frontman Mike Duce said “Had Enough was the first song written for Safe in Sound and felt like it perfectly picked up from where we left off with the self-titled, but also took things some place new. We feel that it’s one of the best Lower Than Atlantis songs ever so we can’t wait to share it with the world! The album feels like a much truer representation of our band than the last record and the success of that album meant we had to challenge ourselves to write bigger and better songs this time around. The song is about exactly what the title suggests! Everyone has one of ‘those’ days and this song is the soundtrack.”
See the video below:
In addition, Lower Than Atlantis have announced the support for their upcoming 2017 UK tour will be Young Guns, Hands Like Houses and ROAM. See the poster below:
Canadian outfit The Flatliners have signed to Rise Records today ahead of a tour also announced today. The tour will be alongside The Menzingers and you can see the dates below. They are also set to release a full-length in the first half of next year. Check the band out on Facebook here.
The opening track Intro is a regular introductory track: no lyrics or particularly eventful instrumental yet building to the explosion of the second track – this is most definitely present within this release. Too Much To Take shows the full extent of what Hunter Kill Hunter are about. There are vocal melodies that will stick around in anyone’s head with wide backing vocals and a solid backing from the band. It is clear from the off hardcore shout/screams will be a recurring style though the course of the EP and they complement the rest of the track fantastically. The lyric “too much to take but we will get by” is one of the best on the record with its application to many a hardship and the clearly emotive connection the band had writing this song shines through as the breakdown at the end rams home the feelings displayed throughout.
Following track Sinking From Within is a story very similar to the last, though this time there are hints of The Offspring within the musical landscape Hunter Kill Hunter have created for themselves. The thrashing drumbeat with crunchy lead guitar over the top of the verse lines brings a rounder sound to the whole release which gives a stronger sense of how far this band could go. Their ability to flip from fairly ambient and chilled-out lines to hardcore seems to be one of the best in the game at the moment and the variety of writing styles shows the true musicianship. The Hunted is a bit slower and calmer though still has its moments of slipping into that more hardcore style, and the beginning of They’ve Traded Us For Gold stays more ambient before its sure movement into the verses with a drumbeat coming in.
The standout track though is penultimate We Are The Blame, which embodies the EP perfectly. The more roughly-styled instrumental and vocals never hitting the true tuneful capabilities means the piece holds a great emotional tag with it and the ideas presented of being the scapegoat are reinforced powerfully. This is then followed with Neverlasting Light which is slower yet incorporates a heavy sound throughout to provide an excellent close to the release.
Overall then, definitely something to look out for when it appears on sites. The main thing to take away is this: that Hunter Kill Hunter are an extremely versatile and classy band who have the musicianship to carry out the feeling well. A triumphant collection, and it will definitely be a marker to show the start of the band’s success properly!
Pop punk legends Blink-182 are set to play their first ever Norwegian show in June next year.
The set will be a part of the Tons Of Rock festival from 22nd-24th June that takes place annually at Fredriksten Fortress, Halden around 100km away from the capital Oslo. Blink will headline Thursday 22nd.
The lineup also features an exclusive Cabotus Rex performance from Sabaton as well as a spot from Airbourne amongst others. Past lineups have included Twisted Sister, Black Sabbath, Alice Cooper, Slayer, W.A.S.P and Anthrax so this looks set to be another huge year.
Opener Intro (Spag Bol) gets the release on track for how SLF&Co. mean to go on: an intriguing electronic beat that is neither building nor ambient, just a kind of bland and bizarre more than anything else. The end flows nicely into second track Looking For A Map though, which has some chilling vocal harmonies and a guitar part to match. The addition of piano dischords into the mix gives the effect of further confusion and mystery. The lasting impression is a combination of a slightly psychotic-seeming musician base and vocals to work well over the top.
Third track O Romeo (That Burning Smell) is where it starts to get weird though. It sounds like someone has recorded a flamenco guitarist/singer, detuned it to make it sound psychedelic then mixed it up in a studio with electronic beats to make it try to fit with the other tracks. This is contrasted with fourth track Red which features vocals from Vicky Harrison. This version is a Lord Fluffy & SLF remix so it doesn’t sound right for the vocals: the beat overpowers the melody to the extent that at parts it is almost totally inaudible.
Perhaps unsurprisingly, the rest of the tracks are just as weird. YrAFlowerButYrStenchIsMoreSoWicked sounds like a sitar is playing throughout with some electronic beats and synthesisers to make it more than just the single instrument. Back Scratcher has a good riff that is strangely mixed and the vocals sound out of place for a lot of the track, and the closing track Pop Sensibility sounds like something Die Antwoord would put out. It’s hard to believe someone could challenge their crown as champions of odd music but it seems SLF&Co. have made a pretty good effort.
Perhaps the saving grace of the group is Deaf Kiwi, which sounds like a remixed rap rock track which actually works. There’s a recurring riff that is incredibly catchy and the vocals are well performed and well mixed. It breaks down for an electronic sample break before coming back just as strongly to finish up on a high.
Overall, SLF&Co. have produced a bizarre group of songs that doesn’t work at all as a collection, though have moments of promise that could be built-on in the next release. The collection flows in its own way which is very much different from most in the market these days – oddly with the exception of Die Antwoord, and a collaboration between these two artists would be the one of strangest things to come from the music industry ever.