The first track Anti-Anthem starts as a heavy song with a female-fronted Limp Bizkit feel at times that turns into a completely individual sound as it moves through. Frontwoman Sever combines screams and bubblegum-accented singing to form a bittersweet feel that works fantastically throughout until it is thrown away at around the two minute mark where the song turns into an electro-pop song for a while before reverting then changing to a piano ballad for a few bars and reverting again. The inconsistency leaves the song feeling somewhat empty, far from the advice of “keep on keeping on” that is repeated in Durst-style rap vocals panned far out on both sides in the mix. Not a good start.
Bizarre lyrical choices also strike the album down mid-flow like “if you think someone will save you, save yourself. If you think that time will heal you, heal yourself” which falls a bit flat for an otherwise functional chorus, but they have nothing on this: the introduction to fourth track Passengers sounds like Sumo Cyco been listening to a bit to much Absolution-era Muse (you’ll understand when you hear it, it sounds rather similar to a certain song…). It’s just far too obvious or coincidental to ignore, with an identical tone and everything. It’s not like they just use it as an introduction to anything either – the riff is everywhere through the song, including an electronically-butchered rendition in what structurally seems to be the breakdown.
The songs throughout are instrumentally and vocally sound for the mostpart – the issue is the electronic usage. Vocals with so many effects they sound like they’ve been through a Skrillex mix and out the other side just don’t work in the way the band think they should judging by the fact they’re on the album. Electronic instrumental sounds throughout as well do admittedly add a depth to the sound, but a large portion of the time they play it just ruins the otherwise heavy instruments.
Overall, Sumo Cyco haven’t developed all that much from the debut album back in 2014. Describing Opus Mar without using the words “screamo” or “scene” is difficult with raps and copious quantities of electronics, but the album isn’t bad for what it is. The third track Move Mountains ft. Benji Webbe sums it all up – it would sound better as a soundtrack for a new instalment for the Need For Speed franchise than it does as a serious music release… There are moments of brilliance but they are clouded over by the generally poor use of electronics and very, very strong “influences” that are apparent. Let’s just hope this doesn’t work out to be their magnum Opus!
2013’s Fashionably Late introduced a mass of electronic sounds to Falling In Reverse‘s style which proved to divide the fanbase which turned into more industrial sounds on 2015’s Just Like You. It is evident to see from the title track opening the album that this continues through to Coming Home.
The contrast between overly obnoxious F*** You And All Your Friends and I Hate Everyone is fantastic; the large band sound gives way to an acoustic verse that lets Radke’s voice come to the forefront of the piece once and for all – love it or hate it, this works on the track. The acoustic sound then expands into a whole band piece to become what the previous track was trying to be, and while the effect could have been achieved by just placing the one track on the album it sounds instead like a demo and a final version of the song. Come the halfway point of the sing, out comes a giant solo with a fantastic blues overdrive tone that makes the song work on a level above from the tracks surrounding it. Unsurprisingly, the lyrics leave something to be desired as will always come with a Ronnie Radke album but the irritation he causes only adds to the huge atmosphere being shaped in the album which works incredibly well.
As per usual, this album will be controversial by the fact it has come from the minds of Falling In Reverse but this should be far less polarising than 2015’s Just Like You due to the fact it is far more tastefully self-aware. The cheesiness of Coming Home is also toned down with fewer lines like “sexy girl I just fell in love” and “I am aware that I am an asshole” from Just Like You, instead replacing them with “I feel like a loser” and “everybody thinks you’re a f***ing fool” among others.
Not having Jacky Vincent on lead guitar was also a concern for a lot of people for this album with his unbeatable flair and finesse in his solos and fills, but the addition of Christian Thompson has brought a lot more restraint; where Vincent seemed to absolutely nail solos at any opportunity, Thompson adds them where necessary and leaves space where it is effective. This allows the album’s contrast to play neatly to the style of the songs and work out as a whole.
Overall then, a good album that shows a certain maturity has grown into Falling In Reverse that many believed would never have been gained. Having said this though, the album still features Ronnie Radke’s lyrics which keep the album totally class-less and it will provide a good laugh at points. Halfway between a quality album and a so-bad-it’s-good album, Coming Home is one not to miss this year.
UK hardcore/metal crossover kings Malevolence announced the details of their new album Self Supremacy which is due out on the 19th May, a couple of weeks ago. Since then there’s been a new video, a sell out on pre-orders and an insane amount of anticipation for the album to drop – we had the chance to sit down and talk with drummer Charlie about all of this.
The video for Slave to Satisfaction has been shared loads since you released it, how has it been? “Exciting and a little bit scary to finally release some music after three years or so with a new twist and see what people have to say about it. We were banking on the internet booting off and expected much more hate and negativity to be honest but everyone just seemed to love it. I saw the odd comment saying they hoped the album wasn’t all in that particular style but that’s it”.
What’s your favourite track from Self Supremacy? And what song are you most excited for people to hear? “I like Outnumbered the best personally, but that’s definitely not anyone else’s. Self Supremacy the title track is a game changer however”.
The pre-orders for Self Supremacy went live on BDHW and the most limited variant sold out within half an hour, how does that feel? “It feels great that people still fuck with us. You can never know how it’s going to go after leaving the amount of time that we did without releasing anything but after such anticipation I’d have been disappointed with anything less. We see it as ‘only 100 copies’ but it’s a start. I would have liked to keep one of those to frame for my wall though!”
It’s been three and a half years since Reign of Suffering was released, how excited are you to finally get a new album out and show people how much Malevolence have developed musically? “I don’t know, it’s been so long it’s hard to comprehend now. I spent the first 2 years absolutely gassed for it and now it’s just surreal. The annoying thing is we developed musically ages ago… wrote the whole thing ages ago and then by the time it’s actually recorded and dusted, we’ve all personally moved on and the record is old in our minds”
What can we expect from the new album? “Take all your favourite bits of the last album and multiply it by 3, with more hooks than a curtain rail”.
In Slave to Satisfaction, we see Konan (lead guitarist) has taken on a lot of the vocal duties, is this consistent throughout the album? “There’s more of Konan, but it’s another diverse album. Each song is different”.
What made you go with the guest vocalists that you’ve got on Self Supremacy? “We got Kevin from the Merciless Concept because he has one of the hardest voices we’ve ever heard, his band are absolutely sick and also surprisingly unheard of, therefore our unique guest! (Check them out ASAP) He kindly put us up when we played near his town in the USA and he is one hilarious dude.
Andrew from Comeback Kid’s voice is also outstanding but it gives a great contrast to that of Alex’s, Kon’s and Kevin’s. Those guys took us on our first ‘legit’ euro tour in 2013. They’re one of the kindest, most supportive and fun bands we’ve ever befriended so we are honoured he agreed to feature. We knew he’d come through with something sick but exceeded all expectations”.
Talking about guest vocalists, do you think that some hardcore/beatdown bands have too many on their releases? There’s been a couple of EP’s in the last six months where 4 out of 5 songs have had some featuring on it – do you think it stops the band being able to show their full potential, especially when it’s bigger names featuring?
“No, the more guest vocalists the better! Although that is pretty funny and I know what you’re talking about. If you’re serious about your band, you may not want to fully take the focus away from your actual singer, unless he’s dogshit”.
What would you say has the best guest feature on any album ever? “The old school Nasty albums have some ridiculously hard ones from 6 ft Ditch for example. That time the Oceano singer did MVP live with Despised Icon back in the day is the winner for me though”.
In the past you’ve said that Crowbar have been a massive influence for the band’s sound, who else would you say influences you? “Each member has their own personal ones. I suppose the core influences comes from Hatebreed, Lamb of God, Crowbar and Chimaira but I could just go on forever, then add in every other thing we’ve been into at some point and you have our sound.”
Talking about your sound, do you mix multiple genres into your music on purpose, or does it just happen? “We just make metal that we like then try to make it flow despite throwing in a fucked up mix of genre. So it ‘just happens’ really. John writes a riff and I come up with a beat, then we try and get to the next riff in the sickest way possible. But these days we take a step back and actually look at the structure whereas previously we used to veer off on mindless tangents. Lyrics come second in the process but not in terms of importance”.
Going onto shows and touring, how was the USA tour with Jesus Piece and Kublai Khan last year and what was the craziest thing that happened on it? Mustangs and guns seemed to play a big part.
“Absolutely sick! Very interesting and eye opening to experience things over there as it was also the first time for some members. Quite rough in a way too as the open armed hospitality that the Europeans bombard you with just doesn’t happen over there (bar Texas) – they go hard as fuck in the pit but at the end of the day you’re just some lads in a van to them. The UK is similar in that sense..
Yeah, guns and Mustangs for sure! And maybe the first show in Orlando which was a new level of violence we’d not experienced”.
Last time we spoke with you, the band said their favourite place to play was Sheffield, is this still the same or has it changed? “I suppose it is because it’s still where we draw the biggest crowd somehow, our families come out and we know everyone”.
If you could arrange a tour and have any 4 bands, active or not – who would you pick? “If I had to personally spectate then: Lamb of God, Despised Icon, Dying Fetus, Cold Hard Truth.”
Thanks to Charlie for taking the time out to talk to us, grateful as always!
Malevolence embark on a month-long tour supporting Self Supremacy starting on the 26th May in Glasgow. They’re taking along No Zodiac and Revulsion as support, full dates on the poster below.
You can pick up pre-orders for Self Supremacy on vinyl, CD and with merch packages over at BDHW Records.
Ice Nine Kills have released the third part of their video trilogy, continuing the stories told in 2015’s Communion Of The Cursed and 2016’s Hell In The Hallways videos. The song of the video is called The Nature of the Beast, taken from their latest album Every Trick In The Book.
The video itself pays tribute to Orwell’s Animal Farm.
The band are also on tour in May:
27 May – Birmingham, Slam Dunk Midlands
28 May – Leeds, Slam Dunk North
29 May – Hatfield, Slam Dunk South
31 May – London, The Underworld
USA singer-songwriter Ryan Adams has cancelled upcoming dates he was due to play in the UK to support latest album Prisoner. He has cited a lineup change to his band as the reason for the decision.
The affected dates are:
April 20 – Parr Hall – Warrington
April 21 – Assembly – Leamington Spa
Other dates later in the year remain unaffected:
August 17-20 – Green Man Festival – Brecon Beacons
September 8 – Ulster Hall – Belfast (SOLD OUT)
September 14 – Apollo – Manchester (SOLD OUT)
September 15 – Usher Hall – Edinburgh (SOLD OUT)
September 17 – Sage 1 – Gateshead
September 18 – O2 Academy – Leeds (SOLD OUT)
September 19 – O2 Academy – Bournemouth
September 21 – Corn Exchange – Cambridge
September 22 – Royal Albert Hall – London (SOLD OUT)
Canadian melodic prog quartet Slyde have released a new video for their song Divide, which comes from the Back Again EP released back in February. The EP marked the band’s return from a 2 year hiatus and explored the relationship between sci-fi and environmentalism.
Following his top ten follow-up to 2015’s Blossom, Frank Carter & The Rattlesnakes have created a minor revolution. Having devastated pubs, clubs and now arenas around the world in Gallows, Pure Love and now “third time charm” The Rattlesnakes, Carter has demonstrated to anyone and everyone that he is quite probably the world’s best frontman. The Asylum date of the March leg of the Modern Ruin Tour only pushed that notion.
Coming out to a Birmingham crowd buzzing in anticipation seemed to amuse the frontman as he emerged, minutes after his bandmates had begun playing the Snake Eyes opening riff. He played through the song with aplomb without even hints at breaking a sweat despite the heat inside the venue before walking straight through the barrier and onto the bar in order to play the set standing above the crowd more intimately.
The announcement Modern Ruin’s title track came to great excitement of the pit enforcers hyping everyone up around the edge of the circle, yet Frank ordered everyone to pack out the front of the venue in order to allow any women to crowdsurf – a gesture applauded by all. The fear of getting dropped was obviously not present for the numbers of surfers, which is a very good sign of how good the atmosphere is. The audience looked up to The Rattlesnakes’ frontman both literally and metaphorically, and he was in total control to go on how he wanted.
The mid-set interlude came in the shape of a relaxed version of Jackals that played out with a burning calm menace before breaking out into the huge riff of Thunder to continue the madness in suitable style. It was obvious the band had no sense of letting off any of the energy they were channeling into the performance, and this carried through God Is My Friend and Fangs with the same demonic ferocity that makes The Rattlesnakes tick. The main body of the set was brought to an emotional close with the beautiful Neon Rust, with a large part of the audience crying and shouting along with Frank as he put his all into the song. They left the stage with the outro lead playing on a loop pedal for a few minutes until they were ready for more.
As the self-confessed “worst guitarist in the whole room”, it was clear from as soon as Carter walked out alone that Bluebelle would be the track of choice. The song was the only of the twenty-two on the band’s two albums where he has played an instrument and he didn’t disappoint. Opting to let the crowd sing it to focus on the guitar, the vocalist commented the crowd were “cheeky f***ers” for singing quietly to make his playing “more noticeable”. Honestly, it wasn’t well played but that added to the light-hearted atmosphere of the night.
With no break, Dean broke out into Lullaby which got the crowd fully going and pushed into Devil Inside Me with no break. During the bridge, Frank demanded everyone got on the floor and pulled out the 16 bars to closer to 72 to let it build, exploding in pure ferocity when it hit back in again. They then paused for Carter to mention that they “only normally would do one more song now” but they opted for two (as with a lot of the other dates so far on tour, it appears) to do two “because we f***ing can”, much to the audience’s delight. That added track was Paradise, during which Dean and Frank came out headwalking and played the last half of the song on top of the crowd before surfing back to the stage to finish up in the usual style: I Hate You sung at the top of everyone’s lungs.
Overall, a very classy show indeed. Carter remains one of the only people to be able to play a whole set in a full suit in Birmingham’s Asylum, and he did so with great gusto and a suave attitude. The Rattlesnakes are an incredibly dangerous live band and they are only destined to go on the rise from here.
After the end of their tour, we caught up with Deez Nuts‘ JJ Peters to see what’s going down in the Aussie band’s camp.
Firstly, you’ve just finished your tour with Comeback Kid and First Blood, how did it go? It was amazing! It was the first of what we want to be an annual tour. The “You Are Part of This tour”.
It was an interesting line up, how did it come about? Well the whole premise is touring with our friends, and not just the bands the booking agents and management are throwing at you. Luckily for us, a lot of our good friends are in amazing bands. When thinking of the first edition, obviously you want it to be a banger right out the gate, so we needed strong co-headliner. CBK were perfect and first blood too. We’ve literally toured most places in the world with these bands.
You’ve got your new album ‘Binge & Purgatory’ coming out soon, are you looking forward to releasing it? No. Just kidding, of course! Never been more proud to release something.
When you’re in the studio writing and recording, are there any rituals you have to keep focussed or do you just take it day by day? No rituals. Just wake up, shower, head to studio, eat breakfast and talk about the plan for the day, maybe change something we were working on the day before then have a few drinks.
So, your two singles of your new album have had a very positive feedback from the public so far, how does this feel and does it make you more excited to release the whole album? It makes me feel great, it’s all you can ask for really. It makes me more excited to release the album definitely because even with those two singles. People are not going to expect what we’re putting out.
Are there any obvious influences in this album, like we know that you’ve recorded in NYC so can we expect a hint of NYHC in there? I feel like Deez Nuts has always had nothing but a NYHC influence. In my eyes we’re a NYHC band. The drummer Alex and I are both born and raised NYC. But, in saying that, there’s a big tech metal influence from me and just bouncy and groovy. Some darker chord progressions, I’ve always been a fan of that too.
Going back to touring, you’re coming back to the UK soon with Suicide Silence and Venom Prison. Obviously you’re going to be excited, but what’s it like being on a tour where you’re notably different to the other bands playing? We accept the challenge, and were looking forward to getting out of our comfort zone and hopefully grabbing some new fans. To be honest we’ve toured a lot with bands like Suicide Silence, Whitechapel etc and we don’t do as bad as one would think.
How are you going to make yourself stand out on that tour?
We aren’t going to do anything different than we already do. Just gonna go out there and do OUR thing.
For a long time Deez Nuts has been a band that’s promoted drinking, drug taking etc, so how does it feel that a lot of straight edge kids are fans? It’s sick. I have people I consider family in my life that are straight edge. It really means nothing to us what someone else does, some people need to learn that. What WE eat don’t make YOU shit. Let everyone do whatever they want.
You’ve been a band for quite a while now and toured with countless other acts, what’s it like seeing bands that you used to tour with a lot like Bring Me The Horizon blowing up and changing their sound completely? Bring Me has helped us tremendously in our career and we are still super tight and close with them. We LOVE seeing our friends do good. If you don’t, are you friends?
What’s the most memorable moment you’ve had as being part of the band? Whether it’s releasing a certain album, touring, meeting someone etc? Music and touring, it’s all memorable. From the bands we play with, to the bands we chill with this life is better than any dream I’ve had of it. I love the fact that I’m in a band that’s just steady releasing.
How many times have you partied like there’s no tomorrow? How many hotel rooms have you trashed together? We party too hard a lot, I don’t even want to brag but other bands will tell you. We’ve never trashed hotel rooms… well maybe once.
Name 3 things that are unfuckwithable.
Pussy, money, and weed.
Huge thanks to JJ for taking the time out, we wish him and the rest of Deez Nuts the very best for the album release!
Opening the album is Making Waves, which Blood Youth had written before the Closure EP to bulk out the set (see here for the story). The lyrics on the topic of being “a rascal on a night out” allow for the song to have a cheeky flair, while the undertone of hating quite how rebellious the acts are gives the emotive connection from the very start. The song makes sure Beyond Repair kicks off with a very heavy touch: the breakdown after the second chorus demonstrates the contrast between soaring melodic choruses and the heavy passages remains from the EP era, and in the same style the slinky, loud, treble-rich bass is noticeable even when the guitars are playing through which is a nice touch.
Cited by the band as the “heaviest riff [they] have ever written”, I Remember marks the halfway point of the album. Filled with the pure fury that fuels Blood Youth‘s fire combined with the melodic choruses that characterise the band, the song marks the end of the first side on vinyl. As the closing of the first chapter of the two part play, it lets everyone know that the trio have no intention of letting anything whatsoever get in the way of their cataclysmic rise to fame.
The heaviest song from the outset has to be Parasite, the other song from the album that made an appearance on September’s Closure tour. The song began as a Chris-led piece and this is evident throughout – his influences of Every Time I Die and Slipknot are evident in how heavy his writing is and this gives another angle to the established heaviness in the album beforehand. The track also includes subtle air raid siren sounds playing over the outro riff just make the space that much more full, to great effect.
Overall, a sensational effort from Blood Youth who have topped a couple of classy melodic hardcore EPs in true style. With Tarsus’ gritty realism yet positive outlook on life flooding the lyrics of the release like never before being backed up by Pritchard’s earth-shatteringly heavy riffs and Hallett’s , Blood Youth‘s debut album is one to behold and lays down a challenge to all other bands around. It is everything the fanbase was expecting and so much more – Beyond Repair goes beyond emotion and into the very soul of the three members.
Usually, Musicology reviews feature a “standout track” when a song is set apart from others by its sheer quality, but this is categorically not possible for Beyond Repair. Every single track has parts that make even the tamest want to batter everything within reach as well as parts that will provide mass singalongs as every show gets bigger. This album is set to define a monumental career, and we’re going to be with them all the way.
Harrogate natives Blood Youth have released a third track from their upcoming album Beyond Repair which is due out on Rude Records on 7th April. The song, placed as track five of ten on the album, is titled I Remember and it is (rather unsurprisingly) absolutely fierce.
Vocalist Kaya Tarsus says: “When I wrote the lyrics for I remember, I was thinking about what it would be like to have a conversation with my younger self and what we would say to each other. I used to get very frustrated and I would blame myself for being unprepared for what life was throwing at me, it took a while for me to realise that in reality we all just go with the flow. Life is something you have to figure out on your own. Musically, A lot of our hardcore influences come out in this track, probably one of the heaviest riffs we have written, so we’re all really looking forward to playing it live!”
He continues on about the album: “These songs are about how we deal with anger in the modern age. When I was writing the lyrics I became fascinated with heartbreak and how everybody deals with this trauma in their own way. Many tend to numb the pain in an attempt to forget, instead of facing it head on, this is something I am guilty of myself. We were aiming to create something very aggressive but very real. With Beyond Repair, I believe we have achieved just that.”
The band are also playing some release shows around the country:
08 Apr – The Garage Attic, Glasgow (w/ Loathe)
09 Apr – The Key Club, Leeds (w/ Loathe + Holding Absence)
10 Apr – Boston Music Room, London (w/ Loathe + Holding Absence)