South Yorkshire alt-pop outfit Alvarez Kings have given some details of their upcoming debut album.
The collection will be titled Somewhere Between and will be released on 14th April via Sire/Warner Bros.
Guitarist Sean Parkin said “In terms of influences, there’s all kinds of stuff in there. We’re all rock
guys, but we also love dance music. There are orchestral elements and this big synth sound we’re obsessed with. It’s everything that we are.”
Back in November, the band released the track Cold Conscience which has now been placed on the album’s tracklist. Hear that below:
Alvarez Kings also have some live appearances coming up:
3rd March – Sheffield, UK @ Outlines Festival
21st April – Munich, Germany @ Orangehouse
22nd April – Hamburg, Germany @ Molotow
23rd April – Berlin, Germany @ Comet Club
25th April – Koln, Germany @ Artheater
28th April – Wein, Austria @ Chelsea
9/10/11th June – Garryhinch Woods @ Bare In The Woods
22nd July – Sheffield, UK @ Tramlines Festival Devonshire Green Stage
Berlin-based British pop duo RIVRS have released a new track titled Bad Karma.
One half of the pair Charlotte says “Bad Karma is about being able to walk away from someone who has hurt you. I stayed up the entire night feeling so betrayed and so hurt by someone so I decided to write a song about it. Ultimately, it’s about accepting where you stand with that person and not letting them get to you.”
Papa Roach have returned with a brand new song titled HELP. The track is taken from their upcoming as-yet-untitled ninth studio album, which is expected to get a May release.
Help was produced by Nicholas “Ras” Furlong and Colin Brittian, who grew up listening to Papa Roach and inspired the band to revisit some of their early influences. “We really followed our instincts and tried something unproven” explains Furlong. “We ended up morphing the band’s best ‘old school’ traits into a courageous and more adventurous version of Papa Roach in the 21 st Century.”
Colliding By Design opens with Diagram of a Simple Man, a track which brings an indie feel to the album from the off. A 4-note vocal melody rings out in the first verse which demonstrates classic indie style, and the effects on the guitars in the intro play to the genre fully. The guitars almost verge on an early Coldplay-esque feel as they play sliding leads throughout, but the song sets the tone for the rest of the album to follow. The title track comes next, which is an indie pop sound with copious volumes of tambourine which adds to the depth to an extent but the whole track doesn’t build much and it seems to end having gone nowhere extravagant.
The middle of the album seems to pass by tracks with no standouts until Goodbye, the fifth track on Collide By Design. The song holds a more funky drumbeat throughout and while the vocals here are all layered and well-crafted as elsewhere, the guitar solo is what differentiates this track. Its flare and confident style play over the drums and bass, which also happen to be some of the best parts on the album for both. Through the first two verses, the song builds to a chorus that holds some punch which remains to the end.
Fire and Rain is another track which has good promise, but just as the track starts to build to something exciting it breaks back down again. The dynamic between the louder sections and the quieter ones demonstrates the skill of the band as a whole, but the holding back sums up Colliding By Design well – close to something special yet lacking that fundamental “wow factor” to tip it over the edge.
Overall, an album that would provide good background music for documentaries and films yet as calm as it is this leads to a fairly bland piece in total. While there is some variation throughout, the songs sound largely the same and although this can be seen as a positive in some instances, this album lacks the substance needed for quality to be recreated. Not a bad album for a band who had nine years out of the game, but Colliding By Design is most definitely not Acceptance‘s strongest material.
With only a week left in February, deathcore fans all around the world are getting excited for one of the most anticipated albums of the year – Suicide Silence’s self-titled. Due out on the 24th, Suicide Silence fans are intrigued to know what the new album is going to sound like after the singles Doris and Silence took a different path musically so we got the chance to speak to lead guitarist Mark Heylmun about everything going on in the camp.
Firstly, are you looking forward to the release of your new album? “Of course!”
We can imagine it’s a lot of stress writing and recording a new album as a band of your size, do you have any rituals when in the studio to keep focussed? “Not exactly anything has been a main stay. If anything we are always trying new methods to up our creativity. Everyone in the band is different, so we all just do our own thing, try not to party the night before studio seasons, keep a clear head, encourage each other and listen to each other.”
A lot of fans were surprised when Suicide Silence released the new tracks and they were completely different to what they’d heard before. They’ve progressed from their old sound and changed up a few things and included some surprises. Mark spoke about the choice in progression “I think we made the choice mid last record? It wasn’t a sudden decision by any means. We have always been wanting to do something different and test ourselves. This place in time felt the most fitting”. When speaking about exploring the path of clean vocals, he went on to explain “A large portion of our favourite music isn’t death metal. We love it and aggressive vocal styles but for the most part there are death metal bands we love but overall there’s more music out there that influences us. We also don’t want to be the one trick ponies, we can do more than just what’s expected of us”.
Talking of clean vocals, as you’ve seen the ‘teehees’ in Doris have been discussed about a lot on social media; what do you think about this? “I think the main thing is that if people don’t like what we’re doing then hopefully we inspire them to make something they are proud of or inspire people to do something that expresses themselves freely. I think the music I didn’t like when I was young probably shaped and inspired me as equally as the music I loved”
Carrying on with social media, it’s been seen that there’s a lot of tension online between yourselves and other deathcore bands, especially Thy Art Is Murder. What started this, and why is it carrying on? “Eddie used their name in a general way basically saying that deathcore is a tired sound. If someone gets butt hurt because of it that’s their fault, it wasn’t even the band that got offended it was a kid on the internet. Internet kid hit up Marshy and he hit up Eddie, Shaun hit me up, and CJ went on the internet and fed into the beef. There’s no real beef and if they wanna call us sell outs so be it. They can “make deathcore great again” or whatever… but the way we see it is we don’t wanna “‘make deathcore the same again”. We helped shape the deathcore formula over a decade ago and we’re just trying to push the boundaries of it, we’ll never quit pushing ourselves.”
Are you looking forward to touring the new album? What do you think the general response will be? “We’re leaving tomorrow for tour, everyone is pumped. The new songs sound amazing. I honestly think when people get this record and listen to it as a whole they’re really gonna dig it. It’s really hard to hear a band do something so different and appreciate it based off two songs. All reviews and responses from magazines and anyone who has listened to the whole record are blown away and are really wondering why the responses is so array on the internet. Plus, live – these songs sound amazing”.
What do you think of the petitions against the album release? “We aren’t fighting it, it’s pretty funny. I think if anything that site that posts that as news is a disrespect to the music world. They also post about Metallica having a bad time at the Grammys, dropping our name in a post about a missing person, people dying. They don’t seem to care about the well-being of artists or the music, they care more about trolling music fans to click their garbage headlines. It’s not journalism, it’s just another form of trolling – So they can fuck off!”
Going back to touring, do you find hardcore fans accept Eddie as a suitable vocalist for the band, or do you still find people that aren’t happy however support the band for the music? “Overall people chant Eddie’s name at shows and give him praise. I think people who disapprove of him are more squeaky wheels and what they say resonates sometimes more, kind of gives the hardcore fans more reason to love him”.
How you feel about the fans that have stuck with the band since the beginning despite changes in both line-up and style? “Well our true fans are the ones who are sticking with us, they’re all open minded and not fans of scene – they’re fans of music. They saw this coming and saw us changing over the years so subtly and I don’t mean the kids who think we’re ‘metal-core or whatever’; I’m talking about the fans who pay attention to us as individuals. We are not close minded elitists, we are all different musicians with a wide amount of influences. The people who are saying ‘fuck you’ for doing something different aren’t fans of Suicide Silence, they’re fans of a scene and a look they associate with us and they can listen to whatever they want, that’s all good. I still think they shouldn’t be afraid of change. It’s like they will hate your record if it sounds like the previous one and hate the next one because it’s too different”.
Talking about the release, aside from the implementation of clean vocals, how does this release compare to previous albums? Is the whole of the new album in this new change of direction, or do you still have some ‘classic’ Suicide Silence deathcore tracks. “It’s closest to The Cleansing to be honest. We recorded it live and jammed these songs till they were something we were proud of. We ditched the click track and played like a real band again. We kinda lost that along the way trying to be perfect and we’ve always been a ‘love’ band, the feel of us playing together is exactly what we’re about.
‘There’s some really off the path tracks even further from our original sound and there is some extremely heavy ass shit on there. I promise that if you didn’t like ‘Doris’ or ‘Silence’ and you give this record a chance – there will some shit you love.”
What are the common misconceptions about deathcore as a genre? “A big misconception is that deathcore wouldn’t even exist without Suicide Silence. We started out in 2002. More people are talking about deathcore now because we did something different than in quite some time, so deathcore can thank us for giving it more life than we already have been over 15 years”.
What’s the best show you’ve ever played and what’s your favourite venue anywhere in the world? “I think the charity show we did for Mental Health America at the Observatory in OC in December 2015 was the best. There was great vibes and no pressure – just giving fans a show and raising some money for a great cause. I don’t have a favourite venue honestly.”
We thank Suicide Silence for taking their time to speak to us, especially with a heavy tour incoming. They release their self-titled album on February 24thon Nuclear Blast Records.
Veteran punks The Bouncing Souls are coming back to UK shores to celebrate the release of their tenth studio album Simplicity. The album was their first in four years after its 2016 release, and was the first to feature drummer George Rebelo.
The band are set to play shows in Brighton, Leeds, Derby, Norwich and London in that order starting on June 12th before heading back out to Europe.
Vampire have released a new track from their upcoming second album With Primeval Force called Ghoul Wind. The song boasts fury through its sheer power, and the rawness throughout give high hopes for the album.
The band are known for their blend of death and black metal styles in both theme and music, though this single has traces of a hardcore sound intermingled though it. The lineup consists of Hand of Doom, Black String, Command, Sepulchral Condor and Abysmal Condor so it’s clear to see they mean business.
The Reprobate, the second album by Swedish death metal outfit FIRESPAWN, is set for release on April 28th and as a precursor they have released the opening track, titled Blood Eagle. The piece is a less-than-3-minute burst of rage that lays down the style of the album to follow perfectly: remorseless, all-guns-blazing death metal, fusing the traditional sound of the genre with a more technical edge.
The opening sounds to Johnossi‘s latest album are echoed, processed vocal samples followed by a solitary, flowing riff – a good sign of what is to follow. Despite not being one of the pre-release singles, Blood gives a sense this album will be a push on from 2013’s Transitions. Following it up is one of the singles titled Air Is Free, which speaks of a shoot to fame and freedom to do “whatever I want” and it creates the sound of freedom itself. Rebellious in its own way and still funky as anything, the track is centred around “moving into the light” which is backed up with a large electronic base of horn section, and the strummed guitar tone brings a chordal tune to the piece.
The high point of the album in total is Weak Spots, which is a bold and funky rock track in parts reminiscent of a Royal Blood-esque sound with some indie flavour in the prechorus. The explosive drums signalling the chorus and the effortlessly cool bluesy lead guitar riff just screams star quality, and the vocals throughout convey the lyrics with clarity yet with a classic rock punch throughout. The rhythm here is undeniably catchy, and the track is sure to be a fantastic addition to Johnossi‘s live set.
Vocally, the album is fairly diverse throughout. From Hey Kiddo‘s classic rock vocals with a rasp-filled power to a more folky feel in On A Roll, and John Engelbert’s mastery of all the styles attempted demonstrates his quality as a vocalist. Backing vocals add a depth to the album that is crucial – the contrast between audio space being filled and being almost empty is something the band use for dramatic effect to great avail. The backing holds tight harmony both with other layers and the lead vocals to create a weave that overlays the instrumental well.
Overall, a solid release from an experienced band which will continue their steady rise toward the household name status every band wants. Johnossi haven’t hit anything very groundbreaking here, but what they do immaculately is play to their own strengths to produce a good collection of songs with very little filler material present which is rare in the modern days of demanding more and more.