Light The Way – False Memory Syndrome – REVIEW

Pop-punk is a genre that has stood the test of time and it continues to provide us with iconic bands. Bands which have not just defined the genre, but coloured it’s zeitgeist and shaped the course of music history – for every successful band is standing on the shoulders of it’s predecessors. So there is always an amount of influence, no doubt. The genre has exploded, and while it’s given us some gems, it’s also granted us a great deal of stagnancy and mediocrity too. The sheer quantity of carbon copy pop-punk bands these days has caused something of an identity crisis and it’s increasingly rare to find something outwardly and distinctly original. And into the fold step Sacramento’s Light The Way.

They are another who are anchored by those before them, except we’re reaching back for the most part in decades. With a sound heralding of the 90’s and 00’s, their debut full album False Memory Syndrome is something of a throwback to the likes of Yellowcard, The Offspring, Sum 41 and New Found Glory. Somewhere in the mix a fresher note can be detected though, but it’s a fleeting dash of Neck Deep, or a weight more associated with The Story So Far. Make no mistake though, the predominant sound is of old-school pop-punk.

If one thing is constant about pop-punk though, it’s singing about your friends, your parents and your hometown. Not much has changed here, opening intro Bruh leads straight into But My Mom Says I’m Cool. The distant, soaring chorus is straight out of a Yellowcard textbook, whereas the chalky, screechy style found in Thrillhouse could easily be mistaken for Deryck Whibley. Both songs are rampant homages, yet carry a finesse traceable to Knuckle Puck. The following interlude Put A Sock In It Roy is equally as Sum 41-esque for twenty-nine seconds of aimless, indeterminate rage.

The next three tracks continue to resurface old fragrances with wild changes of direction in between. Broken Hearts opts to change pace, as a bassline lead intro sets a Green Day vibe, to be unpredictably pivoted into a bouncy, synthetic style – the resulting sound resembles that of Asteria. Brain Rot is classic The Offspring but laced up with a hellish pop-punk blastbeat – again Knuckle Puck-ish. Veritas is a sore thumb though, it’s like a long-lost Linkin Park excerpt which is somewhere it doesn’t belong.

Lost The Handle and Still Edge work brilliantly as a pair, both including screeching guitar parts much like pop-punk newcomers Giants. The former is calmer and brighter vocally, a nod towards Mark Hoppus – but the drift to more recent pop-punk tones is more prominently explored on the latter, where there are relentlessly nauseous verses, drudging build ups, and harsh vocals.

Even though it’s late in the album, Light The Way show great awareness to reserve their trump card Holy Ghost for penultimate billing. After showcasing so much influence up to this point, this is their most original sound, which in effect translates influence directly into originality. This is sharply u-turned by Snapping Necks And Cashing Cheques which is outright New Found Glory with better vocals. It’s whingey in the right way, pop-punk at it’s finest and an excellent, summarising parting shot.

The familiarity of 90’s/00’s pop-punk is smartly fused with modern incarnations of the genre, so it’s a pleasant nostalgic journey for the mid-twenty audience yet one with surprising, serendipitous moments. A palpably deliberate sound affords something for pop-punk bands right across the board to access – and given how fans of the genre tend to pick and polarise, this means Light The Way are a marketable sound. False Memory Syndrome is a pre-meditated effort, a reprisal which takes the listener back and forth through essentially the entire pop-punk timeline and arrives at something which is carefully considered and original. This manifests as versatility rather than plagiarism, and in a genre which struggles immensely with homogeneity, Light The Way are a breath of fresh and familiar air: 10/10.


False Memory Syndrome is out 30th March via Indie Vision Music. Head over to their Facebook in the meantime.

Machine Head – ‘Catharsis’ – Review

There’s often a stigma associated with metalheads that their preference is an immovable object, and that there’s no unstoppable force that can make their taste shift. “It’s not about selling out and making money, it’s about the music, man”, they say, probably. The truth is, there comes a time when every artist, true CVLT metal or not, has to think about making money and selling albums. This is where we find Machine Head in 2018, seeking what is perhaps more of a mass market appeal. Catharsis is the ninth album by the thrash/groove metal crossover act from California, and it sees ringleader Robb Flynn trying something a little different.

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Felix Hagan & The Family – Attention Seeker – Review

In a time where everything can seem contrite, to hear something break the mould is one of the most refreshing experiences to the listener. One of the best ways of doing this is to blend two genres together. Sometimes, the two will fuse together seamlessly and harmoniously, while other times, it sounds forced and comes across as some kind of musical Frankenstein’s Monster. Thankfully, we’re dealing with the former here.

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The Sourheads – Care Plan For The Soul – REVIEW

The 60’s, 70’s, 80’s and 90’s are all famous decades of music. Modern music will always be indebted to these eras for influencing one obsessed musician and who in-turn influences another, and so on until that knock-on sequence shapes the artists we love today. These periods were star-studded and defined by the likes of Iggy Pop and The Stooges, Guns N’ Roses and Queens of the Stone Age. These are all of course heavy influences of Wakefield’s rejuvenated Rock N’ Rollers The Sourheads.

People well-versed with these eras may be able to pluck out these various influences on their debut album Care Plan For The Soul better than me. There’s a kinda ‘sleazy rock’ swagger-vibe to the vocals, a pelting punkiness to the verses, a fuzziness to the guitar which sounds straight out of the history books. There’s a fair bit going on but if I were to categorise this sound, I’d go for ‘Dad Rock’. It sounds like your old man has got the old band back together and they’re rehearsing in the garage.

Here’s the thing, The Sourheads: tambourines, whiskey singing, wah-wah pedals and the incessant amount of rock beat on this album are heralding and emblematic of another era altogether. It’s 2017 for crying out loud – very nearly 2018.

Nothing on this album attempts to bring some modern spark or injection to these older styles – that’s my biggest gripe. If you’d have taken this style and somehow fused it with something new, updated it in line with the digital market you’re catering to – yeah, I can get behind that. But you haven’t. You could have released this decades ago and nobody would have batted an eyelid (bar the obvious leap in technology). Nothing from opening track Demon made me want to listen to the following eight painfully long tracks – that’s an egregious, technical shortcoming in my view.

Anyway, I did persevere and so the album drones on, frustratingly, like an argument in an empty room, all this indeterminate rage really going nowhere from vocalist Jake Coxon. I’m not even going to try and separate the tracks because there’s very little making them distinguishable besides a sloppy off-beat in Secret Cigarette and a 12/8 time signature in Mad Dog – which also proffers an uncomfortable crescendo to the album. If I had to stretch myself to pick a favourite it would probably be Don’t Get Caught (I Am The Lotus) – like, it’s alright.

If you still love rocking out to music from 30 years ago: great, each to their own, this album is probably for you. I’m not saying there isn’t a niche for this: Christmas is coming up, maybe get it for your Dad’s glovebox collection. But if you like to keep on top of modern music, The Sourheads should be reserved for a Battle of the Bands tournament: [2/10]


Care Plan For The Soul is out now here.

Find them on their website, Facebook and Instagram.


Chon – Homey [REVIEW]

After the drop of their debut record ‘Grow’ back in 2015, the band known as Chon have shown off how floaty, dreamy and downright technical their mostly instrumental music can get and will no doubt help their case for one of the most exciting bands of their genre. Now they have a new album upcoming titled ‘Homey’ which will no doubt show off more of their variability and skill that the band bring to the table.

Opening up with ‘Sleepy Tea’, you get a complete understanding of what the band was like if you haven’t listened to any of their music before. The clean and crisp guitars that play off each other superbly well with the quirky and upbeat speed of the drums that sound very strongly of jazz influences and start this record. The track switches up its speed towards the end and adds more to the bands variability in skill level. Moving into ‘Waterslide’, the intensity only picks up more and more with the chord changes and subtle nuances in their playing style. You slowly get to hear more and more flavours being introduced wether it be the use of some wah pedal, a little hint of bass or the moments where it sounds like they intentionally seem to play off key to help add to the dynamic of the track before the solo.

Throughout the album you get these remix elements from electronic artists placed around the record that act as a really nice showcase of different attributes. There are four tracks of this nature with the first taking the shape of ‘Berry Streets’, combining forces with GoYama to create this really dreamy, spliced number that goes all over the place with its simplicity before the electronics take the lead towards the end of the record and the tracks starts to build. The interesting uses of voices during the track make it sound like a floaty club banger in places. Moving into their next track with Lophiile, the vocals being brought to you by the other featured artist Masego and again breaks the album down again, blending elements of trap with jazz to create a really interesting fusion. Towards the second half of the album, Giraffage takes you on another flowing beauty with ‘Feel This Way’ and you get a more understanding of these style of tracks that aren’t here to overflow you with solos and technicality, but to bring something easy listening and incorporate different styles of drum patterns, electronic samples and become more of an easy listening experience. The same goes for their ROM track ‘Glitch’, which at times gives each artist a little split of personalities but they don’t overshadow each other and outdo each other to be a top priority and whilst the track might just suddenly end out of nowhere, these four tracks placed around the record add an amazing dynamic to the overall album and only heighten the intrigue.

The rest of the tracks are a sight to behold. Whether you go to the melodically charged ‘No Signal’ which uses a lot more of the harmony structure with both guitarists playing off one another to the mind-bending ‘Here And There’ which seems to go onto weird swing patterns for most of the song although there are moments where the chaos seems to seep through and take hold of you. The fact that the band don’t try and bash you over the head with low end heavy guitars or goes balls to the wall with singing string groove riffs is quite refreshing, as their tactic is more to soothe and caress your skin with much more melodic induced tracks, ‘The Space’ is another great example of this with the chord structure that do take hold for the backing part, but when the lead solos tend to shine through they don’t overflow and drown out anything else that is produced. The last track on the record ‘Wave Bounce’ is a perfect way to round out this stellar album with it feeling like a throwback to older material but always showing you where they are now in their stage of the career, going from fast paced riffs to chord structures in a matter of moments to help capture the essence of the record as well as the band.

What Chon have been able to provide for you is something unlike anything you will have heard before. The genre influences range so much from jazz to progressive to math in a way that they don’t bury you underneath and with the added electronic separations, it makes this album an amazingly paced masterpiece and one that will no doubt be a career highlight for them. They’ve set the bar extremely high for competitors and it will be a while before someone tops this.



Volumes – Different Animals [REVIEW]

After a lot of label issues and vocal member troubles, Volumes now seem to have made itself into a new family and been given a new home within Fearless Records to help showcase what groovetacular material the band can muster for you. Having already released two album thats are widely received positively throughout the progressive metal and djent community, it’s time to see how much weight ‘Different Animals’ has to this new beast.

The album opener ‘Waves Control’ immediately opens with a powerful tone coming from the guitars and showing off what you might have expected from the band from the get go. The heavier qualities are definitely par for the course with the lead guitar elements at points sadly drowning that out just before their new clean vocalist makes your forget about that. Myke Terry has become, aside of the powerful guitar/bass tones that shine through, one of the greatest parts of the record. The next track ‘Finite’ shows off a lot more of his range and presence with him being the main feature for the majority of the track, flowing around the guitar riffs and drum patterns and feeling like a much needed breath of fresh air to the bands discography and definitely the right choice for the feel. After going through the already popular ‘Feels Good’ track, it moves into another groovy affair with ‘Disaster Vehicle’ which bring powerful punchy grooves that will no doubt get the crowd bumping and vibing to their songs planted on this record, but within this lies the biggest flaw about the record.

The groove elements feel near enough the same through and through that its easy to find yourself getting a bit disorganised within the record that it just doesn’t feel that special to you when you listen to it. Sure, the record goes on a lot more melodically built path thanks to the bands versatility and that helps make tracks ‘Heavy Silence’ stand out with its subtle nuances that make the record that much more diverse in its production. The downside to that is the whole noticabilitely on that makes the interlude-esque tracks much more redundant in their presentation. The interlude itself as well as ‘Tides Change’ feel like they have no discernible place on the record other than to fill up space. The rap/hip hop elements are rife within ‘Hope’ and ‘On Her Mind’ with the vocals going on a different section. This helps raise the intrigue of the record as it shows again another side of the band. The electronic elements on the former track help round out the atmosphere of the record whereas with the latter, special guest Pouya gives the album that extra surprise and tenacity with his flow being that much more enunciated by the drum/bass combo in the background.

An album that has been on the waiting list for many fans might leave them undesired as the record doesn’t truly showcase what is great about this band. With the eyes being blinded by this much anticipated release, it takes a few listens to get realisation that the band are still growing and still trying to make a big mark on the genre as well as their fanbase. This doesn’t mark a step back, but more of a new step on a separate path that will no doubt give people something salivating for in the future.



Miss May I – Shadows Inside [REVIEW]

Ready to bring back the heavy metal prowess in a big way, Miss May I are already hitting a strong batting average with their releases so far and from the looks of the singles they’ve dropped for their upcoming ‘Shadows Inside’ record, its shaping to be an interesting throwback as well as something exciting that you’ve yet to hear from the group.

The album opens with the title track, the band give you something thrashy and balls to the wall to kick off the record, throwing back to their more modern music. The instrumentation hits the nail quite strongly on the head as well as the blend of unclean vocals with the ear catching choruses that are bestowed upon the track. It opens up the album nicely before going into more of a blend of old school meets new school gravitas with ‘Under Fire’ which continues bringing a strong heat to the table with the signature changes for the choruses as well as a more ‘radio-friendly’ structure in its presentation. The band are showcasing a lot more as you move through into ‘Never Let Me Stay’ which moves into a more darker path in some elements. The backing singing works pretty nicely with the melodies that are brought over with the guitar, as well as being a placed to calm yourself down a bit after the hellacious former tracks. Whilst it hasn’t got too much going for it, which can be said the same for ‘My Destruction’, the band take to a lot more of their older influences which you can feel an Arch Enemy vibe from the latter song mentioned.

The record keeps hitting the mainstream metal side of things with the band with how they are presenting the record. You get songs like ‘Crawl’ which tend to get rid of the aggression and pummelling of riffs with a more passionate and anthemic element towards it and whilst it helps with their musical variability, its place on the record feels like it is there just to be a future single. The band start to feel more like a more steroid-inducing Of Mice & Men with some of the ways it shows itself off in the second half with songs such as ‘Casualties’ which blends more chugging rhythm with a more stylised and solo-friendly lead guitar. The band work superbly well together within the whole presentation of the record with there hardly ever being a dull moment on the actual album itself, but when you go from the track ‘Lost In The Grey’ which does a lot of to give you such a lasting impression of what mark they have on the heavy metal/metalcore scene from the previous track ‘Death Knows My Name’ which tends to focus on the more cleanliness side of things as well as being a more live set placement, it makes itself feel overshadowed by the hidden monsters that lurk within the records walls.

The band have had a few years to collect themselves from their previous record ‘Deathless’ to show fans who might have been disheartened from that release. It’s safe to say that they’re flowing along the same pattern as that record as well as the one before that but have made a more lasting impression with this album. The production value makes them feel like giants and will hopefully become more than just ‘another album’ to their fans.


In Hearts Wake – Ark [REVIEW]

One of the hottest rising stars to come out of Australia are the mixture of metalcore with post hardcore by the name of In Hearts Wake who are looking to make much more of a strong presence with their upcoming record ‘Ark’. Being the bands 4th studio record after their two very popular releases of ‘Earthwalker’ and ‘Skydancer’, it is now the moment to see where this record goes.

The album is starting off in its strong mannerisms that stick to what you probably already know about the group with opening track ‘Passage’ and it’s production hits hard, but at the moment the band seem to playing their cards to their chest as the track doesn’t show off too much newer elements within their arsenal. The same seems to go with next track ‘Nomad’ which provides you with the bands mixture of strong riffs and tire-puncturing heavy moments with some elegant guitar leads. The clean vocals from Kyle Erich give the choruses their much needed boost as well as during the tracks key moments. ‘Frequency’ makes you think you’ve accidentally skipped the album and jumped into a New Found Glory record from the beginning moments of the song, but don’t be fooled by the pop punk traits that come across as the record elevates its anthemic qualities so much more and the track easily cements itself as a live show staple.

The album moves forward and you tend to get more of the same style that you’re used to with the band as the same tempo elements and playing style unfortunately puts them back in their own creativity box. Songs such as ‘Warcry’ and ‘Elemental’ seem to give you a nice throw back to their popular material that you enjoy jamming and with encompassing these tracks into their entire discography they make a lot more sense, but with that aspect the tracks don’t have anything too memorable in their approach to make the record stand out as a whole. Now and again you have the softer songs help bring out a lot more to the band that you might not have been used to listening to, with tracks like ‘Arrow’ and ‘Waterborne’ further showing proof of Kyle’s masterful singing abilities, which help with some of the instrumentation and becomes one of the records redeemable features.

The album comes after some of their most seemingly forceful and passionate work to date and with this record they only just manage to keep that. With the majority of the feeling stemming around a record that feels too safe for a genre that is oversaturated to begin with, there are a few tracks that help overshadow this fact with its beauty. It’s not a major setback for the group, but might leave a few fans feeling like they didn’t get what they wanted.


Create To Inspire – Sickness [REVIEW]

Bringing you some strong blends of melodic hardcore and post hardcore to your ears, Essex based Create To Inspire are set in their ways to drop their debut album ‘Sickness’ next week. With the eyes set on them in new formatted territory, the band are here to pull out all the stops and possibly give you something you’ve been waiting to hear.

The record opens up quite strongly with the first bunch of tracks. ‘Agony’ really helps you get into the mindset that the band are in with the rhythm helping to elevate the lead sections where needed to help show off more of the bands style. The clean intro to this track is a perfect way to get you slowly into what they have coming with the band hitting many decent points where they can. The vocals hit the genre very well, both screams and cleans, but with the former they can feel a bit piercing and straining at points which whilst it helps add to the overall emotion, it will take a couple of listens to fully get into. ‘Recluse’ takes the bull by the horns again with a grasp of the heavier side of alternative rock seeping through the bands bloodstream and breathing a new breath into the record. Moving into the third track ‘Regret’, the band push a lot more of the darker side of the melodies on the lead guitar side, which is one of the best features over the entire record. The song seems to channel a more post hardcore punch in it with the clean vocals flowing over the choruses really elegantly and  gives you a feeling of what a UK version of Being As An Ocean would be like in a formation.

The aforementioned influence carries on through the record and they hit that superbly with the next two tracks like ‘Loss’ and ‘Sinking’ and whilst it gives off that kind of vibe, the band still maintain their own originality which is rare for a band in this genre and the vocals start to make a lot more sense as the record progresses. Sadly, as the record moves closer to the end, the element of keeping hooked into what is being laid in front of you starts to lose its grip with songs like ‘Cope’ being great to listen to in the background, but nothing to truly spend your time focusing on. The final moments of the record start to pick up a little bit more with the song ‘Blue’ giving off another accomplishment with the bands instrumentation and structure as well as its clean vocals, but the screams once again feel that much more tiring and can put a dampener on the whole affair for new time listeners. Closing the record with ‘Adjust’, the melodic and post hardcore elements give the record that final burst into the stratosphere with a beautiful blend of cleans guitar hooks and punchy distortion only being more raised due to the drum pattern being flowing through the band from start to finish and ends the record on a more than positive note.

The band’s first full length is a surefire way of hitting the right notes for their Day 1’s that have been with them through thick and thin. Now that the band are pushing more boundaries within themselves, they’ve released something that might feel a bit generic, but immediately sets a benchmark for the group to start preparing to jump over. If you enjoy your melodic and post hardcore, this album which be a must listen for you!


ALBUM REVIEW: Malevolence – Self Supremacy

Malevolence have only been around for a few years, yet have already made a massive impact on the metal/hardcore scene. Their 2013 release Reign Of Suffering saw them quickly become favourites and gave them the opportunity to play shows all around the world.
Three and a half years on, it’s less than a week till the release of their new album Self Supremacy. With it being announced back in March, fans all over the world have been counting down till May 19th to experience what the band have been cooking up.
Jumping straight into the album with the title track, ‘Self Supremacy’ it feels like it’s been ripped straight from their debut. The familiar tone of guitar and Malevolence’s unique drumming welcomes the fans back into the new album slowly, as well as heavily implementing Konan’s vocals which make more than an appearance in the release. This track paired with the equally batshit crazy ‘Trial By Fire’ creates an opening to an album that will go down as one of the heaviest in history.
After being taken on their first big European tour back in 2013 by Comeback Kid, Malevolence decided it would only be fair to ask Andrew to feature on ‘Severed Ties’. In an interview, drummer Charlie Thorpe said “We knew he’d come through with something sick, but he exceeded all expectations” and the combination of Andrew, Alex and Konan on one song is nothing short of an ingenious idea. The other track with a guest feature comes in the form of the second single ‘Wasted Breath’. This time featuring Kevin of The Merciless Concept – it seems a weird pairing but mixed with the melt-your-face off beatdown, it creates one of the heaviest songs on the album.

On every album there’s always a song that will be a hit live, and Malevolence have created that experience with “Body Count”. A delicate concoction of riffs, beatdowns and gang vocals will have the quietest of crowds getting rowdy. Breaking up the brutality is a little number called4AM on West Street’. A pure instrumental interlude with a sinister twist is sure to be the intro when the band tour the album later this month, finishing with a clip from the TV show The Wire it brings us into the next track. “Slave to Satisfaction” was the first single released and is easily one of the best tracks on the album. Konan is heavily involved and the vocals between the pair are malicious which pays off extremely well, and the Crowbar influences are very prominent throughout the track. The sludge-esque breakdown is one of the most rememberable pieces of the song, if not the whole album and will be stupidly heavy when played live.
The second half of the album is when Malevolence really come into full force, whether it’s the hard as fuck beatdown and ‘MLVLTD’ chant at the end of “Spineless” or the blast beat and punchy riffs filled “Outnumbered”. One song that really stood out in their previous release “Reign Of Suffering” was “Turn To Stone” due to the musical excellence that flowed throughout the 8 minutes and if you were expecting another track just like that, you won’t be disappointed – this time coming in the form of “True Colours”. Predominately Konan, it showcases everything that Malevolence are made of, and with the spine chilling riffs and stupendous drums by Thorpe complementing each other outstandingly it’s a standout across the bands discography, let alone this album.
Genre defining is not a term to be thrown around lightly, but this album is a true representation of what hardcore and metal can be when mixed together perfectly. They’ve matured immensely and the work put into this is evidently second to fucking none. Do not even try and compare “Reign of Suffering” and “Self Supremacy” as they’re both modern classics and with both albums to play with, Malevolence will put on a hell of a show when they tour in a couple of weeks. This album has been massively hyped in the underground scene and it easily exceeds any expectations you may have.

Malevolence embark on a three week long tour starting in a couple of weeks time bringing along No Zodiac and Revulsion to join the party. Pre-orders for the album can be found over on BDHW Records.