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.



Borders – Diagnosed EP [REVIEW]

With the bouncy and somewhat tech-y sound behind them ready to pummel faces, Borders are here with a four track EP ready to show off what the Lincoln crowd can bring to the table. With ‘Diagnosed’ being their third EP of the selection of their discography, it will be exciting to see how they have matured.

The first half of the EP immediately takes you on a punchy fast paced journey with ‘Analyst’ which invokes a lot more technical and progressive metalcore action with the single string riffs that come right out of the gate. The lower toned screams add a nice element to the track with the guitars holding up most of the weight whether it be with palm mutes or the more technical aspects during the more melodic sections that give off a strong atmosphere for the 5+ minutes that the track goes on for. Moving on to ‘Comatosed’, the band swing around more but evidently stick with such a strong sound that they cast through over the first 50% of the record with such a gripping instrumentation that surpasses their older material by far, putting them on par with bands such as Veil of Maya whilst they show off a djent themed package with a lot going on underneath with, again, the guitars giving the recording that added weight to the proceedings.

The second half opens up with ‘Indoctrinated’ which builds up exponentially with a pounding rhythm section whilst the leads glides over the top with a bit more structure in its lead focus. The more melodic metalcore aspect of this gives you an insight into the groups versatility, especially during the choruses where the singing breaks through and freshens up the recording that bit more. The EP closer, titled ‘Watch The World Burn’ which is a great way to round off the EP as it shows you another bouncy and anthem-like qualities in its walls with it being more exemplified in its breakdowns that are full of djent goodness that will no doubt bring people in more, with the harsher screams during the choruses only adding more fuel to the fire as the track engulfs you and finishes on a very positive note.

Whilst you might wish for something more from this EP, the band are definitely finding their ground and pushing what they are good at, creating four tight knit tracks that only set up more momentum for them in the future.


Attila & Guests – Live @ Marble Factory, Bristol (5/4/17)

The crowd was coming in fierce to the Marble Factory as they were getting ready for an onslaught of metal riffs and a party attitude. With Attila on a pretty extensive UK and Europe tour, they have made a stop in Bristol and they’re looking to show off a lot of the positive party vibes that only they can with the army of metalcore behind them.

Up first to showcase their talent are UK’s own Carter City (7) who were ready to throw everything they had at the crowd. With them highlighting a lot of their new release ‘Infinite // Unknown’ during the momentum of their set, the colours helped accentuate the songs and provide a really solid addition to the bands presence. The band’s vocalist knew where to provide elements of enjoyment with him sounding just as aggressive as he does on the record with the band weaving its metallic web with the technicality of the guitar patterns and drum accenting. Overall, the band made their mark solidly and it will be exciting to see where they go from here.

Taking the stage next were another crowd favourite next to the headliners, The Word Alive (9) were just as excited to be there as anyone else with the band throwing themselves around like rag dolls making the stage their new playground. With a big back catalogue it was interesting to see how they would fair with 45 minutes only, but they spanned their career ranging from tracks ‘2012’ to newer songs ‘Overdose’ with the fans responding to the set in kind with moshpits starting to rumble the venue. Telle Smith’s cleans have seem to be pushed through so much more, with him sounding incredible through the speakers and the bands instrumentation sounds as crisp as ever with them putting all their heart and soul into the live performance as well as being lighthearted at times. They’re pushing more walls down for metalcore and are a band to keep on your radar.

Finally, Attila (9) rose from the ashes with their heads held high and middle fingers raised as they came out swinging with all their bouncy rhythms and flavourful stage presence. Fronz’s mantra definitely applies during this set as ‘giving no fucks’ about how everything goes was a key component to making this band put a smile on your face and the kids in the pit. With ‘Hellraiser’ leading the opening charge of the audiences mosh participation, ‘Payback’ is when it all came to fruition as the band brought two people on stage to join them for another onslaught of the senses with more pounding guitars and bass. The electronics came through heavily with ‘Moshpit’ which showed a nice variation, but a more mature way of thinking that the band has been able to push through and truly find their sound, mixing heavy with a more dubstep/electronic twinge. You may hate them, but they put on such a fantastic live show that its hard not to laugh and smile.

Bear – /// [REVIEW]

Pushing through the progressive metalcore sound all the way from Belgium, BEAR are looking to show off more of their skills with their new record ‘///‘ to show off that they are putting themselves into the main spotlight of their genre. Since their last record ‘Noumenon’, the band have been grinding on tours and writing to now show off what they’re working with, but the question is will it hit as hard is their last record did?

The album opens with ‘Blackpool’ which gives you that chord structure which feels very high on the EQ scale for the most part, but that doesn’t hide the bands technicality and ability to switch with tempo patterns. The whole track sets the record off to a good start, even with the guitars sounding a bit too treble heavy at points. The groove elements come through strongly with the clean vocals adding a really nice atmosphere to the track. Moving into ‘Hounds’ highlights the drums switch ups and elevates the guitar that much more in parts. The bass sneaks its way through with its own little nuances at the right points. The album shows itself off really well right out of the gate it seems by having a strong math flavour and not being afraid to have an experimental vibe within the guitar patterns. The first single from the record makes an appearance that showcases more of the bands groove as ‘Masks’ makes its presence before ‘Childbreaker’ comes into contact and pushes more of that low string action for parts of its riffs. The clean vocal sections start to waver a bit more and feel like a discount Gojira, but the instrumentation and screams make up for it.

The album keeps on moving forward and giving you that fast paced and time changing patterns that are exciting once they come into the fray, but after a few listens can feel a bit uncumbersome. ‘Knives Are Ready’ is a main culprit with its disorientating style, but the dissonant chording are a nice addition to the record and the band still push their heavier motifs harder than they have before. Then you get to tracks like ‘7’ which acts like a midlife crisis at the beginning, not knowing what path it wants to take but finds it centre as the track moves on and on, bringing the heat. Progressing towards the end, the band show no signs of slowing down with their material as the onslaught of tracks such as ‘Raw’ and ‘Construct.Constrict’ which helps seem to help the band find their motions as they careen through the speakers with raw emotion. Even though there are points that can feel off to you on the first listen, they bounce back whether it be with the more melodic sections or the areas that are just crushing with the heavy elements.

The record itself is mostly on the path of hitting a stride and they are making their presence known in so many different ways. There are points where you can get a bit lost inside their minds with the sound and patterns, but by the end of the record, the intrigue is only heightened that little bit more.



From Sorrow To Serenity announce UK headline tour for May

The Scottish technical deathcore group are back in a big way as they plan to go on a headline tour this May. Hitting up intimate venues around the UK, its going to showcase what the band are capable of doing.

Check out the dates below as well as listen to one of their songs!

Headline tour: (with support from Lotus Eater)
08.05.17 – Birmingham // Subside
09.05.17 – Newcastle // Jumpin’ Jacks
10.05.17 – Hull // O’Riley’s
11.05.17 – Manchester // Satan’s Hollow
12.05.17 – Edinburgh // Opium
13.05.17 – Glasgow // The Garage Attic

ONI release music video ‘The Only Cure’

Getting all the enjoyment on their current tour with Devil You Know, progressive metalcore band ONI are bringing something crushing and distinguished that you might not be used to hearing before. Plus with the use of a xylosynth, they’re definitely making waves with something that is unique and special.

You can check out their new music video for ‘The Only Cure‘ featuring Randy Blythe of Lamb Of God.