acceptance colliding by design

Acceptance – Colliding By Design

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.

Palisades – Self Titled

Known for their electronic/hardcore sound, Palisades have risen up the ranks in new music thanks to their ability to put together bangers and their partnership with Rise Records. Since their last release they’ve lost two members and gained just as many, with any line-up change this could damage or increase their chances of success. With the recent release of Palisades self titled album, and the past success of Mind Games and Outcasts, this album has a whole lot to live up to. The question we all want to know, is will it?

From the starting track Aggression, it’s clear that there is a change in the electronic influence present in these songs. Though the song is nothing short of strong, it’s taking things in a slightly different direction than that we’ve all come to know and love from Palisades. The new members here are instantly recognizable with the electronic element still present but taking a different turn and the backing vocals following suit. Fall is this albums stand out track, with a kicker of a chorus (get ready to be singing this for the rest of day) this track is big. Melodic guitar work drives this track, whilst the quiet almost ambient verses provide a break from this and allow us to focus solely on the vocals, which impress.

Let Down brings out more of the electronic element of Palisades and again has a fantastic chorus. “You’re a let down, let down” will be shouted to the ceilings at live shows and one can only imagine how impressive that will sound. Through Hell demonstrates the heavier side of Palisades, with roaring uncleans and chugging guitars it’s time to join the pits for this one. The breakdown in this song really helps move the album out of it’s comfortable pace so get ready to headbang. Personal ends things on a high note, it’s infectiously catchy and bound to be a huge hit at the live shows. Whilst the track itself is personal, the manner in which it is delivered is such that it’s coated in pop, which makes it very easy to listen to and radio-friendly.

Standing back to observe, this album leans heavily towards hardcore/electronicore mixed with pop but has stepped back from the happy infectious electronic sound that made Palisades so instantly recognizable. Whilst it’s sure to bring in new fans and keep old ones, the album does little to explore new ground, once setting the pace with the first few tracks it tends to deviate very little from the path.

Dave Hause – Bury Me In Philly

It feels like Dave Hause has been around forever. From his his mid 90’s stint in hardcore with Step Ahead, the formation of punk rock mainstays The Loved Ones, and his time served on the much lauded Revival Tour, Hause has taken pointers from his peers and built an enviable rep in the process. Having ingrained himself into the punk/folk rock tapestry over the years, he has carved out an impressive niche as a solo artist as of late, delivering music that injects a shot of heartland americana into his tried and tested punk rock formula. Upcoming release and third solo effort Bury Me In Philly sees him drawing from a hatful of influences and pushing the hookier aspects of his sound to the forefront.

Bury Me In Philly bolts through the door with the piano-driven With You. It’s the closest to The Loved Ones sound Hause has come in a quite sometime, all the while delivering infectious guitar lines alongside a classic ‘sleep when we’re dead’ attitude. The sound of With You, almost sets a precedent for the rest of the tracks here too, with a well oiled rhythm section supporting larger than life vocal hooks.

Lyrically, the record delivers a hell of a punch, with Divine Lorraine paying homage to his hometown while telling a much broader story and the bluesy grind of The Mermaid, name-checking a variety of musical luminaries and conjuring up images of past struggles. Elsewhere we see Dave getting autobiographical on punchy Springsteen-esque rockers The Flinch and My Mistake, two tracks which will undoubtedly sit well in a live setting alongside the likes of Cmon Kid and We Could Be Kings.

The latest in a trilogy of solo servings, Bury Me In Philly builds on past efforts Devour and Resolutions and seemingly bridges the gap that has existed between these records and Hause’s previous band. Whereas previous works have found him treading carefully between folk troubadour and contemplative american storyteller, this time around sees both elements brought to the table and turned up to eleven in both the songwriting and punk spirit. It’s not all unbridled rock action though, with Hause finding the time to get introspective on the fragile Wild Love, providing a highlight of both record and career.

The strong suit of Bury Me In Philly is it’s soulful voice, honest lyrics and punchy rock n’roll, which can go along way in a climate of cardboard cut-out musicians. For fans who have enjoyed Mr Hause’s previous solo works but have longed for something with a little more drive and fire, Bury Me In Philly undoubtedly meets you halfway and then some.

Bury Me In Philly is released on February 3rd through Rise Records.

The Gospel Youth sign to Rise Records

Theres a new signing to the alternative label Rise Records family by the name of The Gospel Youth! Bringing a blend of post hardcore and pop punk with a few shades of alternative rock, This band will hopefully be making waves with their new material this year and with a label like Rise backing them, it won’t be hard not to.

They will also be on tour with Seaway in a few weeks, to which you can see the dates below.

Jan 25 The Fleece Bristol, United Kingdom

Jan 26 The Key Club Leeds, United Kingdom

Jan 27 Stereo Glasgow, United Kingdom

Jan 29 O2 Academy 2 Newcastle Newcastle, United Kingdom

Feb 01 Epic Studios Norwich, United Kingdom

Feb 02 O2 Academy3 Birmingham, United Kingdom

Feb 03 The Underworld Camden London, United Kingdom

Live: The Rise Up Tour – Southampton 10/12/16

The Southampton stop marked the last date of the Rise Records’ Rise Up Tour, featuring bands of the label. Headlined by Memphis May Fire and consisting of four stellar bands in the genre, this tour has been ripping through the UK for the last couple of weeks and tonight it’s time for Southampton to show them a good time. If the line of youths outside is anything to go by, this tour wasn’t one to miss and although the event is on an industrial estate the names on the bill will bring these fans anywhere.

Kicking off the night, Like Moths To Flames launch into the best-received opening set we’ve seen for a while. Ripping through their set, bounding around the stage and inciting the crowd, it isn’t at all apparent that these are merely the starter of the night. [7/10]

LMTF Rise

Next up, and easily the heaviest band on the line-up tonight, The Devil Wears Prada take to the stage. Bombarding the crowd with a stellar performance including tracks such as; To The Key Of Everygreen, Born To Lose and Supernova, tonight’s performance was a broad mix from their back catalogue as well as from their newest output; Transit Blues. Jumping around the stage, frontman Mike Hranica seemed to feed the entire set. Proclaiming to the crowd that he was not a Trump supporter, he got an echo of “fuck Trump” back at him. Drawing the set to a close, guitarist Kyle Sipress launched himself into the crowd, straight into a pit and proceeded to finish the last song from there on a sweaty but impressive note. [8/10]

TDWP Rise

The next band up have been a major selling point of this tour, Silverstein don’t venture over to the UK all too often and to catch them on a tour like this was too good of an opportunity for many to pass up. Having been a band for so long, it’s a sheer testament to their music that they still generate interest such as they do and the hype before they hit the stage was monumental. Stating that they like to play a mixture of their 102 songs and they like to play fan favourites as well as their own, they do just that. This set is pure bliss with tunes like; Ghost, Vices, Smile In Your Sleep and My Heroine. This set is non-stop gold for the fans, with a pit opening several times and the show getting rowdier. Set closer My Heroine had the biggest sing-a-long of the night with everyone shouting the words back at the band, it was a real throwback affair showing this band may have been around a long time, but they’ve got that staying power. [9/10]

img_3494 Rise

When at last the lights dimmed for the final time the excitement in the room became almost a buzz. Taking to the stage, Memphis May Fire let off an arsenal of huge songs, it’s a real mixed bag of songs and there’s something for everyone. Alive In The Lights brings out their first scrum of the night, arms and legs fly in the pit and there’s a huge sense of enjoyment emanating from it. Asking the crowd to sing-to-sing it like it’s their own, Miles Away brings out all the feels and the sound of the crowd is huge. The Sinner brings new life to the pit and things get rowdy. Surging with life, the crowd really give this one their all, throwing back with such a classic from MMF’s back catalogue. The encore; Legacy has us all wondering if the night really has to end, it’s one last time for the band to show us why they’ve gotten this far and why they’re going to go even further. It’s the loudest sing-a-long thus far and such a high note to end on. [9/10]

MMF

This show is a real triumph for all bands on the line-up and for Rise Records as a showcase of the talent being cultivated by them.

The Rise Up Tour – Southampton 10/12/16