Betraying the Martyrs the resilient

Betraying The Martyrs – The Resilient

The Resilient‘s opening track Lost For Words brings right to the fore how big the sound is from Betraying The Martyrs for this whole release. A high lead riff opens into heavy-hit drums and chugging guitars before gutteral vocals break in. The song moves quickly with good instrumental control displayed; the lead riffs throughout are mixed through the vocals well and hold well in the verse. The chorus is melodic and starts to show the huge sound The Resilient will hold

The title track provides a highlight, with its space-filling opening. Faint choral vocals with a string arrangement brings the introduction real class, then the band coming back in causes a huge punch. The soaring chorus keeps a lot of the heaviness as tuned vocals return, and the riffs are inspired enough to keep the song moving. Riff variation also helps here – the riffs may be similar between verses, but they have subtle difference in the execution that keep them spread widely. The harmonised solo shows a good creativity, with a wah-heavy sound before turning into a crystal-clear harmonised trem line.

Another good track is Unregistered, which has probably the “heaviest” verse on the album. Riffs featuring copious volumes of string bends are always a winner, and when the bends come as the rest of the band go quiet it leads to a heaviness spread through the song. The breakdown here is rather generic with a huge buildup into incredibly slow time with harmonics and gutturals, but it is this that brings a lot of the “crowdkill-ability” to the track which fans will enjoy. The length of the chorus allows for more contrast between the screams and clean vocals which works better than a lot of the scream-dominated tracks.

Vocally, the melody combined with the harshness of the screams is a formula that has worked for so many bands for so long. The Resilient sees melody take a back seat to the uncleans which that is a mistake – a wholly screamed or half-and-half album would have worked better. As it stands, the screams stay static in pitch with little pronounciation of words which makes the album sound a bit lacking.

Overall, The Resilient is a mixed bag as a whole. While there are some brutal songs that carry great weight, a few fall into the category of “heavy for heavy’s sake” as opposed to feeling particularly thought out. The melody within the songs is definitely the key to their good sound, but they don’t exploit this nearly enough.

Modern Ruin frank carter and the rattlesnakes

Frank Carter & The Rattlesnakes – Modern Ruin

Opening the album is a slow, slightly dark but thoughtful track titled Bluebelle which is performed by Frank alone. It acts as the only track from the band so far for which he has recorded an instrument, and doing so on the opening of the Modern Ruin chapter as many will know it seems like a logical move. At just over a minute long, it would be expected to be the shortest track on the album but no – that is saved for the absolutely savage Jackals later on which has been performed a few times around the country on tour.

Modern Ruin does a fantastic job of contrasting musical styles presented within the new era of The Rattlesnakes and there is no exception through the whole thirty-eight minutes of the album. Bluebelle starts quietly, then Lullaby has a groove and Snake Eyes is darker and gets progressively heavier. Vampires is fuzzy and agressive behind a veil of backing vocals and control, Wild Flowers is almost alt-pop in a very catchy way and Acid Veins is incredibly dark with a confident swaying rhythm. God Is My Friend is quick and loud yet shows a lot of control, Jackals is quicker, louder and shorter with a murderous edge, and Thunder is much slower and more reflective. Real Life is bold with a crashing and punchy rhythm, Modern Ruin is gritty and purely vicious throughout the whole period, and Neon Rust is the epic finale that gives a slow closure to the piece to mirror Bluebelle after a reflective look back at the masterpiece sandwiched between the two.

The standout tracks have to be Acid VeinsLullaby and Modern Ruin. As a trio, they represent what the album is about – exploring different ideas in very different ways that can gel into one big artistic expression. Acid Veins has a swing in the beat that few would have predicted this time last year on the back of Blossom, which gets combined with some of the darkest lyrics on the album to create an imaginative dichotomy within the storytelling. Lullaby holds a groove yet has distinct undertones of fighting against mental darkness as Carter asks “sleep, where have you gone?”. Modern Ruin is the heaviest song on the album in terms of instrumental, and it would have easily fit in on the debut album. It has a huge buildup that waits for the explosion which by no means disappoints – an absolute venue-shredder of a track.

In addition, Jackals adds a short burst of fire to liven up the quieter tracks in the middle of the album. With crashing drums and echoed vocals that climax at around 50 seconds, the quick and beat-heavy track culminates in the slightly terrifying lyric “burn them all like sickened cattle and leave nothing for the jackals”, which indicates that although the band may have seemed to mellow out musically their content is just as dark in other ways.

Overall, a very different and nearly-as-perfect album from Frank Carter & The Rattlesnakes that contrasts nicely with the 2015 debut Blossom. The tracks only touch on common ground with its older sibling, but it is clear Frank and Dean are exploring their musical range. Whether musically heavy or not, the album aches with sickening danger that characterises the band and there is no doubting this will help them break through on mainstream radio despite them keeping the incredibly dark feeling in their fabrication of material. Some people will adore it, some will hate it but it is sure to make their live set crank up  yet another notch. Modern Ruin hits shelves next Friday (20th Jan) so don’t sleep on it.

Albums 2016

Musicology: Our Team’s Top Albums of 2016

It’s come to that time of year again when we’re thinking about our top dogs of 2016, so here are the Musicology team’s top albums of the year (yes, there are quite a few repeats which show how good some of them are!).

Joshua Palmer – Writer

1) RenouncedTheories Of Despair
2) ExpireWith Regret
3) CaseyLove Is Not Enough
4) Angel Du$tRock The Fuck On Forever
5) Like PacificDistant Like You Asked
6) Silent PlanetEverything Was Sound
7) Cruel HandYour World Won’t Listen
8) Church TongueHeart Failure
9) DeparturesDeath Touches Us, From The Moment We Begin To Live
10) Hotel BooksRun Wild, Stay Alive


Sam Preece – Writer

1) Waterparks – Double Dare
2) Simple PlanTaking One For The Team 
3) Sia – This Is Acting
4) Good Charlotte – Youth Authority
5) A Day To Remember – Bad Vibrations
6) Cane Hill – Smile


Tom Martin – Writer/Editor

1) Boston Manor – Be Nothing.
2) Architects – All Our Gods Have Abandoned Us
3) Trophy EyesChemical Miracle
4) ColumbusSpring Forever
5) Trash BoatNothing I Write You Can Change What You’ve Been Through
6) BasementPromise Everything
7) Knocked LooseLaugh Tracks
8) letlive.If I’m The Devil…
9) Luke RainsfordI’m Nothing Like My Dad Turned Out To Be
10) Touche AmoreStage Four


Fiona Stephens – Writer

1) Blackberry SmokeLike An Arrow
2) The Pretty RecklessWho You Selling For
3) Green DayRevolution Radio
4) Lucid FlyBuilding Castles In The Air
5) Circle Of DustMachines Of Our Disgrace


Nathan Heffernan – Photographer

1) Knocked LooseLaugh Tracks
2) Luke RainsfordI’m Nothing Like My Dad Turned Out To Be
3) NOFXFirst Ditch Effort
4) Trash BoatNothing I Write You Can Change What You’ve Been Through
5) Boston ManorBe Nothing.
6) CaseyLove Is Not Enough
7) BasementPromise Everything
8) blink-182California
9) Tiny Moving PartsCelebrate
10) GiantsBreak The Cycle


James Leese – Writer

1) TotorroCome To Mexico
2) The 1975I like it when you sleep for you are so beautiful yet so unaware of it
3) The HotelierGoodness
4) Tiny Moving PartsCelebrate
5) Childish GambinoAwaken My Love
6) Slaughter Beach, DogWelcome
7) Modern BaseballHoly Ghost
8) BadBadNotGood IV
9) Old GraySlow Burn
10) Luke RainsfordI’m Nothing Like My Dad Turned Out To Be


Jade Falconer – Photographer/Site Supervisor

1) Bring Me The HorizonLive At Royal Albert Hall
2) Hands Like HousesDissonants
3) Asking Alexandria – The Black
4) Panic! At The Disco – Death of a Bachelor
5) The Amity Affliction – This Could Be Heartbreak
6) Issues – Headspace


Luke Davies – Web Developer

1) Issues – Headspace
2) Memphis May Fire – This Light I Hold


Bradley Cassidy – Writer

1) Gojira – Magma
2) The Dillinger Escape PlanDissociation
3) BrujeriaPocho Azitan
4) Nails – You Will Never Be One Of Us
5) KoRn – The Serenity Of Suffering
6) Metallica Hardwired … To Self Destruct
7) Abbath Abbath
8) Ihsahn Arktia
9) Rob ZombieThe Electric Warlock Acid Witch Satanic Orgy Celebration Dispenser
10)  KvelertakNatterfed


Eddie Sims – Writer

1) Touche Amore – Stage Four
2) Napoleon – Newborn Mind
3) Trade Wind – You Make Everything Disappear
4) Hatebreed – The Concrete Confessional
5) Broken Teeth – At Peace Amongst Chaos
6) Knocked Loose – Laugh Tracks
7) Heck – Instructions
8) Killswitch Engage – Incarnation
9) Desolated – The End
10) Forty Winters Rotting Empire


James Maddern – Writer

1) With ConfidenceBetter Weather
 2) WaterparksDouble Dare
3) Hands Like HousesDissonants
4) Sum 4113 Voices
5) A Loss For Words – Crises
6) I PrevailLifelines
7) Moose BloodBlush
8) Milk TeethVile Child
9) This Wild Life – Low Tides
10) Luke RainsfordI’m Nothing Like My Dad Turned Out To Be


 Daniel Curzon – Editor

1) Knocked LooseLaugh Tracks
2) Broken TeethAt Peace Amongst Chaos
3) ExpireWith Regret
4) Guilt TripWeight of Abjection
5) Trophy EyesChemical Miracle
6) DesolatedThe End
7) SkeptaKonnichiwa
8) Cold Hard TruthTruthgetta
9) Craig DavidFollowing My Intuition
10) Trash BoatNothing I Write You Can Change What You’ve Been Through

orwells

The Orwells announce Spring 2017 UK tour

The Orwells have announced a UK tour in support of their upcoming third album for Spring 2017. The record is titled Terrible Human Beings and is due out on 17th February.

The album was recorded over the course of a month at Chicago’s Electrical Audio, produced by Jim Abbiss (Artic Monkeys, Adele) who the band had worked with a bit before.Guitarist Matt O’Keefe said “The Pixies were an obsession when we were writing this album. I think that’s where a lot of trying to make the songs and the guitar parts very simple was coming from, because the Pixies are kings of that. We’ve always been a simple band, but this time it was about trying to keep everything straightforward, nothing flashy.”

See the full The Orwells dates below:

1st March                   Glasgow, Stereo                                   tickets
2nd March                  Birmingham, Hare & Hound           tickets
3rd March                   Brighton, Haunt                                 tickets
4th March                   Bristol, Thekla                                    tickets
5th March                   Manchester, Gorilla                           tickets
7th March                   London, Scala                                     tickets

Within Shadows

In The Spotlight: Within Shadows

With the return of the In The Spotlight feature comes an introduction to an extremely hardworking band called Within Shadows. The band originate in Canada and currently consists of Sean Farias (vocals), Jordan Heffernan (drums), Brad Tiessen (guitar) and Jacob Bailey (bass).

The Past

Sean Farias (vocals): “Within Shadows started in 2012, founded by me alone. I began this band as a solo project and I worked on songs by myself in the early days before releasing a few instrumentals in 2014. Since I had just recently left a band I was dedicated to at the time, The Culls, I wanted to keep pursuing music on my own. During that year, I met Jordan (Heffernan, drums) because we ended up working at the same workplace together. We both connected since we both have a passion for music and many bands like Slipknot and Avenged Sevenfold among others, so I invited him over to try recording some improvised sessions together. This quickly turned into an improvised EP which we called Release the Disease.  Everything fell into place perfectly, and the songs basically wrote themselves since they were all on-the-spot performances. We then decided to keep the project progressing forward and became a duo officially in 2015. That summer, Jordan suggested to work with his friend Brad Tiessen (guitar), who has always been a close childhood friend. We all hit it off and then became a trio. With the EP released and being sold, we made a $500 profit from the sales and donated that money to our local food bank. The rest of the year and first half of 2016, we began working on our full length album Mind = Enemy, this time as a trio. During summer 2016, another close friend of the band named Jacob Bailey began playing bass for us. He filled the position perfectly and now has finalised the four-man band Within Shadows is now. Throughout the last 2 years of the band growing, we have held practices once a week to keep ongoing progress.”

The Present

Sean: “Within Shadows is currently putting the finishing touches on our upcoming album and to get ready for the release. The album will consist of 11 new songs and 4 remakes of our EP songs. We have just filmed our very first music video for a new song called Get Up, which will be the lead single to begin our new era.  We have also had band photos done by Zeebrahmedia recently. We are currently planning out showing bookings and getting our name spread more throughout the media in preparation for the album.”

The Future

Sean: “We have have aspirations to take Within Shadows as far as we can go in the music industry, as any band does. We are working hard every day towards the possibility of being able to join a record label and doing music as a full-time job. Touring and releasing more music is a dream of ours that we are very much determined to make a reality. We plan on releasing more music videos in the coming year, playing a lot of shows and sending our new tunes out to radio stations and labels.

If you interested in new unsigned bands and hearing new music, please check out our band. Any form of support is greatly appreciated and helps us progress further to achieve our dream of doing this for a living. From every share follow, listen to post likes, we are so thankful and will keep producing more content in return, not to mention the fact that we love interacting with our fans. You can message us anytime on any of the platforms we have and we will respond to you. We are always here, and supportive people like you all are the reason why we enjoy doing what we do so much!

Visit Within Shadows‘ socials on YouTube, Twitter, Facebook and Instagram, email them at wshadowsband@gmail.com or visit their website here. You can also support the band on: iTunes, BandCamp, SoundCloud, Spotify and buy their merch here.

Photo and video credits go to Ryan Brougj (Zeebrahmedia), who is on Facebook and Instagram.

Thank you also to James Maddern and Musicology for this opportunity!”

vegas lights starboy

Vegas Lights cover The Weeknd, announce debut single

Detroit 4-piece Vegas Lights have released a cover or The Weeknd hit Starboy ft. Daft Punk.

Vocalist Parker Malcolm said: “We’re all huge fans of the Weeknd, and we were definitely excited to team up with our production team to put out the Vegas version of Starboy.”

The release comes ahead of their debut single Just Like Hollywood, coming next month.

Watch the video for the cover below. You can also purchase it here.

pulled apart

ICYMI: Pulled Apart By Horses return with ‘The Big What If’

Leeds quartet Pulled Apart By Horses are back with their latest single The Big What If. The song comes as a follow-up to the 2014 album Blood and looks set to lead them into a new era. Stream and download it now via iTunes, Spotify, Apple Music, Deezer and Google Play.

Vocalist Tom Hudson said: “From me and the other boys in the PABH camp I can safely say that we’re all overjoyed to unveil this new beast kicking and screaming into the cosmos. It was created on a diet that consisted mainly of garage rock, fuzz & a curiosity of the unknown.”

The release came along with the announcement that “a new album will follow in 2017”, though specifics are not yet known. Stay tuned, because it’s sounding big if this track is anything to go on.

In addition, the band have announced the Pulled Apart By Horses Headline Tour 2017:

March
27 Oxford, O2 Academy 2 TICKET
28 London, Scala TICKET
29 Bristol, Thekla TICKET
30 Southampton, Talking Heads TICKET

April
01 Derby, 2Q Festival
02 Birmingham, Mama Roux’s TICKET
03 Norwich, Waterfront Studio TICKET
05 Glasgow, King Tuts TICKET
06 Manchester, Sound Control TICKET
07 Newcastle, Think Tank TICKET
08 Leeds, Brudenell Social Club TICKET

Hieroglyph

Hieroglyph release ‘Starlight (The High Priestess)’ video

Progressive outfit Hieroglyph have just released a new video for their single Starlight (The High Priestess). The track is taken from their debut album Ouroboros which is due for release on Friday (18th Nov).

Vocalist Valentina Reptile said of the track: “Starlight is the second card of the Major Arcana: The High Priestess, so the inspiration from the lyrics come from the same tarot card. The High Priestess is a very positive card which represents guardian of the unconscious. She sits in front of the thin veil of unawareness which is all that separates us from our inner landscape. She contains within herself the secrets of these realms and offers us the silent invitation to discover the world within. The High Priestess poses a challenge to you to go deeper – to look beyond the obvious, surface situation to what is hidden and obscure. She also asks you to recall the vastness of your potential and to remember the unlimited possibilities you hold within yourself.

See the video below: