Pity Sex - White Hot Moon

White Hot Moon is the second album from Michigan based emo indie rockers Pity Sex and follow up to their much celebrated debut LP 2013’s Feast Of Love.  Whilst the band have only been in existence since 2011 in those five years they have amassed a pretty strong cult following, their unique brand of fuzzy guitar emo also winning plaudits for its mellow shoegaze feel. 

When it comes to forward development White Hot Moon doesn’t exactly contain any major surprises, if you loved Feast Of Love there is just as much of the same magic to keep you happy.  Just like before vocal duties are split between Brennan Greaves’ lethargic defeated drawls and Britty Drakes’ more clear and angelic harmonies whilst recurrent lyrical themes of relationship woes and heartache tug insistently at the heart strings. The biggest notable difference is the bands slackening of pace in terms of music, whilst they’ve never been a band solely focused on punchy tunes the album seems more mellow as a whole than its predecessor which had in places was slightly reminiscent of J Mascis in its faster moments.  Giving more time to the distortion drenched guitars to unfurl the songs in a more sedate manner allows the dual vocals come to the forefront of the record which is in no way a bad thing.  Regardless of this tempo shift the album still moves at a pace that never strays too close to boring, it’s mellow yet melodic structure making it a catchy and infectious listen you are likely to return to just as regularly as the band’s debut. Whilst some may criticise the lack of notable progression in the band’s sound what they do they do well. Highlight’s include the lead single What Might Soothe You with its hazy guitar and its cool inertia and the more stark and fragile Plum which sees Britty Drake deliver the albums most memorable moment.

Overall White Hot Moon is a solid second album from Ann Arbor’s finest. Whilst it may not be the revelatory re-invention some people were clamouring for it easily stands toe to toe with the bands earlier work in terms of catchiness and appeal. Available in a number of interesting vinyl variants through Run For Cover records or on cd or download White Hot Moon is the perfect companion for all your highs and lows this summer. 

Stream/Download:https://runforcoverrecords.bandcamp.com/album/white-hot-moon

Physical:http://www.runforcoverrecords.com/artists/pity-sex/products

De Rosa - Weem

One of Chemikal Underground’s most under-rated and under exposed acts was De Rosa, a five piece hailing from Lanarkshire, Scotland. In their lifespan they managed to release two commercial albums, 2006’s Mend and 2009’s Prevention before disbanding and joining the ever growing ranks of innovative indie bands crushed by the weight of the falling record industry.  Since disbanding in 2009 very little was heard of the band except lead singer Martin John Henry who set to work establishing himself as a solo artist with 2011’s The Other Half Of Everything, but in 2012 the band revealed they had reunited. Four years and a few scattered live appearances later and De Rosa have finally gotten round to releasing their third album; Weem, on Mogwai owned record label Rock Action Records.

For the uninitiated the music of De Rosa is a heady mixture of indie folk with a touch of post-rock grandeur. Whilst the band’s first album Mend was more of a punchy guitar driven album, 2009’s Prevention was the start of the bands movement into this more polished and diverse sound, which in part is what made the bands break up so lamentable. Weem is a continuation of this more refined aesthetic and every part of Weem is teeming with subtle graceful flourishes. The guitars range from melodious electric reverb to the delicate acoustic at a pace that feels organic and consistent whilst Martin John Henry’s trademark Scottish brogue completes the bands unique and instantly recognisable sound.  Sporadically keyboards, pianos and glockenspiels make themselves known which reinforces the albums diversity of sound and attention to detail. All of this combines with Henry’s penchant for traversing what feels like quite dark territory in his lyrics. The overall effect is something singularly magical, a record of such fine detail it stands as a stark reminder as to why De Rosa were so dearly missed in their absence.  Devotees of the band will recognise some of the songs on offer here as songs originally released as part of the digital only series Appendices which saw the band release one song a month in 2008 for free download. These songs however have been lovingly re-recorded in somewhat altered forms here to prevent them seem too much like money for old rope, and to be honest even in their original forms these songs stood out as some of the bands most catchy material at the time so tracks like The Sea Cup and Prelude To Entropic Doom were always truly worthy of a commercial release. Meanwhile newer compositions such as lead single and opener Spectres and album closer The Mute are so hypnotically catchy it is hard not to see them joining the bands ever swelling ranks of canon compositions.  

From start to finish Weem matches up to the promise De Rosa alluded to before their premature break up with Prevention. With seldom a dull moment on it the whole album marks a most triumphant return for a group who have certainly been too long away. Available on CD or vinyl through Rock Action Records I strongly advise you to give it a spin.
Physical/Download: http://rockaction.co.uk/releases/5426/weem

Daughter - Not To Disappear

One album in recent years that totally hit me right in the ribs was London based indie-folk trio Daughter’s 2013 debut album If You Leave. It was an album of stark emotion and easily one of my favourite albums of the year and one I still revisit regularly, it’s fragile balance between folksy minimalism and glacial post rock sensibilities only making the pervasive atmosphere of melancholy more succinct. Not To Disappear is the bands eagerly awaited sophomore album. 

Much like the band’s debut Not To Disappear is built on a foundation of beautifully simple arrangements, at the core of which sits Elena Tonra’s spectacularly affecting vocals, the key difference between this album and the band’s first lies in the gradual shift away from their folk roots in favour of a more electronic sound. In places the album is peppered with synthetic beats and whilst the overall ethos remains ice cold and sombre several tracks feel noticeably faster. These shifts add a spot of welcome variation to proceedings. The other more familiar aspects of the band’s sound remain intact, reverb laden guitars and soft but measured percussion instilling the album with the bands indelible mark. Lyrically things remain focused on heartbreak and confusion of interpersonal relations but in a couple of places things take an even more harrowing turn as Tonra expounds on the dementia and loss by instalments. For many people this will be a painful listen because it is clear from the honesty of the song writing this is not a subject that is being explored to mawkishly jerk tears from the listener but is in fact coming from a place of real experience. Whilst the album may seem fairly monotonous in its procession of the melancholy and sombre the whole album fits together perfectly and just like its predecessor is a singularly affecting listen, perfect for those late night contemplative moods. Highlights include the heart-breaking lead single Doing The Right Thing which expounds on the ceaseless barbarity of dementia and the fragility of memory and No Care with its more driven energy which sees the band flirt with uncharted territory.

Overall Not To Disappear is a brilliant follow up from a band who still show as much. Available now on CD or Vinyl from 4AD I would highly recommend you check it out.
Physical:http://daughter.sandbaghq.com/music/daughter-not-to-disappear.html

Trials Of Early Man - Attachments

Attachments is the debut album of post-hardcore quartet Trials Of Early Man, made up of musicians who’ve all been in the DIY hardcore/punk game long enough to be deservedly described as veterans. The band itself boasts members from Caretaker, Action & Action, Circusact, The Correct Arc and The Good Wife and with such varied areas of expertise you could be forgiven for not knowing what to expect from such a hybrid.

What you actually get from this Frankenstein’s monster of a band however is some brilliantly focused and hook laden post hardcore. The sort of post hardcore that takes much of its inspiration from the more left field punk pioneers like Fugazi and Hot Snakes, without seeming derivative. The guitar work throughout the album sways from the frantic to the serene at the drop of the hat, revealing intricate layers of melody that suggest a touch of nineties emo is also hidden somewhere in the bands fabric. The vocals and rhythm section are just as fluid in their approach to the bands whimsical tempo shifts, working just as well when things slow down. It is these constant fluctuations in pace that make the whole album such an engrossing listen from start to finish. In parts the album is very reminiscent of bands like Spy Versus Spy or even Million Dead, especially when it comes to the band’s ear for a catchy harmony.  In the end what you get with Attachments is something new, exciting and vital in its energy that simultaneously feels instantly familiar. Highlights come thick and fast so it seems almost redundant to pick just one, that being said Pierced With Arrows chaos is particularly infectious.

Overall Attachments is a brilliant debut that harks back to the golden years of post-hardcore whilst bringing plenty originality to the table. Catchy in the extreme, heavy but easily accessible. A true triumph. Available to stream through all the usual avenues or purchasable as a download direct from the band I highly recommend you give it a go.

Stream/Download:https://trialsofearlyman.bandcamp.com/

Diminishing returns

After moving my blog to the less formal world of Tumblr I have decided to utilise both sites simultaneously. It will be pretty much the same content across both sites so there's very little point following both but hopefully this will help boost bands exposure (after all it's all about them).

I will be bringing over everything from January later today and will endeavour to keep both sites running consistently. Minor changes to layouts will probably also be on their way.

Peace.

Rival Schools - Found

In the music business there are certain releases that have their own legendary status due to their rarity or in some cases their complete unavailability. Being an avid collector I'll admit I've fallen into the trap of becoming overly excited when a supposed "lost recording" is found and finally released, the reality though rarely matches up to the myth. In real terms "lost recordings" aren't ever really lost, half of the time they are ideas the artist doesn't have faith in and scraps personally and if thats not the case the album is held back by the record company due to red tape, funding issues or a lack of faith on the record label's part. Hardcore veteran Walter Schreifels is no stranger to the world of "lost recordings" as his long spanning career in the hardcore rock scene will attest to. In his time in the music business he has started many projects but each time he gets started for one reason or another they disband. In a way this has been a blessing and a curse, none of his material or any of his projects can claim to have outstayed their welcome, each of them leaving behind a legacy of succint releases. The downside of course is that just as you get a taste for something it disappears off the map for good.

Rival Schools first appeared on the music scene in the early noughties, a bleak time for commercial alternative music. Their first album "United By Fate" was a critically acclaimed masterpiece mixing the technical elements and harsh guitar work of nineties hardcore and mixing it with more indie rock sensibilities. Soon after "United By Fate" Rival Schools like many of Walter's projects was disbanded. It was over a decade before they finally reconvened and followed up "United By Fate" in 2011 with another glorious album in the form of "Pedals". Before the band disbanded however they had already entered the studio having written a second full length already, "Found" is basically the result of these sessions. Whilst many of these "lost recordings" are merely quick cash ins for record companies "Found" actually bucks this trend delivering on years of whispered hype and anticipation. There are some points in which easy comparisons and links can be made between tracks on "Found" and material from "Pedals" but this proves to add to the albums depth, allowing the listener see the different steps in the bands creative process. The exclusive material is just as rewarding incorporating the usual distorted spacey guitar sounds and Walter's trademark husky vocals. Overall "Found" is much more than a quick cash in on Rival Schools reputation but an album that has a perfect place in the bands impressive back catalogue.

The album is available for download via i-tunes and other download services or alternatively it is available on 12" from the bands website. I highly recommend you take the time to find it. You won't be disappointed.

Buy it on vinyl: http://www.merchdirect.com/RivalSchools/Vinyl/FoundClearVinyl/?productid=16810

Zozobra - Savage Masters

Zozobra is just one of the multitude of projects that sprung from Cave In's 3 year hiatus. The band is the brainchild of Caleb Scofield, Cave In and Old Man Gloom bassist and background vocalist, and since its inception in 2006 it has provided Scofield with the opportunity to be in complete creative control. The end result is sludge that is by turns hypnotic and visceral. In 2009 Cave In reconvened and it seemed as though Zozobra and the other solo projects the band members started in their break would possibly end up falling by the wayside. This fear became even more close to becoming a reality when Old Man Gloom returned from their 8 year hiatus last year to release 2012's album "NO".  However 5 years on from their stellar sophomore album "Bird Of Prey" Zozobra have decided to return at last with a new LP aptly titled "Savage Masters".

Unlike previous efforts the music on "Savage Masters" is more hectic and raw than ever, the walls of pummeling sludgey distorted riffs matched with frantic drumming and Scofields trademark hoarse roar makes for uneasy listening. Yet the straight forward approach makes this oddly one of the bands most accessible releases to date. Whilst "Bird Of Prey" and "Harmonic Tremors" seemed to have more of a focus on atmosphere "Savage Masters" really strips back on subtlety in favour of fierce grinding hardcore. Some trademarks remain firmly in place like the bands bass heavy sound, but the spacey atmospheric builds and clean vocals have all ended up on the cutting room floor this time around. This makes "Savage Masters" a completely different ballgame to the band's previous works and easily their heaviest to date. The non stop barrage of fuzzy riffs and drum rolls makes for a refreshing change but also unfortunately drains some of the more characterful aspects of Zozobra's work that saw the band experiment with more grandiose and epic slowburners. The only other criticism is that after 5 years "Savage Masters" feels somewhat too short with only six tracks some of which scrape in under the 3 minute mark. Other than that though "Savage Masters" doesn't disappoint, delivering punishing sludge dirge after dirge.

The album is available on vinyl through Brutal Panda records or as a download for digital junkies at the following links. I would highly recommend it.

Stream/Download: http://zozobraofficial.bandcamp.com/
Buy On Vinyl: http://brutalpandarecords.com/shop/zozobra-savage-masters-12-vinyl/

Coma Wall / Undersmile - Wood & Wire Split 12"

Undersmile are a four piece sludge/doom metal band that I first became aware of in late 2011 when they released a split with fellow oxfordshire noise merchants Caretaker. After falling in love with the two songs they contributed to the split I delved in deeper picking up their first mini LP “A Sea Of Dead Snakes” and it was round about then I was hooked. Last year saw Undersmile release their staggeringly impressive debut LP “Narwhal”, an 80+ minute dirge of slow building rage, despair and darkness.

Never one to rest on their laurels they've just released Wood and Wire a split 12" with the bands acoustic alter ego Coma Wall. Coma Wall is a slightly more fledgling project only officially existing since last year and see's the band strip back their heavily distorted electric guitars in favour of acoustics and banjos. The idea of stripping back and mixing a more lo-fi blues/country aesthetic is not a completely new idea and some of doom and sludge metals pioneers such as Neurosis have been releasing music in this vein under various aliases for years. Whilst it would be easy to make a slap dash comparison to Steve Von Till or Scott Kelly's solo output the music and tone created in my mind is more close to the acoustic material put out by Alice In Chains. The transformation is staggering giving the Coma Wall side of the record a real backwoods and almost grungey feel. The songs are angsty but laid back and resigned and the clarity of sound is really what makes the Coma Wall tracks jarr so violently against the Undersmile side of the record. Think of it as doom metal meet's deliverance and you’re maybe halfway there. Highlights include a reimagining of “Cutters Choice” an Undersmile favourite from “Sea of Dead Snakes”.

The Undersmile half of the record carries on in classic style offering up 3 new, shorter and slightly less sprawling tracks of droney doom perfection. Whilst the tracks are shorter and may not have the time to stretch out into the depths of crushing despair that some of the “Narwhal” material did the tracks are still worthy additions to an already impressive body of work, their short more concise direction making them more accessible, as far as fear inducing doom metal can be accessible.

The main strengths as in all their previous work is the creation of a morbid atmosphere. The stark contrasts between both sides of this record only go to accentuate the pummelling harshness and eerie softness. The vocals as always are a mix of the ominous and angelic but work together to make an incredible refined final product. The end result is enough variety to hold the listeners attention and enough atmosphere to make both sides of the record worthy of praise in their own right.

The record is currently available on translucent purple vinyl (making it not just amazing to listen to but beautiful too boot) on sleeping shaman records and I highly recommend you pick one up. Links below:

On Vinyl: http://www.shamanrecordings.com/releases/coma-wall-undersmile-wood-wire/

Stream/Download: http://shamanrecordings.bandcamp.com/releases

Steven Wilson - The Raven That Refused To Sing (And Other Stories)

Steven Wilson - The Raven That Refused To Sing (And Other Stories)

Prog-rock is a genre that really separates people. Whilst many music fans actively revel in the complexity of it all just as many dismiss prog-rock with disdain as nonsense of the highest order. The difficulty is that as a genre it is somewhat hard to get to grips with due to its experimental nature. Experimentation in any form is not always going to yield positive results and often the eclecticism and strange mix of styles can often leave the most open minded music fan scratching his head as to what on earth it is they are listening to. For a long time the word prog-rock was synonymous with over the top, avant garde pseudo-intellectual pretentious music. The word conjured up images of ostentatious displays of vulgar virtuosity in which a band noodles endlessly with a guitar for 28 minutes straight whilst claiming it to be a piece about the social injustice suffered during the Franco Prussian war. Hardly suprising then that prog-rock became a dirty word reserved for only the most pretentious of musicians.

  However in recent years prog-rock has had somewhat of a revival in its popularity and as such has been trying its hardest to shift this notion that it's all overly complex nonsense. One of the key components and biggest players in this recent revival is Steven Wilson. Steven Wilson is probably most famous as lead singer and songwriter for Porcupine Tree, a fact that probably grates a bit, but he has also established a successful solo career whilst constantly working in a slew of other projects such as Storm Corrosion and Bass Communion and producing various other artists in the same vein. Needless to say Steven Wilson is an incredibly busy man. 

   "The Raven That Refused To Sing" is Mr Wilson's follow up to his 2011 masterpiece "Grace For Drowning" an album I reviewed quite favourably some time back on this very blog. The biggest change between the two records is most notably the involvement of several new band members including Guthrie Govan on guitar and Marco Minnemann on drums. The result is the assembly of some sort of prog-rock dream team and was originally a cause for concern. With so many talented musicians jostling for position on the tracks I could foresee the record being dogged by needless guitar solo's and potentially being rendered into something that was just too busy and cluttered. Luckily though this was not the case. The end result is an album of impressive scope that delivers a range of creepy ghost stories in a fun and entertaining way. The guitar work throughout whilst sometimes complex does not extend into the cringe worthy depths and the flute work that made "Grace For Drowning" so captivating is used sparingly. For all the supposed darkness of the record certain tracks on "The Raven..." are a lot more upbeat, the sound of the record is also a lot more comfortable than its predecessor that was morbid and utterly dread soaked in places.

   Overall Steven Wilson has delivered another stellar effort with "The Raven That Refused To Sing" the songs on offer whilst complicated and eclectic in range are strangely accessible. Whilst I personally prefer his last album "Grace For Drowning" I would still highly recommend "The Raven..." as a great place to start not only with his work but with prog-rock in general.

Blasted

Of all the genres of alternative music I listen to, the one that I am most fastidious about is punk. Punk is an incredibly broad area of rock music and as much as it having been instrumental in the creation of many of my favourite genres Punk itself is incredibly difficult to do well or at least by my standards. The main reasons I struggle so much with relating to punk music as a whole is mostly down to the mind-bogglingly and predictable anti-establishment social commentary. I suppose in its own way it serves a purpose but do we really need a song about the Bush administration or the countless wars that are raging all over the world to realise that these things are unjust? What does a song by the Sex Pistols actually do to challenge a morally bankrupt government? Diddly squat. If it's not the ludicrously egocentric attitude that it can change the world that leaves me feeling callous it is normally the watered down aggression.
    Whilst old school punk bands were known for their harsh and raw sound many of today's biggest and most successful "punk" bands are pop-punk acts, a genre that in itself is a confusing mix of two things that really should be mutually exclusive. These pop-punk acts started to creep onto the music scene simultaneously with the nu-metal bands of the late nineties and early noughties and basically stripped back all the angst and rage of punk and turned it into something clean, clinical with little relation to punk at all, oh and they threw in a few funny jokes about cocks for good measure.
   This being the case it is extremely rare that I come across something punk that I actually enjoy. One such exception is Blasted. I first became aware of Blasted when I saw them live supporting the Bronx in November. Since then I've been to see them several times. Blasted don't bother with either of the two elements of punk that tire me out and simply go about their business playing visceral hardcore punk at a fierce pace. Their music is loud fast and downright filthy with most of their songs just scraping the 2 minute mark. The band are exceptionally tight live and really have to be seen to be believed.
   To date the band have released a limited run cassette tape of demos and their debut 7" ep "Time to die/Exposed" which is still available from dry heave records in two beautiful colours which I'm very proud to own. The bands full recorded discography so far is also available to stream through bandcamp. Whilst the band is still in its infancy they are definitely ones to watch.



Stream Blasted here: http://blastedband.bandcamp.com/

Vinyl: http://dryheaverecords.limitedrun.com/products/506594-blasted-exposed-time-to-die-7-splatter-vinyl?page=1

Atoms For Peace

Side projects are a funny old thing. Sometimes the results of a band taking some time out to work on their individual projects can lead to some genuinely interesting and new original content. In other cases it can seem pointless as a side project becomes so similar to the original project that it ends up being pointless. One side project that has been garnering some massive critical attention is Thom Yorke's new(ish) side project Atoms For Peace. Many in the music press have described this as a supergroup as it features Flea from the Red Hot Chili Peppers, Nigel Godrich and Joey Waronker of R.E.M and Beck and some other Brazilian guy who I've never heard of. These artists were originally taken on as a live band to back Mr Yorke when he was touring in support of his seminal 2006 solo album The Eraser. Whilst there is always a sense of hero worship and unassailable praise for anything Thom Yorke touches, this is not always fitting. Similarly looking up any of the other musicians in Atoms For Peace you will notice that the majority of them are immune to any serious criticism in the music press, Flea for example is regularly put on a pedestal for his bass work with the dull and California obsessed Red Hot Chili Peppers. So finding a realistic assessment of this album that isn't somewhat biased by the members previous works will probably be relatively difficult to do.
    Overall the album pretty much picks up where The Eraser left off the only differences that are genuinely notable being a slightly warmer and more produced feel to the record. This in itself is by no means a criticism the Eraser was a really great record so more tracks in this vein is not exactly a bad thing. Unfortunately this similarity with Thom's previous solo record does carry over the same negative connotations his solo debut had. The similarity between the material on show here and on more electronica influenced Radiohead releases raising the ugly question whether or not the two things are really worthy of being separate entities in their own right. The feel of the record is so similar in fact that I have forgone labelling this album as an Atoms For Peace record simply because whatever input these other musicians may have had on the record it simply does not have anything regarding an independent identity. The gesture of changing the project to account to acknowledge his contributors, whilst noble, is pretty much bereft of meaning here.
   What the album does do, however is deliver consistent sketchy electronica and it does this very well. The overall flow is good and there is enough variance to make it a worthwhile listen. Rather worryingly Amok is more consistently enjoyable than Radiohead's frankly underwhelming 2011 effort King Of Limbs, an album that was vexed by its patchy and directionless meanderings and out of time drum sections. Still there will be plenty of places to go check this record out for yourself and form your own opinions and I would recommend you do. Providing you go in expecting Thom Yorke you won't leave disappointed, if however you're thinking Atoms For Peace will be a mash up between OK Computer and Californication you'll come away disappointed and rightly so because that mix would sound horrendous.

Strand Of Oaks

Last year was quite a strange year in terms of music for me. Whilst I bought probably just as many cd's and went to tonnes more gigs than usual I wrote practically nothing about music. A lot of this boiled down to a growing diversification in what I was listening to and stumbling across things late, Strand Of Oaks being one of the many artists I came across by pure chance. I first became aware of Strand Of Oaks in the middle of last year when I was scouring youtube for some fresh sounds to wrap my ears around and a track from his second album Pope Killdragon. The track was "Daniel's Blues", a warped lament written from the perspective of Dan Aykroyd that tells the story of him hunting down and murdering John Belushi's drug dealer who supplied him with the gear he overdosed on. It was surreal stuff, the loss and grief of the song was really heartfelt and I was stunned not only by the strange narrative but by the use of distortion and synths that went along with Timothy Showalters devastating vocals. It was enough to hook me and within a week I'd ordered all three of his albums.

Singer songwriters are somewhat of a difficult bunch to characterise and a rather patchy genre in general when it comes to talent. In my opinion this is amplified by the relative ease the musical format provides, I mean all you need is an acoustic guitar and the more rough around the edges the recording sounds the more likely that someone will see it as minimalist genius. Whilst there are more than a few diamonds in the rough for every Bon Iver there are a thousand James Blunts. That being the case I was pleasantly suprised when all three of Strand Of Oaks albums were stunning and different from each other.


Leave Ruin
   Originally released in 2009 Leave Ruin was the first Strand Of Oaks album released by La Société Expéditionnaire and was subsequently re-released with a new cover at a later date. The album is beautifully rich in character and is a great place to start with Strand Of Oaks' back catalogue. There is a great mix of electric and acoustic guitars and the whole album is sumptuously layered and given a more diverse sound with piano and even the occasional banjo. There is a great mix of short and longer songs with some tracks scraping in just short of breaking the ten minute mark. The main highlight would have to be the heart rendering vocal performances that are delicate and poignant whilst also showcasing an incredible range. The album outstrips much of its competition in ways that are hard to imagine and the strange stories put me in mind of a more coherent Mark Linkous, whose surreal dream like poetry whilst utterly devastating at times retains a succint beauty. As far as individual tracks go it's hard to pick a favourite. "End In Flames" as an opener is really a staggeringly beautiful song, delicate and minimalist yet so affecting it's hard not to fall in love with it instantaneously. Similarly the sweet and short "Two Kids" can't help but raise your spirits and put you in mind of those moments in life when you stumble across a love so unconditional you become blind to all negativity in the world.
   From start to finish the album is a joy to listen to. Uplifting in places and desperately longing in others it treads the fine line between happiness and sadness with the grace and poise of a tight rope walker. This album quikly became very special to me last year not only as one of the best debut albums I'd ever heard but because of the instant relatability of the music. I could not recommend this album enough.

Try it and Buy it here: http://strandofoaks.bandcamp.com/album/leave-ruin


Pope Killdragon
   Following hot on the heels of 2009's Leave Ruin was Strand Of Oaks sophomore masterpiece the epically titled Pope Killdragon. Of all the Strand Of Oaks record's I bought this was the one I was most looking forward to. This was the point at which my fascination had started and having listened to most of this album through youtube I couldn't wait to have the album on my i-pod and I wasn't disappointed. Pope Killdragon kept many of the key elements that made Leave Ruin such a powerful album but also added a new dimension to the mix with synthesizers and distortion playing a huge role in creating powerful atmospheres often resulting in a much darker overall sound. This experimental shift paid off helping to create an amazingly twisted record filled to the brim with eerie dream like fables. Pope Killdragon is also the most cohesive album in Strand Of Oaks back catalogue running seamlessly from one track into another with synthesizer and distorted guitar interludes holding the record together and complimenting its overall flow. Lyrically the album is more surreal than it's predecessor but so powerful is the all encompassing atmosphere of the record that you are still swept away in the hazey dream like fog.
    Highlights again are difficult to single out as the album runs so strong in its entirety. That said live favourite "Sterling" a heart choking lament about drinking too much and having strange alcohol induced dreams proves particularly poignant with the lyrics "I saw him coming" turning into a madman's mantra building through the track to a death march stomp of such intensity you'd have to be dead not to be moved. Similarly "Alex Kona" and it's synth counterpart "Giant's Despair" paint a powerful picture that is both moving and unsettling. The use of distortion on the guitar work gives the album a loud and quiet dynamic that is totally new and the stark contrasts make the music all the more powerful.
    Again the connection to this album for me was instantaneous and quickly it became one of my most listened to albums of 2012. Whilst the imagery conjured up in the surreal stories may baffle to begin with when the album is taken as a whole it is undeniably brilliant.

Try it and buy it here: http://strandofoaks.bandcamp.com/album/pope-killdragon


Dark Shores
   After a slightly longer but still incredibly short period of time Strand Of Oaks released it's third and most recent LP Dark Shores in 2012. An album that once again I only found out about a long while after its release (a fact I'm rather sore about because those who pre-ordered the album got a copy of the now out of print Alma EP a collection of Showalter's earliest work). Unlike its fore-runners Dark Shores saw Strand Of Oaks strip back considerably with a mostly acoustic record made up of comparaitively shorter songs. Of all three Strand Of Oaks records released to date this was the hardest one for me to grow into. Being a lover of long sprawling epics I found it difficult at first to adjust to shorter punchier tracks, still after a few play throughs the album began to seep into my subconscious and since then I've lost count how many times I've found myself humming along to the chorus lines that were playing in my head.
   Highlight's include the brilliantly minimalist "Maureen's" which really gives Showalter's vocals a chance to shine unopposed and the insanely catchy "Satellite Moon" with its warped organ stabs. Whilst I confess that of the three album's this was the hardest to get into because of it's shorter and poppier leanings within a few play throughs it grew on me.

Try it and Buy it here:  http://strandofoaks.bandcamp.com/album/dark-shores


Darker Shores
   Darker Shores is Strand Of Oaks most recent release and one that has been incredibly hushed up with little to no details being given on its content and nowhere to buy it yet online making it an elusive little record. Darker Shores in actual fact is an EP containing five original versions of tracks from Strand Of Oaks decisively more minimalist album Dark Shores. At the moment the EP is only available at live shows and I myself was lucky enough to snag myself a copy.
   Thanks to an insightful email sent out by a mysterious stranger a little more light has been shed on this intriguing release. The tracks here are actually the original versions of Mr Showalter's material written for Dark Shores that were produced by the same producer he worked on for Pope Killdragon Ben Vehorn. The end result is a more fleshed out synth sound similar to tracks on his Pope Killdragon record with some tracks being greatly expanded. These tracks are by no means worthless scraps as the different style breathes new life into the songs. The reason these versions didn't make it to the final cut is down to Strand Of Oaks being approached by John Vanderslice a musician in his own right and a producer who has worked with bands such as Spoon and The Mountain Goats. Dark Shores was re-recorded and those new recordings were the ones chosen for the final album.
   The tracklisting is as follows:

1. Dark Shores                                      5:58
2. Satellite Moon                                  2:25
3. Last Grain                                         3:25
4. Little Wishes                                     4:34
5. Hard To Be Young                            4:52

 Strand Of Oaks Live @ St. Pancras Old Church 22/2/2013

Every once in a while life will throw a pivotal moment at you, a moment that is scorched into the very fibres of your memory, a moment that encapsulates your thoughts and feelings about life. In my relatively short life I have had a few of these moments. Me being music mad it is no suprise that several of these moments have been at gigs or have had some relation to music. Often all it takes is the opening chords of a track to transport me back to a particular mindset or memory it's all rather amazing. One such moment came about just last week at St. Pancras Old Church.

   After spending the best part of sixth months engaged in an epic Strand Of Oaks binge, jumping from album to album for weeks on end, I saw an advert for a UK headline gig. In a flood of excitement I bought the tickets before realising that I'd double booked myself having bought Bloc Party tickets several months previously. Needless to say I was devastated. As much as I wanted to see Bloc Party after being impressed by last years album "Four" I had no idea when another chance to see Strand Of Oaks would arrive. My disappointment was amplified further upon the realisation that the show was set to take place at St. Pancras Old Church, an ancient site of christian worship believed to date back to 314 A.D. Still with a lot of apologising and pleading I managed to shift my Bloc Party ticket and managed to make it to one of the most obscure gig venues I've ever seen.

   The church itself was beautifully ornate, the stage lit merely by candles and a few lamps, the acoustics inside the old stone hall were sumptuously rich. Getting there early, as I always do in hope of getting a good spot, I managed to secure myself a seat in the front row of the old wooden chairs that were laid out. The atmosphere was reverential and electric with a real sense that something magical was about to unfurl. The night kicked off with charismatic singer songwriter Antonio Lulic playing a range of original tracks on a range of different acoustic guitars accompanied by his friend playing double bass. Lulic's set was punctuated with some interesting background to the personal subject matter behind each song and the odd self effacing joke which the chilly crowd seemed to enjoy warming to him and his music as the stragglers began to arrive.

   Soon after Lulic's set was over the tension in the room was palpable. With the magic still present in the air Timothy Showalter and Chris Ward took to the stage. As far as the setlist went the show they put on was filled to the brim with variety and suprise with tracks spanning all three records being played. As far as live performance goes this tracks werent merely recited clinically more reinvented with entirely new dynamics relying heavily on distortion rather than a range of guitars. The effects were stunning and unlike anything I've ever witnessed. Fan favourites like "Sterling" and "Daniel's Blues" recieved a riotous reception which seemed to physically stun Showalter and Ward, whilst even older material from the debut album like "Sister Evangeline" and "Two Kids" were even more warmly recieved. Those who had turned up seemed really passionate about the music they were hearing and the amazing setting gave the whole nights proceedings an extra sheen of importance. The set was ended on "Bonfire" a stalwart track from Pope Killdragon that Timothy dedicated to his loving wife and the night came to a close as the belltower eerily struck 10pm. After rapturous applause and cheers from those in attendance Timothy came back onto the stage to thank the crowd with a rare encore solo performance of  "Last To Swim".
    After the gig the pair stood out in the lobby to meet and greet the fans who were in attendance, chat and sell merch. Upon meeting them like most bands who I am lucky enough to meet I was amazed by how humbled and kind they were. It was a fantastic night and not one I will forget in a hurry.

  

Melvins(Lite) - Freak Puke

Melvins(Lite) - Freak Puke
Genre: Metal/Alternative
Rating: 5/10

The Melvins were spawned way back 1983. Since then the band have never ceased working hard, putting out albums and constantly touring. In their long career they have been championed by hundreds of more commercially successful bands as a huge influence and some have even claimed they are partly responsible for the creation of "Grunge" and "Sludge". In more recent years after firing yet another bassist the Melvins amalgamated with two man metal powerhouse Big Business taking on Jared Warren on bass and Coady Willis as 2nd drummer. This partnership saw the Melvins release some of their most celebrated works to date, however with Big Business still remaining an active independent project it was only a matter of time before a scheduling clash. Melvins(Lite) then is the combination of King Buzzo, Dale Crover and Trevor Dunn on bass.

The first thing that long term Melvins fans will realise when they listen to Freak Puke is the use of stand up bass in place of electric bass guitar. As a result of this the whole album has more of a soft sound than usually employed with Crover's usual frantic mindmelting drums taking on a much more conservative style. Similarly King Buzzo's guitar work is more ambient and toned down throughout the record to give the bass a helping hand to stand out in the mix. The end result is a very quiet but tightly calculated album with a lot of imagination something that can only really be compared to the bands work on previous experimental album The Bootlicker. Whilst this release definitely shows the band are still capable of fresh ideas you can't help but feel that something is missing somehow. Whilst the guitar work is still solid throughout the album it feels so restrained at points it can become quite frustrating and you're left wondering why they had to trade off big vicious riffs for a quirkier bass sound. It's not all bad though and there are still a handful of listenable tracks like the subdued  "A Growing Disgust" which see's the Melvins on perfect form with slow reverby guitars and interesting drums. Other highlights include "Leon Versus The Revolution" which see's King Buzzo's mean riffs and sneering vocals drowning out the silly standing bass noodlings which mar the record somewhat. Whilst Freak Puke is not the Melvins worst album it is definitely a step back from the quality of their work in recent years.

Overall Freak Puke is a fairly mediocre album from a band capable of better. Whilst there are a handful of nice tracks the majority of the record is dogged by the need to allow the bass to stand out. Definitely a record you should try before you spend your hard earned cash on it.

Download: "A Growing Disgust" "Leon Versus The Revolution"

Undersmile - Narwhal

Undersmile - Narwhal
Genre: Metal/Sludge
Rating: 9/10

Sludge has had quite a prolific revival over the past few years slowly expanding and overtaking Post-Metal as the latest big trend in the alternative metal scene. Unfortunately as soon as a sound becomes lucrative there is always throngs of copycats who do nothing but ride on the coat tails of other more successful artists. Thankfully that cannot be said of Oxford quartet Undersmile who have been slowly creating waves and solidifying a stellar reputation on the underground metal circuit. Narwhal is the bands highly anticipated debut LP and was released earlier this year on Future Noise Recordings. Running in at just shy of the 80 minute mark Narwhal is a huge album soaked in dread.

The bands sound whilst very characteristic of the genre retains a unique identity thanks to the singing talents of their two female vocalists and guitarists, Hel Sterne and Taz Corona-Brown. Whilst many of the bands peers seem to rely solely on guttural roars Undersmile temper this with haunting almost choral dual melodies that help create the albums dark atmosphere. The rhythm section is a fairly standard sludge affair, fuzzy and sinister bass grooves unfurl at a snails pace whilst crashing cymbals keep time like some ungodly metronome. The riffs on display are slow, crushing behemoths of distortion that only relent occasionally, giving way to sparse and airy melodic interludes, before throwing you headfirst back into the firing line. Whilst this is undoubtedly not an album for the faint hearted somehow in spite of its fearsome dark atmosphere and its exceptionally long tracks it is quite an easy album to be hypnotized by. Highlights include the 16 minute masterpiece "Myra" which showcases all of Undersmile's strengths, slow burning vitriolic guitar, shifting time signatures and a combination of melodic vocals and blood curdling roars. "Berk" is another stand out track with its minimalistic beginning slowly building pace to a harrowing conclusion. The only downside to the whole album is that it is very much something that needs to be enjoyed as a whole rather than something you can just drop into. This isn't really a criticism though as it speaks to the strength of the atmosphere of all encompassing doom that they have strived to create.

Overall Narwhal is one of the most powerful and accomplished debuts I've heard in a long time. I would highly recommend it to anyone into Sludge, Metal or Doom. Highly recommended.

Download: "Myra" "Lockjaw"

Open for business

After a mammoth hiatus which has seen me completely stop writing blogs for nearly a year I've decided to pick up and carry on.

If any bands out there would like me to review any material they are releasing just email me a link and I'll get on it.

Peace

Closing up shop

Over the past year I have been intermittently blogging about recent musical purchases at a rate of knots that makes my submissions for 2010 look pitiful by comparison. I've even had quite a short spell of luck and recognition with bands sharing my reviews and record labels even sending me new material to listen to and review. This post may seem like bragging but really it's all about saying thanks to the artist's and record labels that have helped support this pipe dream hobby of mine.

Due to recent personal developments I will be leaving the blogosphere for an undetermined amount of time. So this is really in part a farewell blog.

In closing I'd like to say thanks to everyone who's reading this message, my four subscribers and the following record labels and bands:

Blindsight Records

Fluttery Records

Karate Body Records

BigRedSky Records

Caretaker

Baddies

Kings Daughters & Sons

End Of Level Boss

Matt Stevens

Catscans

Antlered Man

Thanks to everyone who's endured my endless prattlings and poor grammar and punctuation. I'll be back when I'm in better spirits.

Caretaker - Providence

Caretaker - Providence
Genre: Metal/Progressive
Rating: 10/10

2011 has been an absolutely sterling year for music. Whilst you could be forgiven for thinking that the best albums of the year have already been and gone Caretaker couldn't help but muddy the water and make choosing your own personal favourite that much harder by releasing Providence. Caretaker already burst back into life when they released their split EP with Undersmile earlier this year which in itself was a triumphant return but not content with leaving it there the Oxford trio have set about a limited pre release of Providence, the bands first LP since 2001's self titled mini album debut.

Over this long period of time Caretaker have overhauled their sound so much their current slick post-metal style bares only the slightest resemblance to their previous material. Whilst this may alarm the bands oldest of fans it really is not to the bands detriment that they've made such big changes. The current sound is a vibrant mix of serene reverb drenched soundscapes and more crushing angular riffs with angsty blood curdling screams layered on top for good measure with the occasional melodic respite thrown in here and there. The most obvious point of comparison is probably with Post-Metal's founding fathers ISIS and Neurosis but the music here is still wholly original and avoids being derivative. The real strengthof the record is the balancing act of these two opposite ends of the spectrum. The soft bits are beautifully sparse and airy but the low down dirge of the underpinned bass and primordial oozing riffs are never far away which gives the echoey segments a feel of foreboding doom making Providence the bands darkest offering to date by miles. The real strength is that whilst each segment of the song may not be overly complicated the elements are tempered together with such clarity the results are utterly evocative . The whole affair is rather hypnotic and grabs you from the very beginning only allowing you to get comfortable just long enough to rip away the false sense of security they've gifted to you. Highlights come thick and fast throughout and include "What We Have We Hold" which constantly shifts between sparse instrumental passages and harsh riffs as it slowly builds levelling your ears as it comes full circle. Other highlights like "Martinet", with its chugging sludgey riffs which stop only to creep back in slower and more jarring than before, and the hauntingly sparse title track "Providence" just add to the seemingly infinite charm of the record. The only downside to Providence is that it took 10 years to see the light of day and whilst definitely worth the wait it doesn't feel like it lasts quite long enough. That being said it's always better to end too soon than to last too long, at least where music is concerned.

Overall Providence is nothing short of a glorious rebirth for Caretaker showcasing a great amount of skill and vision. Not only is the music interesting and engaging but it is brilliantly original. A late entry for album of the year and an album I would highly recommend.

Download: "What We Have We Hold" "Martinet"

Sleepstream - A Waltz With The Seventh Crane

Sleepstream - A Waltz With The Seventh Crane
Genre: Post Rock/Progressive Rock
Rating: 7.5/10

Sleepstream are a quintet from Greece who formed back in 2008. After several different complications and line up changes the band have finally pulled together and released their debut LP this year on Fluttery records, a label that predominantly focuses on ambient/experimental/post rock artists. Whilst post rock is a fairly saturated scene that seems to continually be expanding with new acts springing up from all over the world Sleepstream are actually quite unique. The main aspect of their sound that seperates these greeks from the herd of faceless nameless clones is their uncanny ability to mix the ambient serene aspects of post rock with more hard hitting prog rock.

Whilst many post rock bands continually strive to create grand epics worthy of Sigur Ros Sleepstream steer themselves away from the constant overuse of reverb and tremolo picking that has become common place. Whilst these factors are still undeniably within their music the band seem less inclined to focus on pure ambience and sometimes classical chugging rock guitars intersperse themselves in amongst the airy melodies. Whilst this seems like such a simple thing to do it really works well here with giving most of the album a sombre yet occasionally visceral tone similar to Swedish gothic metal masters Katatonia. The imagery is bleak and the two tracks with singing are fairly gloomy affairs and throughout the record extra depth is added with dramatic flourishes of violins. The standard practices of post rock at times seem a million miles away and whilst the record could do with more singing in my opinion the instrumentals normally have enough punch and personality to avoid falling on deaf ears. The mixture of soft melodic passages and more frenetic riffing makes the album have a more directed feel rather than just a mix of random melodies and the overall flow is very pleasing. Highlights include the powerful "The Spirit" and title track "A Waltz With The Seventh Crane" both of which ebb and flow building to some powerful guitarwork and simple yet sombre violins that really tugs at the heartstrings. The only downside to the whole album is the lack of vocals which only make a brief appearance on a couple of tracks which could serve to give the band a slightly more unique sound and identity.

Overall A Waltz With The Seventh Crane is a powerful debut effort. Whilst it may not be a perfect record and may sometimes feel a little ambiguous it still an interesting listen for the most part and definitely worth giving a spin or two. Recommended.

Download: "A Waltz With The Seventh Crane" "The Spirit"

Olafur Arnalds - Living Room Songs

Olafur Arnalds - Living Room Songs
Genre: Neo-Classical/Alternative
Rating: 6.5/10

Olafur Arnalds is a neo-classical composer who first came to my attention back in 2007 with his glorious debut album Eulogy For Evolution. Since then he has been championed by critics across the globe for his beautiful contemporary compositions that fuse classical orchestration with more contemporary influences. Living Room Songs is his latest release a collection of minimalist arrangements recorded at home and rather than an exuberant follow up studio album to 2010's ...And They Have Escaped The Weight Of Darkness Arnalds is seen treading the same simplistic path of 2009's Found Songs, a compilation of songs recorded in just a week.

Since the beginning of his career as a classical composer Arnalds has seen his fair share of critical accolades. Signed to the well established indie label Erased Tapes over time his experimental pallet has done nothing but widen with each release helping to further his success. Whilst many of the key elements of his music remain the same from record to record each album so far is mixed with its own contemporary musical counterpart which gives most of his back catalogue each have an individual feel. His average composition consists heavily of string sections that fade in an out using plentiful rests and plaintiff melancholy piano's and keys. The real creative flair in his sound comes from his intermittent inclusion of samples and standard drum kits where Arnalds welds together classical and contemporary to make beautifully cinematic movements. The contemporary element Arnalds experiments with in Living Room Songs is as the title would suggest ambient background noise. Throughout the album Arnalds classical sensibilites are expressed in a more lo-fi raw form with added creaks from floor boards and scratchier and less precise strings and clumsier keys. The whole album has the feel of being recorded in isolation the creaking floor boards and crackly imperfections adding an extra dimension to sombre compositions. Highlights include the eerie "Near Light" where slow building crackles eventually turn into skittering programmed drums as well as "Ágúst" which is trademark Arnalds with its beautiful melody. The main downside to the recording as it feels rather restrained whilst it is more of a compilation than a full studio album too many of the sampled sound effects repeat themselves and it lacks the air of adventure of his earlier work. Whilst his trademark sound is something he has truly mastered with such a large output it can't be helped feeling that he may have started to repeat himself.

Overall Living Room Songs is an adequate release from a very talented composer. Whilst the critics are sure to sing its praises the fact of the matter is Arnalds has produced much better albums in his time and comparitively this latest addition struggles to stand up against comparisons with his earlier more varied work. The album is not terrible just a tad disappointing.

Download: "Near Light" "Ágúst"

Abandon - Monsters

Abandon - Monsters
Genre: Post-Rock/Shoegaze
Rating: 7.5/10

December is usually a month that sees a real wind down for the music industry as the charts are inevitably flooded with the same christmas tunes as all the easy listening balladeers release christmas albums. A dire state of affairs indeed. However december is not totally bereft of good music at least not this year as Abandon's latest release from underground rock label Blindsight Records proves. Blindsight Records are a relatively small UK record label that boast an impressive roster of underground talent and were responsible for releasing the triumphant Caretaker/Undersmile split earlier this year, which some of you may remember I gave a full ten out of ten. Abandon is one of the many monikers taken by label founder Umair Chaudhry and fits in suitably with the record label's overall dark aesthetic.

Abandon fall under the vaguest of genre pigeon hole of shoegaze, a term that can be applied to bands like Jesus And Mary Chain all the way to Jesu, a broad spectrum indeed. So what does this mean of the band itself? Well what you actually get with Abandon is a million miles from the more lacklustre blurry noise that can be associated with bands under the shoegaze tag and instead you get more focused, dark and brooding material. Throughout the EP Umair paints various doom laden shades and the whole record slowly builds a sort of horrific tension in slow motion as though leading towards a truly evil crescendo that never actually arrives. The whole experience is unsettling, haunting and desolate whilst all the while retaining a hypnotic trance like pace. The lyrics are fittingly bleak and a murmured over the intricate eerie melodies and only add to the creeping menace of the record. The EP itself is very long with many of the tracks scraping the over eight minute mark but the majority of the material is devoted to remixes. Whilst generally remixes are a difficult to get right the majority of the remixes here fit the purpose and seem to have exercised restraint only adding faint crackles and skittering drums looping over the faint distorted guitars in some cases even improving on the originals. The music itself could be compared in style at least to the more melodic haunting work of Jesu or the utterly brilliant enigmatic cult outfit Have A Nice Life who are unparelleled in their field. Highlights include title track and opener "Monsters" with its looming dark majesty and the beautifully affecting and hypnotizing "Faith We Once Held (Fragment Remix)" which is over 9 minutes of nightmarish sound with crushingly powerful lyrics that feel as though they are being whispered in your ear. The only downside to the whole EP as a whole would be the repetition factor. Whilst the remixes are quite masterfully done with a softness of touch that fits the overall tone of the record at the end of the day you get the same melodies and lyrics slightly too often. That said most of the reinterpretations are still very pleasing and the whole EP proves to be an utterly intriguing affair.

Overall Monsters is Abandon's most well developed release to date. The music is dark gloomy and powerful and aside from a few too many repetitions of some of the songs Mosters is a very impressive release. Whether this sort of music will achieve a wide scope of interest is debatable with its downbeat slow bereaving songs I can't help but feel it would be lost on many but if you're into the darker side of rock you'll definitely find something to love here. Abandon are definitely one to watch in the future. Recommended.

Download: "Monsters" "Faith We Once Held (Fragment Remix)"