Cult Cinema have returned with a new focus and the first part in a high concept series of EPs that focus on the loneliness of outer space. Cosmic Horror I is the band’s first EP in over five years and also marks the debut of a brand new line-up that brings some interesting changes to the band’s sound.
While the band’s debut EP Iscariot certainly had some very interesting things going on, it was a little more straightforward in its song structures. That record was heavily entrenched in a darker and more brooding hardcore sound and while that certainly returns on Cosmic Horror I, there’s just a more consistent approach to delivering those ideas in a more effective and cohesive way.
Opener Glass Coffin lurches in with a moody yet glittery shower of guitar that hides the onslaught that’s about to ensue. By far the most hardcore-sounding track on the EP, Glass Coffin is a fast-paced assault that lends its sound more heavily to post hardcore and screamo. This means we get a more varied and textured showing from Cult Cinema that sees them experimenting with progressive song structures, guitar leads and blast beats to great effect. It’s very much akin to the sort of noise bands like Svalbard and Terrible Love are making and it’s a great and natural direction for Cult Cinema to follow.
Closing track Distress Signal takes Cult Cinema’s new found love of varied texture and applies it to a slower and more drawn-out song that brings in a lot of atmosphere to the band’s sound. Distress Signal does an amazing job of sounding like a harrowing and forlorn tale of abandonment complete with an absolutely terrifying and stricken vocal performance.
The only real problem with Cosmic Horror I is that it’s all over far too quickly. Both tracks are such a sumptuous and enticing appetiser that it feels too abrupt when it comes to a close after only two songs. It’s certainly got me excited to hear more from the new and reformed Cult Cinema, but in hindsight it might have been nice if the band just held on a little bit longer and put something together that had a little more to offer.
Regardless, this is a minor quibble with an otherwise fantastic return from one of the UK underground’s best acts. Cosmic Horror I is a bold step forward for Cult Cinema that showcases a sound with an increased scope that has me begging for more. I’m lucky that the band is heading into the studio to record the follow-up next month then, eh?
8/10
Cult Cinema’s Cosmic Horror I is out now and available to buy direct from the band’s Bandcamp page.
“Regardless, Let’s Talk Daggers have made one of the most electric rock albums of the year. If you can appreciate guitar music that doesn’t sacrifice technicality for song-writing then Let’s Talk Daggers have delivered a record that does just that and even more. A Beautiful Life is an absolute tidal wave of riffs, tempo changes and yelping and despite the madness of its contents, Let’s Talk Daggers have brought it all together into one cohesive yet exhausting piece.”
“Terminal is the natural continuation from Limb’s self-titled debut and it’s an infinitely more enjoyable and masterfully crafted slab of hard rock. The band haven’t rested on their laurels and continue to get better on every record they release. The pressure is certainly on for the next release, lads!”
London doom behemoth Torpor wiped the floor with the rest of the doom offerings this year. The long-form nature of Torpor’s songs is beautifully tempered by the bands wonderful song-writing which ebbs and flows in a wonderfully natural way that means that 11 minute monsters like From This Time never outstay their welcome. Every riff on From Nothing Comes Everything is a crushing beast of a thing that demands some serious head-banging. This record is a real masterclass of doom song-writing.
Full review coming soon.
7) Svalbard – One Day All This Will End
“By the end of the closing moments of Lily, Svalbard have taken you on a post hardcore journey like no other. One Day All This Will End is one of the best punk releases birthed in the UK and Svalbard have mastered an amazingly eclectic sound that’s equal parts angry, beautiful and forlorn. One Day All This Will End is essential listening to fans of post hardcore and a welcoming introduction to anyone looking to explore the more progressive side of hardcore.”
“It’s impossible to justify any criticism towards this record. Employed to Serve have absolutely mastered their craft and if dense, bastard-heavy hardcore is your thing than Greyer than You Remember is filled wall-to-wall with some of the genre’s finest moments. The album barely gives you a moment to breath in favour of demanding you mosh harder and it’s almost euphoric in its density.”
“xRepentancex have delivered a debut album that’s so furious it feels like it could tear apart at the seams. The Sickness of Eden is a hardcore record every fan of the genre should own and it’s almost beautiful in its sheer relentlessness. God knows how you follow an album this consistent. Good luck guys.”
“Press to Meco have delivered an album that showcases exactly what the trio are capable of. It’s a glorious, exciting monster of a record that is stuffed with technical wizardry and choruses so big that they deserve to be blasted across festival audiences all summer long.”
Old Skin’s debut album was the most bittersweet release of the year because while it is one of the best metallic hardcore albums this country has ever produced, its release also marked the demise of the band. Given away as a pay-what-you-want download to mark the final chapter of Old Skin’s career, this is an apocalyptic hardcore onslaught that never lets up. Old Skin might be gone but they’ve left behind one of the most disgustingly heavy records this country has ever produced and it deserves to be heard by everyone.
Full review coming soon.
2) Oblivionized – Life is a Struggle, Give Up
“Life is a Struggle, Give Up is Oblivionized firing on all cylinders. This is an unforgiving attack of tech-metal, grind and deathcore that is sculpted with finite detail and it’s not afraid to hit you over the head with a monolithic riff for good measure. This might be an exhausting ordeal on your first listen, but give it the time it deserves and it will slowly unveil a metal record for the ages.”
“Setter of Unseen Snares is an album of unbridled fury, bleak atmosphere and eventually, shimmering post metal beauty. This is one of the most diverse and brilliantly executed black metal albums I’ve ever had the pleasure of listening to and it deserves to be heard by more than just fans of the genre.”
Faith Healing ends with a monologue about the futility of worshipping a God who hasn’t done anything to prove that he actually, “loves you”. It’s a stark, bleak ending to an EP loaded with some of the most unforgiving hardcore the UK has to offer and a timely reminder that we need bands like Geist to provide a visceral release from the shitstorm that is real life.
“Boxkite have burst out the gates with a hardcore debut that doesn’t mess about. This is 6 tracks of solid, bouncy yet strangely forlorn punk that leaves a serious mark. Anyone looking for the next great UK hardcore band might want to seriously consider grabbing Boxkite’s debut EP while it’s hot; you won’t regret it.”
“Eulogy have hit their stride on Eternal Worth. This is a record that doesn’t mess about and gets straight to the point. This is a laser-focussed metallic hardcore assault that is big on groove and if the name change wasn’t a big enough indicator, it marks an important step up for Eulogy as a band.”
“Simmer’s Yellow Streak is a rare gem of a record. The EP is full of soaring melodies and satisfying riffs that are punctuated with a beautifully reflective vocal performance. Even though this is only the band’s second EP, it feels like they’ve already mastered their craft and Yellow Streak might be a defining moment in their career.”
“Earth Hog is an easy recommendation to make. If you’ve ever enjoyed a riff that might result in whiplash then Chubby have delivered an absolute haven of guitar wizardry. Earth Hog is loaded with some of the best grooves stoner rock has to offer and it’s one of the most satisfying debuts of any band.”
“I, The Lion’s Run is a wonderful celebration of riff rock. It’s a gargantuan-sounding EP loaded with some of alt-rock’s most thunderous melodies and it constantly evolves and welcomes new ideas into it’s already accomplished sound. A lacklustre opening hides one of rock’s most enjoyable EPs and I, The Lion need to be a band you start paying immediate attention to.”
“Iced Out have finally found their comfort zone. Man’s Ruin is an enormous, towering beast of an EP that sees the band embrace slower tempos and tunings so low you might soil yourself. Now it’s time for Iced Out to take their sludgecore leanings and finally deliver the sort of devastating album that Man’s Ruin is threatening to. Good luck, boys; we’re looking forward to it.”
“Maths’ The Fires Courting the Sea is a phenomenal melodic punk record which manages to cram some of the most beautiful yet utterly pissed off music it can into its 10 minutes. Maths are still one of the UK underground’s most treasured acts and it would be sacrilege for any punk fan to skip on this record. You know what to do.”
“Opacities is a fantastic comeback by one of the most dearly missed UK metal acts. SikTh are just as exciting and vital as they’ve ever been and despite the 9 year gap between Opacities and Death of a Dead Day, it genuinely feels like the band have never been away. Opacities has a wonderfully natural progression to it and it sounds exactly like the follow-up to Death of a Dead Day that we all dreamed of. It feels wonderful to finally say this but welcome back SikTh. We’ve really missed you.”
“TEEF have put together one of punk’s brightest moments. Admit Defeat is a non-stop powerhouse of grotty violence that’s amazingly memorable despite its aggression. No band in the UK has managed to meld fury with song-writing this catchy nearly as well as TEEF have managed to here and it’s a massive shame that the band won’t be making anymore music. Admit Defeat might be the last TEEF record but as swan-songs go, this couldn’t be any better.”
It’s been 4 years since Maths last graced us with new music back with 2011’s Ascent EP. The post hardcore/screamo noiseniks took an extended break from music to catch up with personal matters but the three-piece are back with The Fires Courting the Sea, a 6 track mini-album that essentially carries on directly where the band left off.
Maths are still a delightfully weird prospect. The band mix angular guitar riffs with moments of melodious beauty that manage to ebb and flow in a bizarrely natural way. While we use labels like post hardcore and screamo to help define the band, there’s a youthful punk energy running through this record and most songs barely scrape the 2 minute mark.
But what really sets the band apart are those wonderful moments of introspective melody like the introduction to The Water is the Colour of the Sky which creates wonderful imagery of British coastline and fleeting romances, much like the record’s artwork. Despite the bands insistence of screaming everything they have to say with all the strength they can muster, there’s real beauty in Maths’ blend of melodic punk rock and that still helps them stand out from the crowd even to this day.
Speaking of screaming, the performances on this record sound like they physically hurt. The blistering pace of the guitar work sounds like fingertips are being shredded. The drumming is equally exhausting to listen to as the drum fills are utterly relentless in their speed. You’d shift some serious weight if you could learn and perform these songs. Yet somehow Maths manage to put forward a record that’s enormous in scope and it moves in such a satisfying way that when it rolls to a close it genuinely feels like you’ve taken an intense, snap-shot tour of the highs and lows of someone’s life.
Maths’ The Fires Courting the Sea is a phenomenal melodic punk record which manages to cram some of the most beautiful yet utterly pissed off music it can into its 10 minutes. Maths are still one of the UK underground’s most treasured acts and it would be sacrilege for any punk fan to skip on this record. You know what to do.
9/10
Maths’ The Fires Courting the Sea is out now through Tangled Talk Records. Order a copy on vinyl by clicking here.
“Trudger’s Dormiveglia is a thick, multi-layered experience that gets better every time you listen to it. The band has grown tremendously since their debut EP and the song writing on Dormiveglia is absolutely top tier. This might be a challenging listen for heavy music fans and the band’s raucous fusion of sludge, doom, death and black metal might make for a bleak experience, but it’s one of the best bleak experiences you’re going to have for a while. Buy this record, light some candles and get moody.”
“Goodtime Boys have really hit their stride on Rain and it’s an album every post hardcore fan should consider owning. The music is still aggressive but it now flourishes into gorgeous melodies drenched in haunting atmosphere. 2014 has been a stunning year for post hardcore records with Vales delivering an equally excellent album and it’s about time we recognise Goodtime Boys in a similar light. Rain is an astonishing debut album that deserves your attention.”
“All the Best Tapes have put together an extremely diverse and challenging record that cleverly drenches all the music’s elements in a huge helping of melody. Albums like this are proper once-in-a-lifetime experiences and nothing can prepare you for how utterly bonkers it all sounds while still sounding like a cohesive record. Well done All the Best Tapes and thanks for being so mind-bogglingly weird.”
“Corrupt Moral Altar have delivered one of the most amazing debut albums any metal band could hope to make. Mechanical Tides is a raucous, nasty bastard of a record that manages to take influences from as many areas of the metal spectrum it can and it fuses them into the band’s already brilliant sound with ease. It’s not often we get to experience an album that’s so magnificently loud yet diverse at the same time and Corrupt Moral Altar have made us wish this experience occurred more often.”
“Regardless, this is an explosive debut by one of the weirdest bands in heavy music right now. Mongol Horde’s self-titled debut album is equal parts punk and groove and it’s presented as a series of surrealist stories told by Turner that give the band an identity of their own. Welcome back Frank; we’ve missed your unhinged side.”
5) Bad For Lazarus – Life’s a Carnival, Bang! Bang! Bang!
What we said:
“Regardless, this is a minor complaint on a near flawless album. Bad for Lazarus’ debut album may have been a long time coming but the five years the band have spent writing, recording and touring has changed them into a well-oiled yet raucous, blues rock machine. Life’s a Carnival, Bang! Bang! Bang! is loaded with infectious songs and there isn’t a minute of it that’s not worthy of your attention. Buy this album and tell your friends; Bad For Lazarus are coming to town.”
“This is an easy recommendation to make; you need Alpha Male Tea Party’s Droids in your life. This a wonderfully unique and riff-laden record that is loaded with catchy melodies. Despite the progressive nature of the band’s music, they manage to make it incredibly palatable and Droids is a considerable more enjoyable experience for it.”
“Sunwølf’s Beholden to Nothing and No One is a gargantuan epic that traverses many genres but always feels focussed. A double album clocking in at an hour and 23 minutes might strike you as an impenetrable time investment but Beholden… never outstays its welcome. There’s a reason why this album is so long and it’s because it’s stuffed to the brim with interesting, thought-provoking music that’s always changing and always engaging. Sunwølf have written their masterpiece and it’s one of the most essential listening experiences of the year.”
“Grand Collapse have put together a début album that I simply cannot listen to without the words ‘FUTURE CLASSIC’ coming into view. Far From The Callous Crowd is a no-nonsense shot of adrenaline and there isn’t a single moment that doesn’t sound like a cacophony of punk’s best riffs. I want more and I need it now.”
“Marmozets have made an album that I would regard a classic had it been released in my youth. The fact that it’s being released now hopefully means that a whole new generation of kids will be introduced to post hardcore through what I regard an essential purchase for any fan of the genre. The Weird and Wonderful Marmozets is one of the best rock albums this year and if you’ve ever enjoyed a catchy rock number then you’ve just found your new favourite band.”
A late release from Headless Guru Records, this split does not mess about. UK punk-thrashers TEEF have joined forces with American dark hardcore act Minors to deliver a 3 minute burst of pure aggression. TEEF are the sort of band that will have old school punks pogo-ing until their knees shatter and Minors conjure up memories of bands like Lavotchkin and End Reign which is nothing but a good thing. It might be short but it’s perfectly formed.
4) War Wolf/Crossburner
What we said:
“War Wolf and Crossburner have delivered an EP that will satisfy hardcore fans the world over. This is a seriously strong collection of tunes that deserve your attention despite some small grievances with over-familiarity in War Wolf’s case and not enough time being spent driving home the strong melodies in Crossburner’s arsenal. If you’re a fan of the genre you’re still in for an absolute treat.”
“Rolo Tomassi might be losing their more unpredictable and progressive elements, but songs like Adrasteia prove the band are still an engaging mathcore band even when they’re playing things a little more straight forward.
Stockades offer up a lovely little progressive screamo anthem and it beautifully flows through its various riffs and melodies with ease. It’s still early days for these boys but it would appear they’ve already nailed and extremely accomplished sound that I’ll be paying some serious attention to from here on.”
“Oblivionized and Razoreater are champions of the UK underground music scene and this recording showcases exactly what’s so great about going to a dirty club show and getting your mosh on. This release is also accompanied by a live video recording of both band’s sets which is essential viewing if you’ve ever cared about the long lost art of the concert film.”
“Regardless of the fact that the amalgamation comes off more as Pariso instead of Pariso and Svalbard, this collaborative album is an incredibly special release from two very unique bands. Pariso’s heavier yet more metal-laden beginning leads into a more positive and melodic second half courtesy of Svalbard that actually feels like the album takes you on a journey through the dark and into the light. This split actually tries to break down the boundaries of the split record concept by showcasing two bands that are very much on the same page regardless of their differences in sound. This could have been a Loutallica but thankfully it’s a wholesome and focussed release that any fan of heavy music should be listening to.”
We’re bending the rules a bit by reviewing a split record featuring Australian screamo band Stockades, but this split also features Sheffield mathcore luminaries Rolo Tomassi and it was released via UK label Tangled Talk Records so shut up; it totally counts.
ROLO TOMASSI
Rolo Tomassi went through a slight stylistic shift on their last album Astraea which can only be down to the change of guitarist and bassist. When Joe Nicholson and Joseph Thorpe left the band, the band also lost their jazzier elements and the multiple changes in time signature weren’t nearly as prevalent on Astraea.
This hasn’t changed on Rolo Tomassi’s Adrasteia. New guitarist Chris Cayford and bassist Nathan Fairweather still favour a more metallic mathcore sound akin to that of The Dillinger Escape Plan and the addition of new drummer Tom Pitts also leads to a more frantic and double-bass-heavy performance.
The big change is that Adrasteia features a considerably larger amount of memorable riffs and melodies which was something that was lacking on Astraea. This is a precision attack on the aural sense and despite the technicality there is an obvious improvement in song-writing.
There’s also brilliant use of the quiet/loud dynamic. The song begins with a technically proficient mathcore opening before the song takes a breather in its middle eight to lure you into a gentle yet eerie keyboard-lead section. The song is then bookended by an almighty beast of a riff that is bound to ignite some serious mosh pits.
Rolo Tomassi might be losing their more unpredictable and progressive elements, but songs like Adrasteia prove the band are still an engaging mathcore band even when they’re playing things a little more straight forward. Adrasteia is also notable for being one of the heaviest songs the band has produced so far and that’s fine by me.
8/10
STOCKADES
Melbourne’s Stockades offer a very different listening experience. The band are just as much of a fan of the quiet/loud dynamic as Rolo Tomassi but their brighter, jangly guitar tone is more reminiscent of bands like Maths.
The more delicate opening of Unfix leads the listener into a false sense of security before the song speeds up for a blistering screamo section. It’s a glorious cacophony of abrasive noise that leads to an early crescendo before the song dials it back for another shift in tone.
After an almost relaxing section of glittery guitar worship, it’s back to another mammoth chord-driven section that is bizarrely euphoric in its loudness. It’s moments like these that remind us of bands like Self Defence Family and Goodtime Boys which is no bad thing by any stretch of the imagination.
Stockades offer up a lovely little progressive screamo anthem and it beautifully flows through its various riffs and melodies with ease. It’s still early days for these boys but it would appear they’ve already nailed and extremely accomplished sound that I’ll be paying some serious attention to from here on.
9/10
Rolo Tomassi and Stockades’ split is available to purchase on 7″ vinyl from Tangled Talk Records now.
Weirdness! I like a touch of the odd when it comes to music because bands who are more willing to be a bit strange often stumble across the most interesting ideas and All the Best Tapes are no exception. It should be obvious that any band who names themselves after a David Firth quote are going be a bit on the weird side, but nothing can prepare you for the mathcore/screamo lunacy that is All the Best Tapes’ self-titled debut album.
Coming across like a punch-up between Battle for Paris and Press to Meco, All the Best Tapes’ music is loaded with melody and soaring vocals but the song structures are hugely technical and progressive. No riff is revisited and no tempo is left unconquered. This is extremely challenging stuff but thankfully it’s loaded with enough memorable moments to make it engaging.
It’s also worth mentioning the tone of the record; All the Best Tapes have a knack for writing rather positive and uplifting music despite their balls-out approach and one particularly morbid song title (I’ve Been Bored Since 9/11). The band also veers into pop punk territory on occasion and the opening of Life of Gold certainly fits this mould. Enough can’t be said about how wonderfully diverse this record is.
Diversity is definitely the name of the game when it comes to All the Best Tapes. Album opener I Want to Believe has a brilliant breakdown which slows shifts into slower tempos before ramping it up for one last hurrah before the song ends. I’ve Been Bored Since 9/11 begins with some lovely reverb-heavy yet jangly guitar before stepping it up a notch and Conservatoria in Threes is full of lovely little laser-like effects that continue to add to this quite mental, space-rock odyssey.
If it isn’t apparent yet, there’s an awful lot going on here but All the Best Tapes’ real mastery lies in how well they tie it all together. The band’s sound is always consistent and each song always showcases three distinct elements; delicate yet uplifting vocal melodies, jangly space-rock passages and thunderous yet mathy riffs. It might sound like complete chaos but you soon realise that there’s method to this madness.
All the Best Tapes have put together an extremely diverse and challenging record that cleverly drenches all the music’s elements in a huge helping of melody. Albums like this are proper once-in-a-lifetime experiences and nothing can prepare you for how utterly bonkers it all sounds while still sounding like a cohesive record. Well done All the Best Tapes and thanks for being so mind-bogglingly weird.
9/10
All the Best Tapes’ self-titled debut album is out now and available to buy through FXD Records.
Cytota
Cytota are a very young band with a big sound. The band instantly brought to mind metalcore luminaries like Asking Alexandria, Rise to Remain and Bury Tomorrow and put on a great performance that was incredibly accomplished considering their years.
Unfortunately I couldn’t escape the feeling that I’d seen this band before despite the fact I actually hadn’t. Cytota fall into the trap of being metalcore by numbers. The band have screaming, sung sections, double-bass drumming and breakdowns aplenty, but as we’ve said frequently on this website we’ve heard all of this before. Metalcore is a genre that has run out of steam and more needs to be done by bands like Cytota to add more interesting and unique elements to the existing formula.
But as I’ve already mentioned, these lads are only just beginning their career and there’s plenty of time for them to improve. A promising start.
Coldrain
Before we touch on Coldrain’s performance I need to address some concerns I had with this crowd in particular:
The Rising Sun flag is rather offensive to a large majority of Japanese people. Bringing one to a live concert featuring a Japanese band is an extremely bad judgement on your part.
If someone is in danger especially at a concert with a prominent mosh pit, don’t just stare at the individual. Alert venue staff as soon as possible.
If you’re going to drink, do it responsibly. Strangers don’t want to have to suddenly support you because you are now so drunk your legs can’t hold your own weight.
If you’re going to use your phone during a concert, doing so on the edge of a mosh pit is probably not the best idea. What did you think was going to happen?
If you want to mosh please consider that other people don’t want to mosh. Swinging your rucksack around your neck is not only inconsiderate to others but also incredibly dangerous to others in the mosh pit. You massive twat.
If it isn’t clear already, all these things happened during Coldrain’s performance at the Barfly and it greatly hampered my enjoyment of the evening. This is obviously not the band’s fault but come on people, this is simply out of hand.
Now, Coldrain; they were good. Despite this being the band’s first appearance on UK soil they commanded the audience in the Barfly like professionals. Vocalist Masato is a compelling individual who towered over the audience, singing and screaming his lungs out. Masato didn’t miss a note throughout the entire performance and his energy was extremely engaging.
Coldrain have a lot of great songs and tonight proved just how brilliant they are in a live environment. The set highlight had to be ‘Die Tomorrow’ which set the room on fire and sparked the biggest pit of the evening and rightly so. Coldrain deliver massive riffs and even bigger choruses by the bucket load and it was a joy to finally hear them live.
The band promised to come back for another run of dates in the future, but luckily they’ll be back this summer at the Download Festival. If anthemic metalcore/screamo is your cup of tea then you’ll definitely want to check the band out if you get a chance. Just be a little considerate to your fellow gig-goers in the future. You massive twat.
UK hardcore luminaries Polar are back with Inspire Create Destroy; another slab of bruising, metallic punk that is being bizarrely released through Bring Me The Horizon’s clothing line Drop Dead. The band make the sort of noisy screamo that bands like Your Demise and While She Sleeps have been so successful with and Inspire Create Destroy delivers 3 songs in this no nonsense style.
Polar do a wonderful job of sounding utterly vicious and perform with enough conviction to allow this EP to be enjoyable on delivery alone. Adam’s raspy vocals sound like he’s going to blow his vocal chords out at any moment (for better or for worse) and you cannot deny he’s a front-man that means every last word.
Vocally, the EP really excels with its’ final track Destroy which features the EP’s only “sung” sections. These moments give the song a huge hook to sink your teeth into and you can really hear the song being bellowed by a room full of fans.
Unfortunately, these moments are few and far between and the whole experience generally just feels like it’s going through the motions. Inspire Create Destory is an adequate and functional hardcore release that thankfully has a bit more than just screaming and bruising riffs to its’ name with some nice leads which add texture. However, the guitar work is sadly uninspiring and there isn’t enough melody to create a release that’s truly memorable.
Fans of the band will have little to complain about though. Inspire Create Destory is Polar doing what Polar do best and for £2 you can’t find many hardcore EPs that sound as vehement as this. But for everybody else, there isn’t much substance to this release and Polar will have a hard time winning over new fans with it. Inspire Create Destory is a passionate yet forgettable experience.
6/10
Polar’s Inspire Create Destory is available to download from Drop Dead now.
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