Review: Glass Cloud - Perfect War Forever

With so many Metalcore bands showing up, it is hard to tell who might just be the next hot thing within the scene. Glass Cloud may be just one of those bands you need to keep an eye on. After their debut release in 2012, the band return with a new E.P, entitled ‘Perfect War Forever’. This isn’t something extremely surprising but yet it is darn good to listen to.

Opening with ‘Trapped Like Rats’, you get the genuine aesthetic of the album. It starts off like a typical Metalcore song, with heavy, down-tuned chugs, heavy bass, well-structured drumming and some great (and unique) vocals. But as you get into the song more, you realise that this is slightly different. The band appear to be importing some truly unique styles of Metal to create one of the more unique and original Metalcore experiences in recent years. The next three songs follow the same kind of pattern with all three of them being truly something to bare witness to. After the three tracks, ‘I Dug A Grave’, ‘How To Survive Suicide’ and ‘Soul Is Dead’, you reach closing track ‘Lilac’. This is the same affair as the other tracks, fitting for the E.P, thus making it consistent in its content.

The weird style of Metalcore here is something to behold and lust at, being a unique experience for the listener. This is full of chugs, weird riffs, hard-hitting bass, precise drumming and unique vocalization. Mixed out well to create a well balanced E.P, ‘Perfect War Forever’ is something that grabs you and won’t allow to let go.Great track quality and wonderful mixing help further push the E.P’s overall effect forward, leaving the listener astonished, for all the best reasons.

So, how to end this review… well, this is Metalcore at its finest and most weirdest. It is a five track love affair that intrigues and compels you, making you feel many different things when listening. It is something great but is something you need to witness yourself in order to see if this is something you will enjoy. This is not your standard Metalcore stuff but it doesn’t mean it is something for everyone. Listen, evaluate and decide yourself. Personally, I think this is a solid and well thought out effort, even if it does seem rather simplistic to the average listener. Listen to it, even just to one track, and decide for yourself. You may not be disappointed.

8/10

- Asa

Review: Northlane - Singularity

Singularity will be released in North America on November 5^th. Produced and mixed by Will Putney (Lamb Of God, Suicide Silence, Fit For An Autopsy), Singularity has already won mass acclaim for its blend of post-hardcore and modern metal upon its Australian release earlier this year.

Australia, a country that have, in recent years, spewed forth some of the biggest hitters in modern Metal. Whether it be big acts such as Parkway Drive, heavy and destructive acts such as Thy Art Is Murder and Make Them Suffer or something devastating such as Destroyer 666, it is apparent that Metal is something that seems celebrated over there. So where does Metalcore Aussie act Northlane stand amongst such tantalizing bands? Apparently rather damn high up the ladder.

'Singularity' is the second album from a band that are easily becoming the next hot property in the Metalcore scene. Whereas Capture the Crown seemingly tried to recreate Asking Alexandria's first album, Northlane decided to take their own path. Mixing heavy chugs, well-balanced keyboard work with precise drumming and some of the most ground-breaking vocal work within the current scene, Northlane prove to us all that they are more than just another Metalcore band.

Starting off their Metalcore attack is the intro opener ‘Genesis’. People could draw similarites to Asking Alexandria intros but this is by far heavier and better than any Asking Alexandria intro to date. ‘Genesis’ moves into ‘Scarab’, a heavy yet wonderful track. Making good use of vocal versatility, heavy chugs, well placed synthesizers and well-executed drumming, it is something that sets the landmark of the albums genuine feel. It has everything you expect from modern Metalcore but with a little twist added into it in order to produce that extra kick you get when listening to this album.

The album moves through its several tracks, keeping its turbo-charged assault on the senses with songs that constantly change in their tone and approach, with hard-hitters ‘Worldeater’, single ‘Quantum Flux’, ‘Masquerade’, which features Stray From the Path frontman Drew York, and title-track ‘Singularity’ standing out. The last track, entitled ‘Aspire’, is a fitting end to an album that doesn’t give up, not loosing any of its power throughout.

An album that showcases all sorts of vocal power, well-placed techno aspects, heavy chugs and melodic riffs with a fitting bassline and suitable drumming is something to be proud of and it is clear that Northlane are heading towards big things. The album is balanced out perfectly with great sound quality due to the high production quality. It is mixed extremely well and keeps its listener engaged, with all songs having their subtle differences to appear more interesting.

There isn’t much to say about this album because, in the end, you’re either going to love it or hate it. This is one of those albums you have to witness yourself before making up your mind.

So then, well produced, a great balance between heavy riffs, melodic riffs, devastating bass-lines, precise drumming, great synth grooves and versatile vocals and an all round great album. But yet this is something you need to decide for yourself. If you love Metalcore, you’ll love this album but if you’re a little skeptical then just give it a listen. You never know, you may just end up liking what you hear. This is more than a mere standard Metalcore album, it is a little gem within the Metal community.

This is something to behold and appreciate and, in terms of Metalcore albums, is something that is damn bloody excellent. By far the best Metalcore album of this year and this is one of the more surprising releases so far. Well-balanced, this is something that everyone should learn to appreciate. Northlane, you have hit gold with this gem.

9/10

- Asa

Review: Stray From The Path - Anonymous

Stray From the Path are known for their Hardcore Punk sound, but their seventh studio album is their most mature and hard-hitting release yet, only paving way for further excellent future releases.

Anonymous kick-starts its aggressive assault on the senses with the ball-gripping ‘False Flag’. Taking you from the get-go, it attacks you with furious power and grips you, never letting you go. Furious Punk Metal inspired guitar riffs and face-smashing drumming is only filled together by the consistent, ever-present bass-lines that fill the track. Drew York provides you with some of the greatest Hardcore Punk vocals known to mankind. It’s one heck of an opener and the album only ever seems to get better. Moving into the second single from off the album, ‘Badge & A Bullet’ grips you with some intense stuff that just seems to pour out of the guitars and bass whilst the drums apparently just seem to get pounded. Not the fastest song on the album but filled with some great riffs and truly severe amounts of ass-kicking drumming, it is a brilliant track filled with Drew’s hard-hitting and aggressive vocal style. It also contains some great hooks that make the song
strangely catchy.

The album aggressively drives forward its fast and brutal onslaught with tracks ‘Radio’, ‘Black Friday’, ‘Tell Them I’m Not Home’ and the title track ‘Anonymous’. It feels like you’re taking a hammer to the face but yet you can’t help enjoy it as Williams provides a shed load of truly great Punk Metal riffs, filled by the ever-present bass-lines that Anthony just seems to pour. Not to forget Dan Bourke’s fast, furious beating of his drum kit as he spreads endless amounts of destruction throughout the album, making it seem so easy. And as for the vocals by Drew… they’re simply wow. Aggressive in his approach, Drew grips you from your private parts and pounds your face in with the astonishing force that his vocals provide. You can’t help but smile as he screams and shouts catchy hook after catchy hook, controversial line after controversial line directly into your face. Everything in this album is great and not one track can be considered for even being slightly weak. All of them powerful and dealing with strong lyrical subjects such as politics, freedom and friendship (may not seems strong but Drew makes sure that it is), you can’t argue with the power of the album.

Not to forget the great ending to the albums other single, ‘Landmines’, which leads into the final track (the album’s title track) of the album. Along with the great amount of power, aggression and force that the album portrays, it is apparent that a lot of thought has gone into the production of the album. Production is often over-looked when people listen to music but yet it is more important than the songs themselves. Seeming as production is about how the track/album is mixed and the audio quality of the tracks, it is highly important. Luckily, Anonymous doesn’t suffer from the bad production and is helped along with the great mix and quality of its tracks. With the production keeping the aggression in place and making everything so free-flowing and
consistent, it is time to mention the two guest vocal contributions on the album.

As mentioned before, there are two appearances on the album and they come from Jesse Barnett (Stick To Your Guns) and Jason Aalon Butler (letlive). Jesse is featured on the third track on the album, ‘Radio’ and Butler makes his appearance on the albums fourth track entitled ‘Scissor Hands’. The contributions on the album are easy to spot and help add a bloody good punch to the tracks. The appearances are something which people can enjoy and adds a little more to the album as a whole. It is safe to say then, that this album is downright bloody great.

Stray From the Path have crafted a Hardcore Punk Metal masterpiece here with Anonymous. Fast, aggressive, consistent, intense and gripping, it is an album that grabs you from the start and only intensifies as it progresses, letting go of its grip at the end but making sure that it still remains within your head. Featuring ground breaking drumming, intense and consistently aggressive guitars, supportive, ever-present bass-lines and ferocious, intense and head-crushing amounts of vocal power, Anonymous is an album rammed to the brim with awesomeness. This is like a modern day Rage Against the Machine album only more aggressive.

This is an album that feels like it is what Violent Delight could have done if they progressed with their career. Yet this is somehow more than just that too. This is more than just your usual modern day album. It is a downright statement on what our world has become that will grip you with every bass drum beat (which there is a lot of!) for months on end. It will make you think, it will make you want to rebel, it will even make you want to just destroy stuff and break everything within your sight. But yet in a good way. This is pure, relentless aggression and is the bans finest effort to date. This is an album that is as powerful as it is enjoyable.

This isn’t considered being just the one of the best albums so far this year because it IS the best album so far this year. It beats Black Sabbath, Asking Alexandria, Megadeth, DevilDriver and
Avenged Sevenfold by a pretty longshot. If you want something aggressive, something that has meaning and something that is downright bloody amazing to listen to, then pick this up. I must admit, it isn’t something everyone is going to enjoy but it is like that with every album. So be sure to check out one of the singles first (either ‘Landmines’ or ‘Badge & A Bullet’) but if you like what you hear then you must pick this up. If you like Punk, listen to this. If you like Hardcore, listen to  this. Screw it, if you just like Metal than give this a listen because it is guaranteed that you’ll like something about this. Astonishing, powerful and beautiful, all at once. The best album so far this year. Give it a try.

10/10

- Asa

Review: The Devil Wears Prada - 8:18

"For I consider that the sufferings of this present time are not worth comparing with the glory that is to be revealed to us” Romans 8:18.

Since 2006, The Devil Wears Prada has been at the top of the metal world, punching out album after album with a natural beautiful progression of sound. 8:18 is the bands fifth studio album and once again, they’ve stepped up their game and made a mark with their punishing sound.

The opening track “Gloom” is one that TDWP has been using at their recent live shows, so it will be familiar for some fans. “Gloom” kicks off the album the right way, but definitely doesn’t define the overall feeling for this record. The band has expanded their sound from Dead Throne while mixing in those massive and brutal moments from Zombie EP. The sound of this album is very natural and true to TDWP’s style. Mike Hranica’s vocals have stepped up lyrically and dynamically. Mike uses his voice to make certain moments feel huge, others very emotion and above all he is staying true to his abilities. Some moments sound like he is playing a live show, which adds to the natural sound of this record.

Musically the album is mixed up well enough between odd time changes, deeper instrumental dynamics and better written choruses to please all fans while make some of these songs the best TDWP has ever created. Songs that stood out the most were “Home for Grave” “Gloom” “In Heart” and “8:18”.

In contrast to Dead Throne’s theme of losing love, 8:18 has a cohesive theme of finding love throughout each song. Each song brings something new to the table and The Devil Wears Prada has done a great job of making these songs organic, meaningful and well balanced dynamically. 8:18 is a great album and Prada fans might find some of their favorite songs on this record. Pick up 8:18 on September 17, and catch them on tour this fall in the UK and USA.

9.5/10

-Ryan

Review: Death Ray Vision - We Ain’t Leavin’ Till You’re Bleedin

Death Ray Vision are a super-group founded in 2011 by current members of Killswitch Engage and Shadows Fall and ex-members of Cannae and Overcast. Although not a hugely famous super-group, they have had a good underground following since their inception and are rather distant in terms of musical genre and style compared to their counter-part bands. The band are signed to Bullet Tooth records and are hugely influenced by acts such as Slayer, Suicidal Tendencies, Crowbar, Entombed and At the Gates. Their new release, We Ain’t Leavin’ Till You’re Bleedin’, is an astonishing force of Hardcore Punk Metal mixed with elements of Death and Thrash. Consisting of 12 tracks but only running for just under 28 minutes, the bands aim is to make short but fast songs that assault the senses and this is an album that does everything they seem to aim to do in great fashion.

In terms of how the album sounds production wise, We Ain’t Leavin’ Till You’re Bleedin’ is gracefully mixed to fit the genre of music. With a great mix of vocals, bass, guitars and drums, the album is ripe with intensity and has a truly great sound that is raw and powerful without the bad quality recording value. With the title track being the opener for the album, it immediately allows you to get to terms with how the album is going to be throughout. If you’re a fan of Death Ray Vision then you would know what to expect. If, however, you’ve only just discovered them and this is your starting point, then this track will get you straight into how the band is.

With the album storming though track after track, the brutal assault from the band is uniquely balanced by the mastering of the album. With Brian Fair adding a great vocal contribution to the album with a great mix of Hardcore, Punk and Thrash riffs pouring from out of the Guitars that Zack Wells and Pete Cortese simultaneously thrash together with Bassist Mike Di’ Antonio adding beautiful bass-lines and Colin Conway giving us one heck of an excellent drum performance, it is apparent that Death Ray Vision was something that was meant to be.

As they pound through tracks ‘Barfly’, ‘Fuck Compromise’, ‘You Shallow Grave’ and ‘A Forest (Of Kegs)’, you can sense that each member is still adding just as much devotion to this project as to that of which they would if it was their normal bands. This is an album that features some explosive drumming that has some brilliantly timed blast-beats, some truly focused bass-lines and a great mixture of riffs from all sorts of Metal styles that is complimented greatly by one great mix of Punk and Hardcore vocals from Brian. It grips you the moment it plays and stays consistent throughout. Perfect mixing and great playing makes this something truly unique.

Although this is not something entirely new to Metal, Death Ray Vision would be a breath of fresh air for anyone annoyed of the seemingly repetitive strain of Metalcore and Deathcore bands that popular Metal seems to keep spewing out at an increasing pace. If you’re a fan of Hardcore, Punk or Thrash, then this is a real treat but if you’re yet to have heard of the band, than I strongly recommend that you at least give them a listen. 

A beautiful mix of different styles of Metal that is so perfectly crafted and greatly complimented by its amazing production, We Ain’t Leavin’ Till You’re Bleedin’ is a great piece of work that will keep fans of the band very satisfied and will be sure to attract a few new listeners. Although this isn’t the best album ever made, it is one which certainly stands out in 2013 and will be one that will sure leave a great, big, stupid looking grin on your face after you’ve finished listening to it.

8/10

-  Asa