Category Archives: Rock

In Flames

siren-charmsSiren Charms by In Flames (Epic Records)

There’s plenty of bands that started out metal and went on to something else: The Gathering turned their back on metal adding influences from Dead Can Dance and Cocteau Twins to their style, Anathema evolved into a more atmospheric rock band and Cynic turned into a progressive, ambient, jazz, rock amalgam that is a thrill to hear. On their two most recent albums Opeth channels pastoral and psychedelic bands of old without losing their own past heaviness. And there are plenty of bands that incorporate pop elements into their metal.  In Flames want to be catchy and accessible and metal all at the same time.  After two decades of causing neck damage they continue to experiment with textures, vocal approaches and rhythms searching for that one (or, hopefully, an album’s worth) great pop metal song.

in-flames-2014-640x400On Siren Charms  the band sounds eager to bring in new ears. In Plain View balances heavy & hard with a softer side in Anders Friden’s varied vocals, swinging from anguished clean singing to gut-punching screaming in the chorus, it’s all crisp and shiny and razor sharp.  Everything Is Gone combines several tempos, Daniel Svensson showing off his skills, speed punk one second, double bass kicks the next, then slamming into an all-out brutal metal part.  Paralyzed sounds like In Flames’  version of a post-apocalyptic love ballad with Orjan Ornkloo’s buzzing synths and Friden’s singing about being out on our own in a wasteland.

With Eyes Wide Open begins with harmonized guitars leading to a very catchy rock ballad, the keyboards way in the background, Friden singing clear and strong, Bjorn Gelotte and Niclas Engelin’s guitars shining through for maximum uplift.  When Worlds Collide remind you In Flames can do dangerous and they don’t disappoint. Swedish opera singer Emilia Feldt joins in with her sexy croon and angelic fills to add a sense of wonder.

Creeping up towards the end of Siren Charms, on Monsters In The Ballroom, In Flames tempers what’s mainly a soaring and heroic rock song with screamed vocals and chugging and harmonized guitar riffs. The crunchiness and double kick drum finale is especially satisfying for the headbanging.  To wrap up the album, Filtered Truth features Peter Iwers’ bass, carrying the melody along with Ornkloo’s keyboards, Friden screaming about the rage inside as the guitars and drums burn and crash.

In Flames will be on the Siren Communion Tour with Red Fang and Opeth this winter and will play the Hollywood Palladium on December 9th.

(Review by Bret Miller)

LINKS:
Inflames.com
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Twitter

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Engineers

Engineers_-_Always_ReturningAlways Returning by Engineers (KScope Records)

Until speaking with electronic producer Ulrich Schnauss for an interview for the last album A Long Way To Fall, the music of Mark Peters and his band Engineers had flown under my radar. Little did I know how much I’d love his music.  The band is multi-instrumentalist Peters, Schnauss  and drummer/keyboardist Matthew Gilbert Lindley (who releases music as “Gilbert“).  Always Returning is full of pretty songs that would float off into the clouds if it weren’t for the talents behind their making. There’s a sense of sadness and longing permeating the album giving many songs a compelling emotional weight.

engineers band shotOne of the many incredible songs on Always Returning is Fight or Flight where synths swell and wash over the song, electronics perco-lating and dancing throughout.  One of the most blissful songs you’ll likely hear for years to come. It Rings So True showcases a mesmerizing guitar lead, lightly accompanied by keyboards, Peters’ close-mic’ed voice drawing you in and building suspense and mystery.  The final minute of the song is an understated prog rock masterpiece.

Drive Your Car begins with pretty piano and Peters’ quiet vocals, acoustic guitar and swirling synths join in, rising into a rocking climax with a buzzing electric guitar lead dueling with an energetic piano performance.   Innsbruck presents a tight and bright guitar pattern that is played off of by Schnauss’ keyboards and powerful drumming by Linley.  The song is reminiscent of New Order’s instrumental Thieves Like Us with its cautious optimism and colorful outbursts of guitar and piano.

Smiling Back is a hazy nostalgic song with echoes of early Pink Floyd in their slower more introspective moments.  On Smoke and Mirrors Peters’ piano and guitar and Schnauss’ motorik synth loops meld wonderfully.  A Million Voices is a straight-up rock song, though one coming from the corner of synth-pop, Peters’ whispy vocals float through a peppy beat, shiny keyboards and a thrumming bass guitar.

Closing Always Returning, the title track offers so many memorable melodies that I found myself humming the piano refrain this morning. The song somehow sounds both sad and uplifting until the final third where the guitars, bass and piano riff off each other fading into the heavens.

Peters and Schnauss have also collaborated on two albums under their own names.  Both albums released on Bureau B, link below.

(Review by Bret Miller)

LINKS:
KScope
Facebook
Bureau B Records

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Exodus

exodus coverBlood In, Blood Out by Exodus (Nuclear Blast Records)

The tenth studio album by Exodus grabs you by the throat and throws you into the mosh pit from the opening minutes of their new album Blood In, Blood Out.  Guitarist and leader Gary Holt has paired down the Exodus sound and this is their best album in years, if not their whole career.  While Exodus hasn’t enjoyed the success of some of their peers they have sold over five million records in their 34 year career and they continue to create compelling and complex metal that is both visceral and violent and a whole lot of head-banging fun.  Original singer Steve “Zetro” Souza also returns to the fold bringing even more energy to the songs that Holt had written.  Souza’s vocals are a thrill to hear, as he wails, growls, chants and raps his way through the songs.  Sparks fly off the guitars of Holt and Lee Arbus, solos attack  you like the chest-bursting Alien, Jack Gibson’s bass sounds like he’s using bridge support wires and Tom Hunting excels at both a fast punk beat and the slower tempos, a powerhouse of a drummer.  Kirk Hammett offers a guitar solo for the anthemic Salt The Wound, Testament’s Chuck Billy roars over the end of BTK.

(Photo by Bruce Getty)

(Photo by Bruce Getty)

On Black 13, the title track, Salt the Wound, Body Harvest  and the rest of the album the band play like men half their age, seemingly revitalized and ready to prove to themselves, if not the rest of the world they’ve still got what it takes to blow minds and speakers.  This is driving music, metal to kick-start your heart, audio defribullators to remind you you’re alive.

Exodus get more complex  in their arrangements for the second half of the album, slowing down only a little, crafting a convoluted yet powerful middle section for Wrapped in the Arms of Rage, with also features many awesome guitar leads.  Food For The Worms is how you’ll feel after being battered and bruised by the last song on Blood In, Blood Out, a go-for-broke song that alternates between stupid fast beats and heaviosity that still remains accessible.

Blood In, Blood Out is a career high for Exodus, joining  fellow thrashers Testament and Anthrax who have both recently released their best albums to date.

(Review by Bret Miller)

LINKS:
Exodus’s website
Facebook
Nuclear Blast
YouTube

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Yellowcard

liftasail1Lift A Sail by Yellowcard (Razor & Tie Records)

Just off from being on this year’s Van Warped Tour 2014 as one of the headline bands, Lift A Sail marks for Yellowcard their seventh studio album. Lift A Sail is a personal album surrounding lead singer Ryan Keys’ wife suffering a spinal chord injury and the road to recovery.  At times the listener feels as if eavesdropping in on the emotional and physical pain that the band is feeling. This does give the album a more mature feeling to it. This expression is so different than the fast fun punk style that you are accustomed to from Yellowcard.

yellowcard2014Lift A Sail is absolutely inspiring with songs like: The Deepest Well and Convocation. Some of the other stand out songs are: California and Madrid. I just want an explanation to what the outstanding art work is all about as that really shows the maturity of the band. Any idea’s about this art work?  Lift A Sail is powerful, heartbreaking, and will ultimately lift your spirits!

(Review by Jonathan D. Wright)

Yellowcard on Facebook

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SPC ECO

spc eco sirens coverSirens and Satellites by SPC ECO  (Saint Marie Records)

SPC ECO is the band created by former Curve architect Dean Garcia and Dean’s daughter Rose Berlin. Father and daughter have been making music together ever since Rose displayed singing talent as a baby.  As SPC ECO they make music for themselves, at their own pace, without label support.  Musically, at least on the new album Sirens and Satellites, this is like I imagined it would: a further evolution of the Curve sound (or I should say the Garcia Sound).  The overarching feel is fire and ice, with Rose’s vocals icy beauty and Garcia and friends offering the heat and sizzle from guitar textures, synths and usually midtempo percussion. Fallen Stars will bring chills up your spine upon hearing the swirling, grinding and wailing guitars against thrumming bass, Rose’s voice powerful yet restrained. Delusional Waste goes to the dancefloor with a techno bass and beat, Rose’s voice ice cold, yet still inviting. Hold You Up is one of the most delicate tracks on the album, simple bass, drums, synths and voice building to a quiet yet powerful end.  High On It is another dance track with pulsating beats, guitar echoes and Rose’s dancing ice queen vocals.

spc eco Rose-pop2-crop4-460x460Songs like Zombie and The Whole Day Long are as good as anything Garcia’s done in the past, Make Me Say is brutal and bloody guitar slashes and crunchy rhythm loops, Rose  purring and cooing like a mantis before taking off  your head.  Don’t Need Fear is a slow bass dub, guitar effects aiding Rose’s voice insinuating itself deep inside your psyche. Tweet Fields At Night opens pleasantly with sweet vocals and feathery synths, A trip-hop beat kicks in, joined by a uplifting guitar melodies to accompany those light synths, the loveliness of it all punctuated by a big swell of guitars and big drums, then taking the first part and dirtying it all  up with distorted guitars and bass, closing with the nostalgic refrain, leaving you with a sense of wonder.

Sirens and Satellites surprises on so many levels, from their genre-blurring compositions to their juxtaposition of light and dark, fast and slow and fire and ice, the invigorating, dark, emotional and beautiful songs on Sirens and Satellites will be enjoyed, dissected, danced to and be the inspiration for many for years to come.

(by Bret Miller)

LINKS:
Youtube channel
SPCECO.COM
Bandcamp
Facebook

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The Ocean Blue at The Troubadour

theoceanbluejl1The Ocean Blue, The Troubadour, September 9, 2014

The famous West Hollywood venue was filling in for second support band Western Lows as the trio started out quiet and midtempo, their gazy style soon picked up tempo and distortion ending their short set to guitar squalls and glorious applause.

Perhaps as a joke to the Hershey, Pennsylvania band, Nirvana blared over the speakers as the members set up their equipment.  The Ocean Blue was an antidote to all the distorted guitar angst of the “grunge” bands.  They started out their set with Mercury, one of their peppier numbers from second album Cerulean, singer/guitarist David Schelzel and bassist Bobby Mittan still boyish after all these years. Their first two albums were written and released while the members were still teens and it is on the edge of the loss of innocence that some of their best music rests.  The band followed up with the more muscular Sad Night, Where Is The Morning? from their 2013 comeback album Ultramarine and it was evident that the band still has the fire and melodic sense to write thrilling and catchy tunes.  Shelzel prepared the audience to hear some new tunes, that it wasn’t going to be a nostalgia tour, yet their music is so timeless, decades of music blended into an exciting flashback and forward to good times throughout our lives, The Ocean Blue our soundtrack.

theoceanbluejl2The title track to their second album Cerulean came next, Shelzel’s ethereal vocals were well grounded by Mittan’s muscular bass playing. From the new Waterworks re-release the band broke out previously unreleased Can’t Let Go, a song that echoes 80′s British bands pre-Brit-Pop with well-paced vocals that channeled JAMC’s Jim Reid and Ian Curtis for thrilling effect.  Released on the original Waterworks, the lush Pedestrian had a shuffling beat and dramatic and jangly guitar work from Oed Ronne.

Sublime on album is one thing, but live, Mittan and Anderson’s rhythm section really boost the energy of the song, Shelzel’s lilting vocals took us on flights of fancy, the audience singing along “sub-bu-bu-buliiime”.  On Vanity Fair, from their S/T debut the boys took the song from twee to raveup with the tempo winding up, Mittan and Anderson looking at each other to see how fast they could get. On Give it A Try the band once again displays power and focus and Mittan’s slinky bass rhythm smoldered while Ronne’s guitars sizzled and sparked.

theoceanbluejl3After the double whammy of Ballerina Out of Control and Between Something and Nothing, The Ocean Blue presented us with a previously unreleased song that Shelzel wrote in high school.  The band originally recorded it for the movie Naked In New York but the song was cut.  Now fans can find it on the Waterworks reissue.  City Traffic sounds like the singer was listening to a whole lot of Peter Weller as a teen.  The breezy and fun song  kept the audience moving even as some were leaving the venue.  The Ocean Blue finished the night with a rough version of The Cure’s Just Like Heaven, Shelzel inviting the audience to sing along. We didn’t dissapoint, raising the song to a celebration of the power of music.

The Ocean Blue in 2014 look and sound like they’re doing it for all the right reasons, without outside stress, releasing their music on their own.  The sold out Troubadour proved that the boys still have much to offer from their past accomplishments as well as their future endeavors. I’ll be at their next L.A. show!

(Review by Bret Miller –  Photos by Jack Lue)

LINKS
The Ocean Blue 
Facebook
Korda Records
Shelflife Records
City Traffic Video
Can’t Let Go Video

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Meshuggah 25th Anniversary Tour

SONY DSCMeshuggah at The Wiltern Theater, June 6, 2014

To celebrate 25 years of busting eardrums, the mighty Meshuggah took to the road, stopping off at the Wiltern Theater in June to start the summer heat wave early.  With Geiger-esque artwork displayed behind them and a light show that blinded the eyes, putting the band in perpetual silhouette, Meshuggah ran through their catalog of mind-melting metal for a brutal 100 minute set.

Meshuggah kicked off the show with Tomas Haake pummelling his drums while lead guitarist Fredrik Thordendal, rhythm guitarist Mårten Hagström and bassist Dick Lövgren pounded on their guitar strings for Future Breed Machine. The fury and power they displayed from the get-go got the mosh pit moving and necks snapping.  Jens Kidman, the only one on stage to move around, bellowed and yelled at the top of his lungs, and while the lyrics were undecipherable, his passion was certainly evident.  Meshuggah are known for their  constantly evolving style, focusing on grooving rhythms flowing into hard riffed passages leading into more abstract sections featuring Thordendal’s stunning displays of guitar abuse and beautiful virtuosity.  The title track from Obzen followed, keeping the energy going, with stunning guitar interplay towards the end.

SONY DSCTheir latest album Koloss was most heavily featured in the set, the first of four songs was the hardcore hurricane of The Hurt that Finds You First, with a breakneck beat and ear-numbing growls from Kidman, bass guitar bends from Lovgren and an epic yet subtle guitar solo from Thordendal.  Do Not Look Down, also from  Koloss, was one of the most accessible songs of the night with a razor sharp focus on groove and finger-shredding guitar solos.  Cadaverous Mastication from their first album Contradictions Collapse in 1991 showed the band’s beginnings in the Thrash Metal vein, with more traditional arrangements, yet with an air of larger things to come in their varied tempos and dichotomy of ugly noise and beautiful guitar soloing.

Gods of Rapture brought the show to an even higher level of tension with Thordendal and Hagstrom in lock-step with the rhythm section from the start, Kidman belting out his lyrics in hardcore fashion, threatening to be understandable, but Meshuggah can’t seem to stick with a tempo or rhythm, soon shifting into a jazz-fusion mode, Thordendal ‘s melodic soloing would make Joe Satriani proud and he put some warmth into the otherwise mechanical playing of the rest of the song.

After much more eardrum damage occurred, Meshuggah sped up our hearts even more with the speed metal pace of Bleed from Obzen, causing heads to bang harder and feet to move, the band kept the tempo for the majority of the song, with a few additions of subtle lead guitar parts to break up the tension the slightest bit. Then the band drops out, leaving just a creepy quiet guitar line before the rest of the band jumps back in, this time with a more powerful melodic guitar lead accompanied by chugging guitars and well-paced percussion.

Meshuggah finished the main set with Straws Pulled at Random, from 2001′s Nothing, full of cymbal crashes and right-angled tempo and rhythm changes that while chaotic was still stunning to behold.

While the audience chanted “Meh-Shuh-GAH!” I took a moment to gather my wits, take a few deep breathes and ready myself for the sure-to-be insane encore.  While we waited, Catch 33‘s spoken word and noise poem Mind’s Mirror played over the speakers.  The band returned to kick our asses all over the Wiltern with In Death – is Life and In Death  – is Death, two connected tracks of barely controlled chaos, guitar pyrotechnics, buzzing bass and quieter, spooky atonal passages.

As the bright lights blazed our corneas and we pounded our strife and hatred into the floor, Meshuggah left us with energy spent, sweat soaked and brain rattled, not sure of what tomorrow might bring but strong enough to meet it head on.  If you can survive the metal massacre that is Meshuggah you can take on the world.

(Photos and review by Bret Miller)

LINKS:
Official Website
Nuclear Blast USA
Facebook
More pictures of Meshuggah

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Fairweather

fairweather coverFairweather by Fairweather (Equal Vision)

It’s been eleven years since Washington DC’s Fairweather packed it up. Now the spring of 2014 and the boys show us a whole new bag full of hardcore, tight song structures, crazy guitar flourishes, powerful percussion, more forceful vocals and an overall focused and mature sound. And did I mention the grooving rhythms? Shit, their S/T comeback kicks your ass from the opening chords and hardcore tempo of Carte Blanche. Let the moshing begin. Yet the band tempers even this minute long song with a slower yet powerful second half and background vocal “oohs”.

Reset Position keeps the energy with buzzing guitars, a fast pace and Jay Littleton spitting his trebly vocals with grit. Ben Murphy’s bass and Shane Johnson’s drums set the groove for Ben Green and Peter Tsouras to lay their power chords and slashing solos within, and damned if your not banging your head and sweating already. Survival Is Not Enough sets a bigger groove, slowing the pace a bit, Littleton singing harmoniously, a hard rocking song with muscle and introspection. fairweather band photoMemoria opens with minor key guitar scratching and dramatic rhythms, Littleton singing about memories and secrets and drowning, inviting you to further interpret his lyrics as you close your eyes and nod your head to the beat.

Doubt the Doubtless is both tough and catchy, closer to their debut sound yet leaner and meaner. Johnson gives his skins and cymbals a beating on Kill the Silence, slowing down to build up tension then rocking out once again. Last Words brings out the beauty of a well-paced song, starting out slow and pretty then taking us on a roller-coaster ride up and down tempos and emotions. Still Waiting features some interesting percussive textures and searing guitar interplay between Tsouras and Green, Littleton’s vocals clean and unadorned, harmonizing with Green, creating emotional catharthis when the song slows down at the end only to rise up to a powerful crescendo of crashing cymbals and six-string flourishes. Fairweather wrap up their S/T album with No Flags To Fly. Beginining with a chugging verse the band build tension towards a thrilling and catchy chorus, the band surprise with a soulfullness in their instrumental interplay as well as a bare-it-all vocal performance by Littleton

(by Bret Miller)

LINKS:
facebook.com/fairweatherdc
twitter.com/fairweatherdc
fairweatherdc.com
merchnow.com/catalogs/fairweather
equalvision.com
facebook.com/equalvision
twitter.com/equalvision
blog.equalvision.com

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Various Artists

Album Artwork by Mark Sasso

Album Artwork by Mark Sasso

Ronnie James Dio – This Is Your Life by Various Artists (Rhino Records)

Ronnie James Dio went from clean-cut boy band to hard rocking singer for the likes of Elf, Rainbow, Black Sabbath and his own band Dio.  His multi-octave singing and fantastic and humanistic lyrics always thrilled and comforted.  Dio may have left this plane in 2010 but his spirit lives on in the talents of thousands of musicians and the hearts of fans the world over.

Ronnie James Dio – This is Your Life begins with the fist-raising juggernaut Neon Knights.  Anthrax don’t hold back and Joey Belladonna knows how to belt and though he doesn’t hit the notes up high, his powerful vocals give tribute to the man that paved the way for him.  While anyone that knows Tenacious D is well aware of their absolute adoration of RJD, their cover of Last In  Line is rather odd with Jack Black’s vocals mixed too far above the rather generic metal instrumentation, making the song seem like karaoke, yet one with great vocals and a strange flute solo. It grows on you though.   I confess to knowing nothing of Adrenaline Mob but their take on Black Sabbath’s Mob Rules is killer.  I mean, this song wails, kicks ass, all those metal clichés.  The song was Sabbath’s attempt to remain relavent in the punk era is clear in the fast pace and raw power and the suitably named band distill all the fury of the original and spit out flames. Amazing guitars at the end too. Slipknot and Stone Sour singer Corey Taylor bellows like a titan along with Steel Panther guitarist Satchel and Stone Sour drummer Roy Mayorga for a stunning cover of Rainbow in the Dark.

Along with raising money for the Ronnie James Dio Stand Up and Shout Cancer Fund listening to this tribute album should make some new fans for the respective musicians.  Case in point, Pennsylvania Grammy winners Halestorm.  Led by singer Lzzy Hale and drumming brother Arejay, on Straight Through The Heart the band hit all the notes with muscle and ease, playing close to the original yet showcasing the epic guitars and voice of Lzzy as a fresh new voice in metal. “Unleash the hounds!” Indeed.  Some guys named Lemmy and Saxon‘s Biff Byford follow with Biff and Motorhead‘s take on  Rainbow’s Starstruck, the titans trading lines like lions fighting for dominance of the pride, with that electrical wall of sound Motorhead are famous for.  Scorpions make  Temple of the King their own, sounding exactly like themselves, with soulful guitars and a nostalgic feel, as fantastic as when it first came out on Richie Blackmore’s Rainbow’s S/T debut in late 1974.  Doro and band put their own stamp on Dio’s Egypt (The Chains Were On), making a mysterious and powerful song even more epic with her beautiful and muscular delivery and the dense instrumentation of the band. Visions of Doro as an armored and sword-wielding warrior come to mind.  You don’t have to be a fan of Killswitch Engage to appreciate their buzzing and brash version of Holy Diver.  Except for the breakdown the song would seem right at home if played on the Sunset Strip in the mid-80′s.

Former Deep Purple and Black Sabbath singer Glenn Hughes, along with former Dio band members drummer Simon Wright, guitarist Craig Goldy, bassist Rudy Sarzo and keyboardist Scott Warren perform a super soulful and quietly powerful rendition of  Catch the Rainbow from the Richie Blackmore’s  Rainbow album.  Current Dio Disciples and former Lynch Mob singer  Oni Logan, former Dio bassist  Himmy Bain,  former Dio and current DC4 guitarist Rowan Robertson and drummer Brian Tichy (Foreigner, Whitesnake) take on Black Sabbath’s “I” as a gritty, bluesy bonfire, putting their own modern touch on an already excellent song. Rob Halford’s growl and roar is always a thrill to hear with Vinny Appice, Doug Aldrich, Jeff Pilson, Scott Warren, all former members of Dio ripping it up on The Man on the Silver Mountain, from Rainbow’s debut, the roaring guitars as well as Appice’s thundering drums more than a match for Halford’s energy.  In the first fiery chords of Metallica‘s Ronnie Rising Medley you’ll be yelling “hell yes!” They sample from A Light In The Black, Stargazer, Tarot Woman and Kill The King proving they still have that metal fire in them, sounding fresh and going for broke.  Closing the album is Mr. Ronnie James Dio himself, performing This is Your Life.  A tear-jerking piano ballad, strings swell, Dio singing  “This is your here/ This is your now/ Let it be magical”.

Listening to  Ronnie James Dio – This Is Your Life you’ll understand Dio’s message was always one of hope, faith and friendship, of perseverance in the face of adversity, of beauty and inclusiveness.  He was the Godfather of Metal and has touched so many lives.  So sing along with these songs and remember, the best days are still ahead. Raise the metal “V” and rock on.

(by Bret Miller)

LINKS
www.ronniejamesdio.com/
Buy Ronnie James Dio – This is Your Life on Amazon

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Nothing

nothing guilty of everything coverGuilty of Everything by Nothing (Relapse Records)

I am often interested in learning the past accomplishments of bands, especially when their current sound is vastly different than earlier in their career.  Domenic Palermo, vocalist for recent Relapse signees Nothing, previously fronted hardcore group Horror Show that put out a few albums/EP’s on Deathwish Inc. You can watch a set with Palermo and Horror Show from 2012 HERE.

Nothing is an altogether different endeavor in that Palermo and band are clearly enamored by such bands as Slowdive, Ride and My Bloody Valentine in their use of lush guitar textures and barely intelligible yet pretty vocals.  Searching back to their 2012 Downward Years to Come EP, you can hear the band’s evolution, involving the layered dissonant guitars in particular, the arrangements on Guilty of Everything are tighter and harder hitting emotionally.  Nothing‘s music is rich and subtle, songs to play loudly to catch all the melodic guitar interplay and keyboards swimming through the mix.

Photo Credit: Shawn Brackbill

Photo Credit: Shawn Brackbill

Opening track Hymn to the Pillory gets better after each listen, starting pretty and quiet,  Kyle Kimball’s drums come pounding in and the band gets epic on your ears, for maximum emotional uplift.  First single Dig takes the hardcore dissonance and puts it behind a wall of big drums, guitar fills and cavernous vocals.  Bent Nail is the most rhythmically propulsive song on the album, leading you to bang your head to the fast beat and distorted dual guitars.

The final third will have you blissed out at the beautiful noise Nothing blasts into the air.  Somersault‘s spacious mix helps showcase the dramatic guitar work of Palermo and Brandon Setta.  The song starts out all shimmery, a twangy guitar melody and drums kick in, Kimball sets his sticks to cymbals and the song slowly builds to a blistering climax, Palermo and Setta stomping on their pedals and pulling out some powerful chords to make your ears ring and your soul sing.  B&E goes all out in the thrash department, beginning in a pleasant mid-tempo, their wall of sound getting knocked down to an anxiously mellow segment reminiscent of Pink Floyd‘s Animals album before tearing into their instruments for a heart-wrenching finale that will leave you gasping for breath even as you’re reaching for the repeat button.

(by Bret Miller)

LINKS:
Facebook
Website
Bandcamp
Relapse

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