Category Archives: alternative

A VITAL MESSAGE – Distances EP

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By blending the best elements of Bullet For My Valentine, All That Remains and Shadows Fall with the kind of very commercial choruses championed by Killswitch Engage, this Florida metalcore/post-hardcore based band may not sound wholly original, but there’s no escaping that, in places, A Vital Message manage to push all the right buttons on their 2011 EP.

The strength of this EP isn’t immediately obvious, however, since opening the number attempts to fit too much into a four minute package. After a melody filled intro featuring a simple guitar riff played over some solid pneumatic drums, the first half of ‘The Blind’ favours djent-edged riffs, leading to an all round preference for heaviness over anything else. As is often the case with metalcore, the chorus eschews growling voices for a studio treated clean vocal. This provides a nice contrast (as expected) but that chorus isn’t quite as strong as it could have been – any melodies are still being somewhat pummelled by the heavy riffs. The riffs are cool enough, but there’s a sense that A Vital Message are capable of more. Luckily, during the track’s second half, things definitely improve. A brief instrumental break lightens the mood near at the tracks end; the second part of which capitalises on the melodies hinted at in the intro and the clean guitars ring out wonderfully, in a style that hints at a more progressive metal stance. And then, just as the tune begins to pull the listener in…it ends. Don’t be fooled, though: this is by no means a bad opening statement – the musicians here are as tight as any of those working in a similar field, it just leaves a nagging feeling that the chorus could have been more instant and so much more should have been made of that intro and coda.

In terms of aggression, ‘Who Are You’ fares better all round, since the gulf between sledgehammer riffs and melodies is far wider. During the verses, Jon Jordan adopts a full-on throatiness in his delivery, one to match any number of hardcore punk or metal bands. As he offers the thought “are you running, you should be fucking scared” over a mid-paced, pounding riff, the intensity is such you’d have a hard job to argue with him. The fastest riffing, again, has much in common with the djent community and the chorus adds a more melodic bent, full of clean vocals and an emo-ish anxiety. Unlike ‘The Blind’, this chorus really shines – so much so, it’s hard to believe these guys weren’t snapped up by a major label for this release.

‘If It’s Legal It’s On Camera’ starts with a great intro, combining more clean-toned guitar lines and a slower djent-filled metallic riff. There’s a brief moment where Jordan teases by throwing in a dirty, dirty growl in the melodic death metal vein, but this never fully develops; it merely serves as a bridge into the song’s first verse. While this doesn’t offer anything markedly different from ‘Who Are You’, it’s worth keeping a keen ear, as complex guitar parts busy away incessantly – almost throughout the entire number – and these parts (again, borrowing influence from more math metal/progressive metal influences) provide a superb counterpart to the more in-your-face elements. The chorus follows a similar structure to that of ‘Who You Are’, whereby the studio-treated vocals bring a strong sense of melody and commercial edge to another otherwise sledgehammer riff. Although each of these EP tracks have their own strengths and weaknesses, this number is almost perfect. If you want to experience A Vital Message at their absolute best, this is the best entry point.

The closing track, ‘2009’, presents a slight musical curveball. While the heavy riffing and drum pedals are present and correct in places, the band shifts from their usual metalcore sound into a much punkier territory, and increases their use of clean vocals (more so than even on the other numbers, reinforced by a second clean voice courtesy of Ashley Loyd). It couldn’t ever be described as throwaway, but there’s certainly a more fun air here. A Vital Message still sound like a strong outfit here, but musically it’s nowhere near as insistent as this band are capable of being.

When A Vital Message get it right, the combination of great musicianship and faultless production (so good that other DIY bands should take note) is definitely worthy of much bigger things. Those who don’t dig any of the bands mentioned here are unlikely to be swayed, but metalcore fans really ought to check this out. ‘If It’s Legal…’ is worth the time alone.

February/March 2012

FIRES – Echo Sounds EP

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FiresThis second EP by alternative rock duo Fires is possibly one of the finest sounding self-released discs you’ll ever hear.  Producer J. Robbins (noted for his performances with Jawbox and hardcore punks Government Issue and production work with post-punk/alternative bands Jets To Brazil and Jawbreaker) brings out the absolute best in this band during every second of these five performances.  With a sound worthy of any major label release, the guitars are ringing and sharp, while the bass has an almost equal share in the end mix, adding a meaty bottom end.  Put simply, there is nothing about this release you’d ever guess was DIY.

Of course, it takes more than a good producer/engineer to create an enjoyable record, and luckily, Fires’ material has the balls to match. They not only have the weight behind their arrangements, but also a great sense of atmosphere and melody lurking within.  Listening to the angular rhythms of ‘Sent’, it’s hard not to think of so many great nineties alternative records, but in 2012, Fires’ approach sounds more than a mere throwback – they manage to make their brand of post-hardcore sound vital.  The bass takes the lead with a big sound and during the chorus sections, the guitars have an equally full presence and the use of occasional ringing leads adds a flourish that’s unfussy, but ultimately necessary.  Danny Nicolletto’s vocals may be an acquired taste for some; his lead voice is rather high – slightly reminiscent of those from cult alternative band Tubelord – but it’s a style which works for him and a style which suits this particular track well.  ‘Execute’ is much harder musically, with slightly discordant guitar chords providing the intro.  Once the rest of the instruments pull together for the chorus, things appear more settled.  Overall, a hugely energised three minutes, made even better by James Scott’s immense bass sound during the second verse.

‘Blackout’ and ‘Blood on Black’ both highlight more alternative rock chops (both enjoyable and superbly played), but it’s ‘Amour’ which stands alongside ‘Sent’ as this EPs most striking tune. Showcasing Fires’ softer side, the guitars settle into a simple tune constructed of clean toned notes – the kind favoured by Slint, usually before throwing themselves headlong into a world of sludge – while the vocals and understated drumming conjure up a somewhat ghostly atmosphere.  The louder sections allow room for another warm bass part, and although you’ll undoubtedly expect it all to somehow reach that seemingly inevitable noisy climax, against the odds, it never does.  While it could be seen as a dramatic shift from Fires’ usual sounds, it’s no less enjoyable once you tune in.

The excitement and sheer class delivered by ‘Echo Sounds’ is almost equal to Jawbox’s  1996 self-titled disc and Sense Field’s ‘Killed For Less’ and ‘Building’ releases – three discs from which Fires appear to pull influence without ever sounding like clones.   It may be short, but it’s a disc not to be missed.

June 2012

SINK SWIM – Elements EP

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‘Elements’ is the five song debut EP from LA based band Sink Swim.  Their solid mix of pop-punk, emo and alternative rock (with a stronger leaning towards the latter) already guarantees the band will have an audience, since the end result sounds a lot like other bands of a similar ilk. While almost instantly familiar, these guys are musically really tight, with the bass playing being particularly noteworthy.

From the beginning of the first track ‘Beneath Our Sleeves’, there’s a strong feeling that this still young band is incredibly professional, especially considering their relative lack of recording experience. Following a brief drum roll, the band crash in at a high speed; the chiming guitars being the first thing to hit the listener, before a brilliant rattling bass makes its presence felt.  In the alt-rock/emo tradition, the lead vocals have a fairly light style, but they are presented with some great backing harmonies to round things out. By the time the chorus rolls around, the lead vocal utilises much longer notes (tempered with plenty of studio filters), things are a little smoother and more alt-rock than pop-punk. The end result – still with multi layered vocals and maximum jangle – makes for a more than reasonable opening statement.   ‘Losing Sleep’ is punchier all round – again retaining that great bass sound (courtesy of great studio skills from Bob Curtin at RiseUp Recordings).  If you can tear your ears away from that brilliant bass, the guitars shift between pop punk rhythms and solid alt-rock chiming, providing a solid base for another filtered vocal. Topped with an enjoyable chorus, sounding as if written with the live circuit in mind, ‘Losing Sleep’ is the EPs best track.

While the next two tunes don’t break too far from a familiar formula laid down by those first two numbers, ‘Breeze’ warrants a special mention since it’s quirkier rhythmic elements stand out, while the staccato guitar riffing is of a kind which never goes out of style.   Although the chorus isn’t as instant as it could have been, the whole package is very accessible.  Between this track and ‘Losing Sleep’, the EP is worth checking out [but then only if you are already fond of alt-rock/emo-ish stuff, of course… Sink Swim are probably unlikely to win over those who remain so far unmoved by the sub-genre].

The closing number, ‘Last Year’ slows things down.  While it’s mix of acoustic and electric guitars (again, very much in a ringing style) and emotive voice with a crying edge doesn’t make it hugely different from the tunes which have gone before, the extended arrangement shows a slightly broader musical range.  Thanks to a very multi-layed sound, bought together (again) by really live-sounding bass work, it’s near-six minutes doesn’t drag, even though this could have just as easily clocked in at half the length.  This is testament to strong musicianship and equally strong melodies.

With five brilliantly produced tracks boasting strong performances throughout, ‘Elements’ is a debut EP which has a very professional air.  If you’ve ever had a passing fancy for Something Corporate, Relient K et al, it is likely Sink Swim will hit the mark for you too.

June 2012

KING LOCUST – Musk

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The first thirty five minutes of King Locust’s 2010 release ‘Musk’ uses downtuned riffs for maximum impact.  While the core of their sound borrows from a lot of nineties grunge and alternative music, there are a few later influences – namely a few post-hardcore ones – cutting through their best songs.  It’s true there’s more than a hint of Alice In Chains scattered throughout this album, but as it progresses, it becomes obvious there’s far more to this band’s take on nineties revivalism than just recycling a few old fashioned grunge riffs.  Some of the end results may not always be entirely original – such is the nature of any kind of revivalism – but ‘Musk’s first half results in an incredible level of heaviness.

One obvious standout, ‘Sand’, comes loaded with a huge swaggering riff, hugely weighty but never totally leaden.  Imagine ‘Dirt’ era Alice In Chains with a huge Melvins-style echo on the drum kit and you’ll have some idea of where King Locust are coming from.  There aren’t any overtly catchy hooks to be had, but to be fair, the weight behind the riff is everything.  To begin with, ‘Mea Culpa’ hints at a lighter and fuzzier mood briefly, but beyond the intro, the riff takes on a slow and fairly uncompromising tone.  While this dominates most of the four minutes, the first verse offers a contrast with a more alternative approach, and an atmospheric vocal which sounds like a Dutch Travis Meeks.  No such luxury for the second verse, however, where King Locust favour another heavy riff to back up a dual vocal: one voice adopting a metallic growl, while the other indulges in unsettling shouting.  It’s hard not to be reminded – at least in passing – of alternative metallers Craw with their brand of Helmet meets Tool ugliness.

By the time the sledgehammer ‘Guesthouse’ hits its stride, it’s surprising how strong King Locust’s riffs are.  While the verses still have a grunge edge, any earlier Alice In Chains-isms seem safe in comparison.  Once again, looking beyond the grungier moments, the heavy end on the chorus showcases more of a Page Hamilton/Helmet approach, as the riffs take on more post-hardcore intensity.  The guitars cranked to eleven meshing with an unsubtle drum line and a shouted vocal of “smash my head against the wall” shows King Locust at their most intense and uncompromising best.  Bringing the first half of the album to a thunderous close, ‘So Lonely’ stokes up the bottom end yet again, and as such, all guitar work takes on a mantle which would challenge ‘Blues For The Red Sun’ era Kyuss. While that brings a certain stoner and doom-like pace, beyond that, King Locust are still firmly within the grunge camp as opposed to stoner rock.  This is cemented by slightly nasal vocals – given extra weight by a harmony voice – which, when combined, makes no secret of King Locust’s love of early Alice In Chains yet again.  Still, there’s precious little wrong with having such a seminal influence.

Just when you think you’ve heard all their tricks, by the midpoint, King Locust don a very different musical hat, for ‘Musk’ is very much a disc of two halves.  The second half brings a bunch of experimental – and often acoustic based – instrumentals which sound like the bastard offspring of the Alice In Chains ‘Unplugged’ album colliding Sonic Youth’s experimental collages.

It goes without saying that the first half of the disc comes with the broadest appeal with regard to everyday listening.  The second half is still enjoyable in its own right, since the downtuned acoustic guitars and percussive arrangements make for some interesting, alternative late night musical backdrops.  The semi-wandering nature of the eight untitled instrumentals provides an excellent contrast to the band’s noisiest tendencies.  While King Locust are a great “all out” heavy riffing outfit, there’s someone within the ranks pushing their musical boundaries, occasionally achieving results which are just as interesting in their own way.  The closing piece, in particular, makes an instantly good impression by combining a Led Zeppelin rooted riff with a downtuned edge, and then pitching that against a much cleaner rhythm.  It’s more direct than most of King Locust’s instrumental works, it must be said, but it purposely brings the disc a slightly more upbeat finish.

King Locust twists their love of Alice In Chains and other classic grunge-based influences into something a little darker than most of their predecessors on occasion, thanks to an equal love of a lot post-grunge metal-based acts.  The bottom line is – in terms of nineties revivalism, at least – ‘Musk’ is more than enjoyable enough…especially when cranked through a decent set of speakers.

This rather split personality disc is being offered on a “pay what you want” basis, which can be obtained from the widget below.

December 2011

THE DANKS – Are You Afraid Of The Danks

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Signed to the independent label Hidden Pony Records (also home to the brilliant Rebekah Higgs), this album by Canadian four-piece The Danks is a record which explores slightly retro indie rock sounds, often at maximum speed.  Within a minute or so of the opening number, ‘What We’re Doing’, The Danks’ main aim is to get you bouncing.  The guitars jangle relentlessly – and it’s often those guitars which provide the core of the band’s sound – under which, the bass work is far more interesting.  Luckily, it’s with the second track, ‘Who Knows’ where things really begin to warm up, as that bass pushes towards the fore and sounds superb when colliding against unashamedly new wave keyboard fills.  Throughout this pair of tunes, vocalist Brohan Moore adopts a slightly slack delivery and an occasionally unsure high-pitched tone, in a style which could be compared to The Thrills’ Conor Deasy.

Over the course of the rest of their debut, The Danks rarely deviate from this solid musical formula.  In theory, although a couple of slower numbers wouldn’t have hurt (and it might have showed off something resembling a musical range), they should be praised for having such a strong sound and fully knowing what really works for the band at such an early stage in their career.   ‘Shifty’ finds the distortion turned down a touch, while more of a Hi-Fives influenced rock ‘n’ roll ethic drives the guitars.  Everyone sounds most at ease here; while there are a couple of catchier choruses to be found elsewhere, this tune is one of the album’s most well-rounded.

Another stand-out, ‘I’m Alright’ presents another lovely new wave keyboard which hammers a simple riff into your skull in place of a chorus, while Brian Murphy’s bass rattles in a more aggressive fashion.  Most bands would have certainly tried to find space for a more obvious vocal refrain, but honestly, the keyboards are so memorable, this track stands up as it is: simple, but fun.  Elsewhere, ‘The Squealer’ demonstrates Adam Hindle’s abilities with a hi-hat, while the rest of the band mix more jangly rock with almost shoe-gaze levels of distortion.  It’s probably the closest ‘Are You Afraid…’ comes to a slow number, allowing the listener a brief opportunity to pause for reflection…

‘Are You Afraid of The Danks’ offers twelve pieces of sunny indie rock, which when taken individually are all fine, groovy and incredibly professional.  While it’s relative one-paced nature can sometimes feel a little wearing, if you’re looking for something upbeat and trashy, you could do far worse than check this out.

May 2012