This second EP from Manchester-based Duke and the Darlings was recorded live in the studio and its relative rawness gives the material a natural energy and edginess. After recovering from the initial shock of something sounding like a blown speaker, there are four well played numbers waiting to be discovered from beneath the general fuzziness.
Category Archives: Album & EP Reviews
HER DYING REGRET – Legacy EP
Following an intro that’s very horror-esque with its use of haunting keyboards, marching drums and synth strings, Reading based metallers Her Dying Regret launch into ‘Ashes’ – the first full track from their second release – …and the gloves are off. With thrashing twin lead guitars and a guttural roar, the band tears into an undeniably great slice of metalcore. The drums pound relentlessly against a downtuned guitar, topped by a duel vocal of Trivium inspired throatiness and Dani Filth-esque screech. At the point where it feels as if something will burst, the chorus crashes through with a clean vocal and a very strong melody. At this point, there’s no doubt that these guys are good players. Although in a very similar style, the EP’s lead track – and title cut – ‘Legacy’ pulls all of HDR’s best features together, making the best choice for promoting the release. The melodic chorus – delivered by “clean vocalist” Tom Melville – is among the EP’s best, while the gruff voices – courtesy of Scott London – just teeter on the good side of threatening. With riffs strongly inspired by classic Killswitch Engage and early Shadows Fall, this is solid stuff indeed. The twin guitars of Craig Meyer and Dan Osbourne are stellar throughout in their downtuned approach, but it’s Osbourne’s melodic edge that really catches the ear midway. Following a brief interlude of sweeping notes, as he launches into a brief, yet sharp and clean solo, his playing is reminiscent of something more in keeping with progressive metal.
LITTLE RIVER BAND – Cuts Like A Diamond
Australia’s Little River Band shouldn’t really need an introduction. Over the years, there have been shifting line ups and shifting sounds (1984’s ‘Playing To Win’ with John Farnham at the helm is somewhat of an AOR classic), but the much-lauded band have released music of a quality that has (probably) rightly seen them compared to the likes of The Doobie Brothers and Player. 2013’s ‘Cuts Like a Damond’ is an album with a fair amount riding on it… Not only does the band possess some gems within a quite extensive catalogue dating back to the mid-70s, but [excluding any re-recordings and albums with yuletide themes] it also breaks a recording hiatus of nine years.
FLAGFALL – Flagfall EP
What to do with a bunch of guys from Sydney who claim to make music for misfits, drawn together via a love of The Black Keys and Kanye West? Keep an open mind if you can…since this Australian quintet make some interesting music on their debut EP. The four tunes are driven by obvious funk grooves but their eclectic sound draws from a wider palate, incorporating a hefty dose of pop, and elements of soul and rap for good measure. The funk elements – seemingly high on their list of musical priorities – come courtesy of some rather large and warm sounding lead bass parts, which in turn are brought to life by a terrific production job by sometime John Butler producer Tony Buchen. It is instantly obvious that these tunes have not been recorded “on the cheap”.
HAWK EYES – That’s What This Is EP
Hawk Eyes’ 2013 release ‘That’s What This Is’ was funded by fans via a kickstarter campaign – and for the fans, their money was well spent as the Leeds math/alt-metal outfit offers another selection of tunes which manage to combine difficult and angular aggressiveness with moments of surprising melody.