What I’ve been listening to: Bit of an odd one for me, and not my usual cup of tea (I’m a coffee drinker, y’see), but over the past two months, I’ve really enjoy the tracks released by American DJ and producer Baauer. The Brooklyn based twenty-two year old has a true gift when it comes to mixing; a keen eye, or ear, for amenity. Forever playing shows and club nights, he still finds time to remain sincerely humble and socialise through his Facebook, play radio shows and come out with anthem after anthem. He’s probably most known and recognised for creating ‘Harlem Shake’, or at least that is his top played track on Last.FM, a track where you find yourself involuntarily swaying your shoulders and bopping your head along to.

I came across this refreshing and new chap via. Cody B. Ware’s Instagram feed where he recently attended a show in the UK whilst they were both blessing British shores, and from behind the decks the crowd looked immense and I thought to myself ‘Who is this guy? Time to investigate’, and I’m so very glad I did. All these little mixes he produces, like in his Day of the Dead drop, just make my head scream “Oh God, this is so good”!

As an idea, I would love to see a collaboration with someone like Cage; it’d be very good for both careers (and easy due to location), bridging the gap as Nas would say; they seem to cover similar themes within their songs, take ‘My Nose’ for example, or at least see a remix made. Especially if there was more works like ‘The Void’ to be played around with. However, I did read a few months back that Cage stated that he more than likely wouldn’t be making another track like that again (as it was very dubstep based – probably created for club use and to help get his name out there), but also there was no track like it on his new scheduled releases (two upcoming EPs), and despite there’s only about four or five degrees of separation, it’ll probably never happen.

The other night I was in charge of the playlist as my house was hosting a small party, and I found plugging a bit of Baauer certainly spiced things up a lot better than previous parties where Watch the Throne is just played on repeat (sorry Ye). So, if you are in that party mood, play some Baauer, and get the attention of everyone around you (including all the pretty girls that otherwise wouldn’t give you the time of day – win/win), he’s definitely worth checking out.

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Acres have done it again. Those clever lil’ Portsmouth spitfires have conjured up a cracker, spitting out small sparks of amber, to a shower of light, kindling and catching on to the bridges that align them with any competition, hissing and sizzling as it sets ablaze and leaves, incredibly, everyone else to perish… Ultimately in the dust. Left standing: six minute long ‘The Tallest of Mountains’. Vivid, I know, but the new release, a half-single, half-demo (just a new song they put out), is incredible; building on the imagery before mentioned, it’s like Sagat’s Tiger Uppercut from Street Fight II.

To indicate how good this new track is, I was eager to vacuum my bedroom, yet could not start until I had listened to this song three times. Okay, I realise how bad that sounds, but it is true – I had to listen to it, and I had to listen to it again, and again. ‘The Tallest of Mountains’ compiles an enriched Devil Sold His Soul sound, whom they are often compared too, along with hints of a more advanced Rinoa, and even reminiscent of Rosetta, but less eerier and experimental – they use solid instruments to create a more subtle, ambient product; it works better, and it is nicer to the ears; it’d be easier and wider received.

The track is a mellower and controlled early Burn Down Rome (if you remember them), infused with stronger vocals now, less nasal, more aggressive, not distorted; so they will be fantastically audible live, vocalist Morgan has upped his game tenfold.

Copyright of Animal Defence Records, 2012.

Acres have plans on releasing this track once their Facebook page reaches 1,000 likes (that’s when 1,000 different Facebook users say they like the band by clicking a little thumbs up button to you old timers out there) to celebrate; fortunately, I was able to get a sneaky advance copy of it, to my delight. But do keep your eyes peeled for it, for it will certainly see 2013 kick off right. In the mean time, to celebrate the success of 1,000 free downloads of their self-titled EP, the band have chipped in and through Animal Defence Records (notable contacts include again Devil Sold His Soul) have produced a physical copy of the record – limited to just 50, with 25 sporting a stylish matt white CD, and the other 25 the classic silver. With an additional black sleeve/cover added on top, this is one purchase to make before the January sales (no doubt it’ll sell out!). To check it out and grab yourself a copy, head over to the Big Cartel page now: click here.

Acres posted that they were all set for world domination in 2013, and I hope that is the case. Let’s hope they cover acres of land… Ha. Go send them some love.

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My buddy Alex (of before mentioned Acres) went off on one (in a good way, obviously) recently about a band called Kerouac. My curiosity had already got the best of me through the name alone (surname to my second favourite writer, Jack Kerouac – there’s a sweet, little photo of him on my desk at work), so I felt it vital to investigate, and listen to them, unsure of what to expect. With a southern rock twang, for example the bending of the strings at the start of ‘Fiends’  that suddenly erupts into throat-lacerating, chaotic hardcore, Kerouac are damn heavy, and I like it a lot. They seemed to have achieved a sound I know several Peterborough bands strived for but could never attain.

Sadly having split mid-2012, there will be no more releases to accompany their well-written reckless and thunderous debut and two dangerous split EPs (with Pariso, and The Long Haul), but you shouldn’t let that put you off listening to the riff Armageddon hailing from the south of England. Young and angry, their lyrics portray a generation’s mindset perfectly and capture passion amidst bile and rage from an already bitter band. Take ‘Fiends’ again from the split with Pariso: “You let yourself get f***ed by any compliment”.

Holy Roar Records proudly claimed Kerouac as “One of the most brutal and unforgiving bands to have emerged in recent memory. […] Visceral, […] and memorable”. Spot on.

Similarly aggressive, and having recently played several shows in Europe, Jackals burst through with a new release, Everyday Fabric, compiled of six fast and furious songs with new hints of sludge and Swedish hardcore influences. For any fan of hardcore, I would suggest giving Jackals a good listen and learning a new (yet old school) thing or two.

Looking back, it’s nice to see that Jackals have travelled many emotional miles since their first show; I remember it, for I was there! A chilly January 2010 night saw Cambridge’s Man on the Moon venue somewhat packed (which makes a nice change), as my friend Jez hired the venue out for his first and only (to date) show. Hey, I designed the poster for the night… Free entry, baby. A night that saw an explosion within such a small pub. I have some good ties with the Cambridge x Norwich dual vocal extreme punk surge. Having lived in Cambridge for two years, I became friends with guitarist Parker and bassist Palmer pretty much as soon as I arrived, spending several nights sleeping on their floor and also found high respect for drummer Uden for his Lonewolves backlog, and being an avid Norwich City supporter like myself.

I was able to grab a copy of their blistering self-titled EP on gold vinyl, which I still cherish, back when they started out, but this latest release has taken them a step further into a heavier, crustier, gloomier, sludgier, darker, et ceteraer sound, and is worth picking up also. You can have a ganders, download a fair bit for free (including Everyday Fabric), along check out a couple of other bits and bobs of theirs over at their Bandcamp: click here.

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Obsessed: past participle, past tense of ob-sess. Verb. To preoccupy or fill the mind of (someone) continually, intrusively, and to a troubling extent: "he was obsessed with thoughts of her".

With regards to Decade, I am obsessed. The other month on payday, I headed over to iTunes and purchased the latest release from Decade, which has been circulating over the last few months; a great buzz, their self-titled debut EP. Previously, they’ve only released a demo and a single (which was not included on the record), so I like to see this as their first official main release. Decade, the record, is a pop-punk-rock killer; seeping with future talent, the catchy hooks and neatly written riffs concocted by the Bath five piece, it is their most stellar release to date.

Lyrically, I don’t think they’re as strong as they could be at this stage of their existence, but they are incredibly intriguing, and I wish to discuss the good points. The self-titled record feels like a (successful) experiment from the guys, rearranging their own style in attempt to find a new voice; it works well for me, I like it. It’s short and sharp, and scrappy. Take ‘Low’ for example, lines like “She wouldn’t want that, she’d probably tell me to sort it out”, and “Forget about your friends, they’ll ditch you in the end” really ooze that blunt punch. It’s the word choice, and perhaps Sears’ lexis that convey a great uniqueness about the writing; ‘sort it out’ and ‘ditch’ portray a very British way of life - very Lower than Atlantisy rather than Americanised ideals like most bands attempt, often aiming for without even realising as they simply fit the mould and don’t deconstruct what music they are producing, which in turn gives us the generic responses and the band a lack of real success and credibility, more a “Oh yeah, them… They’re alright, I guess”.

With all of the world’s apathy behind “I'm bored of being bored, of being ignored” (‘Low’, Decade, 2012), and “I'm so bored I think I might die” (‘Home Alone’, Decade, 2012), (a phrase I’m sure we’ve all said. Hell, I said it today at work, or perhaps just sang the song without realising), the content appears a lot different from their original in Lost at Sea record/demo that was released a year prior.

Short tracks containing odd lyrics that (unless they were very personal and glinting with subtle references) seemed very (again, I hate this word, so sorry) generic: “It’s like Broadway all over again” (‘Lights Out’, Lost at Sea, 2011), “Man down, man down, what are you gonna’ lie about this time?” (‘Lights Out’, Lost at Sea, 2011), “What’re you gonna’ do when I turn the lights out?” (‘Lights Out’, Lost at Sea, 2011). These very common ideas have now been transformed and moulded into obscure and eerily beautiful lines: “Rest your bones, before they fall apart again” (‘Never Enough’, Decade, 2012), “God only knows I try to keep my head above the water, but sometimes things get the best of me and I can't breathe” (‘Down and Out’, Decade, 2012), and “There's nothing left of what we had, in this hospital bed” (‘Never Enough’, Decade, 2012), where the songs themselves now seem to carry a story. I only hope that it is with these later songs, they get recognition for.

With the main box ticked, in the form of being able to work together and produce something, the gimmicks and excitement has left them to truly work on who Decade are. As great as ‘It’s Good to be a Vampire’ is, it only held good as a result of referencing iconic film The Lost Boys – thankfully, albeit being a great little banger, it didn’t stick as their ‘main’ song and become a burden, especially if they intended on becoming serious. In turn you can see songs like ‘Mic Skillz’ by Blessed by a Broken Heart end up leaving them a gimmick based band, based on parody and lacking merit, solidified by a sequel, ‘Mic Skillz II’*, anyway, I digress!

A creative ability in the song writing comes from turning assumptions on their heads, which Sears has conquered in ‘Down and Out’. After beautiful word work, he ends with "Let these words guide you home", which at first is a little disappointing and lacklustre, but it is then repeated again, brought back to their own house style with a harsh (shouting, not screaming – lovely touch), unpredictable ending; not straying entirely from the market.

Despite creating a band that work ‘it’ in such a great, stylish and unique way, it worries me they won’t be as critically accepted as I know they deserve, and in general not as popular as they could be (as in, the attention they already receive) because they don’t fall under that same old America criteria. But with full bodied fantastic guitar tones (that sometimes overpower the vocals – it feels as if the music was wrote first unlike the demo, which seemed the opposite), striking vocals, and an intense live show, they’ve came a long way since Ready Set Low (original name: which I wonder if it ties any reference to their song ‘Low’) and will continue to make waves.

* Besides, Blessed by a Broken Heart were still a great band, and once they lost that glam-metalcore gimmick, they had a firm sound and were a great addition to my iTunes library (even if I did personally prefer the more aggressive, screamo demo version of ‘Don’t Stop’ with their original vocalist), and oddly massive in Japan (YouTube it). I caught them live, and they truly impressed me – so yes, nothing against the band really.

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Thought of the fortnight: More like thoughtnight, am I right? Just a quick one this time. The Christmas number one race is always a bit of a bore to me, and an excuse for news readers to fill up time and make it into something exciting, when really, it shouldn’t be regarded as something higher, and no more important than every other week of the year – the glory of having a number one alone should be enough.

Radio stations tarnished with terrible love ballads that don’t incite us with Christmas, cheap covers, horrible rip-offs, or general terrible songs with bells jingling away in the background, accompanied by a low-budget snowy music video – it’s all wrong!

Single sales seem to shoot through the roof, but simply disregarded as stocking fillers; there’s money in it, but no merit; it’s probably why the likes of the X-Factor contestants see it as an easy way to cash in rather than claim they have a passion for music, much rather the fame. I believe that’s why Rage Against the Machine actually secured that number one slot a few years back – people downloaded the single because they actually wanted it, they didn’t have their uncle buy it for them on a last minute whim whilst queuing up in ASDA for his milk and bread.

Within the rock scene, somewhat underground but digging up, seeing the light (poor metaphor for bands that are breaking into the mainstream, receiving radio play, etc.), Lower than Atlantis came out with ‘Merry Christmas (Wherever You Are)’. I don’t want to have a dig at the guys, but the track feels a little rushed, despite not really having a lot to work with – I suppose you never really do when dealing with Christmas songs. A slow verse, a bridge that builds up and an epic chorus, full of little Christmas lines and, as before mentioned, a lot of jingle bells. Still, it’s nice, pleasant, and was good enough to get on Soccer AM the other week, so it can’t be all bad; it is a grower.

Likewise, Kids in Glass Houses have just released one too: ‘Secret Santa’, playing on modern tradition. Again, a little heavy on the jingle bells, and a style that is incredibly similar to the Lower than Atlantis track, but I do prefer this one. Despite the recording/mixing seems a little harsh and thrown together, the chorus is very KIGH style; Phillips’ voice excels and the lyrics are a lot more up-to-date and tongue in cheek. I’ll be buying that when I get paid, that’s for sure, because at the end of the day, it’s fun, and that’s its purpose.

Both are now available on iTunes now to purchase, or you can YouTube the songs to check out their respected music videos for a little chuckle and Christmas cheer. These tracks may even just scrape into the charts.

Nonetheless, music aside, I wish you all a merry Christmas.

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Slam Dunk festival made its first announcement in relation to its 2013 experience this week (the festival appears to be a column regular), but I’m not as excited this year round about the initial line up, so I’m unsure if I’ll go. It’s a good mix, but not the mix for me. What did grab my attention was the confirmation of The Early November having a high slot up on the bill – which did really entice me and make me smile. It’s so pleasing to see them really getting back on the horse and with that new, fantastic record behind them, playing out old classics too; they’ll really hit the spot and be one of the best bands to see.

It looks as if the headliners next year will be All Time Low – still going strong after all these years, which is a truly impressive feet, still producing catchy pop-punk sing-alongs and touring like mad. I’m sure many will be happy with that. I do like the band, but they’re not a band I would go out of my way to see – I was able to catch them at Give it a Name one year and wasn’t disappointed, but their music has never stood out to me. The same sort-of goes for Four Year Strong, also on the bill. I like them, but not much more. Their latest record seemed to receive mixed reviews, so this performance could make or break their new sound in the UK and be a different experience to see live.

Nice surprises in Pierce the Veil performing, whom I was big on a few years back following the release of their debut album; and then it went a little bit downhill thereafter, I liked the second album a little less and I’m yet to give their latest a real listen… But I am certain they would be a very lively, energetic band, and awfully entertaining – especially to those who know little of the band.

It’s nice to see, due to phenomenal success and it’s all around coolness, that the travelling circus has added an additional date, a bank holiday Monday show in Wolverhampton prolonging the fun and allowing more fans to enjoy the sell out show.

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What I’ve been up to: The only band ever is now no more. After announcing their intent to break up on 5th August last year through a statement published on their official website (click here to read), Alexisonfire frontman, George Pettit, cited Dallas Green's departure from the band to focus solely on City and Colour, Wade MacNeil's departure to join another band (later revealed to be as the new vocalist for Gallows), and other personal issues among the remaining members as reasons for breaking up. Pettit also described the break up as not being amicable (emotions running high), with the hope to complete a farewell tour before parting ways. In reply, Green said to Spinner in an interview that splitting his time to dedicate himself to two major projects was “killing him”. Perhaps it was a reality they simply did not want to face.

In July however, Green stated he had been in contact with other ex-Alexisonfire members, and that he and MacNeil had been "starting to talk about doing some final shows, because when we did play our last show nobody knew it was our last show". And so, fifteen months after the band's breakup announcement, Alexisonfire embarked on their international farewell tour with stops in Canada, UK, Australia, and Brazil; originally announced to be a nine-date tour, but due to demand, the tour was later extended to fifteen dates, a somewhat fitting number.

My first memory of Alexisonfire had nothing to do with their music at all. As silly as it sounds now, I used to run a (moderately successful) Jeff Hardy website; yes, the “high-flying”, ten-botches-a-match, pain-killer-addicted, ex-WWE wrestler, and this was hosted by a website called Internal Disaster, which was a personal blog of some girl who happened to take a liking to the Charismatic Enigma. Anyway, one layout that Internal Disaster had saw an ambulance grace the entire screen, and across the front of it read ‘Alexisonfire’ backwards, which seriously confused me. I realise now it was more than likely in conjunction with the release of ‘Accidents’.

Musically, with thanks to the MySpace music player on everyone’s profile, I took it upon myself to cheekily get hold of a copy of Watch Out!, and have a listen to see why everyone had their songs blaring out on their personal page. I remember being shocked. Absolutely shocked. Back then, I wasn’t used to screamo, and I couldn’t class myself as a fan (to genre I would slowly see becoming a firm favourite). I could bear ‘Happiness by the Kilowatt’, which saw me play the album continuously, over and over, as the remaining songs grew on me through my iPod and cheaply bought speakers for Christmas – where I had to blu-tack its wire into the port, and prop the end of it against the wall so it wouldn’t fall out. It’s the only album I remember playing through those speakers.

This appreciation of the band slowly transgressed over to the self-titled debut, and then subsequent releases to where we are today.

Thus, Monday 13th August saw me, along with hundreds of others, flood TicketWeb in attempt to get pre-sale tickets to their sole UK show. I was at work, and had two web browsers up, along with trying to purchase some on my mobile, but I lost out, and spent the rest of the day ranting on Twitter along with the majority of my friends. They had sold out within five minutes and crashed the website in the process. As a result, the band announced that they added another London date at the same venue, a day before, on Sunday 2nd December.

Alexisonfire have always has a fantastic relation with the UK. For example, they released three live albums along with the release of third album Crisis as they toured the UK, and held a show on a boat for the album’s release along the River Thames in 2006, along with many tours and festival appearances. It was if one show would not suffice the hunger of the UK crowd.

“So we talked a long time ago about maybe doing just a couple shows to celebrate what Alexis was as opposed to have it fizzle out like it did […] It would be more about celebrating what we had and what we did and what we accomplished"

- Dallas Green

Enough with the facts, and on with the show. I acquired tickets to the Monday date, and after seeing the incredible set let and hear such tales of wonder about the previous night, I was beyond delirious with butterflies in my stomach. Final shows are such fun, the band seem to perform better than ever, but it is always a sad affair, where you feel your heart being ripped out from beneath you, as it sinks to the floor, and there is nothing you can do about it. I’ve been to several from small time Peterborough bands such as Between Broken Ashes, to mid-card UK acts, such as Londoners From Grace to one of the final festival appearances from chart toppers The Streets.

Having missed The Ghost of a Thousand due to travelling issues, I arrived amidst the buzz and murmur of the O2 Brixton Academy, anxious and sober, as the crowd waded forward to the barriers. The lights dropped and I didn’t know what to do with myself. My back did not ache for once, as I peered over to witness these fantastic entertainers, performing at truly their peak – highlighting their significance. It was, without a doubt, one of the best gigs I’ve been too – visually, they were superb (even the reused backdrop and light show pleased me), and musically, even better. The mixing was the best I have ever heard, especially for the size of the venue, and perhaps how rusty the band themselves may be.

Copyright of Laurent "Lags" Barnard, 2012: Source.

This was just not the case: Alexisonfire were superior in every field than what they were back in 2009 when I saw them last: just mesmerizing. A twenty song set featuring songs from all major records, appeasing all fans, followed by three song encore, totalling two hours on the clock was a glorious way to leave the UK, a truly respected farewell show. A highly passionate and energetic performance, with a great atmosphere (much like the hound dog gang, leather cladded band I saw earlier that day at the Winter Wonderland in Hyde Park; rockabilly at its best!). They still remained intact after the full throttle of ‘.44 Caliber Love Letter’ late in the set, and the gang vocals throughout ‘We Are the Sound’ will haunt the corners of the academy for years to come; still echoing, still ringing out.

Running wild; riding high on the wave of marvellous with lyrical ecstasy helping them harness more aggression, release more emotion, and fine-tune all the tracks, the encore consisted of one of the latest singles, the aggressive and rough ‘The Northern’, waving goodbye to what the band had become, followed by the latest release ‘Dog’s Blood’, where the crowd were silent, left with chills tingling down their spines as Green stood in a single spotlight to the left of the stage, quietly and perfectly whispered out “Howls heard for miles around. In dog's blood we will all drown. No escape, no mercy, through the ruined town. We will all bathe in the blood of hounds”.

Dynamic and intense, the set ended with an emotional, heartfelt and teary ‘Happiness by the Kilowatt’, before an electric standing ovation that seemed to last hours. I was almost in a daze the whole time, filled with an exhilarating rush from start to finish. I’m glad I had two beers by my side so I did not have to take my eyes of the spectacle for a second.

My friend Ryan told me he spoke to someone who came all the way down from Scotland on his own to attend, which shows the impact this band truly has had on the lives of people all across the world.

Green said to Spinner to finally and solemnly conclude the Alexisonfire story: “I'd like to say that we're still all pals”.

It’s always a nice surprise to come home from a bad day at work to find a package at your door-step. At first, you get overly excited, flustered with butterflies, thinking some secret admirer has bought you a present, and then reality sinks in when you look at the professionalism of the packaging and realise it’s something you forgot you ordered several weeks ago, usually from America…

So on 19th October, I had forgotten that I ordered Glassjaw’s CD/DVD re-release of the record Coloring Book, a CD they gave out for free at the end of a string of shows – I was able to pick one up when I caught them in March of last year in London. These shows consisted of a Hellacious set of favourites, followed by an encore of all six songs from the new record, in chronological order. This died the evening down, giving the atmosphere and different feel, sense and mood, almost like a comedown; as quite noticeably, Coloring Book is far mature and superior in technical ability, diversity and intimately lyrical.

I was not sure what I was expecting when I ordered the re-release: would the DVD content be of a documentary, or a live performance, or music videos, or what? I just wanted more Glassjaw in my life, and I was under full assumption that whatever footage I would receive, would be golden. The band have that knack about them; that class, that ego, that coolness – whatever they do, I love.

The DVD contents turned out to be of a live performance, and of all things, the six song encore of the very show I went to on 30th March 2011, live at the HMV Forum in London, situated in Kentish Town - it’s a pretty big and fancy Art Deco style venue. So yeah, I was chuffed. Double chuffed. Plus it was a good night anyway, because I remember drinking enough beer that day to sink a whale with my friends Ryan and Chris – even to the extent where we drank so much around Kentish Town we ended up missing support band trash giants, Napalm Death. Well, at least we heard them whilst we were queuing up outside.

As I reflect back, I recall the night being spectacular and one of great excitement and pleasure. Brutal and explosive anthems, blended perfectly with slick and effortlessly pungent jazz-infused bangers; all the classics, which the moving pictures mirror perfectly. Complied of stylish, slick shots, slow moving cameras capturing interesting crowd shots (for example, one guy simply out-of-it, rolling his eyes around his head), and shots from the crowd, scanning the stage, oozing atmospheric greatness. Without trying to sound too over the top, the DVD is a fantastic visual display of an intense show, in high definition quality, with exceptional quality sound – truly professional and thoroughly well done.

What stands out for me, whilst watching the DVD (for like the twentieth time now) is how much they’re seriously into the songs – grooving and bopping along, Beck absolutely loving ‘Gold’, adding a fantastically eerie constructed outro, and Palumbo waiting to explode during ‘Vanilla Poltergeist Snake‘, eager to get these songs more attention. ‘Miracle in Inches’ becomes a lot darker, and aggressive with a unique twist in his voice, changing the dynamic of the song entirely, which can also be seen in ‘Black Nurse’ through his off timing, and the now deeper ‘Stations of the New Cross’. This helps create a line between the studio and the stage.

Not just here, but in general, the Long Island quintet really only utilise Palumbo for the presence and movement – yet it somehow seems to work, and to great effect. He is like a car-crash, you cannot take your eyes off the leather jacketed enigma, questioning in amazement as to what he will do next, and he throws his body around the stage, from side to side, skipping along, dancing seductively, aggressively, punching the sky, mimicking gun shots in time with the drums or explosions with his hands. Whilst the musicians take a back seat, holding their ground and oozing coolness; they show dominance and dedication – passion in a different light, all fully aware they have the crowd wrapped around their fingers/in the palms of their hands.

Here is a selection of screen shots I took from the DVD myself:

 Copyright of Glassjaw, and Aml, 2012.

For the sake of comparison, I will discuss Incubus: After a drunken bar crawl around London a few weeks back, my friend introduced me to a live Incubus DVD, Alive at Red Rocks, from 2004, where Incubus played to a staggering crowd, enormous in size and volume at Red Rocks Amphitheatre near Morrison, Colorado – an outside, hazy summer night spectacular, if you will. In a haze on our own, she put it on and we slumped onto her sofa, and let the ‘magic unfold’. I was presented with something new and felt some awe rumble inside of my tummy – however, in fairness, it could’ve just been hunger; the pizza was ready to go in the oven, but it was taking quite a while to heat up.

Ostentatious venue and delirious appreciation aside, I was able to reflect back to my first viewing of Coloring Book, and even back to witnessing the footage live (lucky me), and compare my thoughts. Yes, they were quite similar; both times I was impressed, but what was most noticeable with Alive at Red Rocks, was front man Brandon Boyd, but more specifically, his unattainable, enviable vocals. Over the course of a more-than-two hour set, his voice remained incredible, no matter where he held his microphone, the end product was loud, clear, and flawlessly beautiful. With Palumbo in Coloring Book, they do sound flawed in comparison (even to his to his studio recordings/edits), but more raw and genuine here, with a real validity. The strain had set in from a lively set, leaving the encore very demanding on his voice, and this really stood out for me and made the difference.

 

Incubus opened with the one song I actually know the band for (from some compilation CD I got free with Kerrang! magazine, back in the days of my youth) – had all the right chemistry, chemicals and energy, but failed to explode, and for an opening song to a performance, the crowd deserved more. Naturally, watching a band of such power and magnitude, just simply seeing them and hearing the song live is enough for most to say they had a brilliant time and it was a pinnacle (a high pointed piece of rock, heh) act.

Despite a new bassist (Ben Kenney), at a band of that level, you expect more flare from a performer of that ability. If they were a ‘nobody’ band, playing their first show at a low level venue such as Cambridge’s Portland Arms (for example – you know, that little box room, the size of a toilet, with a stage that’s an inch off the ground and in the far corner (subsequently, Letlive played this venue last September; I had tickets but wasn’t able to make it to CB1 that day – absolutely gutting)), the lack of visual passion could be taken wrongly, and accusations of apathy would the audience find (shut up, Yoda), and for me, that’s what I felt needed to change when I saw this performance. The other members appeared like mannequins accompanying Boyd on stage (who outshone the lot), truly putting the ‘front’ in frontman. Clichés behind us, it was nonetheless a truly bold performance, and consisted of footage that I would recommend watching, perhaps hinting to re-watching, because I was highly impressed.

It must’ve been, as I can see from researching the venue that Incubus returned in 2011, and probably played several shows there too between 2004 and 2011. I would suggest however, not to put your (wolf)eggs* all in one basket, for whatever Alive at Red Rocks seemed to lack, Coloring Book certainly made up for, the obvious of which being the performance. The indicator, Incubus performance wise, was it did seem slightly lacking; the energy was there, but it was not visual. It was only around the half way mark that Boyd himself let loose and started to move about on stage, interact with the other members and shake his luscious locks about. I felt it still wasn’t enough to grab me.

Palumbo, on the other hand, as a performer has always left me in awe, and in jealously of wanting to be him, right down to the clothes he wears. Over the years, I had grown up a big Glassjaw fan, I’m not sure how it happened, but with a love of all things Long Island, I would have just stumbled across them and slowly found myself sinking into their clutches. I first got the opportunity to see them perform in 2008, at Give it a Name festival in Earls Court, London with the line-up they are still with today: originators Palumbo and Beck, and Manuel Carrero and Durijah Lang formally of Saves the Day – so this was a big treat for me, and this performance was pretty much was sealed the deal; the final nail in the coffin. No escape, I was in their clutches for good.

The band playing Give it a Name was the main reason a friend and I bought tickets to the festival. Naturally, the concept of a festival appealed to me, but the reason for this festival in particular was undoubtedly seeing Glassjaw for us both. So, what could be the best possible way to express my eagerness and excitement as I entered Earls Court, and waded my way through the crowd to the centre whilst the opening act, Broadway Calls, played? Yes, as one of their songs had finished and the cheers and clapping had died down, I shouted “Glassjaw!” at the top of my lungs. This got a couple chuckles, and suddenly from behind me, I heard a response, another “Glassjaw!”. It inevitably started an uproar which continued throughout the day, crazed kids screaming for Glassjaw to capture the stage. It never got tiresome.

So finally, the next day, 11th May, late afternoon, there they were. I was at the bar area, being chatted up by some random girl who said she loved my This is Hell shirt, and that they were the best band to come out of Brighton for some time (yes, she said that), when Callum and I heard the cry of the crowd. We dropped our drinks and sprinted across the arena and into the fray, descending into chaos. There, I remember seeing a guy in the pit that looked like Sayid from Lost, which threw me a bit and kept me distracted at several times (sorry, I digress), but that performance (finally! I had seen them!) essentially sealed the deal for me. I was blown away by the scream machine; he was like a trapped tiger, confined to the stage, and still to this day, the footage from Coloring Book portrays this energy rightly.

To think, this is all thanks to a chance meeting at a camp, back in 1993. Beck recalled meeting Palumbo, as he spoke to Redstar magazine two years ago:

"We had a list of names, and we were just like, let's pick one of these band names which ones the coolest. At the time there were a bunch of bands coming out with two names in one like that, like Mouthpiece, Curbjaw, stuff like that. We were going down the list, and the first name that I liked was Swiftkick. I'm all like, that’s a sick name. But for some reason Glassjaw stuck. There's really no reason behind it; it just sounded cool**"

Speaking of ‘sounding cool’, I remember the first time I heard Coloring Book. I was sat on this cold, metal stool in my ex-girlfriend’s kitchen, air drumming away, acting like the biggest prat known to man, as ‘Black Nurse’ thundered through my little laptop speakers to the high ceilings, and I instantly knew that these songs were anthems for arenas and large venues. I could easily hear them live in my head, the crescendo of Beck’s guitar as he started to further incorporate jazz and ambient influences accompanying powerful, echo-like drumming, smooth, funky bass, and aggressive, guttural screaming with a melodic touch. This is big, I thought, and I still think it today. It’s a silly image, but it’s going to stick with me.

So let’s sum up: Glassjaw are the coolest and on planet Earth***, and Coloring Book, with its stylish artwork and classic packaging, proves why****.

Notes:
* ‘Black Nurse’ was originally titled ‘Wolfegg’, and demoed under said name, listed under set lists, etc.
** Glassjaw is a cool name.
*** A genuine Daryl Palumbo quote goes as follows: “Glassjaw rules. And that is a fact. I read that on the internet”.
**** I’ll stop saying ‘cool’ now.

A look at several of my latest music related Tweets:

30/09:
I still get shivers every time I listen to 'D.E.A.D.R.O.M.O.N.E.S.'.

A pretty sweet and simple dose of nostalgia, really. It’s always pleasant to have your iTunes shuffle bang on a surprise song that you haven’t heard of in some time, let alone thought about, only to have it fill you with joy, excitement and the desire to stomp around the bus when it comes on. Still mouthing along to every line, the song picked me up and reminded me of the days I was just getting into hardcore, and Modern Life is War were one of the front-runners in my succumbing; their ‘big gun’ was this song. It’s fast, it’s furious, it’s poetically apt for any generation and utterly fantastic, describing a unique and unified concept. It is an inspiring song, which I’ll always enjoy, so inspiring in fact that in my first year of university I wrote a story based around it, taking out a load of lyrics and incorporating them into the piece – but that was God awful and shall not see the light of day.

The song came out in 2005, and sadly, the band are no longer going, so many new music fans will probably not be aware of Modern Life is War. I think the best they’d be aware of is seeing a member of an older band still wearing a shirt of theirs. ‘D.E.A.D.R.A.M.O.N.E.S.’ is definitely a song I recommend checking out for a heartfelt song that, to me, is timeless.

05/10:
Changing Tune is a God-awful listen! Way to ruin my Friday night...

Sadly, after eagerly looking forward to Lower than Atlantis’ major label release, the third album by the Hertfordshire quartet seemed, to me, to fall thirty yards short of the mark. After an impressive start with an eerie intro following into lead single ‘Love Somebody Else’, it had flavour, with a new spice; more edgy yet radio-friendly, catchy and punchy, yet this was where the entertainment seemed to end. I’m not too sure about the style they were going for, but everything felt rushed (I believe this is the third album in three years after all): no musical piece stood out, nor did the lyrics – they lacked the whit Duce was once patted on the back by literary buffs for.

I wouldn’t say it’s frustrating, but it’s slightly disappointing to know that they’re currently being handed a fantastic opportunity, with all the finance and backing they deserve (which is a lot), yet the end product is clutching at straws for something gripping – and as a result of all the PR backing, it will still see the billboards and airwaves as something fantastic, as if the media are lying to us as to what is the ‘best out there’.

Without a doubt, their live performance will still be on form, and the new heights will see the band obtain a new set of fans but to stay where they are, and progress, rather than simply fade away creating the same music (yet lacking the spark and passion (they obviously still have it, but there’s less desire to break through once one is comfortable) that initially set them apart), they need to up their game and I urge them, and would fully appreciate it if they took a few months off the radar. Off the grid, they’d have time to step back and think more about what songs they want to put out and, as I keep saying, progress. It is around this time in a band’s existence that they either make it or don’t, they’ll produce that song they are remembered for and played on every Sky Sports advert going. Most bands would cop-out and go for a concept album, a story, or whatever, but I know it won’t be a road Lower than Atlantis would take.

They seem to still have their heads up in the clouds, everything is in the air and they are undecided about what to do, as they’re just too busy having fun playing music and seeing the world. You cannot blame them for that at all – but they need to do this for themselves. ‘Scared of the Dark’ is a soft, mellow mix, trying to merge pop with the acoustic heart-string plucked lone wolves. As good as it is, it doesn’t feel suited for them. When ‘Normally Strange’ comes on, you’re hit by an odd grunge mix, Nirvana tinted and 90s saluted, so is that a path they will follow instead? No decision is made, and, for example, as those before mentioned songs follow one another, the record feels like it is shifting continuously: you can only do one or the other with the unforgiving UK scene. NME appeared to pick up on this also; before the album came out, I read their review, giving it 5/10, and I thought to myself ‘What? No way!’, but I can see why now I’ve heard it a couple of times and found it hard to absorb despite having good qualities, catchy choruses (like ‘Something Better Came Along’) and overall good songs.

In conclusion, Changing Tune wasn’t bad, it is a record I could listen to again and I don’t see myself any time soon skipping it if a track came on, but I expected more, and everything just felt lack-lustre.

09/10:
Peaceful evening in with Wes Anderson's Moonrise Kingdom, cooking, and Bad Books' II. #Bliss; #CouldntBeHappier

Everything was beautiful and nothing hurt. The musical wow-project of Andy Hull and Kevin Devine got together in the studio yet again to create one Hell of a follow-up record this autumn, picking up where they left off, to keep everyone still wanting more; to keep everyone want to hold their lover close; to keep everyone wanting to pick up a guitar and find that ‘thing’ they have been missing.

I was introduced to both Kevin Devine and Manchester Orchestra through my love of Brand New several (seven now, I think!) years ago and I have been hooked on these acts since. It was a treat to know that they would be working together to put out a record, so how do you think I felt when I heard there would then be a second only two years later?

Much like the debut, II is full of special tracks, haunting vocals, and gems that really get you in a hazy state and fill you with awe and appreciation (and very appropriate/fitting for a night that also saw me watch a Wes Anderson film) – for me, my favourite track is ‘Lost Creek’, it’s truly relaxing and climactic. It’s the little, delicate lines this record is complied of that really add the finishing touches, which become the cherry on top, if you will: “The last time I saw her was honestly awful for me” (‘Lost Creek’), and “Now I know, it’s so good to be alone” (The After Party). I can’t think of anything better! I included a song from the band on my summer mixtape, labelling them “Quite possibly one of the best music collaborations to date”, and with the release of II, I can easily stand by my statement.

10/10:
Random woman on @wearefictionuk's performance at Queensgate this evening: "If you go to the Met, you'll probably see worse".

On the 10^th, in support of a local college, the main shopping centre in Peterborough, Queensgate, held its second annual ‘student night’, a night filled with discounts and sale, free samples, gift bags, DJs and bands playing for free. Last year was a smaller affair, with only one band (The Whisky Jax) playing in the middle of the shopping centre, but this year had a neat line-up to perform on a very, very small stage provided by a local practise room business (along with them providing sound). Amidst the bill were the likes of Tu Amore and All in Colours, but the headliners for the night were We Are Fiction – living out their childhood dream of causing chaos in shopping centre.

For a Wednesday night, the centre was alive and spirits were high, which is a rare thing in my city and as time went on, sets were being forcibly cut short due to stage times whilst #TeamWeAreFiction were gearing up and dripping with eagerness from every pore.

A six song set solidified the band’s reputation as the non-stop, fun-first, party-monsters that they are to a crowd of around one hundred and fifty people, loyal fans and first-timers, which indefinitely saw them also get banned from playing there ever again. This was thanks to Barker’s favour to swearing in public, the kids with a screw loose running around the stage and entire shopping centre being chased by security guards, and general ferocious music – absolute fun! A strong performance that won’t be topped for some time

11/10:
You are a medicine cabinet I can crawl in, like the rat I am.

I was enjoying a healthy dose of Taking Back Sunday and feeling sorry for myself at the same time. Multi-tasking! Men can do it as well.

16/10:
Casually waiting now for Wade to Instagram the f*** out of Peterborough.

Supported by Brotherhood of the Lake and Feed the Rhino, Gallows came to town and I was finally able to see them perform for only the second time, but now with MacNeil fronting the hardcore crew. The England match had been called off due to bad weather, and so my friends and I doubled our intake of drinks as we waiting for Gallows to hit the stage, and one thing is for sure, the hype was well and undoubtedly lived up too. MacNeil is a reputable and energetic frontman, his stage presence is unrivalled – not only with his Alexisonfire past to accompany him, but he gelled so well with a band that have already created a story for themselves, as if he was there from day one, and held more of a dominance and stronger, unified appearance (along with confidence and pride) than I remember Carter sporting back in 2006.

I really enjoyed their set, and seeing the new chapter unfold for the Gallows boys, with their new songs that pack a punch and yet still have the ability to bring back the classics (such as ‘In the Belly of a Shark’) and perform them so well – closing with ‘Orchestra of Wolves’ was a fantastic finish, with the entire crowd howling and screaming out as MacNeil crashed into the crowd and fans raided the stage: Hell bent, destruction, fun, chaos, Canadians and passion.

19/10:
Forgot I ordered Glassjaw's Coloring Book DVD, but it came through my letter-flap today and f*** me, @DarylPalumboCC is immense.

A phenomenal live performance from one superb CD/DVD pack, with Palumbo reminding me why he is my hero, and all-time favourite frontman. But I won’t talk about this DVD feature just yet, as I will be going in depth about it with my next article. Keep your eyes peeled!

20/10:
Solid final release by Basement. Colourmeinkindness is alright in my books.

The emo/grunge-esque style that Lower than Atlantis lacked in Changing Tune was something Norfolk’s Basement got right with their final release. It’s always sad to know that a bad will call it a day, and do their best to put out as much as possible to keep their fans happy, but still forever wanting more – a string of shows, re-releasing old rare merchandise, and a new record. It’s like a funeral, celebrating the glory we have had the pleasure to witness and listen to, but ultimately paying tribute knowing it has come to an end.

Nonetheless, Colourmeinkindness is Basement on top form; pulling out all the stops and going out in style with an emotional rush. A half hour of happiness, where it seems they have been able to take the inspiration and awe from the likes of old school bands such as Jawbreaker, Hot Water Music, Texas is the Reason, American Football, Lifetime, and Rival Schools, even with hints of The Pixies, Weezer, and Blur in tracks such as ‘Covet’ and ‘Control‘.

They’ve taken a 90s successful formula (listen to ‘Spoiled’ to see what I mean) and merged it with new age post-hardcore filler riffs to give their songs the finishing touch and modern day twist, along with Fisher’s diverse and envious vocal styles: sounding like Kurt Cobain of Nirvana in ‘Spoiled’, to Billie Joe Armstrong of Green Day in ‘Pine’, he has a damn good voice.

Fisher stated:

“I am both excited and saddened about the release of this record. On the one hand there is the finished product of a project we are all very proud of and on the other it acts as a [...] bookend to a really great couple of years”

They play their final two shows tomorrow in Leeds, and Saturday in London, and thereafter, “Basement will have to be a happy memory”.

22/10:
Every time I get stressed, I hum a bit of Justin Timberlake, and everything seems to just work itself out.

A joke a day keeps my insanity at bay. And I just really like a bit of Justin Timberlake. Everyone does, and if they say that they don’t, they’re obviously lying. The man’s a God. Here’s a jokey photo that will cheer you up: click here.

23/10:
I rarely bother with Raw, but I'm watching it (and putting up with jobbers) so I can spot @TravisReilly and @RickisHell in the crowd.

@TravisReilly: @gavinsavedlatin Did you see us? If so, send a screen cap!

@TravisReilly: You were shown twice. Once fighting for Cena's love, and then again laughing at Vickie, haha: pic.twitter.com/nyGaY9IR.

@TravisReilly: @gavinsavedlatin Hahah. I wish the Vicky one was clearer.

@TravisReilly: Guess you'll have to go again!

As you can see here, I had a little back and forth with Travis Reilly from This is Hell after they spoke of attending a live wrestling event, WWE Monday Night Raw. Even the current WWE Champion, and straight edge, long time hardcore music fan, CM Punk tweeted the news that Reilly and Jimenez would be in attendance.

I’ve spoken to Reilly a few times in person and online and he is a genuine, down-to-earth guy, so having spotted him twice, I screen-capped some shots and sent them over. The tweet was then re-tweeted by the This is Hell account and also acknowledged/replied to by The Swellers, which was also pretty awesome and flattering. To see the image, click on the link above in the conversation.

26/10:
Streaming Peace’d Out’s debut through Alternative Press is a laggy ballache, but the songs are so damn good!

Peace’d Out is a new, cool-named project featuring Vinnie Caruana (I Am the Avalanche), Steve Choi (RX Bandits), Casey Deitz (The Velvet Teen), and Roger Camero (No Motiv), and they are just so unique and crazy – it’s as if someone took The Sound of Animals Fighting and forced them to re-enact that hallway scene from Oldboy.

Becoming enigmas with cryptic transmissions and withheld identities since emerging across the internet several weeks back, sparking controversy and crazy statements such on their Facebook such as “Soon we will test our new bass guitar amplifier which captures the infrasonic power of a Blue whale”, “We wanted to make our record out of pure mercury but the authorities wouldn't let us”, “Bet you wish you had drumsticks made of Woolly Mammoth tusk like we do”, and “Earthlings: If you experience loss of mobile phone reception, internet failure, traffic jams, or electro-magnetic waves which disturb normal functions of consumer electronics, it's because we are rehearsing today”.

The record itself is refreshing and exhilarating, with the carnage to rival the likes of The Dillinger Escape Plan or The Chariot, but with enough soul and smoothness to accompany Circa Survive and the likes. I purchased it as soon as it came out on iTunes, and I recommend doing the same. Alternatively, you can still stream the record via. Alternative  Press. Just make sure you listen to it!: Alternative Press.

29/10:
Lana Del Rey has literally the sexiest singing voice I’ve ever heard. Oh ma’ gawd.

I just really, really fancy her, okay.

Hello, happy Halloween, and apologies. Unfortunately, this fortnight will not see an entry by myself (or anyone!), due to personal reasons: I am in the process of moving into my own place, and as you can imagine, the stress just floods in from every corner, unexpectedly, and takes up my entire being. That, and I am unable to get any time off from work, Hell, I'm writing this up at work (naughty, naughty) because I have no internet set up yet, but enough about me. I'd like to take this little break entry also to thank the consistent support and every personal comment I have received initially over the first few months of creating this blog, and well, hey, here's to the future!

Now, go listen to some Glassjaw.

Review

Tu Amore
Your Love
Rating: 5/5

May I open by reminding you, that everything of this world is of opinion. For me, love means faith, compassion, loyalty, time, understanding, commitment, care and ultimately, respect. Tu Amore have slaved away for little over a year in order to get these ideals across to us in the form of audio media, their debut EP, aptly entitled Your Love, the English translation to their mysterious Italian band name.

Recorded in Southampton at the Ranch Production House earlier this year, Your Love is simply a tremendous achievement, which has received great praise across the board, from well established reviewers and the independent circuit; well noted to be an unorthodox, uncanny and unconventional listen.

The record opens with a rush and a push, known as ‘I’m a Mess’ – a strain of vocals, like some erotic final climax (I’ve been reading too much Jonathan Ames as of late), symbolic of catching up to the competition, those already in the business, stressing how everything has been put into ‘it’, this record – where else would the passion come from. The song itself, as I’ve described previously is “an epic, head-first crashing start, backed up by all the fury Thrice possess”. ‘I’m a Mess’ is a firecracker (or ‘Firebreather’, heh) and what’s really noticeable is the bass delivered by Davies in this track. It’s surprising and shocking, but rewardingly good to hear even levels between all four men and their weapons, hence Mackereth’s strain and fight for attention. As my before quoted statement suggests, it is clearly a fantastic opener for what would appear to be a very promising record.

‘I’m a Mess’ is followed on by ‘Bird in a Cage’, perhaps seeping with hidden meaning I am yet to discover within the narrative, or may never even discover, but it graces your ears with a mellow, and slow, sombre blend that oozes patience and craft. Accompanied by an epically beautiful chorus, you hear an acoustic guitar merged subtly into the background letting the band showcase their diversity in sound from the start, (and it works wonderfully too) which truly is rare and an actual delight to hear; they’re not a one-trick pony, essentially. At the end of it all, one is left listening to something eerie: haunting guitar work and a sound clip (which is something else...) which blends exceptionally well into ‘Speranza’; not only does it link to two songs up, but it instantly allows the attempt of building tension and fear up successfully.

‘Speranza’ is a solid track; it supports fantastic riffs that literally are stunning, and guest vocals from Mikey Chapman of the up-and-comers Mallory Knox. The benefit of this is not a simple name drop in an attempt to gain a wider audience, it in fact adds realness to the track, therefore the record and therefore the band. To elaborate, it presents you with a new sense professionalism, influencing ones opinion on the new band that is Tu Amore, but furthermore, it indicates that they are right for this (music), and have slotted in justly. The band have worked so well at adjusting the song to suit Chapman’s voice, for it fits perfectly, and finally the guest vocal spot highlights a sense of community as well – Tu Amore’s second show was supporting Mallory Knox, and after getting on so well, they embarked on a tour together shortly after and have remained close with a firm respect for one another since.

Tipping his hat to inspirer and influence Morrissey, along with the Smiths (Mackereth has ‘How Soon is Now’ tattooed across his chest), Mackereth belts out “I’d rather live in your Hellish world, than alone in mine. I’d rather die with my head held high, than with a torn in my side” in this song, laying tribute (much like Brand New did) to the well known song ‘The Boy with the Thorn in his Side’. Here, he wants to, not necessarily surpass his mentor, but certainly find his own voice through his guidance, remaining in Morrissey’s shadow for at the same time, this line parallels ‘Will Never Marry’: “I will live my life as I will undoubtedly die: alone” (‘Will Never Marry’, Bona Drag, 1990), signifying his detachment and difference.

Moving forwards, ‘Wishing Well’ bounces back to the calm shore with a lovely, subtle intro – stylish and well rehearsed.  The track consists of a well educated American rock sound, covering all bases – reminiscent of an early The Republic of Wolves. The beauty, for me, with ‘Wishing Well’ is that it consists of slow, glorious solo-like riffs throughout; Morpeth is a magician. That, and Pickles takes his time with this track which is fantastic to hear; really appreciating his member’s additions; he does not overdo his part and as the drums stand out, they appear to do the exact opposite at the same time. The raw, breakdown styled outro is without a doubt my favourite part of Your Love. It literally screams the angst and passion across to the listener; it is a crashing end, and the spitfire of it all jolts my memory to the ending of Brand New’s ‘Welcome to Bangkok’.

Mackereth as well added, specifically about ‘Wishing Well’, that “the song that best represents the band is ‘Wishing Well’ simply because its [sic] a unity song”. The road ahead for Tu Amore will not be an easy one, but with this song at their disposal, they will be assisted greatly.

The first single that started their domination follows: ‘Joan of Arc’, prized in the middle of the record. This track too excels with beautiful guitar work, where the majority are very Brand New-esque, similar to the solo in ‘Limousine’, as well as when stripping the intro to ‘Joan of Arc’ down, you notice it compiles all the elements to that of ‘Tautou’; a perfect example of what they can be compared to, and a definite compliment to be in the same gene pool. I previously discussed this song in particular and noted it “captivate[s] and finally engulf[s] you as it transcends into [its] thrilling chorus”.

The penultimate song on Your Love, ‘Love with No Limits’ was initially the first song the band ‘put out’ as a demo late last year. This reworked version is now a lot cleaner, sharper, crisper and generally better. Moulded and more defined, it is apparent that the band has truly worked on the track – most interestingly the opening: gloomier, grittier, and less cheesier with the sound clip: it is more distant and quiet too, it no longer annoys you like the demo did. ‘Love with No Limits’ is a characteristically slow track which features double layered vocals like that of Nirvana or the Beatles (I remember once reading how Cobain loved that The Beatles used this technique and wishes to emulate), along with an acoustic guitar brought in, again layering and adding depth. Approaching the end of the record, the song has a very low tempo, slowing down the pace, lowering the heart rate to accept the end and merge beautifully into the final acoustic track, ‘Charcoal’.

Mackereth’s voice was described as "bittersweet" by Bring the Noise in a recent review, and for that I agree, in ‘Charcoal’. We are presented with yet again, with something different, and left with an honest song – turning the table from asking questions and demanding answers (such as “Do you love him?” (‘Speranza’)) or telling ‘you’ face facts and accept change (“You can wear your new tap shoes, that doesn’t mean you'll dance like you used to” (‘Joan of Arc’)), to showing his gentle, delicate side which pulls at your emotions. I stated previously there was a tinge of Bright Eyes melancholy about the track, and that certainly rings true after several through listens, which is most obvious with the chorus: “Embellishing a soft melody over sharply crafted lyrics, which scream of a well attributed infusion with Bright Eyes; a clear influence to the writing style, which is constructed mostly on personal experiences”.

Bring the Noise also stated that ‘Charcoal’ “plucks not only at guitar strings, but on our very own heart strings with a sorrowful plea” – I just can’t see how they came to this conclusion, I’m not saying it is a narrow-minded and quickly formed opinion, but like with Bright Eyes, I don’t see it as a plea, more a compliment of an anecdote to the grim truth; regardless of the ‘bad’, love is ever present, which makes the track even… Nicer, and genuine. Furthermore, Mackereth stated that “life is hard” during a radio interview several months back, and this sums up his ideals perfectly: “Part of it is empathising for other peoples situations though as well as second person points of view, so its [sic] not always personal”. Punktastic took the words right out of my mouth as they concluded that ‘Charcoal’ is “a touching finish to a strong record”.

A friend of mine (positively) criticised the record for having a lack of lyrics; but I see that as a benefit. For example, first off, take ‘Joan of Arc’, which has very few lines to it, but the ones that are there mean something, and they pack a literature-punch. They stick with you, and fill up the over-average timed song. What is written has purpose – I say this in the sense they weren’t created for song use; Mackereth pens beautiful pieces of prose and poetry, which he and his men gel together with music so perfectly, everything becomes enhanced and heightened. The aim here is to get across theories, concepts, stories and wit, and to not to make the music and ideas convoluted and fill up with pointless phrases and, indeed, fillers.

I have also read several other reviews of the record, stating that some songs are too long, to which I also disagree, I find them perfectly timed. Take ‘Bird in a Cage’ for example, it takes a lot of work to make a long song not, for lack of a better word, suck. ‘Love with No Limits’ too is supposed to be long. No part on any song is strung out, elongated for the purpose of filling up time where ultimately, every song is ‘single worthy’, and all are stand alone as they jolt up and down on this record, which Punktastic labelled “peaceful into edgy” and thereafter effortlessly dynamic changes from rage to blues.

Reviews all unite however, in stating the lyrics are “haunting”, honest and glinting with melancholy and despair; Mackereth commented on this opinion, sharing with Already Heard: “It’s never meant to be easy to listen to”.

Tu Amore have not based the record to imitate anyone, to copy anyone else. The first listen is amazing, the second and third, magnificent, and the fourth onwards, when isolated from the world, a work of art: the beauty of hearing all the little tricks that tickle your spine, soothe your goose bumps and squeeze your soul that evolves over time.

Listening to ‘His Name was Arthur Leigh Allen’, which has just came up on my iTunes shuffle, it is easy to see that Tu Amore will be grouped together along with the likes of Survive Atlantica, but that is not a bad thing. People will be quick to judge and say Tu Amore took off as the British predecessors, but I like to think differently. Tu Amore possess the aggression that Survive Atlantica lacked (that titan alternative rock bands in the forefront such as Brand New posses – I’m talking about experiment bends in guitar department; crazy hooks, etc.), and although their lyrics are not as abstract, they work better for an unknown outfit.

I feel many critics and publications are reluctant to give out a flourishing review, or a top-rating, you know, five, ten stars, an ‘A’, a 90% and above; they’ll try to find crack or something to keep a band down, saving the best for the more commercially successful and wider known bands – even then, some would love to stick their teeth in and drag them down!

With a five out of five rating, people may say that this review is bias, but of course it is; I’m fully aware of the dedication and hard work that was put into creating such a masterpiece, and that alone deserves the attention of every label across the UK, along with my measly review. This record is one I will gloriously treasure, and find myself indulging with time and time again; I enjoy it whole-heartedly and greatly. Not only is this my favourite style of music, so it ‘hits the spot’ perfectly, it humbles me and makes me so proud to call these four gentlemen my friends. Disregard my review and words if you must, for Tu Amore do not deserve infamy on any level, they deserve your respect.

I’ve been listening to a lot of Eternal Lord as of late – mostly the last record they put out; they very full sounded, heavy-impacting 10 track album, and to me, only decent, worthwhile release, Blessed be this Nightmare. A crushing ball, not crashing bore (heh). I say ‘worthwhile’, as they finally strayed from that underground noise that all bands started off producing; filling up local venues. The sudden change for them, possibly the first of the likes, worked well in their favour; to switch from a deathcore heavy sound to a melodic, more mature, experienced, and enjoyable, cleverly crafted metalcore sound.

Nonetheless listening to Blessed be this Nightmare made me think, and reminisce. My several different thoughts are as follows:

I: I think back to when this style was bigger, or rather, more popular with the youth and scene, where all these musical careers started (In the mid-2000s, metalcore emerged as a commercial force) – the MySpace days. Music charts weren’t really much of a concern as they are now with the likes of Deaf Havana, While She Sleeps, Don Broco and the likes. Mainstream festival slots were not on the horizon, let alone the map. It seemed more about getting out ‘there’ and doing ‘it’, largely for yourself to look cool in front of girls. As a result, looking back, everything felt more down to earth, and even attainable; much easier to relate to.

Then suddenly, after the rush of metalcore, which soon was taken over by hardcore (a prediction I remember my friend making one night back in 2006 at a house party – “Hardcore is the next big thing man, I swear, it’ll take off”, he cried in his the Legacy shirt) they just quit, dropping like flies. This was constant of bands in the deathcore, metalcore scene. Even the likes of Eternal Lord had the opportunities to tour America but it was still never enough – it’s only those committed like Lower than Atlantis that have been able to stick it out through the bad, modify and enhance (and alter) their sound, remain persistent with self-promotion and dead-end shows… They never had anything handed to them.

It’s as if the only ones who have truly survived, especially via. the UK surge, are Bring Me the Horizon (and Architects following close behind), as they were even playing the Warped Tour whilst the scene was still building and growing – which was probably what influenced so many more kids to have a pop. I mean survived, in the sense that they do get into the charts, tour worldwide and have that critical acclaim, and acceptance. Now, with both bands, their sound has completely changed. Other bands also, such as The Eyes of a Traitor and Evita, have also altered and upped their game to suite the needs and demands of their fans, the modern music twist (granted, they sound all sound a lot better), or just too simply keep going as there are only so many open chord chugs a band can produce. They evolve, much like the before mentioned Lower than Atlantis. Fitting to end this thought is one of my favourite quotes from Robert C. Gallagher: “Change is inevitable, except from a vending machine”.

II: I bet all those bands that spend hundreds of pounds to deadbeat graphic designers on layouts for their MySpace pages are kicking themselves now.

III: “A thousand times I’ve tread this ground, just to see my own reflection” (‘I, the Deceiver’, Blessed be this Nightmare, 2006) bellows Ed Butcher, as do I, looking in the mirror with my TV remote in hand, clutching my chest and turning my fist into a claw, searching for the beauty in his words, the imagery, and the meaning. After listening to this song for the first time ever, years before, I remember being (and still feel) annoyed, as I wrote a line so similar myself, along the lines of searching for ‘you’ in the crowd, but only seeing my own reflection – yeah, I can be poetic too.

But nonetheless, the line is so easy to write yet so good, open to such interpretation and ideas; but you wonder if that’s just lazy writing. You reflect back to the words Butcher wrote during his short stint in I Killed the Prom Queen: “These city lights will never be as beautiful as your eyes” (‘Sleepless Nights and City Lights’, Music for the Recently Deceased, 2006), and, it’s hard to take him one hundred percent seriously, as it’s shoved (I use that word as it could be quickly created; forced) into a blender with music aggressive riffs and the vocal stylings; talk about juxtaposition: Hitler on a first date, Rihanna singing about purity rings, Geldof kicking a sandcastle over, punting a child’s phone into the River Themes or giving his mum a Chelsea smile. It’s hard to picture girls swooning the same way they did to Elvis, and thus, they lose their impact, meaning and potentially appeal all together. And again: “Let’s waste some time; laying hand in hand” (‘I, the Deceiver’, Blessed be this Nightmare, 2006).

I, in turn, decided to have a jab back at Butcher, and mimicked ‘I, the Deceiver’, writing:

Am I the chosen one?
Do I have it in me to be the man
That I’ve always wanted to be

Or something equally as embarrassing.

And don’t worry, my writing has gotten better since.

Lyrically however, metalcore showcased some of the worst around, so Butcher’s penmanship wasn’t all bad. Depicting gruesome horror scenes and fantasies, poorly executed, or just tales of hating women; embedded with misogynistic phrases and seeping with insults to former friends and lovers, or sticking the middle finger up to conformity and religion: “So clap your hands to the sound of every first born dying now, watch the rivers flow with blood, death will stand where life once stood” (Bring Me the Horizon – ‘Pray for Plagues’, Count Your Blessings, 2006) – I chose this one, rather some of the vile stuff actually said about women; me, I love women.

The lyrics, sadly, seemed to solidify and, even more sadly, influence our scene in the wrong, sordid light.

IV: The names! The fantastic, exuberant, ballsy band names! Like Clone the Fragile, From the Carnival of Horrors, Penknifelovelife, The Hunt for the Ida Wave, Make Me a Muskateer (local-ish band, featuring a (now ex) member of Deaf Havana. I just always loved the name), And their Eyes Were Bloodshot, Postmortem Promises, and Annotations of an Autopsy. Didn’t you just love the creativity in such names; how drunk they must’ve been to invent such an idea or word process (words in a bowler hat and pick out several different scraps of paper).

Just as insane were the witty, macabre song titles: Break the Sky came up with ‘I Work the Graveshift; Doesn't Mean I Stopped Caring’ and ‘Dementia is What the Old Folks Call Cabin Fever’, Penknifelovelife produced ‘It's 2am and I Saw Her Body Cavort the Lake Bed’ and ‘Touch Me Again and I'll Stab a Screwdriver Into Your Face’, The Hunt for the Ida Wave released ‘A Graphic Way to Show Nobody Cares is to Take to the Lake and Rapidly Descend, For My Mother is Asleep and So Should You Be’, ‘Jacob Denver Said It's Not Alright, My Friends Can't Breathe Under Water Like I Can. If I Stay on Shore Much Longer I'm Gonna’ Stitch His Insides to a Tree’ and also ‘The First Time She Touched Me I Became an Invention Called Zero, Baby the City Lights Will Always Be More Beautiful than Your Eyes’ (obviously, here, Butchers first crack at that phrase), Her Words Kill named songs ‘Nobody Here is Leaving Priscilla Brooke Alive’ and ‘Jennifer, Hit the Lights, We're Taking Over this Joint’, From the Carnival of Horrors had ‘Her Organs Were Found Across the Moors’, and The Nothing, ‘And the Dogs Hang Themselves with Scissors’ and ‘What Do You Expect Us to Do, Rob a Graveyard?’.

These are just some of the crazy concoctions that have stuck with me all of these years that I remember off the top of my head. One of my sorry excuses of penned song was oddly entitled ‘Why Do These Nightmares Always Involve You and Not the Thug Behind Morrisons?’. Recently, Lower than Atlantis paid tribute to this, imitating and mocking what once was, naming a song ‘I'm Not Bulimic (I Just Wanted to See How Far I Could Stick My Fingers Down My Throat)’. No one complained as this was hilarious and a nice touch.

V: Deaf Havana aptly naming a song ‘Isn't it Funny How People in Bands Lose Their First Names?'.

VI: Black (seldom white) youth medium band t-shirts. Showcasing designs with babies spewing out of heads of skulls with daggers and slime everywhere, a couple of boobs thrown in for good measure, accompanied by an illegible logo; has that all died out? Now replaced with hardcore, which even now seems on it’s way out, progressing to an Odd Future era, with the snapbacks, XL shirts, and Aztec prints – fashion became essential and vital; obviously depicted through that £200 purchase of a Brutality Will Prevail ‘Cheryl Cole x Chanel’ t-shirt on eBay (and subsequently the band trying to make even more money off of it by selling a poorly made (and designed) ‘eBay gold’ design). It soon became all about the merchandise, rather than the live experience, the name rather than the music.

I just remember venues once cluttered with these old band t-shirts (kids standing around with their arms crossed, obviously); before Oli Sykes made it essential to roll up your sleeves. Everyone had at least one to accompany your black Vans slip-ons and skin-tight jeans, or camo shorts come summer.

I remember getting my first… My mum bought it for me! I was drunk from a night-out with my friends, half-asleep (which felt like I was dreaming the whole thing) my mother shook me and from the end of the bed help up this glorious black, red and white t-shirt, youth medium in size (even though I was a small) and smiled graciously at me. When I came too an hour or so later, I sat up, and there in front of me, lay a From Grace (London metal, yuhh!) t-shirt. I was ecstatic. Tipsy and ecstatic. (It didn’t fit, but I didn’t give a s***. I lived in it). Due to the delays, my mother even contacted the band, and they sent me their album for free as an apology – this was better than Christmas (I hadn’t had sex yet). I would later speak to Alex (their frontman) several times in person at gigs, and on our first encounter, I brought this up with him. He said it was as a result of their poorly run record label taking ownership of the merchandise website, and essentially messing everything up, and that my mother was wise to contact the band directly. What a babe.

I ended up with a mass collection of band t-shirts, almost to the extent of deeming it a collection (better than stamps, but it still didn’t help the whole virginity issue). I even had a Penknifelovelife design in two different colours… All of which I ultimately ended up selling for 99p a pop on eBay (one of which ended up being bought by a Front Alt girl – wearing the bloody thing in her photo shoot; she told me she was buying it for her boyfriend), normally not making anymore than the starting bid price. The scene is dead.

VII: There was this one riff everyone used.

The Place to Be Promotions: I grew a vast knowledge and love for this scene as a result of myself being part of a local promotion team, getting thoroughly involved with the production of shows and brining in talent into our suddenly city’s lively music scene (with the help of two other promotion rivals – we’re now great friends!); spending nights research bands, scrolling through genre lists on MySpace and scanning friend lists; listening to track after track to discover gems and remarkable genius.

Shortly before joining, I played a gig for them, having made friend with the owner/creator, Jack, over the past few months as we shared the same bus to college. Whilst I made him listen to various local bands, he tried to get me into Iced Earth and the like, but to no avail... Naturally. Just before Christmas 2006, he hosted an acoustic night for charity in Stamford. And thought it’d be funny to put me and my band on. We had just formed, and were an acoustic three-piece: two guitars, one drum-kit, to be accompanied by my prepubescent pip-squeak voice. Despite the songs we wrote, and in my opinion, they were somewhat lovely and well composed and a thoroughly good listen, it was a disaster waiting to happen.

The day music changed.

I suppose, in hindsight, our name didn’t really help proceedings: Fistdance. Its birth was an odd process, and if I remember correctly, it originated from Taking Back Sunday’s ‘Slowdance on the Inside’. I liked the word ‘Slowdance’, and after a quick MySpace search, realised it was already taken by a marginally successful band, so opted for ‘Fastdance’. But, discussing this, I made a typo, creating ‘Fistdance’. We worked with this on the basis that ‘fist’ would represent the hard hitting side of our music, and ‘dance’ to blend in with the melodies and tender side – and we just ran with it.

This whole idea back-fired a fair bit, most notably when I was at a friend’s family party, a grand shindig, I was speaking to my friend’s aunt; she was a fun individual, and pretty drunk by the time we were introduced. I informed her of my upcoming debut, to which she asked what name we went by. After a few seconds of silence, whilst she registered the name, she balled her hand into a fist, put her other hand around her wrist loosely, and said, “Like, is that some slangy nickname for fisting?”, gliding her hand up and down her forearm.

The gig, anyway, was one dreadful affair. With the aid of one million stomach-butterflies and an incredibly unprofessional soundman, my rock n’ roll career was very much over. But that’s another story. Essentially, it was ever since them (perhaps a bad experience too far) that I got on the other side, so to speak, and assisted Jack ever since in the promotion and production of his shows, to if anything, further my love and experience. This, in turn, sparked a hundred more stories. The pride and honour I felt walking around the venue with a staff badge, and eventually staff t-shirt, doing various jobs, even getting chances to just enjoy the bands, rally the crowd and join in with two-stepping and the mic grabs, was one of ecstasy.

I fell in love with this scene: the passion and energy, its people, the atmosphere of live shows, the thundering annoy-mum music, the incessant ballache that is drums in sound check, the buzz and atmosphere before the doors open, the emotional lyrics, not quite its fashion, its sense of community and quirky nicknames. Band stickers, now plagued with black dirt, clinging on to the base of my Fred Perry canvas shoes along with shards of glass from a broken bottle or smashed tumbler glass. I breathed in the sweat as my feet stuck to the beer-drenched sticky floor, ears ringing. The dirt under my nails; the ink stained on my hands after handing out flyers. It was a good time!

And yet, it’s weird; after months, if not years, of not listening to certain songs, for them to crop up on iTunes shuffle, I enjoy listening and still know the words, I chant along. I feel as if my love and respect for it will never fully die, no matter what breeds from it now, I can reflect back and remember how much I enjoyed my youth; that was our generation’s scene; that was us.

I’ve been thinking about today’s era, which I’d like to now dub as ‘Generation Heartbreak’. Typically, when you tire of your current playlist, or the consistency of the radio’s repetition, or even the mundane ‘heard-it-befores’ spun out time and time again by our monotonous, lowlife DJs in clubs, we sigh and reflect back on to how the modern charts and music ended up in such a drab state. We question what makes music good; what makes it important to us? As more often than not, we find ourselves simply feeling no connection to what we’re listening too and wondering why anyone put pen to paper in the first place. Or is that just me? I don’t know; I don’t care.

Radio DJs, a vast majority, are no better – they lack a spark of originality. Perhaps with radio being a dying art, the passion and energy is gone; it’s deemed too much effort to put life back into his; go down with the ship. Yet, they’re the damn catalysts in this hypocrisy! So we are chained down, caged in to the likes of Adele and Gotye time and time again. I’ll repeat this throughout this column, for I am in no way discrediting these artists as people, but where is the creativity is listening to these same, tiresome songs daily – and not feeling anything from their vague meanings and tones?

Themes in pop songs appear companionless (ha!), and we’re left with the reoccurer: heartbreak. Of course that was the first ideal that came to your head when you think of Adele and Gotye, and even more recently the likes of Katy Perry (‘Part of Me’), Taylor Swift, NeYo, etc. are getting on said bandwagon. Songs therefore are not inspiring or truly emotion; generic phrases pilled upon one another and (as read on Uberfacts: 92% of pop songs deal with sex, and surrounding), more often than not, break-ups and relationships – it’s as if music is moulding our generation to become this shallow, one-dimensional entity, with little care of anything else but sex and ‘having’ something with someone. In feeling, but also this forlorn theme supported by the works of social networking (Twitter, Tumblr, Instagram), our lone, secluded insecurities take centre-stage in the blueprint for this downfall.

Emotionally, on this subject, it is not in depth as they barely scrape the surface or deal with the real heart of the problem (along with the music videos that just not... add up; they have nothing to do with the song most of the time; for example Emeli Sandé’s ‘Next to Me’: it’s a self-indulgent video, rather than a powerful story; is that in turn the record label simply being lazy?) in order to gain this wide mainstream appeal – so it can easily connect with anyone at any given moment. But what’s the point? Then there is the likes of Keaton Henson (obviously aware due to previous entries that I am an admirer – and this is one reason why), reading his lyrics made me feel exactly what he felt, and reminisce to the sorrow I had for previous break-ups, but what’s more is… I connected; “The thought of your hands on his chest makes my stomach itch” (‘Party Song’, Dear…, 2011), I feel haunted simply reading it, and hearing him choke out those words packs a powerful punch. I believe that’s where the difference lies; the ability of an artist to convey true emotion, which is why there was such a take off of real emo violent/passionate music in the 90s, i.e. American Nightmare, Rites of Spring, Indian Summer, and Hot Cross.

All these before mentioned chart topping artists, yes, they all have a fantastic set of lungs and I’m not taking anything away from them (Christ, I’m in fact in admiration of their voices, sure), but it’s the most celebrated music we have; this is being played on radios consistently and what is on TV, and is always there, easy access – I find it depressing, because musically, they don’t do everything themselves, and it feels like they’re gaining a lot of praise; and then there’s song-writers (if of course the artist doesn’t write the sub-standard songs themselves, bad enough) as lyrically, they are nothing. A common case is repetitive lines, poorly written ones at that. For example, Nicki Minaj’s ‘Stupid Hoe’ is in no respect, clever; if anything, encouraging moronic behaviour and misogynistic tendencies. A somewhat retaliation, a cry for unity, can be seen in Beyoncé’s ‘Run the World (Girls)’, but, again, constructed by a team of four writers (four!), the lyrics speak for themselves.

I may rename this generation actually: Generation Heartbreak, Heartbreak, and Heartbreak.

I consider this frustrating! Especially as we turn to music for support in times of need, to help us cope, for comfort, for guidance, inspiration, motivation, top heal – anything! It has to be meaningful (to us). Yet we find ourselves exposed and exploited to such drone garbage and dribble. I feel defeated and uninspired listening, at home, out shopping, in clubs and bars; what is grabbing up by the cuff anymore?

Song-writing is a craft in its own right, and it’s as if poets aren’t paid enough respect, let alone attention, too! I’m aware it takes time to perfect, so settling for the first finished product should never be accepted. Or, to quote Paul Valery French: “A poem is never finished, only abandoned”. For me, it’s always been the words I’ve found most captivating, the inspiringly unique turns of phrases or images created. Their part in songs are vital, they should be considered the linchpin rather than not simply making a song an instrumental. Below are several favourite pieces of lyrics that truly showcase talent and you can connect with and relate too;

“You're no good for me
But I guess not bad enough
Because on quiet nights I come to find you
Crawling through my kick drum
Hell bent on deliverance of all the privileges
Of being with you, Heaven sent, I crane my neck
To watch you desperately march down my chest, enjoying every step
Emphasized by distances we never intended
You come crawling back through my regrets to remind me of what you said
We’re no good at this”

- Crime in Stereo – ‘...But You Are Vast’, Crime in Stereo is Dead, 2007

These lines create a wild and vivid, chilling almost, state and scene. I hold appreciation for the dying poets. The music then blends in and builds up these words. They accompany them perfectly. You discover the powerful emotions Dunne is spilling out, leaving you too, haunted.

“So I'm running down Fifth Avenue headed south
I'm going to get you that ring I've been thinking about
I hope that you will like it, I know that you'll like it
I know you've got your necklace and bracelets so it's different
I'm different, I know that you're different
And it doesn't make a difference our differences differ
Cause it makes us the same, and I needed the change
To call you that day I tried to get you that ring
I said, "Baby, it's Jerry, my cell phone is dead
I need you, I'm freezing my cheeks are rose red"
So you came to my rescue and kissed my cold lips;
You said, "Baby I'm here, please don't miss me like this!"
But I did, and I do, and I will, and I won't
Settle for my bed that's increasingly cold
I dream every night that you're biting my wrists;
New Orleans and vampires, I miss you like this
And I did”

- Trophy Scars – ‘Alligator. Alligators.’, Alphabet. Alphabets., 2006

Winding roads, arteries and avenues of word play; spectacular when you re-read to discover new twists. Furthermore:

“Alright... Alphabet, alphabets are amazing, astonishing, aspiring and always aging. Agreeable accents accompany awful answers. Aphrodite’s antithesis, antelope antlers.
I spent six months embedded in ink
I read your book and poured a drink
I knew my alphabet wouldn't be the same
The day you left and got on that plane
[…]
I want to thank you all: a spinning spectacle
My intention’s not to leave you coming back for more
It's a game, it’s a game, it’s fun
Adios, see you later, and have fun
There’s a million other things I'd like to say
But there’s not enough letters in my alphabet today“

- Trophy Scars – ‘Anxiety, Anxieties.’, Alphabet. Alphabets., 2006

Alliterations: clever, complex. His words say it all. Jerry Jones took time when penning this record, which still remains their finest work to date.

“Don't know what I would have had to write about if there wasn't you, or if I ever would have wrote at all. They said it wouldn't last, nothing ever does, but you and me, we're different, always were. Stuck together forever, whatever that will mean. Everything is still all wrong, and we're still all that's real (the only thing that's ever been). The only words I’ve ever meant was when I said ‘I’d do anything for you’. See, our claws stretch deep inside, and that's where they'll stay. You say you're lucky you have me, but I had nothing before you had me, nothing to care about and no songs to sing. I’ve seen the world singing songs about you (the only story I could ever tell right). We said we'd see the world; you gave it to me. So we're stuck together forever, you and me. Stuck together forever, no matter what that means”

- Killing the Dream – ‘Holding the Claws’, Fractures, 2008

Bad grammar aside, ‘Holding the Claws’ is, what I find to be, one of the best written love songs. Its simple use of flourished admiration really makes you smile and cry out all the same. My personal favourite line, was the powerful ‘We said we'd see the world; you gave it to me’, for not only is it beautiful and a touching sentiment, it can be read in two ways, equally has lovely. She gave Horner the world, which would be the commonly read idea, but also, as stated previously, he wrote songs about her, he had nothing to writ about previously, and as a result, he’s able to see the world touring, all thanks to his love. The concept of claws is obscure, but mesmerising – bound together, with a tight grip so matter what tries to tear them apart; love hurts.

“In a sweater poorly knit, and an unsuspecting smile
Little Moses drifts downstream in the Nile
A fumbling reply: an awkward, rigid laugh
I'm carried helpless by my floating basket raft
Your flavour in my mind swings back and forth between
Sweeter than any wine, and bitter as mustard greens
Light and dark as honeydew and pumpernickel bread
The trap I set for you seems to have caught my leg instead
As you plough some other field and try and forget my name
See what harvest yields, and supposing I'd do the same
I planted rows of peas, but by the first week of July
They should have come up to my knees but they were maybe ankle high
Take the fingers from your flute to weave your coloured yarns
And boil down your fruit to preserves in mason jars
But now books are overdue and the goats are underfed
The trap I set for you seems to have caught my leg instead”

- mewithoutYou – ‘In a Sweater Poorly Knit’, Brother, Sister, 2006

Weiss is a master of rhymes; never before have I came across a song-writer which such a strong talent I would urge and plea him to write literature if I were to ever be graced with his presence. He comes up with stand-alone ideas and executes their imagery beautifully, always coming to a conclusion.

“You caught me making eyes at the other boatmen's wives
And heard me laughing louder at the jokes told by their daughters
I'd set my course for land, but you well understand
It takes a steady hand to navigate adulterous waters
The propeller's spinning blades held acquaintance with the waves
As there's mistakes I've made no rowing could outrun
The cloth low on the mast like to say I’ve got no past
But I'm nonetheless the librarian and secretary's son
With tarnish on my brass and mildew on my glass
I'd never want someone so crass as to want someone like me
But a few leagues off the shore, I bit a flashing lure
And I assure you, it was not what it expected it to be!
I still taste its kiss, that dull hook in my lip
Is a memory as useless as a rod without a reel
To an anchor-ever-dropped, seasick-yet-still-docked captain
Spotted napping with his first mate at the wheel
Floating forgetfully along, with no need to be strong
We keep our confessions long and when we pray we keep it short
I drank a thimbleful of fire and I'm not ever going back"

- mewithoutYou – ‘Messes of Men’, Brother, Sister, 2006

There is a fast-paced tempo with this, adding energy and tension as this opening track; the words create an expert sense of urgency. Weiss is an honest and raw writer, be it story telling (see their latest release Ten Stories), or using himself as the subject and muse (notably ‘January 1979’, and the very personal “I'm still, eh, technically a virgin after 27 years, which never bothered me before, what's maybe 50 more?” (‘C-Minor’, Brother, Sister, 2006))… He has a gift.

And finally:

Party hard!
Party hard!
Party hard!
Party hard!

- Andrew W.K. – ‘Party Hard’, I Get Wet, 2001

One of my favourite songs is ‘Limousine’ by Brand New, inspired by, and centred on, a true story; horrifying and gripping. What impressed me most, when researching the song, was how well Jesse Lacey was able to refer back to the story, base a song around the incident, and capture the thoughts of all those involved. This song had a meaning, and what’s more is it had a lot of work in its writing process.

This song is about the death of a local Long Island 7 year old girl, Katie Flynn. Hours before her death, Katie was the flower girl at her aunt's wedding, spreading petals down the aisle. As they left the wedding, they travelled home in a limousine. Martin Heidgen had had at least 14 drinks that night and his blood alcohol content was more than three times the legal limit in New York; he drove more than two miles north in a southbound lane to meet the limousine, containing the Flynn family, head on. Both the driver, Rabbi Stanley Rabinowitz, and Katie were killed instantly. Katie was decapitated and her mother held her head as rescue workers helped the rest of the family out of the vehicle. The lyrics in this song draw many parallels to this tragedy.

Truly harrowing and yet this is where my love for music is fuelled! I implore you to research this song deeper yourselves. On a bit of a sour note, however, Travis Reilly, frontman to This is Hell recently tweeted:

“Reading this Metallica biography makes me realize that nobody who matters is ever going to sell millions of albums again [...] with that said, I know Adele is selling millions and I think she's rad, but you know what I mean. Those days are just long gone… Bummer”

Addressing the current situation in modern music, not only with what companies are making sell, the result of internet downloads, but also that the time and effort that is going into music is often unnoticed and as a result, unnourished.

I’m not sure whereas I am/was going with this train of thought, but it was something I wished to express; not necessarily get of my chest, but I suppose, simply raise. I’m not expecting a rebellion, an uproar against modern ways, boycotting your local HMVs... If anything, that’s the last thing I want. It’s a sad state of affairs – so OFWGKTA with some angsty vocals and capture an attention deranged unimaginative, the-world-owes-me-something generation with “Kill people, burn s***, f*** school” (Tyler, the Creator – ‘Radicals’, Goblin, 2011); hardly a candidate for song of the year; hardly a work of art; hardly demiurgic or visionary. It’s just so… unoriginal and uninvolved.

But perhaps these hidden gems we do find are my, your, and our little treasures; discovering these secrets become our reward, the fact you have to go out of your way to find these unknown pleasures, making it that much more special and enjoyable. Like everything in life, don’t just settle; explore and indulge in the new and the wild. Keep exploring! Experience new emotions – there is a wide range of music, so broad it will complete your pallet specifically to you; I’m yet to even begin with mine. And that is what makes these finds so unique and …diamonds in the rough. I’ll stop now, I’ll have a strong Irish coffee (, sigh into it), and stop being such a grumpy old man.