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.

I tweeted once something along the lines of ‘I believe the world would be a better place (possibly world peace worthy) if every band sounded like The Early November’, and still to this day, I somewhat stand by that statement. Their sound previously was one of teenage hope and lust, fear and excitement for the future, uniting and prevailing with an intense and ever-popular live show; they helped solidify a sound and generation. Init.

Excited was an understatement when news of a new album was in the pipeline, supplemented by a teaser video including interviews, and demos, which left us has been twenty-somethings bursting. July, eight months later, finally saw the release of In Currents to a flourish of praise and see the band pick up exactly where they left off, but with a more matured, relaxed rock sound than before, having now experimented with different tones, ideas and attempting something new, rather than an attempt of a follow-up to trump The Mother, the Mechanic and the Path, which truly was a stand alone epic (story-wise – let’s not get ahead of ourselves) masterpiece.

With that, it was easy to see the progression and development the members had made over the past six years through different (and fantastic: I recommend checking out ‘The Best Happiness Money Can Buy’ by I Can Make a Mess Like Nobody's Business, ‘Reaction’ by Ace Enders and a Million Different People, and ‘Run’ by Jeff Kummer) side projects and time apart. The Early November grew up, and found a way of expressing that perfectly, which in turn was reflected back onto their fans in just such a way to suit. The stand out track, musically at least, for me, was ‘Guilt and Swell’. It seemed to blend both the old and the new in perfect harmony, crashing between the two. It’s emo-tinged bridge grabbed my attention: at first, the lyrics struck a chord with myself, in annoyance; I deciphered them as “If you wake up, will we break up?”, which I imagined a sleeping beauty-esque  woman laying undecided with guilt (ironic), dyed hair, with a couple of daddy issues… It frustrated me that they couldn’t stray from such ideals that clearly no longer plagued the well-versed men and felt that it even ruined the song; “Oh, I knew it was too good to be true”! Alas! Persistence prevailed, and as I listened again and again, and with the help of Google, the words were misconstrued; they actually read “If you wake up, will we become, you're wasted by design?”, and faith was restored once more. Simply put anyway, I thoroughly enjoyed listening to In Currents, and I would highly recommend it if you wish to reminisce your youth, with a new modern touch. This time you can enjoy Ace and his crew with a beer (legally).

With the summer coming to an end, I figured it’d be nice to lightly discuss what (musically) has kept me busy throughout. What records have made me hit the repeat button, what’s been added to my iPhone and what hidden gems I have discovered along the way amidst the God awful weather…

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I’m under the impression that I’m the only person in and around Peterborough to adore Pollution People. I just love their unique spin on violence and mathcore, their howling vocals and cleverly mocking song titles, their apocalyptical post-hardcore thrash guitars and gnawing bass. They are chaos, and they are cool.

It was last year that they decided to mix everything up; being an avid fan from the release of their first EP (Noise, Noise and More Noise), I was able to loosely follow the developments as they unfolded. Their debut album didn’t see them attain as much success as I believe they deserved, albeit still they were able to tour throughout America continuously, nothing seemed to change; groundhog day, essentially. It was from this, the (now) quartet changed their name from Duck Duck Goose to Pollution People in hope of a fresh start (the name derives from the album Off Yourself, came the song ‘Pollution People’). After a one-track demo, Future Trash was released in 2011, and I was finally able to get my hands on a copy of the record mid-June to help gloom up my summer to continue my obsession.

Future Trash seems to be earthier than anything Duck Duck Goose produced – holding ties with crust punk, contemporary heavy hardcore, and old-basement skramz style emerging post-hardcore. A less polished sound emits from the speakers, but to a good and almost-crazy effect; two-steps forward (that’s a pun), one step back. The style resembles the gnarly birth-child of an early Converge record and The Power & the Glory (a short lasting Deathwish band).

They exude their past endeavours expertly, and eerily beautifully, in the final track ‘Amputee’: “Got my teeth cut up how sweet, I’m experienced audio amputee. Got my lungs dried up how sweet, I’m experienced audio amputee”. Accompanying this was a freaky, indie, arty style music video (their only one to date; amusing as it is…), derailing from the chaotic tendencies they are well-known for; to shock and surprise (content of the video alone!) new listeners for the truth and realness of the band. I’ll repeat myself once more: They are chaos, and they are cool.

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Brighton’s Gnarwolves have firmly kept my spirit in good order with the release of their debut EP Cru this summer, with their fast-paced, cheeky, up-beat, underground anthem like qualities. My mind almost scream “Ahh yes!”, as my teeth begin to show, bearing a grin whilst my insides cry out for beer and barbecued meat as I listen to this explosion; similar to a mash-up of Lifetime, American Football and the early Basement days, Cru is a quick burst of summer fun; songs to reflect summer mornings, summer afternoons and summer nights. Nice one, lads.

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One of my favourite artists is Keaton Henson, so it’s only natural that when the clock strikes midnight and I’m home alone, I put on a Keaton record and solemnly contemplate life in order to gain understanding, or whatever I’m supposed to do at that time. Henson released The Lucky this summer, and whilst I do not find The Lucky as profound and penetrating as Dear…, largely for the reason it seems to be a continuation; highlighting little development within Keaton’s inner-self and struggle, presented musically (obviously) on his heartache and woe, I still find it an impeccably beautiful listen, concise to its message that you’re probably going to get your heart broken sooner or later and end up dying alone. Never mind, aye.

The Lucky too is vastly different from Metaphors, which showcased more up-beat and had a more musical backing – released only a year before. I truely love listening to the lump in Henson’s throat as he spits out his anger in ‘To Your Health’, as if he is finally coming to terms with reality and facing it head on, becoming aggressive, and purging himself of his demons. Again, the simple stylistics of an isolated, eerie electric guitar ringing in the distance works wonders at creating an atmospherically chilling four-track record that won’t be easily forgotten.

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I’ve often neglected Architects over the past few years, following the release of Hollow Crown in 2009, and a mediocre live performance at a local venue in January for its release, I felt they changed a little too much too quick, and it became a lacklustre affair for me to enjoy Architects. Not to discredit them, the album itself was truly a great step, naturally propelling them to mainstream success, and the more developed sound worked wonders, along with the addition of Carter’s well-toned singing voice, but the technical ability (and possible djent influence) became hidden under the layers of commercial aspiration. Musically, yes, it was fantastic, but to me it simply strayed from the original Architects ideals – even if Carter’s lyrics were considerably more thought-out and better executed. This year, guitarist Tom Searle even confronted their journey’s twist: “We're not a band that should be on daytime radio and even when we got that stuff, it felt a bit uncomfortable. I think we were out of our comfort zone and the shoe didn't fit”.

Nonetheless, ‘These Colours Don’t Run’ hit me like a speed train; I was absolutely floored with the heavy tones, crushing riffs and menacing breakdown. Same-old shamefully disappoint lyrics music video aside (Searle stated it was to “capture the madness that is America, be it good or bad”), I was hooked on the song and left with appreciation for the band once more. It appears as if (I hope anyway), with the world now at their feet, they are attempting to return to their roots, stronger and far more experienced. Searle stated “I wanted to go back to being heavier and I think we've got our balls back”. A month or two passed, and the socio-political based record, Daybreaker, was released.

Whilst I am yet to deluge personally into the depths of the full lyrical content, I am aware of their existence and aims (I say aims as I am unsure how well they achieve the messages they wish to get across – critics, in the majority, do seem to be in the favour of this), tossing between the wars of politics and religion, distancing from personal issues. Carter stated: “It was the first time we'd written a song about something that was relevant socially and not just based on what I had directly experience through life or something else. It was bigger-picture, and when we released it that song got people talking about something broader”.

Bradley Zorgdrager of Canadian music magazine Exclaim! published an unfavourable review of the albums sound however. Stating that although the tracks are "catchy and occasionally compelling, they're essentially identical and formulaic, as the atmospheric build-ups and soaring riffs make way for boring breakdowns. The metal-influenced parts sound forced to appease fans disappointed with their last release, which results in Daybreaker sounding more like a business move than a work of art", which to an extent, is a statement I can agree with, but I still respect such a decision, and found myself enjoying the record thoroughly.

Oscillating between the two styles of Hollow Crown and Nightmares, Daybreaker was a smash in my books; embellishing a post-hardcore vibe, but with the harshness increased which worked better than most to create their most well-rounded release to date; musically and content based.

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“Aright it's Childish, baby, Mr. Talk-About-His-Dick-Again; nerdy ass black kid, whatever man, I'm sick of him”: After an absolutely blindingly brilliant untitled collaboration with Beck realised via. his website (later to be named ‘Silk Pillow’), Childish Gambino hit top form with a free download of his brand new mixtape, Royalty. Now with the finical backing and an army of well-known contributors and producers, Donald Glover is quickly becoming one of the most dominate names in all of American modern day culture, let alone hip-hop, let alone television; America!

Lyrically, Gambino doesn’t change his stripes; talking about himself, his women, his money and his haters, yet somehow makes it all new and refreshing, packing his songs full of witty lines and clever metaphors spread over an array of fast, heavy beats, slow and mellow numbers, electronic buzzes and old R&B sounds: a true smörgåsbord!

Tina Fey’s musical debut features on the final track of Royalty, ‘Real Estate’, and umm… It’s a bit of a letdown. She’s incredibly talented, and awfully smart, so I was surprised to listen to a simple, lifeless, unimaginative, uninspired and vanilla (ha!) verse, consisting of only a few bars, poorly read (I can see what she was trying to do, convey her character into music, but it didn’t work, and shouldn’t be transgressed into music; keep it for the screen, Tina!) and lyrically really weak, which became embarrassing and sadly, not funny. It, for me, did tarnish the song, as the build-up to her piece at the end was elongated to the point where listeners already were tuning out and ready to hit the next button on iTunes. It is for this reason also, it becomes hard to see Glover as a straight-up rapper; yet again merging his two personalities. It was a disappointing end to such a promising, and enjoyable, record.

One of my firm favourites from the mixtape has to be the cool, calm and bass heavy ‘Make It Go Right’ featuring the very talented (whom I knew of nothing about before this) Kilo Kish. The best thing about this song, as shallow as it is, is her voice. It’s so easy to close your eyes, melt into the sound, and pretend that Natalie Portman is rapping to you, about you, lusting after you – their voices are so similar!

Royalty, along with Camp, are moreish records that have definitely kept up a positive vibe throughout my summer.

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I’ve also been listening to the latest Verse and mewithoutYou releases, but I can’t be bothered to write about them.

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The very late addition to my iTunes was the Hellacious battery in the form of While She Sleeps’ debut album, This is the Six; a band I have raved about since the start of this column, for good reason, and an album I have much anticipated since the news of its arrival several months back. In quick succession, the band released several hammering videos, songs of all different styles with slick riffs, killer gang vocals and head-crushing grooves, which is exactly what the remaining songs off the album delivered also; including the outro track (‘Reunite’), which is a lovely completion to their journey so far, respectful and unrushed.

'Seven Hills’ was a grower for me, I found it hard to get into, but on further listening, it has become insanely infectious; ‘Be(lie)ve’ has a catchy n’ killer chorus – showcasing caged in brute force; and ‘This is the Six’ peaks at the top, it smashes you in face, and takes your teeth as trophy keepsakes. I simply cannot stop playing it. Safe to say, This is the Six did not disappoint and it will remain firmly on my iPhone for some time to help wake me up in the morning, pick up my spirits during the day and ultimately (as This is Hell put it) head bang my life away.

Since it’s the summer, and the sun is seldom shining, I figured I’d do something different to try and encourage everyone to get outside; but also to offer a small gift to say thank you for a successful first two months, following constant support. As I write this, it is midday, and it’s pouring down with rain; it’s Saturday, so I imagine I have time on my side.

A mixtape is the best way, I’ve found (ignoring its uses in The Perks of Being a Wall-Flower), to convey emotions and a sense of being; to set a mood; to create a statement that only music can structure – where words alone fail. I myself have only ever created three previously, always at great strain and cost to make it ‘perfect’ and for the songs to flow from one to another, to blend into a fantastic entity.

This attempt proved to be no different. A fortnight into creating this blog, I had the idea of creating a mixtape as a way of getting across unique and undeniably captivating music, potentially exposing my readers to something they are not familiar with, but also to keep each entry different and enjoyable... Like the free Frisbee or whoopee cushion The Beano or Dandy used to give out. This idea, like my past efforts, took two months to complete amidst a lot of digression and frustration.

So, I began with the blueprint: the idea, the theme and the title. With summer anticipation and expectations in mind, I wanted the mixtape to have an American feel to it: a warm hazy summer night, drunk and outside, staring up at the stars – and I loved this concept. I loved the picture it produced in my head; what emotions it conjured up and what longing it left me with to experience this act; and the sensation to accompany. ‘Christ’, I thought, ‘If I am able to even come close to bringing this emotion close to the forefront of anyone’s heart, then they’ll be struck with someone significant and beautiful, and I’d rest easy’, that is, of course, if the heat doesn’t finally hit UK and we’re all left sweating on top of our duvets.

Following this, I came across an interesting photo with the phrase ‘Up all night, got demons to fight’ plastered on a female body, and it rolled off the tongue and rang in my ears for quite some time. It was perfect; fitting just right with the theme and feel of this isolating compilation. Thus, the cover was (stolen, and) born!

Next, the ground work: this involved extensively creating a list of apt artists and songs, pestering friends and generally putting out hairs on my head that stuck out. Trial and error; trial and error; trial and error. Thus leading to this final product. It includes some songs I’ve been mad about for years, and some, only several weeks, but nonetheless they seem to have come together and created a lovely and admirable compilation worthy of such a night imaginable.

Mixtape
Up All Night, Got Demons to Fight
Download

Tracklisting

1. Daughter – Landfill

An absolutely beautiful opener of a track, and sets the mood well; right with the content: isolating confusion matched only by talented strumming (easy now one-track minders) and well thought out chords (I could’ve said ‘finger placement’, but I thought twice). Listening to Daughter is always a pleasure for me and the live videos I’ve came across are really mesmerising – I end up lost in a daze. For an example, follow this link: Landfill.

2. Alcoa – Rilke

Alcoa is the folk side-project of Defeater frontman Derek Archambault, backed up by an army of a house band and strong following. He is yet to release a record under this act, but one is expected later this year – for the meantime, his MySpace demos have sent the music world into a frenzy of awe and I have found myself caught up in it all. ‘Rilke’ is my favourite of his demos, and find it to be so elegant and calming. I’m expecting big things in 2013!

3. The Bear Romantic – Sparrows

I know very, very little about The Bear Romantic, and believe it to be just one man with the musically ability, drive and (of course) talent of ten. This is a captivating piece of music and definitive mood setter.

4. Thrice – As the Crow Flies

Thrice, without a shadow of a doubt, can be considered musical greats, and then some. From strength to strength over the years, their sound and developed from scream angst to such splendid audio that one truly has to take their hat off – or buy a hat, put it on, and then take it off in respect. Their career has spanned over ten years and they’ve been able to showcase their progress from boys to men; ‘As the Crow Flies’ establishes the height (and perfection) they have achieved.

5. William Fitzsimmons – Please Forgive Me (Song of the Crow)

Unintentionally, there is some sort of aviation theme going on here. William Fitzsimmons has a fascinating past and captures it articulately within his records, often depicting heart-break and loss. A man whose voice does not suit his appearance at all (his bread is one of envy) but possess such vocals, they cannot be ignored and bad-mouthed. This song is off the record ‘The Sparrow and the Crow’, where I feel Fitzsimmons finally found his feet with mainstream music, adapting to a more complete and melodic sound: time well spent.

6. Maximilian Hecker – Cold Wind Blowing

A friend of mine posted a tweet about this gentleman, I YouTubed him and was instantly blown away. And this was only a month ago. This track of his stood out, which I found to be gentle and mysterious, and above all, a worthwhile addition. He possess such delicate vocals that it wouldn’t surprise me to see him become ‘bigger’ as the year goes on. Or at least one would hope.

7. Bon Iver – Holocene

Over the past two years, Bon Iver has grabbed the critics by their throats and gained such acclaim and success, that it’s virtually impossible for the act to make a wrong move; whatever they do is thus treated as gold. The self-titled sophomore record is one of wonder that is a marvellous listen time and time again.

8. Bad Books – I Begged You Everything

This is a very peaceful song, created by some of my favourite modern day musicians. Here, Andy Hull takes centre stage and spills his guts over a slow acoustic piece. Quite possibly one of the best music collaborations to date, and with Bad Books II shortly to be realised, I can see Bad Books in hot demand, and featuring endlessly on TV drama soundtracks for when the goodie gets shot or something equally distressing.

9. Ben Howard – Gracious

Ben bloody Howard. Who in the UK has not heard of this man; forever filling the air waves with his infectious music and stealing the hearts of all our women. This is why...

10. James Vincent McMorrow – Follow You Down to the Red Oak Tree

Midway through the mixtape, McMorrow acts as a perfect bridge. Another man that I know very little about, but often find it name cluttering up my social network feeds. A solemn sole that steers clear from the ‘norm’ and creates a unique portrayal of everyday being.  McMorrow provides very easy and inspiring music for any given moment: you can rise and you can fall with his voice.

11. Bon Iver – Michicant

I had trouble deciding which Bon Iver song to include for this mixtape, so I ended up, after a long fight and listening bout, doing a Garden State and included both.

12. Girls – Hellhole Ratrace

Melancholy to the bone! Girls truly are phenomenal. The music video alone to this song is captivating and really helps sum up the ideals I am attempting to create with this mixtape – the picturesque summer night, only to be topped off by the haunting “Sometimes you gotta’ change for yourself, but sometimes, darlin’, you just need someone else”, we’re left yet again questioning our current state – now (hopefully) eager to move. To view their fantastic debut music video, click on this link: Hellhole Ratrace.

13. The Republic of Wolves – Calm Down

Yeah man.

14. Right Away, Great Captain! – I Wait For You

Andy Hull (John Andrew Hull) of Manchester Orchestra has his hand in just about every pie, and best of all, they all taste exquisite. At such a young age of 26, he already has achieved so much and in such a beautiful way, he is (as many fans like to put it) a God. ‘I Wait For You’ is off his recently released record, The Church of the Good Thief, providing the notion that his work will only get better.

15. Envy on the Coast – Lapse

The mixtape takes a slight turn now here, and progresses to a more constant electric guitar sound; something I am personally more in favour of with soft, emotional songs. There truly is something in the Long Island water that helps their musicians come out with some powerful, heart-warming and beautiful songs (perhaps Jay Gatsby’s blood). Lyrically, this is up there with the greats and I often relate back to this on as inspiration.

16. Keaton Henson – Flesh and Bone

One way sharing his pain through his guitar pick-ups: I easily consider Keaton the most under-rated singer-songwriter to emerge in the last twenty, thirty, or even forty years from the UK. He truly is heart-wrenching in such a solemnly beautiful way.  I have been an avid fan of this man for years, from his artwork, now to his music. This song blends perfectly into the end of this mixtape.

17. Brand New – aloC-acoC

"Sometimes you write a song and it doesn't even feel like you wrote it [...] the words are just somehow right in this song", Lacey stated before playing this song at an intimate acoustic gig. It feels as if there is a lexical gap with regards to this song, there simply seems to be no English word to describe it. The lyrics are some of the best I have come by, ripe with subtle references and meaningful images. I consider this my favourite song ever made.

18. Crime in Stereo – Dark Island City

Deep and simple... I first heard this song whilst biking in pitch black one night home from work and it struck me like lightening how moving the music was, how mellow and calming, and yet how the concise lyrics hit you, and created a vivid image to welcome a soft-spot. The siren-esque guitar sound at the end is a fitting finale – if you did drift off whilst searching the stars, this should hopefully wake oneself up, only to enjoy the music once more.

Just remember what George Orwell made Bozo say in Down and Out in Paris and France: “The stars are a free show; it don’t cost anything to use your eyes”.

In the aftermath of Slam Dunk, I find myself still stunned at several performances, and my mind occupied by contagious choruses, most notably Lower than Atlantis, and songs from World Record. Knowing that this summer will see them reach higher heights, as their schedule is appears fully booked with festivals galore, I’m thankful I could witness at least one of these festivals this year, as their performance was impeccable at Slam Dunk: thundering sound, passionate energy, and fans singing to the rooftop. I found it unfortunate that a clash of set times meant Mike Duce, frontman extraordinaire, could not pace across the Leeds campus and join friends For the Fallen Dreams on stage to perform his guest vocals on their recent track ‘Yellow’ – I felt it would’ve made a nice touch and show a sign of community; a bridge between America and the UK.

With that in mind anyway, I began to think about Lower than Atlantis, having been aware of them since their starting days; a chaotic post-hardcore quintet, blasting out songs with even wittier names than now, for example, ‘Third Degree Montgomery Burns’. As if I had a timeline set out in front of me, and marvelled, (I also cringed at this point, as I browsed their Last.FM page to see biography updates and old photos I had uploaded back in 2008 on their page – photos of which was as interesting as they are hilarious).

It was 26th January 2008 when I first met Mike and company; they were to support recent Channel 4 famous Yashin, at a gig my promotion team put on, that sold no more than twenty tickets. This was before the release of Bretton, and they only had recorded a four-track demo, and two new, more constructed songs which gained them more than 100 friends on MySpace. I had stumbled across their page by pure chance; browsing the ‘post-hardcore’ genre section on MySpace and laughing to myself that they had named a song ‘Bretton’, as I am from a small area in my city known as Bretton. A few weeks later, impressed with their sound, we booked them for a show.

I remember asking the frontman at the time, Luke Sansom (his brother Ben is still in the band today), why he would name a song ‘Bretton’ whilst I bought their first ever t-shirt (stupidly sold that on eBay last year, didn’t I?), and he said that he works (or worked rather now, could still be there...) in Topman and the song was about a girl that worked with him, in a department they named ‘Bretton’. There you go, there’s a fact for you.

Their performance to the empty room nonetheless blew me away and I was thrilled at their charismatic nature and head-banging sounds; as if the music took over, and from then on, I was sucked in. I have had the good fortune of seeing Lower than Atlantis perform several times after, roughly two years after the first time, they supported Deez Nuts at the same venue as before, the Park, but to a packed room and with short-time drummer Josh Pickett – seeing him play was a nice treat. And again in the spring of 2010 in London, performing that the infamous Facedown club night at the Astoria. I remember this quite vividly: they debuted their Foo Fighter’s cover, ‘Everlong’, and friend Josh Beech (who of which is the inspiration behind ‘Beech like a Tree’) stage-dove, clearing the barrier and crashing into the crowd.

It’s odd, yet charming, to see their progression and how well they’ve handled it – from slumming it at after parties to signing autographs and playing Madia Vale sessions with the BBC: “Mike's on daytime radio” (Deaf Havana – ‘The Past Six Years’, Fools and Worthless Liars, 2011). Certain highlights would include touring America with Norma Jean; I remember Stray from the Path tweeting something along the lines of ‘Not many kids seem to get what Lower than Atlantis are about, but I do, and I totally respect what they’re doing’.

Duce’s own transformation is quite remarkable, from being the band’s guitarist, out of the limelight, to end up taking centre stage and front the band, directing them in a different path entirely – which has worked out tremendously well! As well as perfecting his voice along the way...

Lyrically, he is one of the most unique song writers the UK has to offer, and I mean this genuinely. He writes without thinking, in a way of portraying the everyday down-and-out kid of this country, and connecting with them, speaking of the current times, in the least poetic way possible, it becomes easily respected and daring in approach. Some favourites include:

“Fat slags are 'dressed to kill', with their short skirts barely covering arse cheeks making me ill”

- ‘Eating is Cheating’, Far Q, 2010

 “We are the kids of the recession, credit cards, overdrafts, loans and no pensions”

- ‘I'm Not Bulimic (I Just Wanted to See How Far I Could Stick My Fingers Down My Throat)’, Far Q, 2010

And last, but not least:

“Www dot I love you dot com forward-slash will you send me some nudes?” 

- ‘A/S/L?’, Far Q, 2010

It’s as if he’s the Nick Hornby of the lyrical word, with mentions of British newspapers, social network websites, Weatherspoons and video game consoles – confronting the scene directly from the criticism they received: “You've got the cheek to say that we're a covers band, with your headphones on and Gallows' dick in your hand” (‘Yo Music Scene, What Happened?’, Far Q, 2010), to the ‘perks’: “I'm searching through my Recycle Bin [...] full of photos from old shows and scene girls in their underwear” (‘Taping Songs Off the Radio’, Far Q, 2010).

Alex Turner of Arctic Monkeys was once deemed the voice of a generation by critics, praised for his lyrical style, with lines such as “Ask if we can have six in, if not we'll have to have two. You're coming up our end aren't you? So I'll get one with you. Oh, won't he let us have six in? Especially not with the food. He coulda’ just told us no though” (‘Red Light Indicates Doors Are Secured’, Whatever People Say I Am, That's What I'm Not, 2006), but surely Duce betters that time and time again. Turner is too bland with his delivery and lacks whit. Labelled as a "master of observation" by NME, but... Is he? He recalls events rather plain, with no intent on entertaining. It’s just been a thought that has often crossed my mind.

“I know my lyrics aren't the best you've ever heard, but I say what I mean and I mean every f***ing word” 

- ‘Yo Music Scene, What Happened?’, Far Q, 2010

Duce himself is quite a character, which can be depicted alone from his tweets of reminiscent ramblings to hilarious Instagram photos, to his Jack-the-Lad attitude, encouraging fans to send him mail; he is quite the technological socialite. I have two memories of him, portraying his true nature.

The first, which was from the first encounter/gig; he wanted a sex party in a barn as some girls had suggested they party after the show, and they own a barn. The look on his face was priceless, like a kid in Toys R Us on his birthday. I don’t really know how the tale ended. The second was just as hilarious: I remember after a rough night out in Cambridge, and having slept on some living room floor, my friend Toby received a phone call from him. This was still before the release of Bretton, and they were only just making a name for themselves, and along the way they had played shows (and partied) with Many Things Untold – the band Toby once fronted. He informed us he was sat naked in a chair, in the middle of his house, recovering from a party from the night before. The house was completely trashed, several things were burnt, he was covered in marker pen and he was awaiting the arrival of his new housemate, whom he had never met before. On the party scale, that received two thumbs up; and I’m currently taking a passing interest in bio-engineering in order to grow a third.

Mike Duce: groin-grabbingly transcendent (forgive me, but I just watched that episode of The Simpsons where Homer becomes a journalist/food critic for the local paper).

Image credit: I found this image on a random Tumblr page having Googled Duce’s name; I am unsure of the source. If you took the photo, please send me a message and I can give you full credit.

Review

Acres
Acres
Rating: 4/5

Acres are a five-piece outfit from the south coast of the UK that treat their music as a new-born; with such care and dedication that the dying post-hardcore scene is about to be revamped and excelled into social networking forefront. The birth has begun with this five track record, recorded at the little-known Treasury Productions studios in Southampton, respectfully self-titled.

At first, you are struck with a very mature and progressed sound, which is ultimately so refreshing for a first release. An experimental post-metal vibe has been concocted through only a year of the bands existence; a sound that bands older than five years are still trying to achieve.

It comes across that the whole year was time spent working on their archetype, not simply a project to pick up and drop as they please – it sounds like they have had trial and error, and worked on many previous songs (this may not even be the case) in order to truly be comfortable with a sound that is very mature and patient; not rushed. This already, in my opinion, gives Acres leverage, in which I respect. They have taken the intensity and rising commercial success of American’s scene and merged that within their culture, opposed to simply chugging away at an open drop D and having an aggressive verse and cleanly sang, power-chorded chorus.

The record opens with ‘Something to Write Home About’, twenty-eight seconds of landscape (see the cover art) before an explosion of intense vocals and screaming instruments; captivating your senses and taking charge with a well constructed surge (as in, it doesn’t suck and sounds good). It is always the first minute that you listen to a record and decipher if you wish to continue; if this is your sort of music; if you sense a chance of enjoying it, and Acres nail it.

Progressing onwards, my ears are blessed with ambient and atmospherically fuelled interlude-style breakdowns, adding depth and emotion to the belted out, heart-felt words, reminiscent of Godspeed You! Black Emperor, or even Envy. I’m left thinking that the record’s purpose was to make an impact on its rivals, rather than attempt to establish a name for the band themselves solely and put a record out to get shows; they’re saying, quite cleverly in fact, “Hey, this is what we just made... Your move”.

As I sit here, with my coffee, I nod my head in appreciation noting that the band has truly done their research. Touching their genre’s musical roots (and also what I grew up listening to), a Christian post-hardcore vibe is paid tribute to in ‘Treasures‘, with the powerful lyrics “Have faith in our God, and there’s a way out”, acknowledging the likes of Akissforjersey, Underoath, Agraceful and Blessthefall. From the get go, we are always struck by the unique nasal-forced vocal style which instantly reminded me of the frontman from Take it Back!, and their Christian hardcore endeavours.

‘Letters’ not only opens, but continues through-out, to derive from an Oceana influence. Intense riffs throughout this track showcase the talent the five, young men have and their technical ability before a fantastic, climatic finale. The drumming and guitar work is not convoluted; they do not overpower one another; each member of the band, despite a unit, is given a chance to shine. Juxtaposed to the ambience, the aggressive parts escalate and turn violent, and it’s just brilliant (I apologise for my lack of creativity here, but it’s all that is fired into my brain, and the only word I can spit out), and normally most songs build up into something that’s emotionally charged and epic... And worthwhile.

“[Before], I was playing music that just didn’t feel real to me, like it had no emotion or meaning. I wanted to write music with feeling rather than write music for kids to kick the s*** out of each other to. At first, finding members that had the same vision was hard, but the line-up we have now ‘get’ it. It’s taken about a year to fully release something, but in our eyes it’s been worth the wait. We are all happy with the sound, the feelings and emotions that are in this release, and look forward to exceeding it and bettering our sound”

- Alex Freeman

This record is twenty minutes of fury that flows from track to track beautifully, and fails to derail from excellence. However, once played, it becomes hard to distinguish one track from another, and although it runs perfectly, it can therefore blend simply into the background or not strike your attention, as there appears to be little significant trademarks the band currently embellish (taking on board that they are just beginning however) or no part of a song stands out from another and is easily remembered; but this could be down to the mixing as well as the band trying to find their feet. Considering this is their first release, it is truly remarkable.

If their live performance is anything like this record suggests, it will be solid, and the heights this band will reach will make even their influences and heroes nauseous.

The record can be listened to, and downloaded (at a price you choose – I gave ‘em 50p) at their Bandcamp page: acresuk.bandcamp.com.

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Just released online, as a sample of what’s in store for their up-coming, self-titled album, Gallows thrill the hardcore scene once more with ‘Last June’, along with a grainy music video.

This sounds more like the Gallows me love, now with a rougher, harder-sounded vocal tone; better suited to the style of music (as well as the music being generally better) than the Death is Birth record. Wade has found his place within the band, and settled in better with the way their music is made; it feels less rushed and that the vocals and music blend better together, rather than placed on-top. “His vocals are so gravelly”, says guitarist Barnard. Whilst the gang vocals take us back to the Orchestra of Wolves days.

Production wise, it sounds dirty and brutish – straying from and even adding diversity from the general Bridge Nine sound. The songs are being recorded (whilst drinking a lot of wine apparently) in the same hot-spot as Grey Britain was, a small garden studio in Watford – the roots of the band.

Whether or not this is me looking into things too much, I noticed that the cover art for the song (it’s not a single, as such) associated with the download resembles the new Pure Love logo rather closely - which can be seen below.

The content of the song is, for use of a better word, strong. McNeil stated over Twitter that it was in reference to the G20 protests in Toronto, as the chorus includes an abbreviation of the longstanding anti-police slogan: “A.C.A.B., until last June, meant nothing to me”, which in a way, upholds the values and content Gallows first approached with previous album, Grey Britain, only now on a much broader and international scale.

The song can be downloaded via. the following link: click here.

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“Simply beautiful” were the two words than ran through my mind as I first listened to the new song by Circa Survive, a(nother) free download in the wake of announcing forth-coming fourth studio album Violent Waves. Safe to say that Green and co. are back with more elegance, groove and style than before...

‘Suitcase’ creates a thousand-worded picture in audio; a gorgeous melody, delicate lyrics, slicker vocals and an overall better crafted final product than previous efforts. The four-and-a-half minute song promises greater potential and an opening to a larger (or should I say ever-growing) fan base.

This time round, the band have decided to produce it themselves, stating on their website: “All in all we have never been more deeply involved in every aspect of creating a record”. ‘Suitcase’ can be downloaded now at their official website: www.circasurvive.com.

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While She Sleeps have dropped a fourth song from the much anticipated debut album, This is the Six, as something extra for those Yanks to get excited about this 4th July. ‘Seven Hills’ was released via. YouTube as audio only (their website states the video is to be filmed later this month) and yet again, it is a banger of a track.

First previewed on BBC Radio 1's Rock Show, the listed fourth track off the album contains a hypotonic opening guitar riff which excels into hysterics as the song truly begins, leading up to an absolutely infectious ending. The Sheffield metalcore outfit have again released one impressive single making the north finally stand for something. You can visit their official website to listen to ‘Seven Hills’, along with the other tracks released, and you can also download opening track to the album for free, ‘Dead Behind the Eyes’: www.wssofficial.com.

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“I’m so sick of singing about hate, it’s never going to make a change”, bellows Frank Carter as he introduces the world to his new musical direction with Jim Carroll (former guitarist of The Hope Conspiracy): Pure Love. After a successful debut show on Valentine’s day, the band release ‘Bury My Bones’ as their first single/free download, accompanied by a very trippy music video, almost a homage to the White Stripes’ famous ‘Seven Nation Army’, this time mashed-up with a kaleidoscope.

With legendary producer Gil Norton at the controls, Pure Love have recorded an album, ‘Anthems’, in Brooklyn, New York earlier this year, with the intention of a September release. It's a significant departure from Carter's former work, sporting a genuine, traditional rock sound with distinguished rhythm and clean-cut vocals.

As time went on, Carter seemed to stress a love/hate relationship for the band (not it’s members), much preferring tattooing and being away from the stage, so now I feel this project, being less demanding and less angry, is better suited to his current situation; it feels like it was the only logical step Gallows and Carter could take in order to progress with their careers. Carter himself seems far more positive and responding in interviews also; as he recently said to Vice: “It’s just a f***ing fun band”, summing them up perfectly.

Pure Love have also recently done a live Daytrotter session to keep the buzz alive, following mass appraisal already form NME, Kerrang!, Q, Vice, and BBC Radio 1 DJ Zane Lowe. Their next single ‘Handsome Devil's Club’ to be released at the end of the month, but in the mean time, head on over to their website to get your free copy of ‘Bury My Bones’ and play it loud all summer: www.therealpurelove.com.