DIRTY SOUND MAGNET – SOCIAL MEDIA BOY – REVIEW

Political and social commentary is a rising theme in underground music. Dirty Sound Magnet have been brewing on this idea for years, especially in their 2017 album release ‘Western Lies’. However, a new era is coming for DSM, a fall into the world of their new single: ‘Social Media Boy’.
Combining a retro 70’s style with an easily recognizable sound, DSM know exactly where they’re heading with their new track. Flowing down a similar route to the style of previous 2017 album ‘Western Lies’, ‘Social Media Boy’ follows a similar standard. Despite mirroring previous tracks, there is still a distinguishable difference between this and previous releases. Exploring the diversity of their sound is always a fun task, as the range of each track varies so much. Similar lyrical themes, still portrayed in a new, intriguing way each time. ‘So many birthday wishes make you feel loved’ proves a sense of fragility and obsession in today’s society. Another example of DSM’s bluntly direct lyricism? Yes. Another aspect that heightens the trios music? Definitely.
 
As a glimpse of the music we are yet to hear, ‘Social Media Boy’ is another excellent single release from the group. Strength grows with experience. With the experience the band already have, they are definitely getting stronger.
Rating: 8/10   
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ARCHITECTS – HOLY HELL – REVIEW

Architects have torn themselves down to the raw bones of their sound and rebuilt. After the tragedy Tom Searle’s (guitar) passing in 2016, it lead to questions on whether the band would ever be able to reconvene. Yet, with the joining of Josh Middleton on guitar, Architects have stepped up once again to release their eighth studio album ‘Holy Hell’
In an album, when you can feel a persons pain penetrating deeper than the intricate structure of a song, you know you are looking at more than a simple album. ‘Death Is Not Defeat’, brings about a mantra exposed to its bare roots in the records opening number. While this track encompasses a more dramatic, slower opening, in no way is this track one to leave out. From a musical perspective, the layering of this track (and album) is intricate and intriguing. With the clever heartbeat drum pattern to the hidden guitar riffs, these features help add a subconscious hidden depth. Topped with Sam Carters raw, cutting anguished vocals, this track is one of the many clever ideas Architects throw into the mix. Even single ‘Royal Beggars’ brings a diverse change to the albums nature. Dominated by deep basslines and a slower atmospheric approach, you can see the band are pushing the boundaries of their music. Carter’s lighter cleans add an ethereal tone to the track, bringing an extra kick of emotion to the curb of the tracks ultimate build-up. Architects want you to feel. To experience the pain they are writing. Listening in a full depth, the bridge’s melancholic lyricism, ‘We have totally lost our way’, offers both an emotional outpouring and a bridging connection to the albums listeners
 
Yet, to long-time listeners, its a common factor for the band to bring a theme of preordained doom to their tracks. ‘Modern Misery’s’ focus on the demise of humanity plagues the lyricism of the track, forcing the track into a black hole of raw vulnerability. Even varying in themes, the nods to Tom with ‘I will go to the grave with a song still in me’ still reign ever-present. Even title-track ‘Holy Hell’s’ downbeat, gloom-ridden riffs mixed with the orchestra style strings settle as a foundation to lift the track. The full flowing impact of mortality intertwined with the theme of mourning only makes this release more heartbreaking, truthful and inspiring,
 
Every track has something to offer. ‘Mortal After All’ and ‘A Wasted Hymn’ bring no hesitation to throwing the truthful punches of the album at full force. Lyricism still being a strong factor, ‘A Wasted Hymn’s’ slow building bridge centres around one line – ‘Can you live a life worth dying for’. Impacting lyrics are a strength of Architects work, providing an extra layer of depth in the song. But don’t let this depth fool you. ‘Holy Hell’ is still one hell of a metal record. ‘The Seventh Circle’ projects the bands heaviest riffs and sound, with Carter’s harsh barbed-wire vocals and heavy musicality melting together in some kind of incandescent fury.
 
With the tragedy of 2016, it was a surprise to many that Architects recouped so soon. It would be no surprise if many gave a pass to this album, due to the pain the band have endured over the previous two years. Yet, a pass of sympathy is one not given to ‘Holy Hell’. Instead, this album is everything expected and more. As a progression from predecessor ‘All Our Gods Have Abandoned Us‘, Architects prove themselves as a well polished band. ‘Holy Hell’ is deserving of its place – and is possibly one of the greatest pieces of work Architects have ever showcased.
 
Rating: 9.5/10

BEHIND JUST ABOUT DONE’S MUSIC VIDEO TRILOGY

Just-About-Done-band-2018-credit-Nat-Parham

Just About Done are far from finished. With the Aussie pop-punk band recently releasing their second EP ‘I Am Getting By’, the quintet have a new plan to send out their stylistic ideas. Now they are here to give you a deeper insight into the creation of the 3 inter-linked video singles.

So with another release in the world, how can the band ensure it stands out? “We knew that we wanted to do something a bit different for our release and thought that having 3 videos as a continuous narrative would be the way to do that” Yet, with a release not linked in track continuity, pulling out all the stops is a step that had to be taken. “At first, we were trying to figure out a way that we can order the tracks. This was not easy, considering the lyrics weren’t written about one chronological story.  One of our band members expressed how his personal experiences related to the song lyrics, so we made a rough outline of what each video concept would be about. The track listing was chosen based on the story line sequence.”

Directing their videos with Mind Society Studios, its with the help of the creative directors that expanded on the groups ideas and themes. “They were so creative and started drawing up a storyboard straight away, throwing out different ideas and additions to the story. After giving them our main idea, we left it in their hands to fill in the blanks way better than what we were capable of.” Even with help, the band still left their mark on the content filming in both personal locations and places that gave them a whole new definition of experience. With the hospital scenes shot at The Royal Melbourne Hospital in Parkville, the house scenes filmed at Jack (Guitar) and Joe’s (Bass) house and the skate park scenes were at Taylors Hill skate park the settings clearly vary, leaving room for all sorts of story developments and memorable stories. “The hospital was so much fun to shoot at. It is no longer in use, except for filming and ghost tours! There were random files lying around, locked rooms with old furniture and things that had been left behind. A few doorways that we were hesitant to open. There was also a wheelchair floating around which John (the man who played the father figure) taught us how to do mono’s/wheelies, so that was fun. We are so happy with the final outcome. The amount of detail going of the filming, and even how they have managed to get certain moments to happen in time with the music. It’s all very impressive and emotional, to have our name be attached to this is a very proud moment for us, and we hope others can get something out of it too.”

BRING ME THE HORIZON’S SUICIDE SEASON 10 YEARS ON

Bring Me The Horizon were a band nobody took seriously, possibly until the release of legendary breakthrough record ‘Sempiternal’ (2013). Even to this day it is currently debated as to whether they can be classed as a ‘proper band’, or simply a joke within the metalcore scene (especially regarding their newest albums). Back in 2008, September 29th to be specific, Bring Me The Horizon released the album that would help them bridge the gap in their style and rise up the ladder to become better known and one day respected in the metal scene: ‘Suicide Season’.

Seen as a slightly vulgar and repulsive title and artwork, this possibly embodies what the band were after, they didn’t want something that would saturate an already oversaturated rock market, as proven by previous releases. Instead, it appears they longed something that was serious, but still them as they perceived themselves, something that defined them. Receiving both critical appraise and dislike, the group were praised for their instrumental upkeep and development but harshly criticised for “cheap” (Ryan Williams, Thrash Hits) lyricism and shouting vocals opposed to the range Sykes presented in predecessor ‘Count Your Blessings’. Stepping up their professionalism, the group travelled to the lonely Swedish village of Arboga, away from the bustling streets of Birmingham where they previously recorded. However, an unshakable negatively skewed perception meant even producer Fredrik Nordstrom had his pre-perceived doubts from CYB leaving the group mainly to their own devices, but was then initially shocked by the music they had recorded halfway through the SS process. Perhaps this is where the change truly began for the band as they alone created a record they wished to release. With a more positive response, the group also went on to devise ‘Suicide Season: Cut Up’, a variation of remixes of the original tracks for a more electronic feel.

Truly the album is questionable at times, ‘The Football Season Is Over’ is… well the embodiment of the young ‘adults’ the then 5-piece line-up once were (as well as including an interesting feature from JJ Peters of Deez Nuts). The lyricism of the band is also… questionable at times to say the least. Infamously, Sykes beautifully exploits a sample of such in ‘No Need for Introductions, I’ve Heard About Girls Like You on The Back of Toilet Doors’. ‘After everything you put me through, I should have fucking pissed on you’ – the truthful, beautifully poetic lyricism from frontman Oli Sykes that, to this day remains a reminder of just why the band moved on and improved (thankfully for the better). Yet, through this time trouble was never stray, from on-stage fights to lawsuits, there was the potential such negative press could launch the outfit further than their albums ever could. A negative effect on the band meant even less respect was paid to them, a refusal for acceptance and indiscriminate judgement still present to this day.

In total, three single releases were pulled out from this release: ‘Diamonds Aren’t Forever’, ‘The Sadness Will Never End (Featuring Sam Carter of Architects)’ and most recognisable single ‘Chelsea Smile’. ‘Diamonds Aren’t Forever’ is the dusty forgotten track from the trio, a track once good in its prime but one that inevitably fades into the rest of the album. Alternatively, ‘Chelsea Smile’ resonated so well with fans and the band, that the single is the oldest track the band will play live, even skipping tracks from ‘There Is A Hell’. With an intrepid breakdown and emotionally resonating bridge, it’s completely understandable why the melodic evolution of this track still stands so strong amongst fans and the band themselves. Once again, ‘The Sadness Will Never End’ features the same powerfully impassioned lyrics intertwined in Sam Carters clean vocal style showing Bring Me had the potential bubbling away, but were perhaps held back by alcohol, drugs and further personal issues, later to be admitted to the public.

The albums title track however, is possibly one of the most underrated tracks in all Bring Me The Horizon’s discography. An intensely raw lyricism intertwined with vulnerability and truths is what makes this undoubtably the most beautiful track on the record. Both heavy and ballad-like, it is here we see the heartfelt instrumentals pave a way through the track, a feature that becomes predominant in the groups following release ‘There Is A Hell, Believe Me I’ve Seen It, There Is A Heaven, Lets Keep It A Secret’. ‘If only sorrow could build a staircase, our tears could show the way’, a desolate, melancholic line that proves there is a sense of seriousness to the group. Shown in its entirety then – perhaps now, but now is ever present (at least most of the time).

Here’s the verdict, is ‘Suicide Season’ Bring Me’s best album? Not even close. However, it’s a part of their transition, an important timeframe of their development to becoming the more polished, professional (well… still questionable) and the ‘no fucks given’ band they are today. Look at the group now and they’re almost unrecognisable from who they were ten years ago, but this album is still an important part of their history that shouldn’t be forgotten.

AS IT IS DROP CHILLING NEW VIDEO FOR ‘THE REAPER’

Halloween is upon us and with it comes As It Is’ spectacular horrifying video for ‘The Reaper’ (Featuring Aaron Gillespie).

Directed by Zak Pinchin, the creepy melancholic atmosphere of the story and cinematography not only brings the track to life, but also brings a great twist to Halloween this evening. Speaking of the video, Ben Langford-Biss says, “The Reaper is the moment in the record’s narrative where The Poet becomes so desensitised to the concept of death, that death appears and manifests before him, offering an “escape”- not in a malicious way, but as a means of release from the pain The Poet is feeling. It was one of the most crucial and challenging moments in the narrative, and it was the last one that came together – lyrically and musically. 

To confer these themes of turmoil and conflict, the sort of inner claustrophobia The Poet is experiencing, we wanted the video to be gritty and dark. We ended up taking visual influence from some of our favourite horror movies and TV series, and our director Zak Pinchin really clicked with what we were trying to get across. 

The video shows each of us waking up trapped in rooms, each room representing one of the four stages of grief that the record is chaptered into; denial, anger, bargaining & acceptance. Each of us faces off with death in some respect, whether that be in a literal or metaphysical sense, and there is an external antagonist controlling the events in the rooms – forcing us to face our fears, our grief, or even ourselves.  We were super excited that Aaron Gillespie was able to be a part of the video, to play the part of this puppeteer / antagonist! 

Both the song and the video are so different to anything we’ve done before, and we’re so fortunate that our fans have embraced the darker and heavier side of our band & our constant desire to progress in new directions. And we just cannot wait to finally bring this album to life on stage when we finally start touring The Great Depression era this week: first in Japan, and then in Europe and UK  (which culminates in our biggest headline show to date at the London Forum on December 1), and then we’ll be returning to the US in early 2019 for our first time since Warped Tour! There’s so much more to come from this chapter of our band, we are only just getting started

As if the bands US tour announcement wasn’t enough! Check out the new video and tour dates below!

https://youtu.be/tG6_BxTTAwA

UPCOMING BANDS – IDLE HOURS

Having only officially released just three tracks on the market, Idle Hours are making their way through the Manchester indie music scene, building their way up to the surrounding areas.

A key aspect of Manchester, is that you’ll never fail to find the uprising indie talent in each corner, one of which is Idle Hours. The four piece outfit formed of Jack Waldron (Vocals, Guitar), Alex Needham (Bass), Tom Ashton (Guitar, Backing Vocals) and Jimmy Brown (Drums) are described as a blend of surf-pop, infused with tinges of indie rock, catchy melodies and impactful lyricism. Meeting at University and forming in 2017, the band released their debut ‘Powder White’ in April this year influenced by the likes of Blur, Artic Monkeys and Bloc Party.

https://youtu.be/mSL3pwP05JA

Soon after releasing second single ‘TV Crush’ in May, the group band added to their live performance list playing venues along the likes of Zombie Shack and Jimmy’s whilst also venturing out to Liverpool. As a band also shortlisted for the opportunity to play Truck Festival, it’s no surprise the quartet have played headliners at Music events such as Friday Night Live and Indie Week.

https://youtu.be/2aUEeqbh3sM

Now releasing third official surf-pop single ‘Happiest Place On Earth’, the band are set to support Deco at Gulivers this Saturday (3rd November). If upcoming indie deviations are to your taste, take a look at Idle Hours for your next indie playlist addition.

https://youtu.be/EB96L4EWwWw

TRACK OF THE WEEK 28/10/18- IMMINENCE – PARALYZED

This weeks track of the week goes to Swedish post-hardcore four piece Imminence.

After a slight lineup change and a distinctive switch in musical styles, Paralyzed embodies the bands new direction, a path they aim to head down. Mixing elements of debut ‘Return To Helios’ and fan-favourite single ‘The Sickness’. A far step from ‘This Is Goodbye’ but still containing their signature styles and Architects-style influences. A track (and video) to hear now!

https://www.youtube.com/watch?v=2HKRfKeVS78&feature=share

https://open.spotify.com/track/3vCHQhRlQTflUbMzQn6HZe?si=gJaAO4zgQ4u6J4Qm_FbAcw