Tag: bands


Against The Current have finally released a date for their ‘In Our Bones’ follow up album ‘Past Lives’

The album is to be released on September 28th through Fuelled By Ramen

The tracklisting

01. Strangers Again

02. The Fuss

03. I Like The Way

04. Personal

05. Voices

06. Scream

07. Almost Forgot

08. P.A.T.T

09. Friendly Reminder

10. Come Alive

11. Sweet Surrender



From the release of single ‘Unaware’ it was clear that Annisokay are experimenting with their genre. From the inclusion of cut-up vocals to the darker message of individuals so ‘pure and rare slowly bleeding out unaware’. After mixed reviews from their previous release ‘Devil May Care’ the question still remains apparent, where are Annisokay going with this new release?

Listening to this album, there are themes that will jump out and shock you. ‘Fully Automatic’, dealing with the war on gun crime and school shootings is one of them. The message isn’t brutally obvious, but instead ingrained well into the musicality of the track, suddenly making you aware of the theme. An idea somewhat emerging in all tracks, focusing on loneliness, war, violence, hatred and entrapment, an ever-increasing mix of negatives hindering out society. Yet, a clever yet subtle inclusion the post-hardcore outfit do bring is parallels across the album. Parallels of loneliness echo throughout ‘Coma Blue’ and its counterpart ‘End of The World’, whereas the same track ‘End of The World’ can also be interpreted to have links to previous album ‘Devil May Care’s final track ‘The Last Planet’. Even in terms of videos, the impactful message etched into ‘Fully Automatic’ hiding little references to violence with ‘It’s been a while since I’ve held a gun’ also parallels with the shocking shooter video for ‘Coma Blue’. On the other hand, through the parallels of the album come the contrasts, which evoke just as much impact as the parallels. ‘Innocence Was Here’ is perhaps one of the most confusing tracks of the record, evoking a ballad style piano track about entrapment covered by the heavy punching brutality of the leading guitar track. This is a song that when truly listening to is hard to wrap your head around, but in terms of the thematic album, works perfectly in favour of the band.

Annisokay are clearly very clever in their creation of music, even if at times this may appear subtle. Exploring and evolving their sound to a greater level is apparent through ‘Arms’, as the post-hardcore style followed for many years has slowly morphed to develop into a more experimental synth infused idea. ‘Humanophobia’ gives a recurring, intricately broken style to explore the broken population that has become of us whereas ‘One Second’, through the nuanced medium of Dave Grunwald’s unclean shouts, shows a massive development of style, yet the use of eerie synths instead adds an uncomfortable atmosphere around the daunting chorus of the track with – time is limited and this track is not. meant to make you comfortable. Yet, at the same time, it’s the way the group cleverly manipulate simplicity in the bridges of their song to set a tone. Stripping back the layers of a track into the bridge section is risky, but well done, leaving listeners forced to listen to the message being spoken, such as in ‘Sea of Trees’, stripped back to nothing but Christoph Wieczorek’s clean vocals and a slight synth track, leaving you to truly hear the words behind the track, not hidden behind the heavy musicality.

However, there is one track on this album that stands out perhaps for the wrong reasons. The group are experimenting, which is good, but following the album as a whole, ‘Private Paradise’ is a track that doesn’t fit. Despite the feature of Attila frontman Fronz, the rap styled track stands out in an unfitting way to the album. Perhaps a little more dabbling into the style of rap-metal is needed to bring this track forward. Even with an evolving genre, some aspects do sink ever so slightly into the back. ‘Escalators’ is once again spreading the message Annisokay want to portray, yet just falls short of the rest of the album, falling under and being overshadowed by the other standout songs.

Yet, through the expanding evolution of the bands style, remnants of their rooted influence are still sustained within the tracks. ‘Good Stories’ from the subtler faded instrumentals, lyrical and vocal style brings a reminiscence of the bands second studio release ‘Enigmatic Smile’. Yet, one interesting input the band have brought through all four albums is the style of the closing track. Similarly to each other finale tracks, ‘Locked In, Locked Out’ emphasises a dramatic, theatrical approach, one that ends the album in a satisfying way. Is it the most complex song of the album? No, but that’s what helps it stand out. Not too simple, not too complicated but still manages to stand afloat and not get lost in the album.

Annisokay are not strangers to creating music, if anything, they have improved over the years and are still improving with every step. This album isn’t perfect, but perhaps it doesn’t need to be. With such haunting themes and the experimental approach to their sound, there could always be something that hinders the album. ‘Arms’ is a worthwhile release that despite its little blips, is one that should be heard as it is released into the scene.

Rating: 9/10


All Time Low have today released a music video for current single, ‘Birthday’, one of two brand new recently released tracks from the Baltimore quartet. A limited edition 7″ vinyl (limited to just 2,500 worldwide) for ‘Brithday’ and ‘Everything Is Fine’, is available now from: http://alltimelow.com/store



This weeks track of the week goes to pop-punk outfit The Young And Restless with their new single ‘Family Values’. The fast paced pop-punk single echoes both past and present pop-punk values and influences, to create the track that defines them.

Family Values’ is about the typical scenario of a broken home – of course that could mean a lot of different things, but we think it’s something a lot of people can relate to no matter what it could be. When growing up these can have a detrimental effect on you, it makes you feel vulnerable, angry and confused, particularly in your teens when you’re only just finding yourself. It’s just a constant whirlwind of emotions that we delved into when writing this single. 

At first the music seems quite upbeat, until the opening line comes in and slaps you straight in the face! We wanted to give the impression of someone putting on a front to mask how they’re truly feeling beneath within both the music and the lyrics. Having been in similar situations ourselves we want to remind those people, you’re not alone, and it’s okay because after all the said and done, it does gets better.”


‘Better Weather’ shot With Confidence straight up the ladder of smaller pop-punk bands trying to break through the scene. Despite a rocky start at the end of 2017 leading to this year, the Aussie pop-punk outfit have featured on the final Vans Warped Tour line-up and recorded their sophomore album ‘Love And Loathing’, ready to be released on August 10th 2018.

Undoubtedly, this new release has its fast paced, blue pop-punk style weaved throughout its entirety. Lead Single ‘That Something’ Creates an effortlessly catchy flow, with its strong choruses and upbeat instrumental backing. It’s through this tracks and other addition ‘The Turnaround’ where we see just how the musicianship can bring a track further out. The groovy basslines (Jayden Seeley) add an enjoyable flow to the songs while the headbanging riffs (Inigo Del Carmen) and matching fast drum beats (Josh Brozzesi) together create a fun summer happy track to infuse into the album.

Yet, there is an overall atmosphere through this release that this appears to be a safe approach from With Confidence. While there are the rare tracks that express a different forwarding approach to the Aussie bands predominant genre, the majority of the release sticks to a ‘safe’ pop-punk generic approach. ‘Spinning’ and ‘Dopamine’ are two examples of the side of the album that sticks a little too close to its roots. Even single ‘Jaded’, while having its fun feel similar to ‘That Something’ just falls into a safe trap to avoid unpopularity. However, this isn’t to say there aren’t track that make a clear breech to this idea.

On ‘Love And Loathing’, there are three tracks that truly make a stand among the rest. ‘Bruise’ sets itself as the slower ballad of the album, slowing down the pace while feeding a lighter influence into its lyrics. Even the emotional vulnerability presented in such an open format explores a side to With Confidence that could have been lost through the hype of such upbeat tracks – thankfully it came through. ‘Paquarette (Without Me)’ once again explores a much lighter touch, drifting away from the first tracks of the release. The trio aren’t entirely sticking to the safety of the core of pop-punk, this song proves it. They just need to confidence to step further out of their boundary and ‘Icarus’ is the first example of this step forward. This track is possibly one of the most diverse fast paced inputs on the album, with a much heavier rock influence weaved through each segment of the track. With Confidence have that potential to step away from these safer approaches, ‘Better Weather’ proved that and these three tracks do as well.

With Confidence have had a struggle, which may have pushed they further into their shell to escape rejection and disappointment. This album has happy summer tracks and emotional outpourings and this amplified by 10, can truly set this group skyrocketing. Here’s to their next release because we know they will go further.

Rating 6.5/10


Inkling desires for a change in style have pushed As It is to a much grittier approach, one that borders the post-hardcore genre. Falling away from the jukebox happy 50’s style release ‘Okay’, As It Is are taking us back further in time, to a time of ‘The Great Depression’.

Interestingly, the 12-track album is split into four sections, ‘Denial’, ‘Anger’, ‘Bargaining’ and ‘Acceptance’. While not apparent at first, the tracks do relate to their corresponding sections, despite not entirely adding any extra flair to the album. ‘The Two Tongues (Screaming Salvation)’ not only creates a deeply eerie opening, but also strikes the conflict of two sides, Wife or Death, good vs bad. Not only does the track incorporate vocals from lead guitarist Ben Langford-Biss, but also conceptualises the idea of the albums protagonist ‘The Poet’s’ struggle. On the other hand, ‘The Stigma (Boys Don’t Cry)’ is a full honest approach to the stigma of male mental health. The sarcastically styled satire of the track approaches anger in a different view, one that mocks the stigma that ‘Boys Don’t Cry’. This is where the bands previoua pop-punk approach comes in, bringing a catchy chorus keeping the satirical message cyclical in attempts send a message.

However, the lack of Langford-Biss’ gritty vocal input does give a very personalised theme to the tracks and with the outspoken nuance of speak out, but never be listened to being cycled so constantly, it’s the incredibly impacting lyricism presented that adds the final kick. ‘The Haunting’ causes a forcefully impacting image. If the echoing chorus lyric ‘You dream to die’ isn’t forceful enough, the saddening expression of your sister staring at your grave truly forces the listener to first hand to the message, something also expressed in the closing track of the album. ‘The End’ was written according to Langford-Biss ‘In the case of Chester [Bennington] who was so open in both his lyrics and away from music, often people aren’t really listening’. Yet, it is perhaps the powerful spoken word ending that leaves the biggest impact. The creation of the image of ‘crimson arms’ and a ‘broken neck’ to ‘tell me you made this choice’ is paired with the intensive painful emotion heard through Walters vocals, something that doesn’t always come through in music, but try shows a vulnerability willing to be exposed to send a message.

Yet, through the gritty raw kicks As It Is bring to the album, the band do know how to bring a softer sensitive side to their music. Through the inherently powerful messages of how mental health awareness shouldn’t be stigmatised, ‘The Truth I’ll Never Tell’ instead shows a more sensitive personal view, that behind such an inherent desire comes the true feelings behind it. It is here that lyrically, this track has more underlying than what would appear at a surface level listen. That’s the beauty and severity of the lyricism of almost the tracks on this album, the depth lies when you truly wish to listen. Musically, ‘The Fire, The Dark’ brings a personalised sensitivity through its simplistically styled backing and heavy bassline courtesy of Ali Testo, incorporating high melodic notes, similar to that of a lullaby, as a contrast to the deeper verses.

Simplicity however, doesn’t always help portray a message, this is where ‘The Question, The Answer’ perhaps falls. At first the acoustically styled opening portrays a questioning topic in lyricism, presented in a simplistic, yet, less interesting way. The issue occurs from the chorus, becoming overlayered and overcomplex with backing vocals, strings, melodic undertones and other unnecessary additions thrown in that don’t necessarily strengthen the track, especially towards its end. On the other hand, it is a lack of interesting additions that bring down the tracks. ‘The Handwritten Letter’, while probably having the most pop-punk style of the album, doesn’t bring anything to push it out among other tracks. Not to say these tracks aren’t good, but it is hard to stop them slipping into line of fillers ammount a hierarchy of strong singles and other tracks.

‘The Great Depression’ theme in itself is a microcosm for the huge issue of mental health and As It Is have a very strong album on their hands with a very strong message. If this is the new approach the band are taking, we could be in for a real diversion away from their original sound.

Rating: 8.5/10