Avenoir have changed. With their original vocalist/bassist departing and two new members joining the party, there is a lot on the line for the Leeds quartet. ‘Orpheus and Eurydice’, named from the Greek myth tragedy (well the majority were tragedies) is the next step for the group. How does the story end?
A consistant buildup of intensity shrouds the track in a fuzzy, yet slightly distorted manner, bringing the power of the lyrics to light. Guitar solo? Not entirely necessary, but fits well enough that it isn’t too isolated, but adds some extra length and change to the track. The track is fairly similar throughout, but the slow build saves what could have ended up as a constant repetition. It isn’t bad, in fact, the melancholic guitar tones help bring a gloomy atmosphere to the track, similarly seen in their EP ‘3027‘.
However, there is an obvious change from their previous releases. This is always the risk when changing members, especially vocalists. The vocals aren’t mixed as well into the track, but with their distorted grunge style, this could be attributed towards their gritty, raw genre. Yet, what does come through is that the vocal tone is less fitting. Slightly off at points, and too separate from the rest of the track. As the track builds the vocals do become more fitting, clearly seen through in the lead-up to the tracks guitar-solo bridge. This helps settle the tracks flow creating more balance, but gaining this through the tracks entirety is the next step.
Avenoir have the musical potential as seen in their previous releases. With two lineup changes now in place, Avenoir could go down a completely different route. Finding the balance as a band is the next step and only time will tell if they will reach it.
Nearly three years since the release of ‘Dreamless‘, Fallujah are back on track to present what could be their biggest risk yet. An altered line-up and adapted sound, the band are going forward to release their new album ‘Undying Light‘, starting with their new single ‘Ultraviolet’.
As a comparison to their older material from ‘Dreamless’, this is a change. With new vocalist Antonio Palermo taking the reins, there is a noticeable difference in the raspy screams of Ultraviolet compared to Alex’s harsh lows featured over their past material. While Palermo is a good vocalist, his accentuated screams don’t fit over the track. Perhaps more tuned to a post-hardcore styled band over atmospheric metal, the vocal difference contrasts a little too much for the track.
The interesting lead guitar work still holds strong in the track, lifting the track upwards with the clean cutting solos. It seems that while every instrumental has its place, the guitars are almost drowned out by the vocal layers of the track. At points, it almost becomes a battle as to which aspect takes the lead, instead of a balanced flow. Midway through the track is where a balance is almost reached, and just needs to be tweaked and spread through the track to balance it. Despite the differences the track brings, the lyrical content is still up to a high standard, even with Palermo taking the lead on song writing. With the whole album based around a ‘snapshot of a disillusioned, narcissistic society’ (Scott, guitar) hopefully we can continue to see this high standard highlighted through the full album.
The main point is, this is most definitely a change for Fallujah. Taking a turn into a new route is inevitable, even if their first attempt does seem a little generic amongst their discography. One point is clear – this is not the old Fallujah and probably will never be. From a single, it’s hard to judge the upcoming albums potential, but the single is not bad. From a standalone viewpoint, the release is good, however it has and will cause a few issues for older fans of the metal quartet. Their new album is to be released on March 15th, then we can truly see where they are going.
Following on from debut EP ‘From Day One’, Hungarian metal band Harmed have dropped their newest single Jester.
Commenting on the release, Levi (vocals) explains “Jester” is a song about hate for those who ridiculed us in the past. It serves as a source of revenge.” The groups brutal take on their music shows a definite improvement in their musical abilities, despite the song being shorter than usual. Make sure to check out the video below!
Download Festival has unleashed a new set of bands for this year’s stacked lineup.
The variety ranges from larger bands such as Beartooth, Halestorm and Clutch, to smaller artists such as Parting Gift and Crystal Lake.
Check out the full list of new bands below!
Two shows in one city in a row. One sold out night down, one more to go. After selling out the original Manchester date for the UK/Europe album tour, a second night was on the list, on the verge of selling out. Can the groups still put on a energetic show for another night?
Beartooth (7) have been a name on the scene since 2012, leading up across many tours and releases. Stage-audience interaction was average, simple lyric repetition and speeches – on the more negative side. In perspective, it’s understand where Caleb comes from in his speech. Mental health issues never being overcome, but to state it will always be stuck in you is a little negative because it isn’t. Perhaps a poor word choice, but a nice message of accepting who you are. In terms of performance, they haven’t shown too much improvement. In terms of reciprocating recorded material live, the group do an impressive job. The issue is, there is little to separate them live from any other band. Besides the flag logo, Beartooth have little to separate them from the average metal band. An improvement that will come with time.
Architects (9) are no strangers to putting on incredible performances. Whether jumping on the Architects bandwagon before or after ‘Holy Hell‘, their popularity as a band has increased tenfold. Opening with the venue anthem Death Is Not Defeat an instant aura took over the Mancunian crowd. ‘Holy Hell’ has pushed Architects to new heights and this first track is a snippet of this peak.
Sam Carter is a entertaining frontman, both as a vocalist and in connection with the audience. Interestingly, even Dan Searle (drums) has a word for the audience, related to not chugging wine but a word either way. Also any band quoting the Scottish ‘Disgusting’ vine after whisperings within the in-ear monitors have clear interpersonal relationships with each other. Even in the crowd, people are encouraged to take part in the pits and sing alone with encouragement from Sam himself. Audiences make gigs as much as a band can. Any audience that stops the middle of a show pretending to row as pirates helps entertain quite a large majority of people to say the least.
Yet, an important part of the show revolved around the passing of bandmate Tom Searle. Emotional connections in a true form are hard to make work, but from a perspective hearing 4000 people clap and shout ‘Tom’, the emotional impact on the band was more than visible. From unscripted memories to the visual tribute following ‘Gone With The Wind’, Architects have developed an incredible connection with the audience. Something not expected On such a level.
On a lighter note, visuals were a surprising impact to the show. Adding small references to ‘Modern Misery’ and rarer setlist appearance ‘Momento Mori’ created a perfect balance of visual storytelling to the tracks. Dramatic use of pyrotechnics and Co2 cannons also added a kick to tracks such as ‘Mortal After All’, lifting the energy in quick succession. However, of the setlist is an aspect to improve. ‘These Colours Don’t Run’ being the oldest track following tracks ‘Broken Cross’ and ‘Naysayer’ from ‘Lost Forever // Lost Together’. Crafting a set list is difficult, but perhaps a bit more variation of older tracks could be a move forward
Of the night, the best performance comes in the form of single ‘Royal Beggars’. Proving Sam Carter’s ability to transition from brutal highs to low harsh vocals, its clear why this band are so respected. For a finale, ‘Doomsday’ sounds like a good form of closure. While loud and well executed in a musical sense, for a finale the performance sadly wasn’t as extravagant as expected. Still, not a negative ending, one that was rather enjoyable.
Consistently improving since 2004, Architects are reaching new heights of performance and audiences. A strong show musically with an honest appreciation for those around them.