Dead Earnest Main Menu
BLACK EYE RIOT: No Hope No Future No Worries CD
Described as a "fucked-up, honest, no frills, old-school attitude punk", this is punk way beyond anything that the legendary punk bands of yore, could ever have even dreamt of sounding like. Ten tracks in 26 minutes deliver one of the fastest, most blistering, no-holds-barred set of ferocious songs that you're completely breathless by track three, let alone the rest of the album, and the best bit is that it doesn't let up - this immense sound of an ocean of guitars, roaring vocals, disemboweling bass and thrashing crunching drums, continues apace right to the end. The effect is shattering, and you feel like you've just gone ten rounds with Mike Tyson by the end of it - but the mind-melting effect is so electrifying, all you want to do is relive the experience once more. Making the likes of the Ramones and Motorhead sound like Bananarama, this is one of the most intense, enjoyable and deliciously wild sounding punk albums of recent history - a winner, oh-so uncompromising and just sensational.
CANCER: Corporations CDEP
Despite my years, I still think that, to someone who's lost a loved one to the wretched illness, to have a band named after it, still doesn't feel right. You almost want to hate them before you've started. Which makes the fact that, albeit reluctantly, I thought this to be a quite stunning slice of epic-metal mayhem, shows just how good the band really are. The opener, 'Oil' sums up the relentless war and fever-pitched love-hate relationship that we have with the stuff of life, as the massive guitar-driven assault and nuclear-powered rhythms drive to the heart of the earth and back, with vocals on fire and getting to the core of your very being. An assault and then some, but a good one. The "Live in the studio" version of 'Witch Hunt' is even more aggressive, even more of an attack on your senses, growled vocals racing, massive guitars riffing to hell and rhythms so fast, they become a blur before your very eyes and ears. Track three continues in this vein while the remix of 'Oxygen Thieves' takes the band into the world of industrial metal and THIS is where it really starts to get interesting as the electronic and metal worlds collide head on in absolutely superb fashion - a steaming gem of a track. Finally you get a similarly industrial remix of 'Oil' that is just so heavy, you won't believe something so stripped down, something so stark yet solid could be this good - stunning - and when the guitars swirl and dive, sear and bite, above drums and bass that could move mountains, with synths soaring and swooping all around, this goes supernova and interstellar at the same time. Overall, a triumph and, despite the band's name, heartily recommended.
DAYS OF GRACE: The Movement Schematic CDEP
In a sense, slightly more polarized than This Illusion, with whose CD this also arrived, but no less strong in the writing stakes, that's for sure. Here, the vocalist, Patrick Currier, not only sings but hollers, so that, on the opener, 'Dream Like Saul', in particular, the feel is controlled chaos one minute then right-ooff-the edge, the next, while all around the flames of twin-guitar-fuelled attack ignite and the rhythm section fires up to drive it all to some great indie-rock-emo nirvana - stunning stuff and just a superb track. 'Glitch', is, if anything, even more extreme, in the sense that the rock rages while unexpected warmth and grace that is the band in simmered down mode, also shines through as the compositions turns from rage to tensely anthemic in a heartbeat, the high-flying playing cutting through as guitar riffs scythe, rhythm stride forth and all guns blaze, the vocals going multi-tracked and supernova, as yet another gem of a song is delivered. 'Minus(i)' is propelled by this huge wedge of guitars that takes over the mix as the drums and bass provide an almost Kings X backing, and on top of this, the vocals just sail effortlessly as this massive slice of passionate indie-rock unfolds to perfection, things once again taken back to yearning emptiness, before the whole thing powers up once more and the sea of guitars, drums, bass and vocal interplay, all create this almighty anthemic mood that takes over every fibre of your being. Sensational. Three further, equally fine, creative and strong sounding tracks make up this CD-EP and every one of them is a certifiable gem, proving that this is a new band who can really deliver the goods without putting a foot wrong - a CD destined to find a place in your heart and on your player for ages and ages to come - turn it up and let it rise.
EDGE OF FOREVER: Feeding The Fire CD
In 2004 the number of what you'd call "traditional" rock-metal albums coming out, is legion - there's tons of the things. Sadly, as happens in the prog-rock sphere, many are simply faceless, lacking spark or let down by the vocals. But this one is a cut above the rest - a mix of AOR and metal, with great vocals, great harmonies, synths that are not too intrusive but perform a role that fills the sound out without really being too obvious, allowing the all-important guitar attack to fly out in front. Compositions are well thought-out, arrangements full of dynamics and songs with lyrics that tell a tale or really mean something. There's enough soloing and dueling between guitars and synths to keep you happy while the riffing is spot on. In the rhythm department we have the necessary drive and propulsion, produced to perfection, and finally a vocal that, on its own, works a treat, and multi-tracked or as harmonies, works even better. Grade A rock by anyone's standards and a thoroughly rewarding album.
LOCUS OF CONTROL: The Comfort Of Repetition CD Single
Well, my advance featured just the one track so that should be interesting to see what's on the real thing - and how it's priced. Anyway, whatever they do, on this showing it's got to be worth every penny, for this is powerful emo at its finest with a sea of driving guitars, a modern Metallica-like sound to the rhythm section (in other words it sounds like someone's beating on a set of rusty cans - lol!!!) anda vocal tour-de-force that takes you along with every note that's delivered. It's foreceful, played and sung with highly charged emotion, drives through every fibre of your head and heart, and leaves you wanting more - much more - so you play it again and beg the record company for an album.
MOUNTAIN: Sea Of Fire DVD
Recorded live at a somewhat small venue ("intimate" might be the term) in 2002, it's a 75 minute concert, professionally filmed using seven cameras and sounding as good as it looks. Now you might think that the idea of watching guitarist Leslie West, not the smallest of folks, for 75 minutes might be like wading across a ploughed field after the rain's set in, but I have to admit this one had me riveted. With just (just!!!) a drummer and bassist in tow, both of whom provide some superb drive and rigidity, it's very much West's show. For a guy who looks like yer local GP, you just have to watch him play - you can't take your eyes off his hands as he takes that guitar and does some amazing things with it - how such a big guy is so dextrous is beyond me but he can play and then some. So, you roll through a set of songs from the classic days, songs from the more recent past, a titanic rendition of 'Nantucket Sleighride' and more as the vocals still hold their own and the guitar work just goes supernova, sometimes sounding like there's three of him playing it. Quite brilliant and definitely one to watch and enjoy. In addition you get some vintage archive visuals that really are great to watch, including the story of deceased original bassist Pappalardi, bits about their 4th ever concert at Woodstock and more. Excellent stuff and well recommended.
MYCOUSINKATE: The Square One EP CD-EP
It may only be 8 minutes long - but what an 8 minutes!!! The lead track, 'All That I Have' is like an emo Undertones with yearning vocal and blistering guitars allied to emotive acoustic guitars, driving, solid rhythms and a song that is so darned anthemic, the first thing you want to do when it ends just short of three minutes, is to go back and play the thing all over again - simply superb. 'Cold Light Of Day' is every bit as strong only starts as ballad, builds with multi-tracked vocal and becomes an emotionally charged slice of sheer magic, the singer turning in a superb vocal performance that puts a lump in your throat as the oncoming guitar storm ebbs and flows, with wall-to-wall riffs and leads, over a dynamic, strong and flowing rhythm section, the whole thing once again as anthemic and deep-feeling as they come - melodic nu-rock just shouldn't be this good. Finally, 'Square One' just takes everything that's gone before, puts it all into a gloriously dynamic, strong, highly charged melting pot and comes up with another shining light of a track that glows with confidence and sparks with electricity, as another supercharged performance from the band is delivered with power, strength and passion, perfectly arranged and produced to bring out the best in a trio of top notch quality songs - just brilliant - more please - like, now!!!!!!!!
NOCOMPLY: With Windmill's Turning Wrong Directions CD
Now I have to say that ska-punk isn't that much to my liking, and ska-punk with horns, probably less so. All of which means that the fact that I thought this adrenaline-fuelled rocket-ride of a ska-punk album was a real ass-kickin' delight, indicates that this is a cut above the rest. With a female vocalist who really sings and hollers the lyrics, a driving rhythm section, explosive guitars that shower shard of chords all around or whip up a storm of riffs, and dual horns that shoot rifle-fire fashion through many of the tracks, this is a solid, heavy and driving album that will have even the most arthritic punk rockers pogoing around the room like a mad thing. Song after song wreaks class, quality, and leaping-about magic from every pore. On a physical and listening level, a surging set of twelve tracks guaranteed to put a smile on your face and find a place in your heart - once you've recovered from all that dancing around, of course.
NOTHING TO DECLARE: Stuck On Repeat CDEP
A title that is so apt, for it is exactly what you will be doing once you hear this for the first time. The band have released two CDEP's to date - the first a rather tentative step into the world, the second a confident statement to announce that here we really did have a band to watch - a strong album of good songs and playing throughout. Now, for their third EP, they've broken through the barrier and come screaming into the wider arena with a vengeance - this is now a band that is on fire and ready to take hold - if they don't get a major label contract on the grounds of this release, then the majors really do suck! Every track on this CD is wondrous - no, more than that - every track is utter genius. The first 30 seconds of the opening track, 'Echoes In The Air', just roar into life- there's no build-up, no introduction - the band just launch into action with this blitz of guitars, bass and drums providing a stunning opening that will stop you dead in your tracks and leave you jaw-dropped - and when the vocals come in, sounding so perfect for the hail of rock riffing that is all around you, the effect is jaw-dropping. The song just steams, sizzles and soars throughout 3 and a half incredible minutes of steaming rock heaven, the band firing on all cylinders and taking off to parts of you that you never knew existed - just incredible. If that wasn't enough, track 2, 'Forgive Me' is even better - but it's not rocking riffing - no, this is the sound of real songwriting genius - a song unfolds that, right down to the sound, the instrumentation, the vocals and the harmonies, is pure Pearl Jam-meets-Wallflowers, two of the finest groups on the planet, and this track is worthy of, and could almost BE either of them, as acoustic and electric guitars play the melodies, the rhythm section rolls along and those so-emotive vocals just soar into the night sky, on an arrangement and production that is to die for. Pure bliss. The near 6 minute 'No Man' follows the path of the previous track, only here it starts off more like Wallflowers/Pearl Jam, then this massive guitar storm surges in and the piece just takes off, leaving you open-mouthed in amazement at the fact that anything could sound this good. Then, as it peaks, it drops back tot eh wondrous vocal, the glorious harmonies, the sound of electric and acoustic guitars and rhythms rolling away, before the next peak is climbed and the band fly ever higher on a blazing path of emotive vocals, soaring lead guitars and an endless horizon arrangement that goes on forever in all directions, the sound of rock solid rhythms driving the track forward as it just gets better and better. To say it's incredible doesn't even begin to do this justice - I can't believe I'm hearing something this good in a band that isn't a world-wide phenomenon. Finally, the 5 minute 'One More Time Around' that ends as things began with this huge-sounding meaty mix of rhythmic solidity and grungy guitar riffing, as the assault drops back to reveal the strong and soaring vocal, the endless miles of guitars, as the song then suddenly erupts and just goes supernova, climbing higher and higher in a burning shower of guitars, bass, drums and vocals, an effect that Pearl Jam would have killed to obtain. Then it's back and forth between strength and power as the song progresses to its fiery end. Produced, played, arranged, sung and written to a degree that is way beyond what most bands aspire to, let alone achieve, this has to be one of the top five rock CD's of 2004 when the reckoning is in - utter genius.
PSP: The Deadly Art Of Illusion CD Single
The deadly thing about this is listening to it too loud on headphones - my ears were a bleeding mess by the time the first track had ended. OK, so I should have turned it down - but metal this fierce just has to be experienced loud. The title and lead track is a monster of wall-to-wall riffing, rhythmic thunder, a sonic soup of guitars and vocals that are somewhere between screamed and hollered, but the whole thing is a massive blast of metallic power that could move mountains at appropriate volume levels. It's utterly superb and should carry a health warning - addiction to this may cause severe deafness - but it's so easy to take - the siren call of molten rock intensity to perfection, the best thing being that, by the time the second track ends, you wren't even aware the first track had finished. Superb and then some.
THIS ILLUSION: This Illusion CDEP
Five tracks and 16 minutes from a new UK outfit, and it's just sensational stuff. Basically they take a hard-hitting brew of indie, rock, metal and emo, put it all in a guitars-blazing melting pot and come up with a set of songs that is positively inspirational. The opener alone, 'Dancing On The Graves Of Our Past, is a powerhouse of anthemic muscle with passionate delivery and dsoaring vocals that would have any fan of FFAF sinking to their knees in homage of the new masters on the block - it's the sort of loud, fiery but emotive song that you have to play and play and play - turning it up louder every time to get the full-on effect - just brilliant!!! 'Twenty Years' flies into action with a sizzling guitar riff, crunching drums and pounding bass, as the vocals come in and, if you hadn't already guessed, this is one guy who can really sing - delivering the lyrics with passion, warmth and venom, a scorching but so-well sung performance rounding off a driving slice of rock-hard emo-hardcore magic. 'Eleven Thirty Nine' is, if anything, even more powerful with riffs and guitar assault that makes its mere 1 minute running time so effective. 'Blueprint For The Hands Of Time' returns to the anthemic glories of the opener, with the arrangements taking twists and truns, shards of guitar attack splintering off at all angles as the driving riffs and punishing rhythms drive it all forward, over which vocalist "par excellence" Paul Collins really lets go, sounding like he means every word in a solo and multi-tracked wealth of wonder, stunning stuff and no mistake. The closer, 'After The Rain' is no less explosive or engaging and rounds off one of the best debuts from a new UK band since…..well, the last one. Utterly fantastic and this deserves to be HUGE, baby - buy or die.
THOUSAND POINTS OF HATE: Scar To Mark The Day CD
The promotional sheet says "uncompromising heavy metal with a modern edge" and "vocals that are in turns hard-edged and unashamedly melodic". Which pretty well sums it up. It's solid, competent and full of intent, the hollered, throaty roar next to the flowing lead vocal acting as a neat contrast but rather overworked at times. The guitars have enough power to feed a tea break after the christmas version of Eastenders, while the rhythm section is so solid, it's a wonder they don't fall through the floor. It's powerful, passionate and undoubtedly heavy - but there's something a bit overwhelming about the whole thing, something that makes you want to love it yet pushes you over the precipice at the same time. Bludgeoning more than anything, it's certainly got explosive energy but a certain spark is not there for me.
THREE COLOURS RED: The World Is Yours CD Single
Hmmm…….the 'Repeat To Fade' single in 2003 was a mighty blast of a track, as was the whole single. From the opening strains of this, I had my doubts as to whether or not it is the sort of single that is going to do this band the favours it needs. It starts slow, builds to a climax but then bounces back to slow all too quickly and the feel of stop-start interrupts the flow of the track. You want it anthemic and they play it restrained - yes, it does break out but not often and not to the effect that this band is capable of - a grower or a disappointment - right now for me, the jury's out. Bizarrely though, the two exclusive live tracks that make up the rest of the disc ARE exactly what you want from this band and either one, as a studio version, would have made a much more immediate and surely more appropriate lead track. Both are on-fire romps through a world of strident playing, guitars and rhythms on fire, vocals flying to the skies as harmonies are piled on and writing that is just so addictive you'll be leaping around the room like a thing possessed. As a single, for these two tracks alone, unhesitatingly recommended - stick with this band - they're worth it.
THREE COLOURS RED: Union Of Souls CD
After two singles, then, finally the album is here. The dual-guitar, bass/vocals, drums quartet present what is essentially an eagerly anticipated item. Right from the start, it's clear that this is going to be the hot potato you'd hoped. What you hear on the opening track is grade-A song-writing and top notch arranging as the chiming guitars herald immaculately sung, with great emotion, lyrics as the track threatens to cut loose, reverts to its introduction, then fires up only to fall back to earth, just short of four minutes like a comet in the night sky - but then the album erupts - and I mean ERUPTS!!!! - as the nuclear warhead guitars and titanium strength rhythm section launch into the hi-intensity barrage that is the incendiary 'Repeat To Fade' track, as mighty an assault as you could possibly want from a rock band capable of writing songs that will sound this good for years to come, a blaze of rock maelstrom to delight the deafest of rock fans. After this, you get the title track, now in the context of the album, making a lot more sense, as it sounds in keeping with what's gone before and while still not for me an "obvious" single, here it just sounds sooooo good, and definitely a quality album track as the band veers from slow and purposeful to all-out attack with ease and dexterity. Then, as the rest of the album ensues, you are inexorably hooked to what becomes THE most amazing set of tungsten-tipped songs on a hi-quality rock album for a long, long time. Song after song thunders out from the speakers with such inventive yet addictive arrangements that will leave your head in smoking ruins. But it's not just about all-out power, it's about dynamics, production, a smoking gun of sonic guitar destruction and explosive beats that will break the walls and scare the neighbours - this, my friends, is brilliant - song-writing, vocalizing and playing in an original and nu-rock arena to which others should aspire.
VERO: Howdoesitfeel CDEP
There are just so many great British rock bands around right now that it's almost a crime - hellfire, it IS a crime!!! - that they don't become household names right now. This lot are the latest addition to that elite genre, and they rock, they explode and they burn. The 10 minutes and three tracks of this EP will have you foaming at the mouth with delight as you turn it way up loud and let that wall of guitars, those pounding rhythms and that incendiary sea of guitar leads power up and go absolutely nuclear under this soaring, strong and anthemic, solo and multi-tracked vocal performance, the whole band sounding like they are ready to take over the world right now, with music that oozes pure power from every pore, but power that is controlled within its wickedly addictive song-writing and arranging, production and quality , the whole being greater than the sum of its parts, as this band rises up to become a white dwarf star of blistering heat. Next to bands such as Incubus, Foo Fighters and FFAF, they could give all three more than a run for their money and, in my opinion, they have translate what must be an absolutely awesome stage sound, on a studio CD with way more power and electricity than FFAF have done to date on any of their output so far. This, then is a band to watch, a band to enjoy, a band you HAVE to see live and an EP that you have to turn way up load and soak it all in for an effect that is positively mind-blowing.