Our Verdict: River City Ransom 'River City Ransom'

River City Ransom, hailing from York, have been creating their very own genre since early 2011. At the beginning of 2012 they unleashed their creation on their world in the form of their self-titled EP. Boy is it magnificent.

Opening track ‘This Day and Age’ eradicated all doubt surrounding what River City Ransom are aiming for. There is no better way to start this EP then with Adam Oliver’s fierce and unruly barking screams that shape this EP into the brilliant work that it is. But he is not doing it single handed.

The high energy of second track ‘Attack Attack!’ is owed in no small part to the high drumming skill of George Hird who adds the urgency to this track that makes it exceptional.

Throughout ‘River City Ransom’ Oliver’s screams are accompanied by the honed vocals of Zak Ford. Ford brings yet another aspect to this bands identity which secures this band from never becoming just another hardcore band in a sea of hardcore bands.

Third track ‘Strength from the Sun’ sees Elliot Sawyer leading the band with his outstanding command of the bass which adds yet another dimension to River City Ransom and makes it hard to imagine that there are any boundaries for this band. They are truly capable of some amazing musical feats.  

Almost everything about this band screams new generation. Everything, that is apart from the intricate guitar lines, from Niall O'Reilly that are somewhat nostalgic, mirroring an older age of rock that has needed reviving for far too long. This is best exhibited in ‘Strength from the Sun’ and an incomparable solo in fourth track ‘Fear and Loathe.’

Every facet of ‘Fear and Loathe’ is highly addictive and should probably come with a warning attached. The bass is highlighted, the guitars are evocative, the drums are perfectly dominating and both screaming and vocals are on top form.

Closing song ‘Lost Cause’ is the best way to close a work of this calibre. The vocals from Zak Ford are handled so carefully that they almost sound like they are being uttered in a different, more elegant, language.

The song, and the EP, is closed on a gleaming scream sequence from  Adam Oliver accompanied only by another helping of relentless and exciting drums from George Hird.

Exceptional work, masterfully crafted. Keep your eyes on River City Ransom because they are going to be re-defining and leading music for many years to come.   

Our Verdict: Sincerity 'Monuments'

Formed in 2011, it’s hard to pin point what melodic-metal quintet Sincerity should be most proud of in their short time as a band.

It could be Touring with Demoraliser. But then again it could be supporting  the likes of Hundredth, Liferuiner and Heights. When you think about it though it’s probably their flawless video. Actually, our money is on their EP ‘Monuments’.

Released on April 23^rd 2012, it really is impressive work for a band that was only formed about a year beforehand.

‘Monuments’ has metal written all over it and doesn’t fail to deliver the brutal tracks that anybody would expect from this band.

But there is another level to Sincerity which is melodically intriguing which makes them vastly more interesting than other, more generic, bands in this genre.

Opening track ‘Valour’ is an insanely brutal track that successfully introduces what Sincerity are. It’s heavy as hell and the screaming delivered by Jamie is perfectly dirty. Said vocals are given even more substance in this track with impeccable gang-vocals, which is always a nice treat.

‘Destiny’ follows and is a bit more reliant on the wicked guitar technique of JJ and Nathan. It’s easy to identify here that this band have a god-like command over their instruments. If ‘Valour’ didn’t convince you that you might be in for a rough ride at a Sincerity show, this one will do it.  

The melodic nature of this band is really showcased in third track ‘The Unbreakable’ with a really rather beautiful opening but a typically relentless beast of a track attached. It’s refreshing to hear a metal band that doesn’t have the attitude where it doesn’t matter what they’re producing, as long as it’s loud.

With the EP’s name sake ‘Monuments’ it becomes very clear that Sincerity have a great idea what they want to become and how they want to do it. Their sense of identity is flawless and will hopefully withstand anything that comes Sincerity’s way.

‘Monuments’ also sees the band surrendering their reliance on screaming and pulling out some marginally softer vocals. It’s a brave risk for a metal band but Sincerity manage it, highlighting their melodic technical side and retaining their metal roots as always.

To close on an aggressive note track ‘Ascendant’ is delicious steel. The song leads into a beat down that would be terrifying live but surprisingly turns into something quite beautiful. That is, after all, the epitome of Sincerity.

The closing line for this track, and the EP, is delivered almost a capella and is a touching way to close this masterful piece of work.   

'MONUMENTS' OUT NOW! http://sincerityuk.bigcartel.com/

http://itunes.apple.com/gb/album/monuments-ep/id520110558

Our Verdict: These City Lights EP 'Where We Stand'

On April 1^st These City Lights unleashed their debut EP ‘Where We Stand’ on the world and successfully established their place in the London Rock scene.

Unfortunately These City Lights have been forced to back out of a couple of shows recently due to Rob Butcher (drums) not being in the best of health. However, they are now preparing for their June tour alongside Kids Can’t Fly and it’s only sensible that we take a close look at “Where We Stand” and reacquaint ourselves with the brilliant work.

As opening tracks go ‘Through Their Eyes’ is exceptional. The pacing guitar lines are exciting. The viscious and dominating drum tracks are aggressive. Together this track is full-on creating an incomparable belligerence that underlines everything this band is about.

There is a two second breather halfway through this opening belter but it doesn’t last long and any live crowd will be plunged back into the heavy head-thrashing that will inevitably ensue.   

It is near impossible to hear that opening track and not take notice because These City Lights make it incredibly palpable that something exhilarating is about to blast through the speakers.

Vocals, delivered by Aaron Paxton, are a more honed version of those associated with The Used’s Bert McCracken. Paxton’s range is truly impressive stretching from wildly fierce to whisperingly sexy in a second.

If you haven’t already seen These City Lights live then the opening to second track ‘Breathe’ should give you some idea of what you’ll be raring to do the second that you get the chance to. Another helping of ferocious drums imitates an adoring crowd smashing their hands together.

Once the adrenaline of the drums begins to subside Paxton’s vocals electrify again by pleading “I need you now.”

Throughout the EP Tommy Earl and Charlie Lunn (guitars) work unbelievably well together to really frame the utter rage that is simmering within “Where We Stand.” If anything this skill is not exhibited enough.

‘Breathe’ finishes on a quieter note that third track ‘Labelled Liar’ picks up from. But don’t worry, it ploughs right back into the fast paced destructive nature that, by now, These City Lights have made the audience need.

Penultimate track ‘Torn Apart’ pulls the same trick off, starting on a slower tempo where the vocals are decelerated to a talking pace. It’s not too long before the track is dragged right back into the gritty anger that this whole EP has been gearing towards.  

With final track ‘Counting Your Sins’ it is safe to say that someone has royally hacked off These City Lights and to that person we say thank you! Without you there would be a ‘Where We Stand’ shaped hole in the world. This last track is a slight change of pace but still perfectly hits the mark. There is a much more sombre middle which includes a stunning a capella moment.

‘Where We Stand’ is available for download (for a price of your choice) from thesecitylights.bandcamp.com. If you want it for free just enter 0.00 when asked. 

From Embers EP - Our Verdict

Born in the heart of Manchester, From Embers are one of the city’s up-and-coming post-hardcore outfits, on the verge of releasing their new 4-track self-titled EP.

On May 9^th Louder Now announced that the bands EP would be released on May 25^th. Now we have a copy of From Embers melodic post-hardcore stylings and can confirm that it is set to enthral all fans of metalcore, hardcore, pop-punk and more.

Opening track, ‘Crash and Burn’ is even grittier then previous samples could have illustrated. It’s a dark anthem with a positive ‘get angry and carry on’ attitude. Girls, take advice from this EP. Don’t screw with any of the boys from From Embers. Move over Adele, you’re not the only one who can write a world class selection of songs about a break-up.

David Ramsdens (lead vocals) extreme screaming talent flashes throughout this EP but perhaps nowhere more then this first track. His controlled but aggressive vocal skill brings something to this band that so many others have tried but often miss the mark.

But the real beauty of this band comes from not one input but the collection of talents on show. The best example of this is in second track ‘I’ve Never Been Better’. Continuing the heartbroken theme that is threaded through this EP, ‘I’ve Never Been Better’ also gives Michael Byron-Hehir (vocals and guitars) a real chance to show how his vocals combined with that of Ramsdens can create something almost unrivalled.  

This track also shows From Embers talent to not just be loud for the hell of it. The quartet’s ability to be an indisputably heavy band who knows how to create a softer gem knows no bounds.

Just when you think that From Embers have shown the height of their hybrid talents they top it. Third track from this EP, ‘Silence’, shows a flawless collaboration between the beautifully voiced Jenna Clare (Leopards) whose progressive style combines with the vocals of Ramsden and Byron-Hehir spectacularly.

‘Silence’ is an epic at 7 minutes long, but there is no better way to show the amalgam of styles that From Embers have made possible. The vocal crosses are just the start of this. Melodic and almost soothing guitar lines fuse with heavy classic-metal drum beats to finalise a sound that will shoot From Embers through the roof.

Final track, ‘Sorry, No Returns (Now Get Back On Your Knees)’, closes the EP perfectly by exhibiting what it will lead on to. Parts of this track have clearly been sculpted for live performances that will get crowds up and down the country screaming and yelling if they get the chance to breathe.

There is no doubt that this EP is a masterful combination of a whole host of skills that individually are clever but together are completely and utterly perfect.

You Me At Six - Sinners Never Sleep

It was hard to imagine that the Surrey lads would be able to grab the hat trick, but third album, Sinners Never Sleep, did that and then some.

Formed in 2004 in Weybridge, Surrey, You Me At Six have made leaps and bounds for the British music scene. 2008 saw the rampant success of album Take Off Your Colours, and fans weren’t disappointed with it’s follow up, Hold Me Down, in 2010.

Over the past couple of the years there have been so many reasons to be proud to be British. Our small country is showing its true might in so many ways it’s almost hard to keep up with it. But here is something you can, and should, follow.

The British rock music scene has always been something to be proud of but perhaps never more so then now. Bands like The Blackout, Kids In Glass Houses and Bring Me The Horizon have been flooring fans for years and growing and developing all the time. You Me At Six have been heading this scene for eight years, and those boys next door have done it with style.

Sinners Never Sleep hit the shelves on October 3^rd 2011. It dramatically showcases the heavy aspect to this formally soft band whilst also throwing in some mellow gems for balance.

Prime single, Loverboy, is the perfect way to open this album. Opening with an almost menacing chant that excites to the core, this song is moulded perfectly for the upcoming live shows. It’s a perfect example of the angry arrogance that this band typically oozes. It’s normally a trait worthy of criticism but front man, Josh Franchesci, well and truly gets away with it. How? By showing every nice guy that’s finished last that in this somewhat depressed country you can still be whoever you want to be.

And there is plenty of finishing last in this album. This Is The First Thing and No One Does It Better are flawless paradigms of love gone wrong. They highlight every feeling and every thought of a rough break up that leaves you feeling empty. Ironically, this is how You Me At Six are winning the race to capture the hearts of Britain’s youth.

One thing You Me At Six have always been spectacular at using is cameo appearances. Josh is no stranger to lending his voice to a track or two (see The Blackout, This Is Why We Can’t Have Nice Things, you won’t regret it.) Indeed, there were a crazy amount of rumours before the albums release about who would appear. Hayley Williams perhaps? Adele even! Well, both would have been fantastic but, unfortunately, neither appeared. One rumour that did come to fruition was Bring Me The Horizons Oli Sykes. Boy, did he do a good job. Track Bite My Tongue is another anger fuelled stormer with a horror themed video to match.

Second appearance was from Parkways Drive’s Winston McCall whose borrowed vocals on Time Is Money gives this album a double whammy of screaming gold.   

But don’t be deceived! Just when you think this album is the heaviest yet some happy bouncing comes into play with track Reckless. If you haven’t seen this song played live then you are probably unaware of what real gig bruises look like. Never before has this band had a tune to make a whole academy jump in unison quite like this. This song is a massive ‘screw you’ to every boyfriend or girlfriend that as royally messed up, in a rather impressive way, and regretted it. A prime example of how You Me At Six really do try their best “to always be in your mind.”

Play.com announced in August 2011 that pre-orders for Sinners Never Sleep was the fastest the site had ever seen. That’s no surprise. This album is completely flawless and if you haven’t heard it yet then you are well and truly missing out. Get it. Go and see them. Love it. 

Decade release self-titled E.P - 13th February

After a wildly successful 2011 it was almost unthinkable that Bath-based 5 piece, Decade, could make 2012 any more exciting! But never fear because February 13^th will see the release of their new, self-titled, E.P and it is a belter.  

Decade’s debut single ‘The Doctor Called (Turns Out I’m Sick As Fuck)’ (Slam Dunk Records) took everyone by storm last year and provided a solid back bone to their sets at Sonisphere, Slam Dunk and their full UK tours with D.R.U.G.S, Forever The Sickest Kids and Set Your Goals.

Any fans worried that the new E.P wouldn’t live up to this legendary status can rest assured because it certainly does. It is even more aggressive, lively and exceptionally exciting for a booming UK music scene which Decade are leading like pros.

Second track ‘Won For Sorrow’ is a perfect example of an optimistic, and long overdue, recovery from the depressing ‘Emo’ phase. Indeed Decade ARE alive and are surprisingly better then then have ever been before. Get your pop-punk dancing shoes on for this one because it will soon become the anthem to your days.  

Pop-punk has typically been the voice of it’s generation, giving an outlet for angst. ‘Home Alone’ is no exception. So bored you could die. Staring at the phone. Just please, let me sleep. What teenager doesn’t feel like this at the moment? The irony is of course that Decade is the perfect answer. Who can be bored, staring at their phone and wanting to sleep when at a beautifully pop-punktastic gig of explosive proportions? Nobody.    

Time and time again British pop-punk seems to have been defined by its number of beat downs. “Stick a gang vocal in there. I know it doesn’t make much sense or add anything to the meaning of the song but…you know…it’s pop-punk.” Not this E.P. It’s British pop-punk and it’s absolute, original, fantastic best and that is why this band is set for stardom.  

With that in mind all ears and eyes are on lead track ‘Never Enough’ which is set for video release, also on February 13^th.  

Mark down February 13^th as a very, very important date. And while you’re at it find the tour date closest to you and mark that down too. Guarantee, you won’t want to miss this tour. You’ll be kicking yourself when these boys are headlining the big-boy venues and you can’t get a ticket for love nor money.

10th Feb – Meze Lounge – Newport
11th Feb – Thekla – Bristol
12th Feb – 12 Bar – Swindon
13th Feb – The Barfly – Camden
15th Feb – The Flapper – Birmingham
16th Feb – Dry Bar – Manchester
17th Feb – The Picket – Liverpool
18th Feb – The Cockpit – Leeds
19th Feb – Liberties – Middlesbrough
20th Feb – The Riverside - Newcastle

The Doctor Called (I'm Sick As Fuck) - Official Video:
http://www.youtube.com/watch?v=UMW1UROJdQs&feature=player_embedded
It's Good To Be A Vampire - Official Video:
http://www.youtube.com/watch?v=lrhFGCfSIZo&feature=player_embedded

Online Plot for Nirvana Top Spot - SHAME

In 2009 the UK was shown the true force of the Internet when Rage Against the Machine fans showed Simon Cowell where to stick it by beating Joe McElderry to the number one spot at Christmas.


When 2011 rolled around it was only to be expected that X Factor winners, Little Mix, would be up against some stiff competition, and crazed rocker nerds came up with a fool proof plan!! Smells Like Teen Spirit was released in 1991. Cobain himself said "I was trying to write the ultimate pop song." Surely there was no better song to follow up the 2009 Rage success?

Little Mix came in at Number 5. Huzzah! Eat that Simon!!


So where were our legendary grunge rockers in this success??!


Number two? Well, no. That one actually went to Lou Monte's 'Dominick the Donkey'. Not heard of it? That's because it's 51 years old. 


So obviously the rocking heroes were number three! Again, not quite. Third spot went to Coldplay's 'Paradise' (even after Chris Martin confessed that his band 'are a sh*t Radiohead.') 


Logic prevails, then, that Nirvana purely scrapped a fantastic success in at number 4 just narrowly laughing in the X Factor's pretentious face! Unfortunately, that logic is wrong again. Flo Rida took fourth with his track 'Good Feeling'. 


Heart radio announced on Christmas Day that the well deserved top spot was achieved by The Military Wives Choir (all the proceeds go to the Royal British Legion and the Soldiers, Sailors, Airmen and Families Association, so go and download it  RIGHT now.) 


The sad truth is that Nirvana's legendary 90's grunge track, that has spoken to generations, ranked in at number 32 on Christmas Day 2011. 


Just not quite the same is it? Especially when Olly Murs grabbed number 6 AND number 22, One Direction grabbed number 21 and Labrinth picked up number 12 (the only artist signed to Simon Cowell's record label that didn't sprout from a talent competition.) 


So do Nirvana fans not care anymore?! Is that blasphemy?! What is the world coming to?! Do we need to just admit defeat to the music monopoly man?


No one can deny the well deserved victory of The Military Wive's. But it's also safe to say that rockers everywhere should probably hang their heads in shame.