UNITED UNDERGROUND

A sequel to the bubbly pop of his first ep release, ‘The Harbour’, in 2014, this 2015 release is actually far from kid colour’s musical norms. Still very synthetic, but now taking on a rockier vibe, with a lot more guitar sounds than I expected from an act inspired by the likes of Owl City and Lady Gaga.

Opening with a similar soundscape to that featured on the last EP, ‘Planets’ melodic piano kicks the upbeat feel an a way that is almost nostalgic of what Kid Colour has done before. The unique, signature sound of nautical synths floats in, nicely done. Then suddenly, the music takes you by surprise with the sudden introduction of an almost pop-punky feel. Guitar sounds?! On a Kid Colour release?!  But it works, interacting with the synths really well to create a well-balanced, well produced sound. ‘Planets’ is the perfect opener, a great step on from the harbour and a great standing for what is to follow. Kid Colour’s vocals only kick in as ‘Planets’ fade into ‘Holiday’, the heavy guitars perfectly exchanged for another simple synth piece that sounds beautiful. The balance between calm, simple synthetic melodies and heavier guitar sections really is worth noting, and particularly evident here, as the newly found guitar tones come back again here for an uplifting and melodic lift.

‘Stars’ is an upbeat sounding ditty that addresses some really heavy lyrical matters. It also features Ben rapping for the first time on this record, and heavier, chugging guitars for the first time in a Kid Colour song. This song is definitely the most unexpected of the EP, and not in a bad way at all!

‘Holding Your Heart’ seems to return more to the pop-track vibes of the original EP with catchier vocals that what had come so far. However, it seems that Ben’s usual reverb kind of effect on the vocals seems more distorted here, to the extent where it is not as pleasant as other tracks.

The title track follows, as a kind of melodic interlude featuring a strange Japanese sample, creating a wonderfully strange soundscape, before dropping into another pop ditty, ‘I Love You (Do You Love Me Too)’ I think this song sounds the most like Kid Colour’s old material, with the signature ‘dolphin orchestra’ synth sounds making a return, and a catchy if repetitive chorus.

‘Sparks’ is my favourite track of the EP. This song has all the factors of a strange Cure style pop-song. The beat is beyond catchy, the curious vocals, particularly on the bridge - really brilliant. The album closer, ‘Homecoming’, is a strong, four chord ballad with a catchy chorus and rap-style verse. This songs definitely leaves you humming the tune.

I first heard these guys supporting Gnarwolves at their album launch show at the Black Heart in Camden last year. I remember the moment they played Novena, the last track on this EP, with just the lead guitarist playing while the others stood with their backs to the audience and vocalist, Will Gould, shouting down the microphone from a distance like a modern day Morrissey. I remember how my arms erupted in goosebumps. I remember how much I smiled when the entire band kicked in. That was their third show. Things are already kicking off for this Southampton group, featuring ex-Hang The Bastard and Our Time Down Here members, who are quickly building a fanbase of both older generation punks whilst still fitting in with the ‘New Grave’ kids. 

Novena will always have a soft spot in my heart after that moment, but it’s not fair to pick that out as the stand alone track on this EP. In fact, the entire EP is well written and well produced, with genuine punk rock songs. Despite the very gothic vibe to the band as a whole, these songs are still upbeat, particularly the fast We Had a Pact, a real sing-along tune, one of those songs that stick with you for the rest of the day.

Gloom’s gang shout and punchy chorus make it another stand out track from the EP, with a real, down to earth, punk rock solo and haunting lyrics, ‘the stars shine above you, did he hold your hand, like I used to?’ These are the kind of sorrowfully brilliant lyrics that suit a more emo style band, wrapped up in the riffs and fanfare of good, old school punk rock. What’s not to like there?

Leicester hardcore outfit Time Torn dropped their second EP, four tracks of slow, punky hardcore. The quartet’s bandcamp states that the entirety of the EP was recorded in bedrooms, and you can certainly pick up on how rough every track is, but that’s not always a bad thing; but I love how DIY it all sounds. Each track is raw and honest.

Opening with the chugging title track, which drops with the great scream ‘Time Torn’, making you wonder if they know any other words exist? Born to lose is another slow, chugging song, breaking down again and again, each time more furiously. This is followed by Cold Fear, where the vocalist seems to be painfully spitting each word out at the listener. Bury Me Deep closes the EP, the fastest track on the EP and my personal favourite, with a real punk edge to the slick riffs. The final, manic screams of the EP, furious, high pitched shrieks over a rolling bass solo and then final breakdown are a golden moment for me.

Since writing this review Sorg have parted ways, so this is my final tribute to them. 

Kent has always had a rich and varied music scene. After living in Dover for a number of years I really did come to appreciate just how brilliant the scene down there is. Maybe it’s because we’re so close to London, maybe it’s just something in the water. Whatever it is, there keeps being some great bands crop up in the area.

Sorg are one such band. Hailing from Folkestone, this group have delivered this 5 song Demo EP of real, raw, unadulterated blackened hardcore. At times bordering the powerviolence genre (check out God, a full twenty seconds of tireless aural beating), at others sounding more like a black metal band, but that’s what I like about this band’s sound. They don’t seem to be limited to a certain genre. They’re simply dark, and heavy.  Each song is unique and a great listen, from Sludge Cunt’s slow progressive breakdowns and sickening vocals, to Storglomvatnet’s (I hope I’ve spelt that right) faster, aggressive riffs. Each song is destined to cause some pain in the pits, and that’s what we like.

It took me far too long to actually get round to listening to this. Brontide’s performance at the Oslo for their album launch show last June was a leap above anything I have seen them play before, their slicked backed hair and shiny white clothes giving them the appearance of 3 hipster robots bent on creating the most insane soundscapes possible. The album itself is just as great as that show, well performed, brilliantly recorded and mastered so that the every sound is clear and audible, creating sprawling noise-scapes through the art of riff. Of course the band is on Holy Roar, once again bringing us a group that, not only shares members with label mates and math giants Rolo Tomassi, but also takes musicianship to the extreme.

Opener Tontiro lays the foundations for the album with a majestic build up that develops into pure riff. Tontiro closes with a calming vocal synth that fades perfectly into Bare My Bones, before being layered with guitar riff after guitar riff, until all that remains in a colossal tidal wave of sound engulfing everything. This drops into a fast paced, bass driven breakdown with riffs streaming from ear to ear. In just two tracks, Brontide show the listener exactly why they’ve made a name for themselves in the instrumental genre.

Some bands can produce an entire album and not have one song that stands out, but rather have them all blend into one similar sounding noise in your head. This can be especially so for instrumental bands who do not have a lyrical dynamic to the sound. This isn’t the case for Brontide; every track on Artery is a memorable experience in its own right. Kith and Kin, for example, starts out as an upbeat, indie sounding track, that develops into a synth driven dance track and then implodes into a dark cavern of minor notes and mournful, clean guitar before picking itself back up into a more upbeat song again. This has to be one of my favourite tracks on the album if only for the images the sounds cast up in my head.

Knives is another of the near perfect tracks on this album, starting with a slow, chilled drum beat and a melancholic guitar that loops and loops over itself to create a deep pool of echoing, sad sounds. Then it evolves into some kind of heavy rolling stoner riff in one of the most radical song changes I have ever heard. This has given me goose bumps every time I have heard it.

The acoustic Still Life that becomes the calm break before the grandeur of the final two tracks is still an incredible feat in riffs and guitarmanship, with kind of calming, indie vibe to it. The album closes with another feel good vibed song, Red Gold, ending with bird song and sunshine; a perfect ending.

There was a bunch of reviews I wrote for the third issue of the physical zine that was never actually released, and of all the EPs I reviewed, this one stuck with me the most as being the most exciting and memorable, so I thought I would share it with you regardless. I know this came out a while ago (although still 2014 so not decades ago), but when I come across an EP from a band with such a great name, and then see that the track listing includes Tree Wizard and Pissed Up, how am I supposed to not review that shit. The self-titled EP starts as it means to go on, a downpour of feedback into the heaviest sludge riff I have heard in a very long time. Complete with hoarse vocals and truly incredible drumming, not to mention the blatant lyrical genius, Tree Wizard is a raw, upbeat sludge nightmare come true. Pissed Up keeps the punches rolling with a slower tank of a track that showcases the bass capabilities to their full; a doom-laden, Sabbath-esque track and a real head banger.

The third track, Vehemence, racks the speed back up to the point where the slow rhythmic doom drum beat becomes thunderous blastbeats… The only thing that could possibly follow this? A twelve minute roaring epic called Gimp Jig, that’s what! Remaining an instrumental until the 6 minute mark where the vocalist decides to erupt a titanic of a death cry into the microphone. Dropping in and out of some of the sludgiest riffs I have ever heard, this track has been keeping my neighbours awake for days on repeat.

A WEEK IN LIVE MUSIC - SOUTH EAST PUNKS

MONDAY 7th: NOTHING CLEAN W/ JOTNARR, BRAINSHIT @ Three Wise Monkeys, Colchester