Scarlet Rebels - Where The Colours Meet (Earache Records) [Matt Bladen]
Scarlet Rebels have featured in these pages a lot, whether it's album or live reviews going right back to when they were V0id. It's because they're a Welsh band and we're a Welsh publication but with each passing release they belong more to the UK as a whole. On a similar trajectory to Those Damn Crows but climbing the ladder their own way, Scarlet Rebels continue to play the smaller clubs and stages to get their message and their music out there.That's not to say they haven't had success, they've had a Top 10 record but Scarlet Rebels do things their own way and while TDC have become arena sized due to anthemic party anthems, Before this SR have gone for more political and societal clout, a left leaning perspective on life coming from their West Wales upbringing. They have been very active collecting for food banks at their live shows and with Where Colours Meet they are distributing 100 preview copies of the album to local charity shops all to raise money for charities.
Their last record See Through Blue was a damning indictment of the Conservative party and they don't let up with Where The Colours Meet, the world is still broken and Wayne Doyle (vocals/guitar) still has something to say but this album is more about inspiring unity against those that see fit to divide us. They have pushed the boat out for scope by getting Colin Richardson and Chris Clancy to produce the record, one of the best teams out there, moving Scarlet Rebels sound towards stadia.
This more anthemic production works well with the positive message of the music, it's about unity and the band have ingulfed their blues based rock n roll with strings, piano and a massive drum sound that the band say was inspired by U2 and Springsteen, it's classic but modern, Wayne's vocals calling for understanding and unity on It Was Beautiful, as he locks into cavernous rock grooves alongside the rhythm section of Gary Doyle (drums) and Carl Oag (bass). This trio are the foundation, the blue collar strut that lets Chris Jones play more intricate leads and impressive melodies than before.
It's an album that is set to make Scarlet Rebels, an all in rock record that has killed cuts, including two long time live favourites Let Me In and Practice Run, finally recorded. Alongside some special guests such as Elles Bailey on the mega ballad Out Of Time which she co-writes while My House My Rules has a Lizzy-like propulsion courtesy of Ricky Warwick co-writing it. There's a bit of Def Leppard on Grace, some troubadouring on Streets On Fire, a big old smack of AC/DC Secret Drug and emotive rocking on Declining.
Where The Colours Meet is THE definitive modern rock album of 2024. 9/10
One of the bands that has somehow escaped my attention Dark Tranquillity has been releasing music since their inception in 1991. Endtime Signals represents their 13th full-length release which is monumental in terms of recorded output. As I’m late to this particular party it seems that they have been navigating some choppy waters in the last few years with the departure of original members, leaving Mikael Stanne as the last man standing from the band's creation. As charter members and in some circles credited with At The Gates as kickstarting the Gothenburg sound that harnessed melody with downright filthy death metal, it’s an exciting release for me to review.
So, with all this in mind I’m slightly disappointed. It sounds great, the production is spot on, it is crystal clear, but it doesn’t land the way I hoped it would. It’s entirely possible that I have got the wrong end of the stick in terms of what I expected.
Shivers And Voids is our opener and starts off at a canter with those as promised melodies on display. Mikael’s voice is suitably gritty and there is an air of authenticity to it, but it feels light as I was expecting something a little heavier. The reliance on the arpeggio passages is the reason why it comes across the way it does as if they were trying to please two different audiences. I expected more something to really grab you by the throat and drag you along.
Unforgivable is more like it, sounding like the opening track should be. There is some absolutely fiendish riffing on this one, working like a beast whilst those crystalline melody lines drape themselves over it. It’s a quality song and for me should have been the lead off track (opinions will vary, obviously).
Neuronal Fire is a pretty standard melodic rocker, if anything it comes in a little lacklustre and already, I’m feeling that this is going to be an uneven release. Melodic death metal, when done the right way is one of the most thrilling listening experiences and here it as all the right ingredients and an urgent lead but there is a definite pattern forming, one that screams that it is following a safe arrangement – melodic riffery into a slow measure back up to speed and repeat.
Not Nothing, starting off with clean vocals just takes me right out of it, and as it develops that pattern, I mentioned is there for all to see. I’m starting to dislike the experience now because its now predictable and boring. I never thought I’d say that this early in a review. Let me point out, that just like Neuronal Fire it knows it has a job to do and just does it. It feels lifeless.
Not Nothing, starting off with clean vocals just takes me right out of it, and as it develops that pattern, I mentioned is there for all to see. I’m starting to dislike the experience now because its now predictable and boring. I never thought I’d say that this early in a review. Let me point out, that just like Neuronal Fire it knows it has a job to do and just does it. It feels lifeless.
Drowned Out Voices is as melodic as you like, there is a reliance on slower ‘anthemic’ chords and the clean vocals that come in just don’t fit. Its possible that the arpeggios played over the cleans are not helping and this sounds so similar to Arch Enemy, circa Wages Of Sin? The main verse guitar lines are as good as you would hope, its that insistence on wanting to drop back the tempo just so they can shoehorn some atmospheric touches in there. One Of Us Is Gone, in all honesty should not have been on this album. I’ll leave it there.
The Last Imagination sees them get back on the melodic death train, unfortunately listener apathy has set in. The notes I mentioned on predictability ring true once more as an effective riff once again gives way to piano and an attempt at an uplifting chorus. They have just settled themselves in now, slippers on, sat in the comfy chair waiting for the Horlicks to be brought in. Starting brightly, Enforced Perspective is more speedy, more instant and I’m now waiting for it to throw me under the bus.
The Last Imagination sees them get back on the melodic death train, unfortunately listener apathy has set in. The notes I mentioned on predictability ring true once more as an effective riff once again gives way to piano and an attempt at an uplifting chorus. They have just settled themselves in now, slippers on, sat in the comfy chair waiting for the Horlicks to be brought in. Starting brightly, Enforced Perspective is more speedy, more instant and I’m now waiting for it to throw me under the bus.
Huzzah, they didn’t possibly realising that they have leaned too far one way and are now trying to pull things round. Our Disconnect sees them back in that mid-temp arena again and by now I’m just letting it pass over me. Musically, like all of the songs so far there are flashes here and there but that blueprint that each of them shares is just there. There is no danger, and it feels as though they are treading water.
I’ll be honest, the last three songs, Wayward Eyes, A Bleaker Sun and False Reflection just come and go. Wayward Eyes using the clean vocals again, the song has one eye (no pun intended) on wanting to be something else and is just forgettable. A Bleaker Sun just riffs on what they have done earlier, and False Reflection just made me give up.
Sorry.
On the review release, there were two extra songs not listed on Bandcamp, Zero Sum which has a cracker of a riff and a great build and In Failure which is a belter until those cleans come in, they just don’t work.
On reflection, it is a frustrating experience. As one of the OGs of the Gothenburg scene, and also having 30 plus years under their belt I expected more from them. There is some great riffs on display, but the willingness to follow what appears to be a safe route almost every time means that any possible thrill evaporates. I think that existing fans will enjoy it. I think fans who lean more to the cleaner side of the melodic will like it. I’ll leave that with you. 5/10
That's what Powder Dry is a collection of songs that are totally Tim, a true solo album that are influenced by the likes of Joy Division, The Cure etc, all bands he has captioned on The Album Years Podcast, and ones that encapsulate the themes of this album such as extremism, the environment and crisis, perhaps why the title is Powder Keg.
Industrial beats permeate though Idiots At Large, atmospherics and dreaminess are the cornerstone of A Stand Up For The Dying and while Ghost Of A Kiss and Summer Turned are two conflicting but equally as catchy tracks, while This Way Now strips things back to acoustics. Powder Dry has ominous overtones due to the subject matter but there's a kaleidoscope of musical colours from Tim Bowness here. 8/10
Extinction AD - To The Detested (Unique Leader Records) [Mark Young]
The 4th full length from the Long Island natives
Desperate Grasp has typical hardcore ‘sound’ in the production, hardcore vocals that are delivered with force by Rick Jiminez, a hardened thrash edge running through it. Verse arrangement into chorus hits that sweet spot of combining both genres without losing sight of what makes them work. I think it leans more into the Thrash side ever so slightly, especially with the lead break that erupts late on.
I’ll be honest, the last three songs, Wayward Eyes, A Bleaker Sun and False Reflection just come and go. Wayward Eyes using the clean vocals again, the song has one eye (no pun intended) on wanting to be something else and is just forgettable. A Bleaker Sun just riffs on what they have done earlier, and False Reflection just made me give up.
Sorry.
On the review release, there were two extra songs not listed on Bandcamp, Zero Sum which has a cracker of a riff and a great build and In Failure which is a belter until those cleans come in, they just don’t work.
On reflection, it is a frustrating experience. As one of the OGs of the Gothenburg scene, and also having 30 plus years under their belt I expected more from them. There is some great riffs on display, but the willingness to follow what appears to be a safe route almost every time means that any possible thrill evaporates. I think that existing fans will enjoy it. I think fans who lean more to the cleaner side of the melodic will like it. I’ll leave that with you. 5/10
Tim Bowness - Powder Dry (Kscope) [Matt Bladen]
Tim Bowness makes his Kscope debut with the 16 track, 40 minute art rock record that makes the first time Bowness has written, performed and produced a record by himself, his podcast partner and no-man other half Steven Wilson mixes the record in stereo and surround sound. He was also there during the creative process to juggle ideas, perhaps due to his years a totally solo performer.That's what Powder Dry is a collection of songs that are totally Tim, a true solo album that are influenced by the likes of Joy Division, The Cure etc, all bands he has captioned on The Album Years Podcast, and ones that encapsulate the themes of this album such as extremism, the environment and crisis, perhaps why the title is Powder Keg.
Industrial beats permeate though Idiots At Large, atmospherics and dreaminess are the cornerstone of A Stand Up For The Dying and while Ghost Of A Kiss and Summer Turned are two conflicting but equally as catchy tracks, while This Way Now strips things back to acoustics. Powder Dry has ominous overtones due to the subject matter but there's a kaleidoscope of musical colours from Tim Bowness here. 8/10
Extinction AD - To The Detested (Unique Leader Records) [Mark Young]
The 4th full length from the Long Island natives
Desperate Grasp has typical hardcore ‘sound’ in the production, hardcore vocals that are delivered with force by Rick Jiminez, a hardened thrash edge running through it. Verse arrangement into chorus hits that sweet spot of combining both genres without losing sight of what makes them work. I think it leans more into the Thrash side ever so slightly, especially with the lead break that erupts late on.
It’s a strong start, and it’s onto Escape From New York, which is more (day I say) funky before those diamond hard guitars come in properly and take over. The short stabs remind me of Pro-Pain, and Pantera as they deploy those longer riff patterns. Its quite the mixed bag that used well, wisely avoiding any repetition of Desperate Grasp. What is telling is that they can make what is a mid-paced track move with intent.
Epidemic Of Mutation wants to stomp a hole in you, and goes for it from the off, there is a serious chunk to their sound, its monstrous really, especially when you compare against other bands that opt for use of 7 or 8 strings to be heavier without proper application. It’s a sound that you would kill for. Its three for three of efficient crossover metal.
Epidemic Of Mutation wants to stomp a hole in you, and goes for it from the off, there is a serious chunk to their sound, its monstrous really, especially when you compare against other bands that opt for use of 7 or 8 strings to be heavier without proper application. It’s a sound that you would kill for. Its three for three of efficient crossover metal.
With Apocalypse Rising we find them dropping further into hardcore territory, that’s not to say that it is leaden, there are moments of speed and little melodic touches here and there but what is apparent is that after 4 songs I think that we won’t hear anything that departs too far from the blueprint that has been established so far. Again, what I would say is that what they do is very good, its heavy AF but there is a sense that the slow / rapid measures are going to dominate proceedings.
Impervious (Unrepentant) is grand, featuring Matthew K. Heafy and as I thought it doesn’t move too far from their core sound there is a mint chorus section and a lead break that is spot on. There is a closing measure where the drums and guitars are as one, set perfectly as Fill The Void decides its had enough of the slow stuff and goes full throttle so when there is a pre-lead slow-down you don’t mind at all. This is more like it, its fast, urgent and almost takes flight. More of this please.
Burnt Sienna kicks in with some Latin percussion and makes me eat my earlier words about a blueprint. Sorry lads, as they flick a switch and go from acoustic into full on electric, then hit us with Shepherding Swine, an energised beast of a thing, acting more as Deathcore with some fantastic flourishes, once again anchored by some prime drum work courtesy of Mike Sciulara. The drums are the epitome of someone who understands the brief and is just in total control of the kit.
Burnt Sienna kicks in with some Latin percussion and makes me eat my earlier words about a blueprint. Sorry lads, as they flick a switch and go from acoustic into full on electric, then hit us with Shepherding Swine, an energised beast of a thing, acting more as Deathcore with some fantastic flourishes, once again anchored by some prime drum work courtesy of Mike Sciulara. The drums are the epitome of someone who understands the brief and is just in total control of the kit.
The penultimate track, Behind The Veil Of Sanctity realises that the finish line is in sight, and they need to close out strongly. And they do, mixing up that thrash/ hardcore attack (as they have done earlier) with a scorching solo and some of those storming riffs. Speaking of storming riffs, final track The Cure Or The Cause there are some cheeky Slayerisms in there which fits so well. This is built for causing maximum damage in the pit and we should mention that there is some sterling work on here from Ian Cimaglia (guitar) and Tom Wood (Bass).
The final track stays on traditional ground, and I mentioned that after Apocalypse Rising that the songs would follow a largely similar format as the album progressed. This was the case, so on one hand you could be a bit snarky about it, mentioning the lack of variety from track to track and so on and so forth. Or you could look at this as being an aggressive collection that manages to hit the target in achieving the perfect balance between thrash and hardcore, resulting in some destructive music that is built for causing injury and mayhem (in a totally cathartic way) live. I’m going with the latter. 7/10
No comments:
Post a Comment