After a lot of hard work and one album released through Classic Rock magazines record label (remember that) Neath based prog/grunge band Lethargy were destined for big things. They were quite clearly the best band on the label and they had enough of a wide range of styles for broad appeal. As they were working on a follow up to Putrefaction various factors caused the break up of the band. In their wake has come Buffalo Summer most notably but the uniqueness of Lethargy has been long in the memory of those who were there when the band were regularly touring. After nearly 10 years of silence Lethargy have returned, not only to the stage, their Swansea show was reviewed in these hallowed pages. But they have also let that abandoned album see the light of day for the first time since it was recorded back in 2010 at Mwnci and Boneyard Studios.
So has been worth the 10 years of waiting for this record? Let's delve a little deeper and see shall we? It opens with Amphetamine a melodic number wrapped in a crunchy riff that follows straight on from the debut album all big riffs and the short blasts of guitar mastery from Phil Humphreys. It's like Alice In Chains with more prog touches, as After All brings things down a bit with a moody sound and is the first to feature the bands trademark vocal harmonies from Humphreys, bassist Marc Trevelyan Jones and rhythm guitarist Andrew Hunt, it's with these harmonies that the AIC comparisons are at their most notable. Despite not contributing vocally drummer Gareth Hunt provides the impressive anchor for not only Andrew and Marc but also so Humphreys can do a bit of showing off without loosing any of the bands weight. The album was recorded in 2010 as I said but the mix and mastering was done at The Boneyard in 2018/19 and it means the record is clearly and crisp, it benefits the album as a whole but on more anthemic numbers such as Strike The Sky it means you can hear the glorious harmonies and intricate composition behind too, as well as giving depth to cuts like Electric Sin.
The album is 13 tracks long but it doesn't feel that long due to the strength of the songwriting. To be honest those of us who have waited for this album for so long would never complain about how many songs as it gives Lethargy another chance at world domination. If they managed to stick around it could be their time as very few bands are doing this kind of thing so I hope the next album doesn't take nearly 10 years. 8/10
Blood Eagle: To Ride In Blood & Bathe In Greed II (Nuclear Blast)
Blood Eagle: To Ride In Blood & Bathe In Greed II (Nuclear Blast)
The second EP from Blood Eagle starts with the grinding Eyes Sewn Shut, it's a properly nasty way to kick things off as it explodes into some head beating brutality. On this second EP we get a few more chances to hear what Blood Eagle have created as their debut album. Four tracks of old school death metal and it continues from the first EP brilliantly as Eyes Sewn Shut is a mid paced ripper that would sit well as track four and the album full of groove and aggression building you up for the next blast beating assault, it's followed by Doctrine Of Death is a bit more groove laden brining mind to Lamb Of God. In fact this entire EP has a much more modern death metal sound than the first EP, that's not a criticism as it gives things a bit of variation. The debut is shaping up to be a heck of record with lots of styles mixed with precision brutality. Releasing it on EP format just keeps the anticipation of the whole thing much higher. 7/10
Ice Nine Kills: The Silver Scream - Final Cut (Fearless Records) [Liam True]
With the original album only released last year, the Final Cut version is basically the same, just with a few live tracks added and a cover of Michael Jackson’s Thriller. The album itself is a tribute to the 80’s slasher films, all of which have indirect names to the movies and villains themselves, but are obvious with the lyrical content, with a few of the songs naming them directly. I’ve heard of this band but never actually gave them a listen, and I'm disappointed in myself. The band are generic in the style of music they play, but it’s the delivery that makes the entire difference of a band. Ice Nine Kills deliver the album with such a punch and aggressive behaviour that it makes it stand out in the crowd.
The main thing that makes them stand out on this record is the content of their lyrics, as it’s a horror-based album, and you can tell by that beautiful artwork. The combination of 80’s horror villains, such as Freddy Krueger, Michael Myers, Jason Voorhees etc. Mixed with the titanic punches of the Metalcore based sound is a beautiful sound that has originality, yet stays true to the Core scene. The melody and Krueger sounding growls of Spencer Charnas bouncing off the perpetual fretwork of Ricky Armellino makes for some great listening and air guitar moments. The bonus love tracks are a good feature but could have been added to their own album, and the cover of Thriller, while inventive, isn’t all that good to be honest. Still, the album as a whole is not far off damn near perfect and has plenty of replays. One that I’ll be keeping on repeat for some time. 8/10
Temples: Hot Motion (ATO Records) [Paul Scoble]
Temples have been going since 2012. The Kettering based band have produced 2 albums before Hot Motion, Sun Structures in 2014, and Volcano in 2017. The band tag themselves as Psychedelic Rock, something that was the basis of their sound previous to this album. However, Hot Motion has a bit of psychedelic rock about it, but it is mainly now closer to poppy indie or alternative pop. There is a lot of early seventies glam in their sound, but also some funk, pop, electro and indie. The band have toured with: Suede, Mystery Jets, Kasabian and the Vaccines, which should give you a good idea of the kind of sound they have.
The album opens with the title track, which is mid-paced, with a huge bouncy rhythm. The vocals are high register, which sometimes reaches falsetto, and the chorus is strong. Although this is quite a bouncy track, it also feels mellow and relaxed. Next is the brilliantly titled You're Either On Something (Or Your Onto Something), which is slower that the opening track, and has a blissed out, dreamy feel. Holy Horses opens with a bright, clean guitar riff, that is reminiscent of a Nile Rogers riff from a Chic song. The track is uptempo and poppy. The Howl is taut glam rocker that reminds me of The Sweet a little. It features a nice military snare drum riff, and is the closest thing to strait rock on this album.
Context is far more pop than the material that came before it. Its keyboard heavy, with a relaxed tempo, and a very strong chorus. The Beam is another piece of electro pop, this time a little reminiscent of Goldfrapp, there's also a seventies, Bowie sense to this track. Not Quite The Same is a mellow track, mainly bass and drums with a relaxed 80’s feel, the vocals are falsetto, giving the track a little similar to 80’s pop act Scritti Politti. Atomised is a mix of mellow, ballady pop, with more 70’s rock feel. It's All Coming Out is up-tempo, alt-pop, with a nice blissful chorus. Step Down is more alt-pop, this time sounding similar to Beck’s The New Pollution. The album comes to an end with Monuments, which is measured, taut, pop with a very strong chorus.
Hot Motion, has very little rock to it, there's a few rock riffs, but this is mainly alternative pop, or poppy indie. However, even though there isn’t that much rock, there is lots of interesting material to enjoy on this album. Ok, there might not be lots of riffs to get exited about; but there are hooks by the truckload to enjoy, and most of them are big enough to catch a Great White Shark. The album is packed with melody, great choruses, hummable tunes, singable vocal lines and bouncy tempo’s. If you give it a chance, you’ll be humming this to distraction. It’s not all about huge riffs you know. 8/10
Ice Nine Kills: The Silver Scream - Final Cut (Fearless Records) [Liam True]
With the original album only released last year, the Final Cut version is basically the same, just with a few live tracks added and a cover of Michael Jackson’s Thriller. The album itself is a tribute to the 80’s slasher films, all of which have indirect names to the movies and villains themselves, but are obvious with the lyrical content, with a few of the songs naming them directly. I’ve heard of this band but never actually gave them a listen, and I'm disappointed in myself. The band are generic in the style of music they play, but it’s the delivery that makes the entire difference of a band. Ice Nine Kills deliver the album with such a punch and aggressive behaviour that it makes it stand out in the crowd.
The main thing that makes them stand out on this record is the content of their lyrics, as it’s a horror-based album, and you can tell by that beautiful artwork. The combination of 80’s horror villains, such as Freddy Krueger, Michael Myers, Jason Voorhees etc. Mixed with the titanic punches of the Metalcore based sound is a beautiful sound that has originality, yet stays true to the Core scene. The melody and Krueger sounding growls of Spencer Charnas bouncing off the perpetual fretwork of Ricky Armellino makes for some great listening and air guitar moments. The bonus love tracks are a good feature but could have been added to their own album, and the cover of Thriller, while inventive, isn’t all that good to be honest. Still, the album as a whole is not far off damn near perfect and has plenty of replays. One that I’ll be keeping on repeat for some time. 8/10
Temples: Hot Motion (ATO Records) [Paul Scoble]
Temples have been going since 2012. The Kettering based band have produced 2 albums before Hot Motion, Sun Structures in 2014, and Volcano in 2017. The band tag themselves as Psychedelic Rock, something that was the basis of their sound previous to this album. However, Hot Motion has a bit of psychedelic rock about it, but it is mainly now closer to poppy indie or alternative pop. There is a lot of early seventies glam in their sound, but also some funk, pop, electro and indie. The band have toured with: Suede, Mystery Jets, Kasabian and the Vaccines, which should give you a good idea of the kind of sound they have.
The album opens with the title track, which is mid-paced, with a huge bouncy rhythm. The vocals are high register, which sometimes reaches falsetto, and the chorus is strong. Although this is quite a bouncy track, it also feels mellow and relaxed. Next is the brilliantly titled You're Either On Something (Or Your Onto Something), which is slower that the opening track, and has a blissed out, dreamy feel. Holy Horses opens with a bright, clean guitar riff, that is reminiscent of a Nile Rogers riff from a Chic song. The track is uptempo and poppy. The Howl is taut glam rocker that reminds me of The Sweet a little. It features a nice military snare drum riff, and is the closest thing to strait rock on this album.
Context is far more pop than the material that came before it. Its keyboard heavy, with a relaxed tempo, and a very strong chorus. The Beam is another piece of electro pop, this time a little reminiscent of Goldfrapp, there's also a seventies, Bowie sense to this track. Not Quite The Same is a mellow track, mainly bass and drums with a relaxed 80’s feel, the vocals are falsetto, giving the track a little similar to 80’s pop act Scritti Politti. Atomised is a mix of mellow, ballady pop, with more 70’s rock feel. It's All Coming Out is up-tempo, alt-pop, with a nice blissful chorus. Step Down is more alt-pop, this time sounding similar to Beck’s The New Pollution. The album comes to an end with Monuments, which is measured, taut, pop with a very strong chorus.
Hot Motion, has very little rock to it, there's a few rock riffs, but this is mainly alternative pop, or poppy indie. However, even though there isn’t that much rock, there is lots of interesting material to enjoy on this album. Ok, there might not be lots of riffs to get exited about; but there are hooks by the truckload to enjoy, and most of them are big enough to catch a Great White Shark. The album is packed with melody, great choruses, hummable tunes, singable vocal lines and bouncy tempo’s. If you give it a chance, you’ll be humming this to distraction. It’s not all about huge riffs you know. 8/10
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