In this review g game you often come across a band that completely destroys your expectation. Polyphia are an instrumental prog(?) band from Texas, and I use the question mark against their genre description as they are progressive in the core sense of the term, this record defies genre at every turn one minute giving you jazz influenced instrumental prog rock ala Plini etc then, jumping on to post-metal cinematics, then it's rap/trap music, then pop trappings etc.
The musicianship staying at the highest level while the songs evolve into varying styles. Across three previous albums Polyphia have been, winning over countless fans with the genre-hopping and expertise, but I'd never heard much of them before, expecting more instrumental music I'd heard before. However on Remember That We Will Die I have been totally converted to the Polyphia cause as this is the way to distance yourself from a crowded scene. Comprised at their core of guitarists Tim Henson/Scott LePage, bassist Clay Gober, and drummer Clay Aeschliman, Remember That You Will Die features numerous guest slots, mainly vocally to allow their hybrid style really take hold.
If you're not a fan of rap/hip-hop/trap, modern R&B etc then you may find this record very jarring but tracks such as Playing God, Reverie and Neurotica are part of that instrumental grouping of bands like Plini and Sithu Aye, all four members showing off their chops but not sacrificing the songs themselves. As for guests there's plenty who bring the modern production methods such as Brasstracks, Rodney Jerkins (Michael Jackson, Destiny’s Child, Lady Gaga), JUDGE (Migos & Marshmello, blackbear, Young Thug), Y2K (Doja Cat, Remi Wolf, Tove Lo) and Johan Lenox (Kanye, FINNEAS), all of who get featured on select tracks adding their own style and sound.
Performers like multilingual pop singer Sophia Black, hip-hop star/multi-instrumentalist Killstation and trap star $not all make the songs their own their own, $not's raps on Fuck Around And Find Out full of confrontation. it then shifts into the brass of All Falls Apart. Now if like me you have no idea who any of these acts are then you'll probably know who Chino Moreno and Steve Vai are, the Deftones man performing on Bloodbath while Steve Vai bring his alien shred to Ego Death.
These last two songs are the sort of music you'd think a band such as Polyphia would play but you definitely have to expect the unexpected when it comes to this Texas foursome. Is it rock? Is it pop? Is it prog? Is it rap? Who knows? Is it a joyous musical experience? That's for damn sure! 9/10
Sugar Horse - Waterloo Teeth (Small Pond Records)
Bristol's self deprecating eclectic rockers Sugar Horse return with their new EP Waterloo Teeth, it follows on from a debut full length and a EP's, but this one is more of a collaborative effort featuring members of bands such as Heriot, Conjurer, IDLES, Biffy Clyro and more. Having drawn comparisons to the excellent Oceansize, Sugar Horse approach music in the same way as their comparison, unaffected by trends or sticking to genres, they shift their influences throughout every record and this is no different.
Recorded at Xmas 2021-2022 the band were ensconced in Small Pond Studio to create this EP, calling in friends from around the UK to add their talents. In their constant striving for nonconformity this EP is a celebration of the limitations of art, though this EP doesn't seem to have any limitations, the weirdest, quirkiest, most experimental music yet, their elongated, long form songwriting of previous records has been stripped away, perhaps linked to that idea of limitation as Disco Loadout kicks off with outright aggression Debbie Gough (Heriot) and Damien Sayell (Mclusky) both giving the roaring vocals to this short shock of violence with the discordant cello from Matt Loveridge.
From here we're on much more familiar territory as the title track is much more in the longing, echoing, atmospheric wheelhouse of Sugar Horse Jake Healy's baritone guitar featured heavily against the dramatic voices of Ashley Tubb and Paul Tierney, Tubb is the second guitarist here, the bass given by Dave Larkin of Black Peaks as Will Gardner of the same band provides the sax. This is very much the post-metal assault many will know from Sugar Horse, the parping sax distorted against the big doom riff. Gutted comes next and is a mindfuck Kate Davies (Pupil Slicer), Nuala Honan on vocals while Brady Deeprose/Conor Marshall (Conjurer) give both their voices and their guitars to this cavernous doom number, the backroom of Chris Howarth (bass) and Martin Savage (drums) carrying the song through its various phases as the doom gives way to ethereal soundscapes then more ear piercing noise and back to doom.
Most bands would take it a bit slower after this and Sugar Horse do the same with the ringing Super Army Soldiers feeling a little like U2 or Biffy as IDLES bassman Adam Devonshire brings the four strings Connie Matthews of Wych Elm features behind the mic and Mike Vennart of Oceansize/Biffy provides the searing solo on the closing song that will make all those who have made the Oceansize connection very happy indeed. The euphoric choral finale over you're left with the thought that Sugar Horse could basically do whatever they want now and still have people clamouring to hear them, exciting and bold Waterloo Teeth is an EP that proves music is better experienced with friends. 9/10
Bring The Hoax - Bring The Hoax (Lövely Records)
It's amazing how far music permeates, even in countries that you may not think about. You wouldn't think countries like Sweden necessarily have many band who are influenced by anything from 90's except death/black metal however that's clearly not true. Released by fuzz/alt rock label Lövely Records have carried the newest EP of Stockholm band Bring The Hoax, takes you on a journey to the early 90's grunge/indie scene, paying particular attention to groups such as Sonic Youth or Dinosaur Jr but for this Welshman, Bring The Hoax's EP sounds like it draws a massive influence from 1992-1994-era Manic Street Preachers.
Punkish, fuzz riffs, remind you of Generation Terrorists or Gold Against The Soul while vocals have the James Dean Bradfield edge and everything takes a poppy melody, lyrically too it's politically motivated just like the South Wales firebrands. Recorded in their rehearsal room and mixed afterwards it's a furious run-through of 5 original tracks that are steeped in 90's rock traditions 1993 encapsulating this perfectly. Featuring Karl Nordahl (vocals/guitar), Hasse Karlsson (guitar/vocals), Sara Engström (bass) and Mark Pettersson (drums) this fourpiece bring a slice of Seattle and South Wales on this latest EP. 7/10
The Sade - Nocturna (Go Down Records)
There's been a lot of great Gothic rock around recently so it's a hard genre now to make a splash in. Having been around since 2008, Italian goth trio The Sade have got time and experience on their side. They've release a number of albums and EP's as well as countless tours, along with being quite a notable name in the Italian rock scene. Nocturna is their fourth album, conceived during the pandemic, I'm certain that the enforced hiatus and constant stress of the situation (especially in Italy) informed the downbeat, introspective music on this record.
However The Sade's brand of death rocking, goth/post-punk has shifted more towards dark wave which for me loses my attention as this style has been done to death, moody shuffling riffs, dramatic baritone vocals and synthy orchestrations all played slow and deliberately maudlin. It's OK for one listen perhaps but repeated exposure and you'll want some variation on the theme. Maybe I'm not goth enough for this but I found Nocturna to just be a too brooding for my taste. 5/10
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