What we have here is some heavy, unabashed modern rock from Hamburg natives Godsnake. Now when I went looking online for some background information on them, they seemed to sit within that melodic / thrash genre, so which bodes well.
The Sickening starts with a great intro riff that quickly segues into what feels like paint by numbers approach – heavy riff, quiet chorus with audience sing-along and repeat. It’s done well but feels a bit safe. Apocalypse For Free continues in that mid-pace world, again decent riff starting that breaks down into a modern classic rock run through, anthemic chorus against a descending scale. Again, totally fine, but is just lacking that bit of bite which comes in towards the end, complete with some cracking guitar.
Third song changes everything – Story Of A Ghost (ft Wayne Dorman) just tears through the two songs that preceded it, living up to the Bcamp tags of melodic thrash metal. It’s an absolute scorcher, has that nailed on classic thrash attack to it including the required widdly solo that all thrash must have. Excellent stuff!!!
As we progress through the album the thrash motif starts to shine through, Eye For An Eye is a decent ripper when at full pelt, triplets, down picking the lot, which is spot on and just raises things up. I Fear Nothing is a muscular rock song, there are riffy bits, but it’s not thrash. Look at it as a modern rock song it is a cracker. Need For Speed starts with some more fret burning, triplet time but they drop it in favour of a quiet piece, it loses that effect and then we are into another chorus, and that repetition comes through. Stone Dead Pony just follows on and is more riffy but still has those chorus sections which dominate the majority of songs here. It will make you move, but it just shows the album as trying to sit in genre that it shouldn’t.
Nails In My Bed goes for that speedy attack, and again like Story Of…it’s a ripper, absolutely moves and just goes for the throat in every aspect. There is some cool melodic stuff, all underpinned by some proper heavy backing. This just shows that they are capable of so much more than is displayed here and its annoying to an extent that we enter the final part of the album like this. Illuminated just stomps, even with the now expected chorus break it manages to keep it heavy and maintain the momentum generated from the track before. Album closer, The Tragedy Of Being Late opens with a soft approach, this time they go with a storming verse riff, and they stick with this which makes this a good bookend to a good album.
This is a real mixed bag, because they have a real talent for writing those riffs. I wish they had avoided the reliance on the sing-along parts in almost song because I don’t think they needed them. As I said earlier it has that paint by feeling to it, which is shook off when they decide to all out in attack on certain songs. When they decide to go all out, they really work well and I realise that I’m not painting a good picture here, but I think as a modern rock album this really works. There is a lot to like here, I just think they need to decide what genre they want to be in and then go with that, as they can do both well it’s just that they don’t sit well for me. 6/10
Pronostic - Chaotic Upheaval (Self Released)
Montreal three-piece offer their latest for your consideration that fans of technical metal and of this band will go nuts for.
But I’m conflicted in writing this review.
Can you be too technical and lose something in that process? All these songs are incredible, but I’ll be honest, for me It was difficult to sit and listen to this in one go as it seemed like one piled on top of another with no discernible break or change. That paints it in a negative light but that isn’t the full story. It’s just that it is a full 39-minute trip that my brain can’t handle.
My original review started with great enthusiasm because the technical wizardry on display is phenomenal, the speed is exciting but as it progressed through the tracks, this became slightly dulled because even with the slower tracks it was still fast. I’m probably looking for the wrong things here or at it the wrong way, but it didn’t connect with me the way I hoped.
There are some monumental songs on here, same can be said for how it sounds. It is top class especially the dual vocal attack with the lows by Charles B. Pilotte and Highs by Alexandre Lauzon which added that emotion and spark to proceedings. However, because of the nature of this beast it seems that the music comes first and possibly the lyrics come second. This is fine but I need something more than just stand-out playing, there needs to be something to back it all up.
There are some amazing ideas on here, all executed to an inch of their life. The musicianship is at a level seldom heard, even within this particular genre and there are some crazy-good surprises such the sax that appears during Massive Disillusion which is as filthy as coal miners’ toenail that is then kicked out of the way to get on with the sonic battering. Drums and bass are locked in tight, anchoring each song that allows the guitars to go wild. Concealed Parasite plays out like a slow / fast waltz, breaking out the piano which works within the context of the song as that gives way to a foot on the monitor solo which then moves to allow the bass a moment in the sun. It’s these moments that I really dug.
So, to give it a rating I’m going to go with this: if you are a fan of uber technical death metal you will find this an absolute blast, it will knock your socks off. If you are of a certain vintage, you will appreciate it for the sheer talent on display but may find it difficult to digest in one sitting. I’m going to give it a 7/10
Crashface - Prototype (Self Released)
So, if something is tagged (rightly or wrongly) as alternative punk, I have certain expectations of what that should sound like. I have no idea if the songs presented here could be termed alternative punk, unless it is alternative in that it isn’t punk. So having cleared that up, on to the songs here.
Crashface consist of a duo, hailing from that there London and here they have 6 songs that do absolutely nothing for me at all. If there was a release that cements the fact, I have no idea what the kids are listening to these days, its this. They have a mix of everything in these songs from dance to heavy guitars and shouty/rapped vocals and I hated it.
The songs are built in a familiar manner, in that they follow the shouty / singy moments and each one doesn’t stray from this path. It sounds good, but I just cannot get past the fact that there is something here that is catching in the back of my throat, I think that somebody will love this as it will have a message for them, but I think it is wasted on me. The first 4 songs come and go and then they drop Flakjacket, the soft, slow one that has a piano and the rising chorus that you have heard a thousand times before, but better without triggering a gag reflex from me.
I’m desperately trying to garner positives from this to share with you and I am struggling. I don’t want to throw insults at this just for the sake of it, but I could not find any redeeming features about this other than it is homegrown, and they are making their start in this industry and will develop their vision as they mature as artists. 4/10
Statues - Black Arcs Rising (Lövely Records)
Statues bring their 3rd studio album and immediately hits like early 90’s alternative rock. Recorded in Gothenburg but sounding nothing like anything I normally listen to with that ‘Gothenburg’ sound this is a nice change of pace and style and grounds me in a period of having leaving school and finding rock clubs to drink in.
Underground kicks off and reminds me of The Stereophonics meeting with Bob Mould. It’s got that great swing going on, with drums full on so its constantly propelled forward. Each of the songs here have that catchy hook in it and could very well be the sound of someone’s summer. Agony carries itself with a shout back to a sound similar to the Buzzcocks and covers a lot of ground in its 2-minute run time. It’s like this all the way through as they keep themselves to sub-3-minute track lengths, but you don’t feel short changed by this. They come in, drop the song and then onto the next one so there is no chance of you getting the skip itch.
Eyes In The Sky is like classic Bob Mould, it has that restrained melody that allows the vocals to shine through and is just spot on indie-rock. It just has that timeless thing that brings back so many memories of youth. They follow up with Hiding In A Hole which is fuzz dripping 1 minute blast – just ace.
I went online to have a nose at them, and there it was ‘For fans of Hüsker Dü and Sonic Youth’ which say’s everything to me. This is simple, driven power-punk-rock of the first order. Had this been released in the late 80s or 90s I’d have been all over this and it is fantastic that bands such as Statues are producing this music. Dead Of Summer could be featured In any angsty-teen drama and would be the best thing in it.
Once again, a release has come in and took me by surprise, with 12 songs of an incredibly catchy nature. If you love those bands I mentioned above, you have to check these out. If you want what will probably be the best summer-driving-in your car album, then you should get this. 8/10
Nails In My Bed goes for that speedy attack, and again like Story Of…it’s a ripper, absolutely moves and just goes for the throat in every aspect. There is some cool melodic stuff, all underpinned by some proper heavy backing. This just shows that they are capable of so much more than is displayed here and its annoying to an extent that we enter the final part of the album like this. Illuminated just stomps, even with the now expected chorus break it manages to keep it heavy and maintain the momentum generated from the track before. Album closer, The Tragedy Of Being Late opens with a soft approach, this time they go with a storming verse riff, and they stick with this which makes this a good bookend to a good album.
This is a real mixed bag, because they have a real talent for writing those riffs. I wish they had avoided the reliance on the sing-along parts in almost song because I don’t think they needed them. As I said earlier it has that paint by feeling to it, which is shook off when they decide to all out in attack on certain songs. When they decide to go all out, they really work well and I realise that I’m not painting a good picture here, but I think as a modern rock album this really works. There is a lot to like here, I just think they need to decide what genre they want to be in and then go with that, as they can do both well it’s just that they don’t sit well for me. 6/10
Pronostic - Chaotic Upheaval (Self Released)
Montreal three-piece offer their latest for your consideration that fans of technical metal and of this band will go nuts for.
But I’m conflicted in writing this review.
Can you be too technical and lose something in that process? All these songs are incredible, but I’ll be honest, for me It was difficult to sit and listen to this in one go as it seemed like one piled on top of another with no discernible break or change. That paints it in a negative light but that isn’t the full story. It’s just that it is a full 39-minute trip that my brain can’t handle.
My original review started with great enthusiasm because the technical wizardry on display is phenomenal, the speed is exciting but as it progressed through the tracks, this became slightly dulled because even with the slower tracks it was still fast. I’m probably looking for the wrong things here or at it the wrong way, but it didn’t connect with me the way I hoped.
There are some monumental songs on here, same can be said for how it sounds. It is top class especially the dual vocal attack with the lows by Charles B. Pilotte and Highs by Alexandre Lauzon which added that emotion and spark to proceedings. However, because of the nature of this beast it seems that the music comes first and possibly the lyrics come second. This is fine but I need something more than just stand-out playing, there needs to be something to back it all up.
There are some amazing ideas on here, all executed to an inch of their life. The musicianship is at a level seldom heard, even within this particular genre and there are some crazy-good surprises such the sax that appears during Massive Disillusion which is as filthy as coal miners’ toenail that is then kicked out of the way to get on with the sonic battering. Drums and bass are locked in tight, anchoring each song that allows the guitars to go wild. Concealed Parasite plays out like a slow / fast waltz, breaking out the piano which works within the context of the song as that gives way to a foot on the monitor solo which then moves to allow the bass a moment in the sun. It’s these moments that I really dug.
So, to give it a rating I’m going to go with this: if you are a fan of uber technical death metal you will find this an absolute blast, it will knock your socks off. If you are of a certain vintage, you will appreciate it for the sheer talent on display but may find it difficult to digest in one sitting. I’m going to give it a 7/10
Crashface - Prototype (Self Released)
So, if something is tagged (rightly or wrongly) as alternative punk, I have certain expectations of what that should sound like. I have no idea if the songs presented here could be termed alternative punk, unless it is alternative in that it isn’t punk. So having cleared that up, on to the songs here.
Crashface consist of a duo, hailing from that there London and here they have 6 songs that do absolutely nothing for me at all. If there was a release that cements the fact, I have no idea what the kids are listening to these days, its this. They have a mix of everything in these songs from dance to heavy guitars and shouty/rapped vocals and I hated it.
The songs are built in a familiar manner, in that they follow the shouty / singy moments and each one doesn’t stray from this path. It sounds good, but I just cannot get past the fact that there is something here that is catching in the back of my throat, I think that somebody will love this as it will have a message for them, but I think it is wasted on me. The first 4 songs come and go and then they drop Flakjacket, the soft, slow one that has a piano and the rising chorus that you have heard a thousand times before, but better without triggering a gag reflex from me.
I’m desperately trying to garner positives from this to share with you and I am struggling. I don’t want to throw insults at this just for the sake of it, but I could not find any redeeming features about this other than it is homegrown, and they are making their start in this industry and will develop their vision as they mature as artists. 4/10
Statues - Black Arcs Rising (Lövely Records)
Statues bring their 3rd studio album and immediately hits like early 90’s alternative rock. Recorded in Gothenburg but sounding nothing like anything I normally listen to with that ‘Gothenburg’ sound this is a nice change of pace and style and grounds me in a period of having leaving school and finding rock clubs to drink in.
Underground kicks off and reminds me of The Stereophonics meeting with Bob Mould. It’s got that great swing going on, with drums full on so its constantly propelled forward. Each of the songs here have that catchy hook in it and could very well be the sound of someone’s summer. Agony carries itself with a shout back to a sound similar to the Buzzcocks and covers a lot of ground in its 2-minute run time. It’s like this all the way through as they keep themselves to sub-3-minute track lengths, but you don’t feel short changed by this. They come in, drop the song and then onto the next one so there is no chance of you getting the skip itch.
Eyes In The Sky is like classic Bob Mould, it has that restrained melody that allows the vocals to shine through and is just spot on indie-rock. It just has that timeless thing that brings back so many memories of youth. They follow up with Hiding In A Hole which is fuzz dripping 1 minute blast – just ace.
I went online to have a nose at them, and there it was ‘For fans of Hüsker Dü and Sonic Youth’ which say’s everything to me. This is simple, driven power-punk-rock of the first order. Had this been released in the late 80s or 90s I’d have been all over this and it is fantastic that bands such as Statues are producing this music. Dead Of Summer could be featured In any angsty-teen drama and would be the best thing in it.
Once again, a release has come in and took me by surprise, with 12 songs of an incredibly catchy nature. If you love those bands I mentioned above, you have to check these out. If you want what will probably be the best summer-driving-in your car album, then you should get this. 8/10
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