Carnal is a pure translation of Nothing More’s soul, tackling themes of the ugly primal truth of the human experience. Philosophy is emphasized throughout the album in its intentional lyrics and culmination of experimental sounds. It is lyrically expressive, emotive, and endlessly playable.
Throughout the 15 tracks, there are 5 interludes woven which all present snippets of audio clips from Alan Watts with ambient melodic and synth backing. Alan Watts is best known for interpreting Eastern philosophy for Western audiences, such as Hinduism, Buddhism etc.
The musing interludes highlight the impact of philosophy in the album. Carnal, Head, Heart, Sight and Sound provide an opportunity for reflection as you experience the introspective journey the album takes you on. It begins with Jonny Hawkins softly expressing “Everything is better when you’re dreaming…the world fades out…” followed by Alan Watts’ rhetoric on the power of breathing and to “Let go” amping you up for the next track.
The interludes dispense ethereal layers of dreams, the pain of human existence, the need to flow like water and swimming against the tide. Culminating in an epiphany and exploring holiness in a person and how people react “…they can’t make up their minds whether they’re saints or devils.” The provocative nature of philosophy is that the audience can interpret it through their own bias, and Nothing More utilise this to tap into universal experiences with which we can resonate. Albeit repeat listeners of Carnal, may skip these interludes.
Aside from the interludes, the tracks provide a stellar musical experience with a few standouts that will be on heavy rotation, especially the collaborations. House On Sand (ft. Eric V. from I Prevail) is the heaviest song on the album. It punches you from the start with heavy instruments and the goose bump worthy Rationalise. The pre-chorus is absorbing and perfectly leads into the chorus itself, which you will have re-playing in your head long after you stopped listening to the song.
Another standout is Angel Song (ft David Draiman). The vocal stomping chants are so catchy and appear periodically through the track with the drum beats and guitar amplifying the rhythm. Then it kicks in with the collision of the expansive and iconic vocal dichotomy between gritty David Draiman and Jonny. The sickening solo guitar riff after the second chorus is a showcase in itself!
If It Doesn’t Hurt is another dominant track with the echoes of “If it doesn’t hurt at all, then it doesn’t mean a thing.” Over the booming bass. Lyrically it expresses the pain of being in a toxic relationship, having the life sucked out of you whilst simultaneously holding on to hope. Freefall is an easy listening experience as it’s less experimental with a formula tied to more radio friendly vibe where Jonny expresses feelings of pain “…I’ve got pain no one knows…” and loneliness. Stuck (ft Sinitzer) is another heavy song where the metalcore tone overlays lyrics of fighting for closure “This is for the people who can’t break through. I used to feel just like you.”
There are tracks which provide a lull in the middle, but it picks back up again at the end. Although some may not want to experience the deep philosophical contemplation, Nothing More excel in creating an introspective, vulnerable, and potent album that is best experienced when it’s listened to from beginning to end as a piece of art. Through its raw vulnerability, this album could provide a conduit to musically heal you. 8/10
Warhog play a cross between groove and traditional heavy metal and I must be honest, there was nothing here that really lit the fires. Five tracks over 25 minutes begins with an orchestral introduction – a two-minute piece called Already There. It’s a gentle, melancholic start, leading into the first single, Hunt Of The Cybertooth. “In a dystopian future world plagued by crime, the only thing between you and total lawlessness is the Cybertooth. Part machine, part beast, and sanctioned by the government, the Cybertooth hunts its prey by night. Criminals beware!” Although the concept it totally metal, the lyrics are average, the music is routine, and it’s all a bit flat.
With such a grand concept, one at least expects the music to grab you by the throat. Sadly, it doesn’t do that for one minute, and despite attempts to mix it up, it gets no better. Emperor suggests promise before defaulting into standard metal fare. There’s nothing to get excited about at all. Rarely have I reviewed a release which does so little to excite me. It’s just bang average. Inoffensive, just nothing stirring. Next is dreadful, the lyrics drop to a new low, and it’s time to reach for the off button. I’m afraid that Warhog, whilst full of enthusiasm and endeavour, are just not a band that floats my boat in the slightest. Take a listen. It’s just not for me. 3/10
Ainu - Ainu (Subsound Records) [James Jackson]
This self titled EP from the Genova based trio of Dani, Jacco and Gelso on Guitar/synths, Bass and Drums respectively, notice the lack of vocalist, is a mostly instrumental piece, with a few spoken word elements thrown in for good measure, for the most part these are in a language obviously not English, given the band’s location I’d hazard a guess at Italian, my ignorance in languages other than my own is criminal.
Apart from the aforementioned D.E.VS, the tracks are lengthy, there’s a Prog influence within the song writing and that reflects not only on the music but in the song duration too and whilst I’m used to tracks that push past the usual limits, Doom Metal, the lack of vocals and therefore lack of sing-along-ability is something that I can’t quite get along with.
So unfortunately, despite the obvious talent that the band possess and indeed portray, their love for their work and the passion in which they play, this album of instrumental Psychedelia/Post Metal is not one that I will be returning to. 5/10
Aside from the interludes, the tracks provide a stellar musical experience with a few standouts that will be on heavy rotation, especially the collaborations. House On Sand (ft. Eric V. from I Prevail) is the heaviest song on the album. It punches you from the start with heavy instruments and the goose bump worthy Rationalise. The pre-chorus is absorbing and perfectly leads into the chorus itself, which you will have re-playing in your head long after you stopped listening to the song.
Another standout is Angel Song (ft David Draiman). The vocal stomping chants are so catchy and appear periodically through the track with the drum beats and guitar amplifying the rhythm. Then it kicks in with the collision of the expansive and iconic vocal dichotomy between gritty David Draiman and Jonny. The sickening solo guitar riff after the second chorus is a showcase in itself!
If It Doesn’t Hurt is another dominant track with the echoes of “If it doesn’t hurt at all, then it doesn’t mean a thing.” Over the booming bass. Lyrically it expresses the pain of being in a toxic relationship, having the life sucked out of you whilst simultaneously holding on to hope. Freefall is an easy listening experience as it’s less experimental with a formula tied to more radio friendly vibe where Jonny expresses feelings of pain “…I’ve got pain no one knows…” and loneliness. Stuck (ft Sinitzer) is another heavy song where the metalcore tone overlays lyrics of fighting for closure “This is for the people who can’t break through. I used to feel just like you.”
There are tracks which provide a lull in the middle, but it picks back up again at the end. Although some may not want to experience the deep philosophical contemplation, Nothing More excel in creating an introspective, vulnerable, and potent album that is best experienced when it’s listened to from beginning to end as a piece of art. Through its raw vulnerability, this album could provide a conduit to musically heal you. 8/10
Scene Queen - Hot Singles In Your Area (Hopeless Records) [Matt Bladen]
Can as White CIS man review “Bimbocore” without it being controversial? Probably not, someone somewhere is going to disagree, so without debating what “bimbocore” actually lets stick to the facts. Scene Queen is a project started by Hannah Collins, to try to subvert many of the heavily male stereotypes in the metal/deathcore scene, using various shades of Barbie pink and powder blue seeing her name on posters and merch next to bands such as Fit For An Autopsy is a little like seeing Party Cannon on a death metal bill.
While the image is different, the music is very much in the same style of aggressive, beatdown heavy deathcore, short cuts, nothing much above 3 minutes, of slamdance inspiring metal. Collins screaming, shouting and growling like all the best singers in the genre but it’s what she’s growling and screaming about that is important.
Can as White CIS man review “Bimbocore” without it being controversial? Probably not, someone somewhere is going to disagree, so without debating what “bimbocore” actually lets stick to the facts. Scene Queen is a project started by Hannah Collins, to try to subvert many of the heavily male stereotypes in the metal/deathcore scene, using various shades of Barbie pink and powder blue seeing her name on posters and merch next to bands such as Fit For An Autopsy is a little like seeing Party Cannon on a death metal bill.
While the image is different, the music is very much in the same style of aggressive, beatdown heavy deathcore, short cuts, nothing much above 3 minutes, of slamdance inspiring metal. Collins screaming, shouting and growling like all the best singers in the genre but it’s what she’s growling and screaming about that is important.
Throwing up a middle finger salute to the often very macho and misogynist metal scene, Hot Singles In Your Area, which is a brilliant double meaning as all of these songs have single potential, especially the emo influenced title track, the album is defiantly feminist, LGBTQIA+ positive and discusses Hannah exploring her sexuality in her 20’s.
With tracks such as 18+, which has a massive hook and calls out those bands who exploit women, Whips & Chains taking vengeance on sleazebags against some rap metal backing, the influence of Wes Borland audible on the riff of Pink Push Up Bra, MILF adds some country beginning switching places with crushing riffs. Scene Queen brings in some allies too as electronic rock duo Wargasm add extra danger to Girls Gone Wild, The Ready Set trading bars on POV while ‘hyperpop’ star 6arelyhuman adds robotic vocals to Stuck, that definitely serves.
Musically diverse, aesthetically different and lyrically uncompromising, it's a homage to 2000's pop and metal, for anyone who was there they'll pick up lots of references, but through a different lens. While debate can rage about what bimbcore is and whether it's good or bad for women in the music business. Scene Queen will become a superstar and while musically not always what I would listen to, though I liked most of the record, Climax especially. I understand why there is so much buzz. 7/10
Warhog – The Dystopian Chronicles Vol 1 (Self Released) [Paul Hutchings]
I knew nothing about Warhog but a quick Google reveals that they are a four-piece from North Texas, formed in 2020. The band comprise Scott Beetley on vocals and guitar, Eric Kendall on guitar, bassist Justin Hopper and drummer Robert Powers. Debut album Call Of The Voyager was released in 2022 and we now turn our attention to the new EP, The Dystopian Chronicles Vol 1. The first in a trilogy of releases that explores the darker sides of humanity – violence, the lust for power, obsession and deceit through a narrative set in a dystopian future.
With tracks such as 18+, which has a massive hook and calls out those bands who exploit women, Whips & Chains taking vengeance on sleazebags against some rap metal backing, the influence of Wes Borland audible on the riff of Pink Push Up Bra, MILF adds some country beginning switching places with crushing riffs. Scene Queen brings in some allies too as electronic rock duo Wargasm add extra danger to Girls Gone Wild, The Ready Set trading bars on POV while ‘hyperpop’ star 6arelyhuman adds robotic vocals to Stuck, that definitely serves.
Musically diverse, aesthetically different and lyrically uncompromising, it's a homage to 2000's pop and metal, for anyone who was there they'll pick up lots of references, but through a different lens. While debate can rage about what bimbcore is and whether it's good or bad for women in the music business. Scene Queen will become a superstar and while musically not always what I would listen to, though I liked most of the record, Climax especially. I understand why there is so much buzz. 7/10
Warhog – The Dystopian Chronicles Vol 1 (Self Released) [Paul Hutchings]
I knew nothing about Warhog but a quick Google reveals that they are a four-piece from North Texas, formed in 2020. The band comprise Scott Beetley on vocals and guitar, Eric Kendall on guitar, bassist Justin Hopper and drummer Robert Powers. Debut album Call Of The Voyager was released in 2022 and we now turn our attention to the new EP, The Dystopian Chronicles Vol 1. The first in a trilogy of releases that explores the darker sides of humanity – violence, the lust for power, obsession and deceit through a narrative set in a dystopian future.
Warhog play a cross between groove and traditional heavy metal and I must be honest, there was nothing here that really lit the fires. Five tracks over 25 minutes begins with an orchestral introduction – a two-minute piece called Already There. It’s a gentle, melancholic start, leading into the first single, Hunt Of The Cybertooth. “In a dystopian future world plagued by crime, the only thing between you and total lawlessness is the Cybertooth. Part machine, part beast, and sanctioned by the government, the Cybertooth hunts its prey by night. Criminals beware!” Although the concept it totally metal, the lyrics are average, the music is routine, and it’s all a bit flat.
With such a grand concept, one at least expects the music to grab you by the throat. Sadly, it doesn’t do that for one minute, and despite attempts to mix it up, it gets no better. Emperor suggests promise before defaulting into standard metal fare. There’s nothing to get excited about at all. Rarely have I reviewed a release which does so little to excite me. It’s just bang average. Inoffensive, just nothing stirring. Next is dreadful, the lyrics drop to a new low, and it’s time to reach for the off button. I’m afraid that Warhog, whilst full of enthusiasm and endeavour, are just not a band that floats my boat in the slightest. Take a listen. It’s just not for me. 3/10
Ainu - Ainu (Subsound Records) [James Jackson]
This self titled EP from the Genova based trio of Dani, Jacco and Gelso on Guitar/synths, Bass and Drums respectively, notice the lack of vocalist, is a mostly instrumental piece, with a few spoken word elements thrown in for good measure, for the most part these are in a language obviously not English, given the band’s location I’d hazard a guess at Italian, my ignorance in languages other than my own is criminal.
I’m going to skip forward a track or two to highlight the one I found particularly interesting, the comparatively short (I’ll come back to that) D.E.V.S; as with all of the tracks on the EP it is predominantly an instrumental, this contains an English language spoken piece, but its duration and composition, a certain folk horror vibe to it, that feels more like an intro piece than a mid album break; this would have then led into Il Faro, a twelve minute epic of genre spanning riffs and experimental noise.
Apart from the aforementioned D.E.VS, the tracks are lengthy, there’s a Prog influence within the song writing and that reflects not only on the music but in the song duration too and whilst I’m used to tracks that push past the usual limits, Doom Metal, the lack of vocals and therefore lack of sing-along-ability is something that I can’t quite get along with.
I have never been a fan of the instrumental track, a brief intro to the album aside of course, but a full song that has no lyrics just feels wrong to me and I’ve often thought them to be a waste of not only time but potential and on those few albums I own that contain such a track, my immediate impulse is to press Skip.
So unfortunately, despite the obvious talent that the band possess and indeed portray, their love for their work and the passion in which they play, this album of instrumental Psychedelia/Post Metal is not one that I will be returning to. 5/10
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