Album// Bleeding Through - The Great Fire

The new album from Bleeding Through, invites a walk upon what is quite possibly the heaviest end of the Punk spectrum, presenting itself as an onslaught of outright Metalcore. Providing a winding punch to the chest of the mainstream whilst declining the adoption of gimmicky pop gestures or melodic conformity.

As the opening track – The March opens with an ominous, mildly intimidating, bell toll of doom, battling with the sludgy down-tuned guitar riffs and pulsating drums, impressively fading into an almighty scene of carnage atop uncompromised vicious lead vocals.

Certain highlights of the album in total are without a doubt, Starving Vultures, displaying a mixture of an hint of power metal with an aggressive pinch of Death Metal, similar to that of Devildriver and Viking metallers: Amon Amarth. As well as Walking Dead and Trail of Seclusion, both containing introductions that shed light on to the least heavy aspect of The Great Fire. Walking Dead contains a severely unexpected sombre piano intro until the plunge into the vortex of layered guitars and drums that resemble the imposed heart beat rate. Where as Trail of Seclusion begins with sharp, clean sounding guitars, building into a commendable guitar solo screaming the words: Power Metal.

The album does contain the odd clean vocal breakdown and standout solo here and there, yet holds a repetitive intent as it races through the fourteen-track setlist. Still it maintains a blood rushing, eardrum exploding, Metal energy that resembles Attack Attack! without the pop gimmicks.

Jonathan Hatchman

Interview// Pulled Apart By Horses

This week, Leeds Post-Hardcore titans; Pulled Apart By Horses released their awaited second album – Tough Love, and what better way to celebrate it’s release than with a live playback in the company of an intimate crowd at London’s Rough Trade East.

After the show we caught up with Tom (left) and Rob (right) from the band, to put them through a new Whiteboard challenge interview format. Here’s how it turned out...

http://www.whiteboardproject.co.uk/interviews/the-big-ones/pulled-apart-by-horses/

EP// Metallica, Beyond Magnetic

Having been released digitally back in December, Thrash Metal’s finest, are set to physically release their EP of tracks that didn’t quite make it onto their 2008 album – Death Magnetic.

Skipping the drawn out introductions, diving straight into the riffed bare bones of opener: Hate Train,implementing Kirk Hammet’s shredding guitar solos, over the top of James Hetfield’s tight, powerful riffs, typical of those dominant through Death Magnetic. As does Hell & Back, with strong choruses but less lead guitar fills and solos. Whereas Just A Bullet Away, incorporates a sombre, clean breakdown, similar to that of their 1986 Master of Puppets, title track. Colourfully breaking into an interplay of arpeggios and choral lead bliss. Yet Rebel of Babylon contains a strikingly memorable And Justice For All… style guitar solo and rhythm breakdown, including Lars Ulrich’s signature drum style and one of Rob Trujillo’s groovy bass-lines.

Indeed, Beyond Magnetic, does exactly as explained on the label, containing no unexpected surprises or shocking disclosures. Including four tracks that, frankly, weren’t quite strong enough to appear on Death Magnetic. However, taking all into account, each track from Beyond Magnetic proves that the driving force of the Metallica we know and love is a significant cut above the Metallica presented through their recent shared effort – Lulu.

Jonathan Hatchman.

Single// Anthrax - I'm Alive

Having formed way back in 1981, climbing their way to the top, alongside Metallica, Slayer and Megadeth to become one of the worlds best established and most eminent Thrash Metal bands, whom after suffering countless line-up changes have reunited with Joey Belladonna to front the band’s reckoning force.

Opening with clean guitar chords, delivering a tribal setting that gains heaviness until it explodes into a full-on assault of Thrash Metal brutality. Comprising razor-sharp riffs held together by emphatic drum work, omnipresent above Belladonna’s impeccable hard-rock vocal style that ever so slightly resembles Ronnie James Dio. Building to a climatic chorus and instrumental breakdown of galloping staccato guitars draining into an instant classic guitar solo.

Yet another beguiling specimen of proof that Anthrax still have the energy and skill necessary to produce horn-raising, mosh inducing metal anthems.

Jonathan Hatchman.

Album// Pulled Apart By Horses - Tough Love

Having released their debut album just 18 months ago, Leeds Hardcore titans: Pulled Apart By Horses are back and stronger than ever with the follow up – "Tough Love". Having had much more time to mature as musicians and write new material than before, as well as the introduction of a professional producer, as opposed to creating a self-produced effort.

A variety of classic Punk and Rock influences and sounds are distinctly apparent upon "Tough Love", from the sludge riffs of lead single; "V.E.N.O.M", resembling Black Sabbath and DOWN, through to "Bromance Ain’t Dead", purveying lead vocals that mirror a 21^st Century update of AC/DC’s Bon Scott, interplayed with shredding vocal screams. Yet the most surprising thing about Tough Love is the inauguration of tracks such as "Epic Myth", displaying a slightly cleaner side to the band, introducing wholesome, hard rock vocals under the astounding guitars and pounding drumbeat.

However, the most predominant sound throughout is similar to that of Iggy and The Stooges, presenting a raw power of gritty vocals, interplayed with high pitch screams under reckless, filthy guitar lines. With definitive highlights being; "Degeneration Game" and similarly "Night of the Living (I’m Scared of People)", both presenting stable, galloping guitar riffs, raucous unrefined vocals and classic rock drum beats.

"Tough Love" stands as an infinitely superior record to the band’s debut and builds a potent energy that carries the whole album, fundamentally maintaining excitement interest that should also carry the band’s career, steadily through the touring process, right up to the release of their next album.

Jonathan Hatchman.

Single// Fair Ohs - Salt Flats

Successive to the release of their astounding debut album – "Everything Is Dancing", as well as a collection of East-African Garage Punk singles, East London’s Fair Ohs have decided to release new single: "Salt Flats" in the limited format of flexi-postcard.

Beginning with a plodding bass-line that carries the whole song, inviting the arrival of a sitar sounding guitar line, playing Shankar style fills throughout. Containing vocals that resemble a gritty pop-punk version of Caleb Followill, under a stark hint of reverberation, manifesting itself into a vortex of afro-punk sounds accompanied by Deep South vocals.

"Salt Flats" injects a gleaming ray of sunshine onto the East End punk scene, not quite as fulfilling as previous single Everything Is Dancing, but is indeed a very fine track

Jonathan Hatchman

Album// Frank Turner - The Second Three Years

Whilst The First Three Years, compiled a set of tracks that epitomised Frank Turners rise and musical maturation, developing into a folk-punk cult hero from hardcore roots with a prominent punk heritage. The Second Three Years features a selection of folksy, acoustic numbers, previously unavailable on his previous studio albums.

The album is mostly made up of sombre, acoustic tracks, resembling a Nordic bard through musical tales such as; "Sailor’s Boots", and "Balthazar Impressario" alongside a couple of odes; "To Bob" and a tender acoustic track – "To Eva-Mae", written about his precious Goddaughter. The album also contains a fistful of stripped back covers of NOFX, Bruce Springsteen alongside the unexpected: Take That’s "The Greatest Day" and Wham!’s "Last Christmas". As well as a live, a cappella performance of traditional folk song – "Barbara Allen".

However a definite highlight is Wanderlust, enveloping finger picked acoustic melodies and true folk-punk spirit igniting vocals. Not to forget the most upbeat track - "To Absent Friends", paying homage to the punk rock background that provided and escalated his success. Bursting straight into the bare bones of harsh guitars and gritty vocals, backed by an omnipotent chorus, formulating a definitive standout.

The Second Three Years purveys a personal, emotional insight into the not too distant past of this innovative singer-songwriter, bringing stardom and cult status, leading up to a show at Wembley Arena on April 13^th, his biggest show to date. Breeding excitement as to find out what the next three years will provide.

Jonathan Hatchman

Live// Sulk, The Shacklewell Arms, London, 17/1/12

We all know that Britpop is set to make an almighty comeback in 2012, with the obvious reunion of The Stone Roses, as well as the Pulp comeback successive to last year’s festival season, announced to play at this years Coachella Festival, although in America. There are also albums from Blur and Dodgy in the pipeline.

But, believe it or not, Britpop is not just a nostalgic trip, reliving the wrath of huge bands of the 1990’s, there is, in fact, a flourishing new breed of Britpop successors including SULK, standing out as a strong contender for Britain’s best new band. Taking to the stage facing a reasonable sized crowd for the previously infamous Rastafarian pub, now one of Dalston’s most promising live music venues.

Bursting straight into their latest single – “Back In Bloom,” displaying a stadium sized drum beat under a piercing lead guitar line, accentuating front-man Jon Suttcliffe’s wispy vocals. Leading the band through a short set of euphoric pop tracks possessing sun-drenched choruses and whirring guitars, dampened by a tide of reverb providing undertones of shimmery shoegaze. Additionally incorporating tracks recorded under their old name and line-up, such as lead guitar led: “Sleeping Beauty” and “Flowers.” Ending with their forthcoming single – “End Time”, sadly lacking rhythm guitarist’s Andrew Needle’s rip speed strumming pattern finale.

Albeit, one of SULK’s best performances to date, seeing the bands last gig for the time being, preceding an upcoming tour announcement set appear on the band’s website in the very near future.

Jonathan Hatchman.

Single// Sharks, Arcane Effigies

Since forming in 2007 Sharks have successfully climbed onto the surface of the UK’s punk scene. Having played live alongside Gallows, The King Blues and The Gaslight Anthem, to name a few. With two EP’s and a compilation album to their name, their studio debut - "No Gods", will be released on 19^th March.

"Arcane Effigies" conforms perfectly to the typical style of classic punk: Heavy guitar work, consisting of brutal power chords, containing a short pervasive guitar solo, alongside a rock steady drumbeat. Building into a strong chorus, reminiscent of British punk-rock at it’s very finest, mirroring iconic bands such as The Clash and Stiff Little Fingers.

Providing absolute proof that Sharks still have what it takes to create beguiling, to the point, punk neo classics, after replacing their bassist with Tony Corrales of The Exposed.

Jonathan Hatchman.