Combining raging intensity with heartfelt emotion, this is modern metalcore played with passion and skill. Continue reading
Here we have 22 minutes of intense grinding mayhem. It’s feral and violent, but not without a dangerous intelligence. Continue reading
Featuring an ex-member of Every Time I Die and the singer of Normal Jean, it was a complete no-brainer for me to listen to this as soon as I could once I was made aware of it. Thankfully, I haven’t been disappointed with their very enjoyable brand of modern progressive/alternative metal. Continue reading
You’ve gotta like this kind of thing; less than 14 minutes of angular, chaotic hardcore. The band play it well and make one Hell of a noise. What’s not to like? Continue reading
You’ve gotta love dark, violent music that creates oppressive, negative atmospheres. Yes? Oh come on, of course you do.
Combing chaotic hardcore, crushing sludge, dark metal and inventive post-hardcore, Remote present us with 33 minutes of angst-ridden darkness that aims to cause damage. Continue reading
It starts off with melodic riffs that have a firm edge to them whilst serrated vocals scream out over the top. This is the kind of emotive Hardcore that’s easy to connect with if you like the style as it’s instantly engaging yet with a depth to it that bears repeated visits.
Some of the guitar parts and riffs even have a Post-Hardcore feel to them and have a resplendent sheen. The solid sound that the band have shows these guitars off to their full potential and the band sound immense.
Imagine a more traditionally structured Norma Jean, or From Autumn to Ashes minus the clean vocals, or a less abrasive/Metal Zao…Above the North have a lot of talent it seems, as these four songs ably showcase.
Alongside recent Hardcore releases such as Muck and The Black Lantern, Above the North show that you can play Hardcore that has bite without going the massively heavy/angry route that much of Hardcore does.
These songs have a thoughtful, introspective aura to them yet still have energy and passion in spades.
Very impressive. If they can keep up this level of songwriting for the future then their début album will be a thing of beauty.
Check them out.
This is angular Hardcore in the style of The Dillinger Escape Plan, Every Time I Die, Norma Jean, et al. They play their chosen brand of mayhem with pride and skill, peeling off riff after riff of controlled chaos and deliberate discord.
These songs have a passionate energy to them that’s an essential part of any band that plays this style.
Thankfully, Blame Kandinsky are more than just a few hastily slapped together riffs as that can easily become dull; they know the importance of following riffs through to their natural conclusion and of creating atmosphere, no matter how fleeting or obscured by chaotic frenzy.
The singer has a charismatic voice that’s somewhat of a scream-ier version of the Every Time I Die singer’s style.
It’s always good to hear this kind of music, especially when delivered with obvious passion and ability.
These five songs, (and one pointless intro), showcase a talented band who have developed their sound into a force to be reckoned with already. If they can build on these strong foundations and continue to develop their individuality then their eventual album should be a stunner.
Favourite Track: Nascency.Admittance.Guilt.Rebirth. Some top quality riffing and vocal patterns combined with some Converge-esque atmospherics mean this song is a firm favourite of mine.
I have to say I like the cover, so that’s a good start.
The music itself is well recorded with a sound that accentuates the emotive nature of the band.
Angular riffs and chuggy, expressive guitars chop and change their way through the playing time. This would have been at home in the late 90’s/early 00’s Metallic Hardcore scene which spawned the likes of Botch, Zao, Norma Jean, Poison the Well, Nora, etc.
The songs here are wonderfully constructed and boast lots of ideas and interesting riffs to keep the listener hooked.
The singer performs with great gusto and has a voice that’s somewhere between a shout and a scream. He complements and suits the songs well and provides a warmer human side to the band; the music is emotive in its own right of course, but it has a cold, harsh edge to it that the vocals compensate for. Taken together these tracks are dangerously addictive.
This is a class EP full of the kind of meaty Hardcore Metal that’s in much shorter supply these days than it once was.
They’ve made a fan of me and I can’t wait for a full album now. Bettyœtker are here to stay.
Sloths play a kind of Hardcore-tinged Sludge Metal that’s heavy, ugly and full of grim darkness but with shades of dawn.
There are three songs on this short EP and they are belligerent and emotive. The band show a good understanding of dynamics and the songs have more energy than the band’s name might suggest.
This is akin to some of the angular, atypical Hardcore bands out there such as The Dillinger Escape Plan, Norma Jean, Coalesce, Botch, etc. only not as clean cut; Sloths are like the angry cousin that plays dirtier and cheats in every fight they have. And they fight a lot.
Low-in-the-mix, throat-shredding shouts hide behind heavy music and tough, chaotic drums. The guitars, for all the ugliness and grime of the band, have a fair few moments that can only be described as having a Post-Metal beauty to them. It’s an enticing combination and the band work this juxtaposition well without it causing clashes of any kind.
These songs are varied, interesting and thoroughly enjoyable. I’m a big fan of this kind of angular Hardcore and the fact that this is delivered through the prism of Sludge Metal just makes it all the better.
Here’s to Sloths!