Capra play a hybrid style of metallic hardcore and punk. It’s a style that you don’t hear too much these days, and they play it damn well. It’s a style that makes me very nostalgic, yet at the same time it also sounds vibrant and fresh due to the band’s inherent enthusiasm and skill. Continue reading “Capra – In Transmission (Review)”
This is metalcore in its original, hard-as-nails metallic hardcore incarnation, before the advent of sing-along choruses and radio-friendly unit shifters. Forty Winters mean business, and they’re here to stomp all over your breakfast.
This is angry music for angry people doing angry things. If you get off on bands like Hatebreed, Himsa, Thy Art Is Murder, Suicide Silence, Walls of Jericho, Darkest Hour and the like, then this should be Continue reading “Forty Winters – Rotting Empire (Review)”
I haven’t encountered Walls of Jericho since their 2004 album All Hail the Dead, which I really enjoyed. I’m not too sure why I never got any of their subsequent releases, but at least I’m finally catching up with them again now, a mere 12 years later…
Coming from a very fertile time in Hardcore/Metalcore history, Walls of Jericho continue to play the kind of heavy, angry music that’s so effortlessly pit-friendly and easy to move to.
The singer’s angry snarl appears to have gotten even gruffer over the years since I last heard her, and on this newest album she sounds on fire with her aggressive delivery. It’s interesting, as on some songs she varies her style a bit and when she screams a little higher in places she sounds more like her old self. Which do I prefer? Honestly not sure. Her deeper voice has more drive in it but her higher one has more personality. Ultimately both do the job nicely, just in different ways.
The songs are compact and belligerent, echoing the style of fellow bruisers Hatebreed, Terror, Born from Pain, etc. only with Walls of Jericho adding their own spin on things. They seem absolutely designed to be played in a live environment, with every riff tweaked to provide maximum mosh-pit action.
Featuring a plethora of heavy, chunky riffs and enough breakdowns to snap a leg to, this is a record that’s easy to get along with.
The last track Probably Will is completely out of place and out of sync with the rest of the album, showing a definite different side to the band and the singer in particular. It’s great to hear and a great song, but as it’s so different to everything else on here it almost shows large chunks of the rest of the album in a bad light as it has much more depth and nuance than anything else on this record. The key word in that last sentence, though, is almost, as the material is strong and confident enough to stand on its own when compared to its softer side.
Overall, this is a strong return for the band after an eight year absence, and No One Can Save You from Yourself is definitely a recommended listen for when you want to feel energised and firmly want the cobwebs blown away in the morning.