Drones- ‘Mutiny’ (December 2011)- Lock Jaw Records

     Surrey-born Drones were formed in early 2010 due to an aspiration to create likeable music and significant lyrics concerning social and political issues that are often overlooked in modern music. With inspiration from the likes of NOFX, The Clash, Rancid and Anti-Flag, Drones managed to personally organise a video-shoot for single ‘Shells Fall, Pins Pulled’ with vocalist Daly George’s long-term friend Theo Marlow. This was greeted with fan-driven chaos over the internet and over 1,000 views on YouTube within one week.

     In June 2011, the trio became the first punk band to play the student music festival ‘Beach Break Live’ Drones wrote ‘Mutiny’ with an experimental drive in mind including marching snares and megaphone effects, which do not reflect the album’s overall budget of £60. Towards the end of recording in August this year, Drones were approached by Lock Jaw Records and happily accepted, helping them to organise a UK tour this month.

    The artwork of ‘Mutiny’ was created by Mitchell Thomas and depicts a character protesting against the government. The album commences with ‘Jack Won’t’, a heavy yet melodic drum and bass rock offering, in which vocals are deemed somewhat unimportant. The instrumentation in particular, is very well produced, especially for such a young band. Drones’ Rise Against style, however, does not bode well in title track ‘Mutiny’ or ‘Thursday’s A Full Moon’, as they are rather rapid, making the lyrics difficult to understand for such an issue based band. 

Mitchell Thomas' Artwork for 'Mutiny'

   

     As the album continues, it does so in much of the same format; with good instrumentation and overall 

production but sweeping vocals and emotion. ‘The Jester’ is made up of faint drumming, weak vocals and rhythmic guitar, which may be decent stand-alone elements, but do not work when blended together. ‘Spite’ and ‘Assassins of Youth’ start in much the same speedy way, but seem to speed into nothing but another weak couple of tracks.

     The band’s single that was released earlier this year, ‘Shells Fall, Pins Pulled’ is as bad and ineffective as its title, with unrythmic vocals that do not mix together whatsoever. It is definitely not the successful single bands and artists dream of. From start to finish, each track builds into nothing significant and appear to end so abruptly that it leaves the listener in a daze or resentment for the music, and ‘The Static Truth’ is no different. 

Drones

          ‘Raise The Arms’ and ‘Watch It Burn’ partner up perfectly with the skip button, despite their more gentle tone, and final track ‘Call Your Own’ is no variation on the rest of ‘Mutiny’. Overall, the instrumentation works well for minor moment, until it is utterly tarnished by useless shouted vocals and random thrashes of guitar and drumming.

2/5

Everything On Red- ‘Songs For Sirens’ (10/12/2011) Lock Jaw Records

     Everything On Red have a wide range of influences from various pop punk and power pop artists and bands that have help constructed an undefinable, individual sound. Perhaps Everything On Red being a little older than other just-starting-out rock bands has given them a massive advantage with regards to what they can actually do. The band claim to have crunching guitars, sweeping snyths and heartfelt melodies, they have a sentimentality-driven, rich and diverse sound, only some of which turn out to be true. 

     Vocal duties are split between all three band members, showcasing how talented they all are, and worthy of touring with bands such as Hadouken! and Twin Atlantic. They have also embarked on a number of headline tours around the UK themselves. Everything On Red’s debut album ‘Rotator’, which was released back in November 2009, allowed them success with their single ‘Heart’s on the Rock-based T.V channel ‘Lava’, as well as various radio stations.

Songs For Sirens: Artwork

     This Biffy Clyro, Saves the Day and Brand New inspired band has an incredibly unique style that can only be loosely linked to other artists and bands. First and second tracks ‘Welcome to the Sundown’ and ‘Pull The Pin and Count to What’ are two very stand-alone tracks. The cheery tones have not been captured so well by a decent band since HelloGoodbye’s successful days. The bright and light harmonies reflect the innocent undertone, and unfortunate harmlessness of Everything On Red’ work.

     ‘We Never Stop’ is a speedy, yet somehow dull track that depicts the band’s ability to be different, but an unfortunate lack of great music, emotion or abundance of likeable talent. ‘Tribute to Tragedy’ promises to be ‘Songs For Sirens’ token heartbreaker, yet disappoints with limp harmonies and unnecessary bleeping synths mixed with half-decent drumming. ‘Wishful Thinking’ is particularly laughable with its high-pitched synth squeaks that do not differ from demos on a Yamaha. Even final track ‘All The Best Adventures’ begins with an immature version of Yellowcard’s wonderful style and does not develop into anything decent.

Everything On Red: Promo Shoot

    On paper, Everything On Red appear to have unbreakable potential but in their desperate attempts to stand out from other bands and their own influences, they have created chirpy, emotionless babble that fails to portray any great talent. 

2/5

Always The Quiet Ones- ‘Freak Show’ EP (05/03/2012 –Self Released)

      Always The Quiet Ones are an alternative rock/metal-esque band from Liverpool who boast old school undertones and claim to have a unique sound setting them apart from other rock bands. Their sound is somewhat similar to Biffy Clyro’s earlier work with a fluid blend of vocals, scream and instrumentation. With a double A-side single set to be released from the boys in late April 2012, ‘Freak Show’ bares much importance to their musical future.

     The band has boasted to be ‘five sharp, forward-thinking individuals who began their careers supporting the likes of Deaf Havana and Mojo Fury. This enhanced appreciation from old and new fans alike, as well as praise from more underground alternative-rock based press for their unusual sound for the modern listener. With influences from bands such as Deftones, A Perfect Circle and Biffy Clyro, the dynamic fivesome make attempts throughout their EP to use these influences as lose guides, rather than falling into the common trap of recreating their work.

Always The Quiet Ones: 'Freak Show' EP artwork

     ‘Freak Show’ sets off steaming rapidly with the Led Zeppelin style ‘Sign of The Times’, which portrays the band’s natural ability to blend different types of vocals very well. Each vocal type is also very striking and yet intriguing. It is very unusual in this day and age to listen to such a young band performing old school inspired work so well, particularly in a somewhat unique manner.

     The quintet’s EP is chock-a-block with riffs, various time-signatures and nothing short of infectious melodies thrown in for good measure. ‘Valentina’ illustrates a more modern style that, unfortunately is not so successful. However, their rock-based harmonies are stunning and prove how rammed with hope their music is. Blas Barragan Jr.’s beautiful lead vocals are mesmerising and really drive the track.

Always The Quiet Ones

     Third and final title track ‘Freak Show’ conveys Always The Quiet Ones’ Deftones-style inspiration throughout, with a gentle metal introduction, leading into gentle, melodic verses and a powerful chorus with yet more wonderful harmonies.

     The instrumentation and various vocals blends throughout ‘Freak Show’ depict how hard the band have worked on it, their brilliant musical abilities and influences, and paints a painfully bright future for them.

4/5