Album Review: John Legend- ‘Love in the Future’ (30/08/2014- Columbia)

Actor, do-gooder and 9-time Grammy Award winning R&B/Soul Singer songwriter- John Legend has been gracing us with his presence since 2004. Before becoming a recognised artist in his own right, Legend collaborated with the likes of Jay-Z, Kanye West and Alicia Keys.

Legend’s debut studio album ‘Get Lifted’ sold over 116,000 in its first week, but since then, the Ohio-born singer has gone from strength to strength, with his first single from ‘Love in the Future’, ‘All of Me’- which is dedicates to his model wife Chrissy Teigen. The single has shifted more than 4 million copies in the U.S. alone, and has therefore gone 4x platinum. As for the album itself, it’s sold over 500,000 copies in the U.S. and 100,000 in the U.K.

‘Love in the Future'- the artwork

‘Love in the Future (Intro)’ is a simplistic, tender welcome to the record, with elements of seduction, romance and looking ahead, thrown together with an unadulterated golden voice. Right from the word go, John Legend draws you in with his warm and soulful flair and each track is seamlessly intertwined with the next.

‘The Beginning…’ is put together in a timeless manner, combining strings, heavier beats and top notch vocals. The instrumentation of this track is on point, despite the sexual nature of it- proving that writing songs about sex doesn't need to be seedy. John Legend is all about commitment on this album, and ‘The Beginning...’ is no different. It introduces the idea of optimistically planning for the future…babies, a home and o course, changing the world along the way. 

However, I can’t help but feel the record's appeal wanes due to the generic feel of the backings and melodies. But it’s given a lift fine piano playing and minor production tweaks. Yet he does capture intimacy very well, and paints a picture of a long-term couple.

Legend’s dulcet tones in Legend’s cover of Bobby Caldwell’s classic ‘Open Your Eyes’ are the perfect addition to up-beat piano playing weaved into energetic yet light back beats. While some R&B singers can get by on the strength of their voices alone, Legend puts in the extra effort to stand out; he knows how to play to his strengths. 

John Legend performing

These songs are carefully crafted exclusively to his fitting and he performs every one with so much soul and passion that it really is moving at times. Album production is also top notch- creating a record that has a modern vibe with a timeless heart.

The hap-hazard beginning of ‘Made to Love’ forms the pathway to a hook-laden, handclap infested feast for the ears. The track also makes use of djembe drumming and voice-effects that make Legend’s dreamy vocals come across as even more classic, if a little repetitive. It also features Synthpop singer Kimbra- and its clear her musical influences have crept their way into the recording. In fact, towards the end of the song, with the addition of soulful backing vocals, and a sample-like feel, ‘Made to Love’ comes across as a mediocre remix of an R&B classic with a melodramatic ending. 

Speaking of sampling, ‘Who Do We Think We Are’ intertwines Legend’s sublime talent with Jean Knight’s ‘Mr Big Stuff’, creating an example of why sampling is tricky to get right, as this track is a very hit and miss affair and trickles into its lackluster ending of talk-singing. It also features rapper Rick Ross to emphasise that John Legend’s best work is definitely his ballads. 

Legend co-wrote next track ‘All of Me’ the song with Toby Gad and co-produced it with Dave Tozer. It’s easy to see why it was selected as the first single from the record- it’s intricate tones and meaningful lyrics make it radio-perfect and suitable for music fans who are into various genres. It’s stunning in its simplicity, and also highlights the consistency of Legend’s voice as well as his pure talent as a songwriter. His voice is clear as a bell and generates a calm, intimate feel with his velvety smooth style and honest lyrics.

‘Hold on Longer’ is a tender yet dreary track to say the least; even Legend’s focused singing doesn’t overwrite how eerie yet dull this song is. With its funky, modern groove, ‘Save the Night’ makes use of current recording and studio tricks without superseding John Legend’s lush vocal abilities.  It’s also another example of how ‘Love in the Future’ looks at a relationship from different perspectives- the good and the bad, to form a steady theme.

John Legend

‘Tomorrow’ is about seizing the moment and ‘What if I Told you?’ boasts a Motown tone 

against Legend’s husky vocals until it comes to a halt with a cautious trumpet section. Incredibly repetitive, but bursting with cynicism and vigilance, ‘Dreams’ is so dreamy and quietly unapologetic, it almost sends you snoring.

Both ‘Asylum’ and ‘Wanna Be Loved’ are moody and sinister; even when the latter breaks into a section with backbeats, they’re incredibly tentative and timid. Soul/Jazz star from the 70s, Anita Baker is also covered on the record. Her track ‘Angel’ (featuring Grammy-nominated Stacy Barthe) is so short-lived it’s barely worth featuring, especially along with another cover previously.

As for ‘You & I (Nobody in the World)’; it’s obvious this song was composed as a single- with popularity taken into consideration. Having said that, it’s just as vocally haunting as ‘All of Me’ and takes up the theme of being absolutely in love with someone. In complete contrast, ‘Asylum’ begins eerily yet somehow, introduces love song ‘Caught Up’ really well.

Cynical and cautious at times, this record is often the tricky balance of warm, soulful performances with the precision of digital programming. John Legend’s caramel-like voice intertwines seamlessly with the more gentle melodies; however some tracks are so laid-back they practically send you to sleep, whilst others take away from his vocal flair.

3/5

Album Review: Frankie Harper- 'The Butterfly Effect' (13/01/2014- Self-Released)

This 5 track album is based on the idea that 'They say a single flutter of the wings of a butterfly can cause a typhoon half way across the world...' and each track entails the theme in a Blues/Folk genre. Brighton based Frankie Harper prides himself on the honesty of his lyrics and how well they encompass his life experiences and emotions. In his own words, 'The Butterfly Effect' is "...my own representation of balls of energy and inspiration that hit me in the face every so often."

The irony of first track 'The Sea' is how energetic yet gentle and comforting the melody is, making it clear just how hard Frankie has worked on production and overall presentation. But before the first quarter of the track is over, his vocals kick in and let the melody down. Despite how heartfelt they may be, his vocal ability and style just don't match up to his songwriting skill in this track, although the Blues style merges impeccability with the personal woes Frankie shares. The track also allows you to recognise the beauty of nature as well as the build up of a song into something spectacular with additional instruments and vocal lines. 

Frantic, feisty and fiery, 'Exit Wounds' which features wonderful guest vocals from Caitlin Stubbs proves that good things come to those who wait, because Harper's vocals improve immensely and vary into more of a Country approach. The variations of dynamics are very subito and classically Country. They also portray Frankie's diverse vocal abilities and awareness of what's currently popular considering how similar its in style to Ed Sheeran's work. As the song concludes it jumps a decade or three with thumping R&B-esque beats, somewhat spoken vocals and overall Urban, angsty flair. 

 

 

Frankie seems to have kept true to his instincts and himself which shines through in 'Take Flight'. His looped, drifting vocals showcase the variety of his influences and when interspersed with running theme of butterflies 'You'll spread your wings butterfly and take flight before we get too old' prove how well established he already seems in terms of knowing who he is as an artist. 

One of Harper's own influences, Syred features on 'Wings' and really adds to its authentic quality. Syred's rapped section also displays the obvious difference between the two vocalist's styles. With its chipper beat and staccato guitar riff, the song brings a naturalistic element to the record and leads perfectly into 'Eye Spy' featuring Aime Harper (who also happens to be Frankie's sister) and Syred. This groovy, upswinging end to 'The Butterfly Effect' is the perfect way to round off the record. The sibling duo are very much in sync with each other, along with Syred, and the track exhibits Frankie Harper smashing conformity and emotionless music. 

'The Butterfly Effect' is bursting with hastened guitaring, an array of influences both genre and personal experience wise and undoubtable musical skill. The most significant negative thing to consider about Frankie Harper is how underrated and unknown he is considering how individual, advanced and eclectically original he is. 

5/5 

YELLOWCARD Says YES Again... Unplugged Acoustic Version of Latest Album Released Next Week!

     Yellowcard have unveiled a surprise this week for their dedicated fans, by releasing an acoustically reworked version of their latest album ‘When You’re Through Thinking, Say Yes’. It is available to download digitally now and will be released physically on 31^st October.

     The band will be back touring the UK on a run of co-headline shows with Saves The Day in November and December.

    As a perfect cap to round of the last twelve months, the acoustic version of ‘When You’re Through Thinking, Say Yes’ is a testament to Yellowcard’s songwriting prowess. The unplugged record, with manages to retain the same soul and spirit as the original, takes the music to a whole new level for listeners to appreciate the band’s astonishing musical abilities. It retains the same soul and spirit as the original album and is fundamentally a thank you for the ‘amazing support’ fans have given them to help rebuild their career.

Yellowcard

         Yellowcard claim to have always taken pride and enjoyment in performing their songs in an acoustic setting, which is what pushed them to record a few B-sides acoustically. They soon picked up on the incredible response, particularly on the acoustic version of ‘Sing For Me’ was getting online.

    The band began to use every free day or night in early 2011 to complete the recording of all ten songs acoustically, ‘…one of the things we are most proud of is that we produced and mixed this entire record on your own…’. Along with producer Ryan Mendez’s sleepless nights behind the computer and the band’s hard work, they have created something they have wanted to do ‘for a very long time…’ and have been ‘looking forward…’ to surprising fans.

The acoustic album artwork

  2011 has been a banner year for the Hopeless Records artists Yellowcard. Their seventh studio album has welcomed them contently back to older fans, and introduced them to brand new devotees. Its high chart positions worldwide, including #1 in the Indie Album Breakers Chart in the UK and #19 in the US Billboard’s 200 Albums Chart, have brought Yellowcard a taste of the exposure they deserve. They have also released their back catalogue on vinyl, toured the world over.

          Kerrang Magazine said of the release ‘…sees its creators rediscover their mojo and embrace the kind of seemingly effortless songwriting qualities that made them so popular in the first place.’

     Rock Sound stated that, ‘When You’re Through Thinking, Say Yes’ ‘marks their integrity being upheld far further than naysayers could ever have imagined.’ They also awarded the record 8/10 in a review.

     Yellowcard will also release new single ‘Hang You Up’ on 31^st October.

YELLOWCARD / SAVES THE DAY UK DATES (The Wonder Years in support)

28^th Nov                 Glasgow Garage                                   

29^th Nov                 Birmingham HMV Institute                

30^th Nov                 Manchester Academy 2                    

1^st Dec                    London HMV Forum        


   The album is currently being streamed here: http://www.absolutepunk.net/artists/showlink.php?do=showdetails&l=1533

Watch the brand new music video for ‘Hang You Up’ here: http://www.youtube.com/watch?v=9qndx2CNGeo&feature=youtu.be

www.yellowcardrock.com                 

First In Last Out- ‘The Distance Within Us’ (EP)- (02/08/2011)- Self Released

   Post Hardcore band First In Last Out from Sutton, were formed in early 2010 for a ‘Battle Of The Bands’ competition at their school, in which they came second, and have been performing gigs ever since. Starting out covering songs of other bands, they spent the winter months of 2010 writing their first original material for ‘The Distance Within Us’.


     The EP commences with a dramatic, monotone note that draws you in and intrigues you to listen on. It smashes into a politely playground inspired sound effect and hushed drumming. Before an actually musical input, it is obvious that the album is very armature, and as the scream vocals begin, even more so. I am not a fan of metal music personally, but it is obvious when the genre does not suit the vocalist. First In Last Out’s vocalist Jack Wells sounds as if he is having a yelling battle, especially because the lyrics are tiresome to try and comprehend. An overload of sound effects tarnishes any hope of simplistic or emotion filled melodies and fails to hide a tedious track. 

     ‘The Truth Doesn't Mean a Thing (When It Comes From The Mouth Of A Bullshitter)’ roars to a start with a riff similar to the likes of Young Guns, proving that First In Last Out Do Have Some potential. It also provides some welcomed understandable lyrics, but really reflect the band’s age and immaturity as songwriters, ‘Just stand down you fucking coward, stand down...’. The observable fact that this EP was not professionally produced tears away any anticipation for post-production enhanced vocals, which seem necessary to make this track effective. The vocals are simply not strong enough to carry about the conventionally melodic and scream components. Musically, however, the band are quite strong, specifically with ‘Addiction’, which illustrates their promise with much improved vocals.

'The Distance Within Us': Ammateur Artwork

    Fourth track ‘Rubber Ducks Don’t Drown’ sounds as if Wells simply opened his mouth as wide as possible and recorded whatever noise he happened to make, which is by no means a pleasant one to the ears. His questionable vocals stain the respectable work of guitarists Josh West and Luke Norrie-Rolfe. In a comparable fashion to Bring Me The Horizon, First In Last Out manage to play pretty well, yet fairly out of time with one another. But, towards the end of the track, Wells portrays that he is capable of enjoyable singing, with quite an impressive note held. This reflects that it may be better for the band to aim for a sound similar to that of The Blackout or more pop punk based bands.

     Rapid and rowdy, ‘You've Changed (C U Next Time)’ has everything you’d expect from a metal or post hardcore band, but its constant speed variations and inaccessible lyrics devastate what decent elements it does contain. ‘Loyal[ties] and Lies’ begins in a pop punk manner with a melodic riff and hasty drumming, but once again, both vocal types fall short of merging with everything else. Final track ‘It’s Not The End’, although an ironic song title, is just as weak an offering as the rest of the EP due to the scream input, without which it would have worked quite well.

     First In Last Out can retain their heavy aspirations with the other instrumentation and contain the vocals into a more melodic manner. Yet they must be aware of the fatale attempt of struggling to come across as American, which is rarely glorified. 


2/5

Dine In Hell- ‘Orphans’ (20/10/2011- Indelirium Records)

       Dine In Hell, from Ravenna, Italy are a hardcore metal band who have shared the stage with the likes of This Is Hell, Devil Sold His Soul and For The Fallen Dreams. They were pretty well known in their country of origin and after a year’s worth of work, they are set to release ‘Orphans’, which features a guestspot from Legend’s Chad Ruhlig, all over the world. The band released their first EP ‘Bites Of Time’ in 2009, played at Fuelfest in 2010, as well as three European tours in the last two years.

Dine In Hell

     ‘Orphans’ opens with ‘Into The Misery’, which is a great song title to open with. It builds up into rapacious drumming and classic metal guitaring. Gritty gang vocals and an Avenged Sevenfold drenched breakdown make them quite a commercial and conventional metal band. However, traditional metal music can sculpt lyrics that are difficult to understand, which true of Dine In Hell, but this fact makes the gang vocals even more effective. ‘The Forgotten’ is unfortunately very similar in sound to ‘Into The Misery’, although they utilise a call and response format with melodic singing and screamo vocals, ‘you won’t be a star...’. This suggests that Dine In Hell are reaching after a particular fresh and unique sound, but have failed to do so.

     ‘The Forgotten’ ferociously and seamlessly combines with ‘Echo’ featuring Chad Ruhlig, proving that the band are relentless with their interwoven gang vocals, which do almost nothing to enhance their tracks. Yet, musically, their melodic undertones give them the potential to appeal to a wider audience. However violently sounding they may be, Dine In Hell fail to excite, and no matter how heavy the guitaring or drumming, they are lyrically and emotionally limp. Fourth track ‘The Biggest Infection’ conveys more gothic sensibilities along with a slight variation in tempo in a seemingly desperate attempt to create some differentiation. 


       An acoustic, welcomed addition to ‘Orphans’ is ‘Accept The Good’ which simply shows that Dine In Hell are not free from all understandable sentiment. It is a respectable rest for the ears which nicely parts the record into two obvious halves, acting as an interval. It has the lyric free lingering effect of any decent movie soundtrack, until it once again, cascades into a monstrous metal ‘melody’. ‘Circle of Crypts’ is full of twisted tension, making it sound as if it has no rhythm whatsoever.

'Orphans': Album Artwork

     In terms of songwriting, Dine In Hell have followed practically the same format for every track; a build up into a breakdown, which is also true of ‘Until N.O’ and ‘Embrace Your Existence’, which could easily be mistaken for one another. The only key difference between them and penultimate track ‘Siberia’ is the change is tempo. One monotonous melody after another brings ‘Orphans’ to a relatively gentle, but monotone close with title track ‘Orphans.’ It is by the far the best written and produced song from the album.

     Although there are some stand out seconds of some sort of prospective, anyone who looks for feeling in their heart of in fact, ears from the music they listen to, would rather Dine In Hell than listen to this record.


1/5

You Me At Six- ‘Sinners Never Sleep’ (03/10/2011- Virgin Records)

   You Me At Six were formed in Surrey in 2004, and this, their third album has excited fans for its promise to be mature, heavier and honest. The quintet have crawled their way to the top of the pop punk ladder, as ‘Sinners Never Sleep’ peaked at number one in the UK Album Charts, making it their most successful record thus far. It was written progressively since the band’s last release, making the songwriting natural and raw. Additionally, the album was recorded earlier this year and produced by Garth Richardson who has previously worked with industry heavyweights such as The Red Hot Chilli Peppers, Nickelback and Rage Against The Machine.

     ‘Sinners Never Sleep’ starts with first single ‘Loverboy’ which has been pinpointed as the track most similar to You Me At Six’s last album ‘Hold Me Down’(2010). The video shoot for this track was delayed due to the London Riots which spread all over the UK in August 2011. It was eventually released on 23^rd September 2011 with acoustic and instrumental versions as well as gritty B-side ‘Moon Child’. Reaching number 39 in the UK charts, it is the band’s third top 40 single. ‘Loverboy’ itself , is made up of punchy beats, gang vocals and booming bass from bassist Matt Barnes. It illustrates how commercial You Me At Six are due to its radio-perfect sound, yet the track is not actually pop based. Catchy and rowdy, it is the perfect way to open an album. Placing the first single from an album as the very first track is a rarity, but it warmly welcomes newer fans who may only be familiar with the band’s latest material and entices them to continue listening.

The artwork for 'Sinners Never Sleep'

     Second track ‘Jaws On The Floor’ is scheduled to be the next single released from ‘Sinners Never Sleep’ and it continues the heavier and harsher theme that ‘Loverboy’ provided. You Me At Six have managed to retain their unique spark yet eradicated most of their pop punk edge, making them more appealing to a wider range of people. Melodically, the song is full of variety and lyrically, it is simplistic at points, such as the chorus, ‘Such a pretty little thing, so much prettier without me’, but at points it is sharp and smart, ‘Life’s a bitch but I’m friends with her sister...’. It is incredible to witness how You Me At Six have converted themselves into more of a potential classic rock band without sacrificing their spark.

     ‘Bite My Tongue’ is very well-produced and absolutely gig perfect. With bulky short riffs, progression and guest vocals from Bring Me The Horizon’s Oli Sykes, it is bold, gritty and courageously candid, describing frontman Josh Franceshi’s occasionally resentment for his fellow band mates and friends, ‘I can’t hate the ones who made me.’ Sykes’ screamo input is seamlessly interwoven with the melody and the track fades wonderfully. ‘This Is The First’ thing reverts back to teen theme of struggling relationships, but its tongue-in-cheek, alternative set up depicts You Me At Six’s headway from ‘Hold Me Down’(2010). With various tempos and volumes, the overall production has been strenuously thought out, making the simplistic lyrics successful, ‘This is the first thing I thought, this is the last thing that I want...’.

     The boys’ first slower offering comes in the shape of ‘No One Does It Better’. Solid and similar in sound to Biffy Clyro, it ticks all the right boxes for a good rock song. It is by no means the best You Me At Six track to date, but the piercing chorus, ‘If I just save you, you can save me to’ is beautifully boisterous. You Me At Six have the rare ability to write blaring ballads, rowdy rock songs and progressive alternative pieces, as well as the talent to make them all emotional. ‘Little Death’ is somewhat similar to ‘Trophy Eyes’ (Hold Me Down, 2010) and consists of a chanty chorus and portrays the vocal capabilities of Josh Franceshi; to leap from spine-tingling gentle hums to borderline scream groans.

     ‘Crash’ the first bold ballad from ‘Sinners Never Sleep’ and reflects the band’s heavy influence from pop punk heavyweights Blink-182. This track in particular appears to be remarkably similar melodically to ‘Stay Together For The Kids’ (Take Off Your Pants And Jacket, 2002). ‘Crash’ is just as tender and tear-jerking despite its relevance swaying towards relationships of the romantic variety as opposed to parents splitting up. Its introduction with a short yet stunning string section blends into hushed vocals, ‘But when I looked at her I thought of only you...’, a drumming build-up and a breathtakingly sincere peak of a chorus. It’s use raw emotion broadcasts that serene love songs should never be soppy, but earth-shatteringly soothing. It is followed by All Time Low-esque ‘Reckless’, which proves that voice effects can be used to enhance what is originally recorded without tarnishing its natural quality.

You Me At Six this year

     Featuring guest vocals from Winston McCall of Parkway Drive, ‘Time Is Money’ is dynamic, vigorous and abrasive. McCall’s moment brings the heavier sound You Me At Six were aiming for to the listener’s attention without apology. ‘Little Bit Of Truth’ is, in a word, incredible. It reintroduces strings, dawdling drumming and fantastic lyrics, ‘I just lost control, I just wanted you to know, when I'm on my own I feel invisible...when in front of you I feel invincible.’ The uncomplicated arrangement makes this heartbreaking piece even more astounding. If its poignancy is not enough to make you well up, nothing ever will.

     The penultimate track, ‘The Dilemma’ is the poppiest offering from ‘Sinners Never Sleep’, both lyrically and melodically. It has several spoken elements, You Me At Six’s signature use of repetition, and a breakdown that is unmistakably comparable to Foo Fighters’ ‘The Pretender’ (Echoes, Silence, Patience & Grace, 2007. ‘When We Were Younger’ is a wonderful conclusion to the album, with continual format and haunting humming worthy of a Radiohead track. ITunes’ exclusive bonus track ‘Takes One To Know One’ is reminiscent of You Me At Six’s older work from the early years, which will be appreciated by older fans and should be welcomed by newer followers.

     ‘Sinners Never Sleep’ bestows the intense and frank light and shade range of songwriting from You Me At Six. Sentimental, scrupulous and strong, the record is full of powerful and passionate ballads combined with intense inputs and candid undertone. The band’s progression from their first studio album to this is phenomenal, and the way the boys have matured has allowed them to create an album boasting the best work technically, that You Me At Six have constructed to date.

5/5

Blink-182- ‘Neighborhoods’ (Deluxe Edition) (26/09/2011- GDC/Interscope)

      As the world’s biggest pop punk band, Blink-182’s sixth ‘comeback’ album ‘Neighborhoods’ was highly anticipated my fans the world over. The band was formed in 1992 in and have sold twenty seven million singles worldwide to date. The band consists of vocalist and bass guitarist Mark Hoppus, vocalist and guitarist Mark DeLonge and completed by champion drummer Travis Barker, who was not part of the line up until 1998. The threesome have inspired musicians the world over, including the likes of Busted and You Me At Six, despite their humour filled undercurrent and comedic stage banter. Blink-182 became notorious for their use of quirky toilet humour, which is often regarded as immature and therefore inappropriate for ‘serious’ musicians, as well as simplistic melodies and teen angst. In 2005 Blink-182 went on infinite hiatus to work on individual projects such as +44 and Angels & Airwaves.

     After performing for the very first time since 2004 at the 51^st Grammy Awards ceremony the band embarked on a reunion tour around North American with support from Weezer and Fall Out Boy. After a spectacular performance at 2010’s Reading and Leeds Festivals the completion of ‘Neighborhoods’ was delayed several times and the band stated that they would not tour until the completion of the album. The record begins with ‘Ghost On The Dancefloor’ which begins with a progressive drumming build up into a The Killers esque studio produced violin section. However, the general instrumentation is familiar but it is clear that DeLonge’s vocals have progressed thanks to his work with Angels & Airwaves. Yet his signature exaggerated American accent is still in session, as well as repetitive lyrics, ‘I saw your ghost tonight...’, but harmonies and the blending of elements is much more advance than previously produced by Blink-182.

'Neighborhoods' Artwork

     ‘Natives’ immidately picks up the tempo and illustrates the chirpy Blink-182 vibe that is yearned after by so many and found in back catalogue tracks such as ‘Everytime I Look For You’ (Take Off Your Pants And Jacket, 2001). It is obvious that the band and their producers have worked very hard to extract the best components of Blink-182 to create a mature yet loveable record suitable for their wide range of fans and live shows, ‘...maybe I’m better off dead.’ Third track ‘Up All Night’ was released as a single from 14^th July 2011 and it was a perfect choice for single sales because of how commercial and infectious it is ‘...and all these demons they keep me up all night’. The various tempo changes and epic Angels & Airwaves infected vocals merge very well, proving that the band’s hiatus actually improved their musical skill somewhat.

     The cleverly light drumming and punchy guitaring that open ‘After Midnight’, if nothing depict that Blink-182 have aimed to compose a record made up of explorative songwriting, and ‘Snake Charmer’ proves what unusual sound effects can be added to rock songs without tarnishing them. ‘Heart’s All Gone’, which flows the ‘Heart’s All Gone Interlude’ illustrates the incredible skill that lies with Travis Barker and his swift drumming speeds. It can often be difficult to write a captivating chorus at speed, but it is something that Blink-182 have always done well. Each track from ‘Neighborhoods’ has the potential to be played live and receive a rapturous reaction from the crowd. ‘Wishing Well’ and ‘Kaleidoscope’ reflect the fact that all three band members worked on producing ‘Neighborhoods’ because of how varied they are, having said that ‘Wishing Well’ has a rather similar sound to Angels & Airwaves and the latter to +44.


     Musically speaking, this is Blink-182’s peak which must be why release was delayed so much. Tenth track ‘This Is Home’ is the conventional ‘welcome back’ to older fans and is very sentimental lyrically, ‘Do you wanna let go, ‘cause this is home...’. But the song is far from mind-blowing, although that has never been what Blink-182 are about. Interestingly named ‘MH 14.18.2011’ is noted as the date when the band cancelled their main reunion tour, and expresses what has come from that cancellation, ‘...the worst is yet to come.’ It could have easily been featured on an older album due to its innocent sound and optimistic essence. The chorus is catchier than the common cold but cannot account for the loss that fans experienced with the postponed gigs, which gives the band no right to preach, ‘Stop living in the shadow of a helicopter!’.

Blink-182 reunited (2011)

     ‘Love Is Dangerous’ portrays once again how heavily influenced the record is by Angels & Airwaves but the shared vocals prove that Blink-182 intended to remain just that. It has a very progressive rock tone to it and the wonderfully instrumental ending contradicts the somewhat immature theme. Penultimate track ‘Fighting The Gravity’ has an ominous introduction due to the input of the bass and builds into light speed drumming unique to Travis Barker. It is quite a dark track for the band and conveys their various capabilities with regards to songwriting to create certain emotions through themes. ‘Even If She Falls’ is the perfect rock song to conclude ‘Neighborhoods’ as it reverts back to Blink-182’s young boys’ perceptions of life and love, through magical melodies and simplistic lyrics, ‘there she was like a starry night...’

     

     Blink-182 have been battle-scarred and resurrected into more mature and frankly better musicians, but their undercurrents remain to be relationships, hardships in life and occasional light humour. Despite personal challenges and commitments, all three members have come together to create a very good, classic pop punk record.

4/5

Engraved Disillusion- Embers Of Existence (07/06/2011)

     Engraved Disillusion were formed in early 2008 in Taunton, Somerset from a mutual love and ‘understanding of the cornerstones of extreme metal.’ They claim to be inspired by the likes of At The Gates, Black Sabbath, Dream Theatre and Candlemass. They aimed to cement themselves into the local scene by releasing their debut EP Desolate in late 2009 for free. The band have played all over the UK with bands such as The Eyes Of A Traitor, Cinders Fall, Enemy Reign and Tessaract and Embers Of Existence was produced and mixed by Stu McKay who has previously worked with the likes of Bring Me The Horizon.

     The ten track album commences with ‘Wither Away’ which suggests the scale to which Engraved Disillusion want the record to sound. The echoes and exaggerated noises give the track an epic feel although nothing musically occurs until thirty seconds into the forty five second long track. With a dynamic riff slowly emerging from the seemingly random placement of noises, the track blends into As Life Fades perfectly, reflecting how well produced the record is. Light speed drumming and a continuous riff build tension into unmistakably metal vocals which unify seamlessly with the harsh instrumentation. The poignant solo and powerful vocals within this track mark the large and demanding sound Engraved Disillusion dream of.

     ‘The Forgotten’ opens with another quick riff and hits you like a speeding train. Dynamic and powerful, it is uncompromising and commanding. It is obvious the band are mature enough to have worked hard on concluding precisely what type of music they intend to release and their fast progression has allowed them to savour their pallet for further achievement. Although it may not be to everyone’s taste, Engraved Disillusion are very good at what they do and have arena filling potential due to their ambitious sound quality. But, most of The Forgotten is made of up one guitar solo, and however spectacular it may or may not be, it is incredibly tedious and repetitive.

     The band is clearly passionate about what they do, reflected by how intense the record is and the fact that structural twists do not falter them musically. Brimming with yet more devastating drum beats and riffs, ‘Fragments Of A Memory’ conveys the record’s central themes of solitude, loss and inevitably some sort of salvation.  Engraved Disillusion have stated that they aimed for a more ‘organic sound’ with ‘Embers Of Existence’ compared to their EP, which is interesting because of how overpowering each track is. Moreover, the quintet have produced some spine-tingling elements which are unfortunately tarnished by repetitive riffs that go on for so long that they make you roll your eyes in frustration and fail to be close to as good as metal melodic metal heavyweights Bullet For My Valentine and Avenged Sevenfold. The fading quality at the end of ‘Fragments Of A Memory’ is an aspect only effective at the very end of a record and therefore appears completely irrelevant for this particular track.

Engraved Disillusion: 'Embers Of Existence' (Artwork)

     ‘Disengage’ commences with an unusual drumming sensation which showcases the band’s ability to be different and the gritty vocals of Chris Pugsley are punchy and poignant. ‘Epitaph’ is by far the best track on the album as it highlights the muscians’ talents and capabilities to hold a listener without vocal or lyrical input. Title track ‘Embers Of Existence’ is purely a letdown after the intensity of the previous instrumental track and the fact that the title track should arguably be the best makes it even weaker.

     ‘Embers Of Existence’s’ artwork was created by Colin Marks who has also worked with Scar Symmetry and Aborted, and the key element of fire implies what an uproar, in the best possible way, the record should be if the band truly aim to ‘enter the hearts and minds of metal fans worldwide.’ ‘Under Bloodred Skies’ start out with a start stop formation to build adrenaline within the listener, which it and the tempo differentiation fail to do. Penultimate track ‘Unhallowed Eyes’ depicts is a yawn from start to finish as everything included has been heard previously on the album, but ‘Solitude’ perfectly illustrates the various layers of musical input that the band are capable of, yet fail to portray through each song.

Engraved Disillusion

     With fresh and modern production and artwork, Engraved Disillusion are armed with all the ammunition they need to release a successful record. Yet the repetitive riffs and groove metal elements fail to excite.

2/5