Rosella- Self-Titled EP (11/11/2011- Independently Produced)

     Hardcore band Rosella, from Weston-Super-Mare, England have been linked to Bring Me The Horizon in style, but also claim to utilise their own unique sound and vocal techniques. This, their very first professional release was recorded at Anemic Studios, Bristol and is thought to be officially released by the end of the year. Rosella hope to tour the UK and Europe as much as possible after positive reactions from fans on Facebook.

     The band have spent the last few months tweaking their debut single ‘Circles (Like Chains)’ has had an overwhelming response for a band with just over a thousand Facebook fans. It even earnt a slot in next month’s issue of FRONT magazine. ‘Circles (Like Chains)’ propels the listener into a world of light speed drumming and unhearable lyrics, immediately eradicating any hope of emotion through Rosella’s music. The fury and tempestuous noise illustrates the band’s influences from the likes of Architects, While She Sleeps, and especially Bring Me The Horizon. Love them or hate them, Bring Me The Horizon are one of the most successful metalcore bands on the planet, and Rosella clearly want to taste the same victory. However, a little individuality never went a miss.

     ‘Circles (Like Chains)’ is made up of vocals and instrumentalities that manage to be somewhat rhythmic, but don’t quite merge together. After two minutes of a track that sounds mind-numbingly similar throughout, a cooling comedown and gentle female vocal is a wonderful addition, ‘wrapped around my arms like chains...’. Yet when scream vocals are thrown in once again, the two do not fuse well. 

Rosella Me The Horizon

   
  ‘Wastelands’ is very well produced, with crackling sound effects and eerie piano riffs, but this is soon interrupted by the brutal bite of monotonous screaming, in a limp call and response format. Rosella have definitely gone overboard with repetition but for attempts to break up the track with sound effects and thrashing breakdowns, the band should be applauded.


     Many bands struggle to draw the line between having their own individual sound, overusing that sound, or simply using the sound of another successful band. Rosella manage to blend the format of Bring Me The Horizon with their own tediously cyclic manner; not even eerie sound effects and gang vocals can provide much improvement for ‘For Better Or Worse’ specifically; particularly when the effects appear to have been taken from a Yamaha.


     Despite a riff ridden, somewhat rhythmic end, Rosella’s debut release will be unappealing to many listeners, mainly those with the capacity to comprehend a beat. With no clean or powerful breakdowns or progressive elements, this EP has very little to boast.

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

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