The Blackout @ Camden Roundhouse, London (06/11/2011)

     The Blackout, from Merthyr, Tydfill in South Wales played their largest London show to date last night to a crowd of over two thousand fanatics at Camden’s Roundhouse in London. With support from Page 44, Canterbury and We Are The Ocean, the stage was set for a night of earth-shattering sound.

The Blackout at Camden Roundhouse last night

   

     Although I am sure Page 44 played a great show, I did not arrive to the venue until after their setlist was complete, and am therefore unable to comment on their performance. However, the Roundhouse was packed with people, suggesting that they had enjoyed the band enough to stay, which can only be a positive thing. In fact, three bands is usually sufficient enough to please audiences and bands alike, as artists are able to play more material in a longer period of time, giving the audience more of a taster of what they can do.

 

     Canterbury are a phenomenally good looking foursome from Hampshire who were formed in 2005. They released their debut album ‘Thank You’ in November 2009 as a free download, allowing them to spread their music to as many people as possible. Canterbury brought the venue alive with a sound as chirpy and bouncy as ‘Jimmy Eat World’. With brilliant harmonies, crowd pleasing choruses and musical variety, they played an excellent set. They were also very humble towards the crowd who seemed to adore their rhythmic sound a great deal.

Canterbury

      The people and lights, the dingy decor of the Roundhouse sparkled and its acoustics are so pristine, they would be certain to make the likes of Bring Me The Horizon sound half decent. Final support from We Are The Ocean was welcomed to a rapturous response from the crowd, particularly for a support band. Their two strong singers illustrating their flawless call and response style blend of screamo and conventional vocals, they proved they are very well rehearsed in polished live performances. After being formed in 2007, We Are The Ocean have come along leaps and bounds with regards to their musical style and sound. Their second studio album was released in April this year to a great response from fans, foreshadowing their flawless performances to come, including this year’s Reading Festival on the Main Stage. Roaring out hits including ‘Nothing Good Has Happened Yet’, ‘The Waiting Room’, ‘What It Feels Like’ and ‘Confessions’, they also proved their awesome abilities as variety ridden songwriters.

We Are The Ocean

 

     When The Blackout finally begun, they took to the stage with all the confidence of an arena-filling rock band. As soon as they started, sound and crowd alike were bouncing off the walls, warmly welcoming a loud, sweaty and electrifying set. With an unusual mixture of fans from about the ages of twelve to one hundred and twelve (this may or may not be a slight exaggeration), The Blackout depict how appealing their music can be to many different types of people. Commencing with ‘This Is Our Time’ from their new album ‘Hope’ which was released on the 4^th April, the band rapidly prove the worth of their new record and slight sound variation. This was followed up by a single from ‘Hope’, ‘Ambition Is Critical’ which had the audience screaming lyrics at the top of their lungs.

 

    Of course, the apparently timeless issue of illegal downloading was brought up by the band several times during the show, as they jokingly accused those who did not pay for their album as the reason they are poor! Classic crowd pleaser ‘Save Our Selves (The Warning)’, which is usually played last, brought a wonderfully new dose of surprise to The Blackout’s set arrangement. After releasing a second album, let alone a third, it can be tremendously difficult for band’s to construct a setlist illustrating all that they have to offer. But The Blackout manage to complete the task admirably and convey a wonderful mixture of old and new material. Followed by tearjerker ‘It’s High Tide Baby!’ and new single ‘Never By Your Side’, their chosen setlist proves their worthiness of tonight’s venue, and that they are certainly heading in the right direction with regards to progression.

 

     ‘The Devil Inside’ portrays The Blackout’s retention of their darker side, as well classics such as ‘This Is Why We Can’t Have Nice Things’, ‘Children of The Night’, ‘Said & Done’, ‘Spread Legs Not Lies’, ‘I’m A Riot? You’re A Fucking Riot!’ and ‘ShutTheFuckUppercut’. New tracks ‘Not Alone’ and ‘The Storm’ conveyed the success of the band’s latest release and their thumping abilities blew the audience away. Their senselessly passionate fans were given the gift of a stunning rendition of ‘The Last Goodbye’ and a beautiful opening to ‘Hope’. But this was not before frontman Sean Smith preached his traditional ‘anyone can do anything’ speech, which is of course not true, but it is a sentimental start to the song. ‘Hope’ broke out into The Blackout’s ear ringing sound and perhaps it was just because the band were having the show filmed for a DVD released in the near future, but the audience were incredibly energetic throughout. This was despite the fact that they did not require much encouragement or crowd interaction techniques to entice them, reflecting that moshing and general movement is almost a natural reflex to The Blackout’s music.

The Blackout's Latest Album 'Hope'

 

     After spontaneously performing ‘Higher & Higher’ twice, the band exhibited their talent flawlessly, aside from one drumming mishap for a bar or two from drummer Gareth ‘Snoz’ Lawrence. But it was recovered from so rapidly that it almost went unnoticed. The show’s overall success has been followed up by many any appreciative tweet from members of all the bands involved, and with regards to the headliners, it conveys that they still have their feet firmly on the ground and their future aspirations in the clouds. They were wonderfully humble throughout the show, with The Blackout’s vocalist Gavin Butler stating that it was ‘the highlight of (their) career so far’.

 

     The Roundhouse brought The Blackout their most epic, humble, expensive and energetic show to date. With the band’s uncommon characteristics and remarkable flair, it was also their best performance to date, proving that a little hard work (and fantastic musical talent), can go a very long way.

 

5/5

Years- All We Have Is Now (July 2011)

    Years, formed in Manchester boast influences from Rock and Pop Punk heavyweights such as Jimmy Eat World, You Me At Six and Paramore, and have played shows with the likes of Save Your Breath and Man Overboard. The EP, ‘All We Have Is Now’ was recorded in July this year in Stockport and the band claim they are all ‘very proud’ of the final outcome.

           Their influences are more than clear from the get go with first track ‘Here’s To You’. Although they are musically capable they fail to stand out from other emerging pop punk bands. Although vocals are strong they have yet to define themselves as a band collectively, and overall, their sound is very similar to We Are The Ocean. It also appears that the band are used to playing live shows and their songwriting is formed around crowd pleasing aspects for future performances but are currently characterless as a band.

     The introductory melodic elements of title track ‘All We Have Is Now’ are beautiful if a little repetitive, particularly because vocals do not kick in until almost a minute into the track. Again, influences are incredibly clear once again, specifically in relation to the Paramore track ‘When It Rains’(Riot, 2007). Additionally such a gentle backbone of melodic work does not bode well with such a deep, and frankly hit and miss and emotionless vocal. Yet it is clear that the band have put a great deal of time and effort into this track in particular as it is the best produced. It also depicts the vocalist’s skill better than the remainder of the EP put together.

Years' artwork: 'All We Have Is Now'

     ‘Runaway’ begins with heavy inspirations from You Me At Six, and their track ‘Stay With Me’(Hold Me Down, 2010) in particular. Although Years’ vocalist is alike to We Are The Ocean’s, Years’ sound fails to be as epic or interesting. The vocalist may also have a groundbreaking vocal range, but it is never utilised, which makes each track appear very monotone and rather generic.

      Years have done well with regards to track positions, with a good mixture of ballad based songs and their more upbeat work. However, ‘Hide And Seek’ is limp and may not highlight the band’s abilities or potential. ‘Waiting’ is a nice attempt at a big ballad finale but even with gang vocals, it fails to excite and is, in fact, monotonous.

      Overall, Years are in desperate need of discovering their identity and not relaying on their influences from such world renowned bands. Also, being more specific and personal when it comes to songwriting may help spark emotion for the listener because, ‘Call me whenever you need me...’ are dry and dreary and very conventional, but for all the wrong reasons.


2/5

We Are The Ocean – Go Now And Live (25/04/2011 – Hassle Records)

     ‘Go Now And Live’ is the second studio album for post-hardcore/pop punk band from Essex, We Are The Ocean. After forming in 2008 and supporting bands such as The Blackout, You Me At Six and Funeral For A Friend on tour, they have brought together a strong set of fans anticipating the release of this album. After managing to sell out most venues on their very first UK headline tour, two EPs and a debut album, their fan base has expanded ever since. Produced by Pete Miles, who has also worked with The King Blues and Canterbury, ‘Go Now And Live’ sets We Are The Ocean on the road to success, despite many detractors.

     Commencing with a false start effect, ‘Trouble Is Temporary, Time Is Tonic’ is a tongue twister of a track, that plunges the listener straight into the albums’ depths. With We Are The Ocean’s signature blend of scream and melodic vocals, topped only by the likes of A Day To Remember, as well as blaring riffs topping off the blend of sounds. However, as the track progresses, it appears that lead vocals from Dan Brown have been tampered with in the studio somewhat, as well as the rest of the band, subsequently tarnishing the band’s organic sound found within previous work, specifically ‘Nothing Good Has Happened Yet’ from their self-titled EP, which remains untouchable. With pseudo gang vocals found in this chorus, ‘I’ve been told just to give it up, give it up...’, and the regular call and response format employed by the two vocalists. Overall, this first track provides a taste of what is yet to come from the remainder of the album, and thus far, it is worth continuing.

'Go Now And Live' Artwork

      Second track, ‘What It Feels Like’ was released as a single on 4^th January 2010. With its gritty yet gentle arrangement, entwined with priceless evocative lyrics, ‘You’ve forgotten what it feels like to be loved...’ , it’s a killer. This is one of those tracks written for crowd control at gigs, despite a steady tempo. Yet two minutes into the song would be a flawless ending for it, with Dan Brown almost singing acapella and seemingly drifting into the following song. But when ‘What It Feels Like’ set off again, the element repetition becomes slightly tedious.

     Unusually, the following track ‘The Waiting Room’ was also released as a single on 21^st March 2011 in anticipation of ‘Go Now And Live’. This is because singles are typically the tracks that are best produced on the album, with most attention to detail provided, and this is not untrue of these two tracks. ‘The Waiting Room’ perfectly utilises the band’s call and response method, simulating a discussion of an overflow of emotions between the two band members, along with the fantastic blending of vocals. The breakdown before the final chorus depicts the band’s creative instrumentality and the tender vocals conveys a versatile vocalist in Brown, although the coarse form of this voice is outstanding. Additionally, We Are The Ocean’s lyrical skill is well portrayed throughout this track,’ and I’m falling faster than I’d really like...’, proving that mood-driven songs can be heated and intense. The track is so energetic that it demands your full attention.

     ‘Runaway’ begins as an apparent ballad, notably slotted onto every rock band’s album for a bit of variety, but twenty seconds in, the band’s various musical methods are thrown into view once more. Their use of steady guitar and drumming is reminiscent of the likes of Snow Patrol, ‘I said some things just to comfort your heart’ yet they manage to retain their own influences with the straightforward rock melody. ‘Trials And Tribulations’ showcases Liam Cromby’s salient stamp on the We Are The Ocean’s music as well as their variety in terms of song writing.     

     Sixth song ‘Overtime Is A Crime’ is punchy and gig-perfect, and is yet another track that does not revert back to dull pop-ridden rhythms used by more and more ‘rock’ bands of late. ‘Godspeed’ exercises one of the oldest tricks in the rock band book; beginning a track with a steady, singular drum beat and building up the rest of the elements around it. But what is interesting about We Are The Ocean’s take on the technique, is that there are so many fused layers and components to each of their tracks that the listener is more inclined to focus on the music itself rather than its construction. Making use of heavy harmonies and instruments for dramatic build up or effect is something the band does very well. It is more difficult than you may think to throw a softer guitar solo into the spotlight in the middle of a track after a vocal fronted piece.

     ‘Now And Then’ is comparable to poppier bands such as Scouting For Girls , but with vigorous vocals and emotional overtones, ‘I won’t cover it up, just give me time...’it is an enlightening take on the rock ballad. ‘Follow What You Need’ is peppered with the best We Are The Ocean elements, but unfortunately, they all appear in an odd order, making this the weakest track from ‘Go Now And Live’. The repetition of ‘follow, follow what you need’ throughout most of the chorus is nothing but dreary, and with lyrics such as ‘Just be yourself...’ are far too cliché! Understandably, bands often write songs based on something specific, but very personal, and therefore never concretely referenced, but a notable anecdote may have saved this tiresome track.

We Are The Ocean

     The mixture of macho retort and positive energy from ‘Before I Die’ is a great send off for the compilation, illustrating that they can order songs effectively, which makes me question why the two singles were placed together. Pieced together with all the extra dimensions thrown into the rest of the album, ‘Before I Die’ documents that post-hardcore bands can provide hope through their music, ‘Before I die, I’ll make sure I’m alive...’, expressing how well rounded and developed the band have become, especially by keeping their musical influences at arms’ length and pin-pointing their collective personality and soul.  

     We Are The Ocean have released a depiction of a decade’s worth of musical development in just twelve short months and despite the associational vocal edit, lusture-lacking track and generic instrumental elements, ‘Go Now And Live’ is confident, emotional and full of hope.

   

4/5