Nicole Dollenganger - Natural Born Losers

I'm not sure if "angelic" is the correct word to use in regards to Nicole Dollenganger, but it is indeed the first thing that comes to mind whilst listening to this possibly troubled teen. I say that because there is something a lot more than just the voice of an angel here; there are many other faces, perhaps those of demons, bubbling beneath the surface. Her voice is fragile and delicate, yet powerful and mesmerising. 

On Natural Born Losers, Nicole combines ethereal, dreamy, almost non-structured synth work with an alternative pop vibe that for me evokes the work of Daisy Chainsaw / Queenadreena's KatieJane Garside, Grimes, to an extent Lana Del Rey, or even Kate Bush. The music that accompanies her voice is akin to various shades of post rock, the experimental side of indie or even shoegaze. 

Favourite track: "Angels of Porn II"

Paramore - After Laughter

(words by Bizrae Isnae Disnae)

Okay so, this sounds nothing at all like the Paramore records you may have come to know and love; this is worlds apart from their more pop punk and power pop tendencies, but what with times changing, and a series of line up changes within the group, that time has kind of passed anyway, I guess, and the band had been slowly morphing for quite some time, lets be honest. Of course, it is the voice of Hayley Williams that really lets you know it is a Paramore record, of which there's no denying its anyone but her upon listening.

Aside from the breezy catchy little 80s inspired tracks that shine through here like "Hard Times", "Pool" and "Told You So", there are some slower numbers scattered throughout such as "Fake Happy", and "26", but if I'm honest prefer the straight up catchy 80's poppy moments on this; they are the record's finest moments, and where the album kind of shines through.

Overall, it's a bit hit and miss for me, but it does have it's moments, and again if we are going back to previous albums by the group where every track is an absolute belter, start to finish job, then this does unfortunately lack that level of enjoyment - not that I'm calling this a bad record as such; I will let you decide for yourselves, however.

Highlights include "Hard Times", "Told You So". 

Dreamcar - Dreamcar

(Words by Gareffff Burra)

Dreamcar is a new project made up of Tom Dumont, Adrian Young and Tony Kanal of No Doubt, and AFI's Davey Havok.

Since hearing of this unique and perhaps mix-matched collaboration, I have been very keen to hear how this album would sound, having the majority of the members (i.e the band itself) coming from a very ska and pop-based background, and the vocalist coming from more of a punk and alternative rock style of music. This was definitely something I was curious about hearing; excited about how it'd sound, especially as I'm quite partial to both acts, especially AFI.

Upon first listen I am immediately drawn in by - and familiar with - Davey's vocals, and pleasantly surprised as the album kicks off with opener "If I confessed", which sets the tone and sound for the project nicely to anyone else curious. I'd say there is a strong 80's vibe shining through on this release with the guitar sound particularly, which is very A Flock of Seagulls-esque at times. Overall, we're talking a more moody and darker 80's sound here, rather than a straight up pop record. Although, I can't help but get an ever so slight Duran Duran vibe from "On the Charts", especially from that vocal hook, so there are elements of both.

Overall though, a cool and very refreshing sounding side project here, and a great album. Personal highlights for me include "All The Dead Girls Love Me", and the album's single "Kill For Candy".

Altered Sky - Without Wonderland

(words by Gareth Burra)

Here we have Without Wonderland from Scottish pop rockers Altered Sky. I have seen this band play a good number of times (and in most instances, I shared the stage with them, in my Led by Lions days). I can say that every single time, there was always a very good live show with a fantastic stage presence, and I have always been impressed with how well front-woman Anna performs vocally. They were a band that I'd actually heard live first before hearing a record, so when it came to checking out their stuff I had a very good idea of what to expect and was looking forward to hearing it.

The production on this album is spot on for this type of music; it is on point for all instruments as well as the powerful vocals - there's a perfect, big, dramatic pop rock sound here (just like their live show). Something for everyone here really too, a nice mixture of pop rock anthems (i.e "Bury It All", "Waves") as well as some piano ballads ("Imagine Adventure"); some really high quality sounding material throughout.

Highlights include the massive sounding "Waves", and the slightly heavier toned "White Witch". Overall, a great sounding album, from a very hard working band.

For fans of: 

Avril Lavigne, Paramore, Tonight Alive

Kong Lives - Kong Saves

Kong Saves is the debut EP from new South Wales based doom metal / stoner outfit Kong Lives, featuring members of Tradish and the recently (sadly) defunct Desalvo. Kong Saves treads firmly on the ethereal yet groove-laden side of doom, rarely falling full force into the pits of sludgy despair. The trippier, more laid back parts remind me of Germany's Samsara Blues Experiment, whilst the more full-on, distorted passages are akin to The Inside Room-era 40 Watt Sun mixed with something altogether more Slabdragger (yeah fuck it I'm going with that statement haha).

Track 4 features backing vocals from Judas Cradle's very own Sam Wall, which is a nice addition to the nihilistic blast of doom. The fitting artwork was pen(cilled?) by long-time illustrator and once PUS vocalist Bvrzerk, and the amazing studio production was carried out by Newport's Rhys Bryant (who has recorded the likes of Grand Collapse and Pizza Tramp, among others). 

You can stream the whole thing at the group's Bandcamp page, so check it out below.

Christine And The Queens - Chaleur Humaine

Excellent, if not a bit too polished pop from France. Initially I suspected that this record suffered from "lead single syndrome", and whilst to some degree that statement still stands, this is a subtly clever album that will grow on you over time. Well, unless you exclusively listen to shit like Hatebreed, then you'll probably despise this, obviously.

This was subject to one of those weird comeback-outta-nowhere scenarios; having originally being released in France back in 2014, yet marketed as an entirely new release here in the UK in 2016. In 2017, most idiots have forgotten about it already, which isn't surprising really; some of the songs drag, I'll have to be honest, but it is clinically executed, and Christine's (real name Héloïse Letissier) delivery is a an astute homage to figureheads of pop both past and present. 

If you've got nothing else to do, click play. If you come here for the grindcore posts, I probably wouldn't bother, though. 

Necro Deathmort - Martian Cartography

Martian Cartography is an excellent album release by the criminally under-rated experimental duo Necro Deathmort. Mixing catastrophically heavy atmosphere with intelligent, progressive electronic work has always been ND's forte, but on Martian Cartography, I find that this approach to sound design has finally had chance to spread its wings and fly. In some respects that means that this record isn't as hard-hitting or droning as something off Music Of Bleak Origin or earlier, but the duo more than make up for it on the journey that they help take us on.

The opening track "Repeat-O" - and also, I'm sure not coincidentally, my favourite track, "The Ultimate Testament (Remix)" - both have pulsating beats carrying them; a clinical industrial backbone to a sparse electronic worldview. Other stand outs for me include "Cold Sleeps" and the muted closer, "Terra Cimmeria", which has a relaxed, almost deep house feel. 

Originally released as a download by the band themselves, this was eventually pressed onto CD by Extreme Ultimate.

Nothing Clean / Higgs Boson - Split 7"

10/10 split 7" from Olso fastcore/PV maniacs Higgs Boson (who perhaps have one of the sickest bass tones ever), going head to head with British kings of start/stop savagery, Nothing Clean. Both bands churn out rapid-fire bursts of aggression, as, of course, you would expect, but with Higgs Boson not being afraid to slow things to a crawl pace for a few seconds to highlight the speed of the quick bits even more, or to add little - dare I say it - melodic passages to proceedings. Also, is it a coincidence that HB's side of the split is 4:20 in duration?

Nothing Clean are a little more direct with their approach; there is a hardcore punk edge to their powerviolence mentality. The way the chaos just fucking cuts with the dead stops literally drives me mad in the best possible way (I've seen 'em live too, and that shit is fucking mint).

Released as a collaboration between SuperFi Records, Samizdat Records, Glass To The Face Records and Cardiff's own F.H.E.D.

King Midas Sound - Waiting For You

King Midas Sound is a beautiful collaboration between Roger Robinson, Kiki Hitomi and Kevin Martin, which (I think, correct me if I'm wrong) began life as a track for Kevin's much more wider known project, The Bug. I find it hard to describe and categorize KMS simply because my exploration into this kind of music is incredibly limited (I got here through Godflesh, Techno Animal, etc.), although I can say that this is a incredibly strong and moving record. Revisiting it years later for the purpose of this post has acted as a written reminder to myself to explore these kinds of things more often.

Robinson's soft, bizarrely ethereal vocals are the perfect human accompaniment to Kevin Martin's spaced out dubs, shuffling beats and sparse yet hard-hitting arrangements. Waiting For You walks that perilous tightrope between being chilled out and having a profound message; equal parts dark and light, with finishing flourishes from Hitomi, who would take more of a central vocal role as the project progressed in later years. Waiting For You was released by the excellent Hyperdub.

AUN - Black Pyramid

AUN are one of those bands that I constantly end up back at. For what is essentially noisy ambiance with synths and the odd guitar, this is quite impressive. Fantastic, shoe-gazy drones meet unfurling electronics in transcendent "songs" that average around the 7 minute mark; deep, involving worlds swirl into life, conjured from the chasms of nothingness by this bleak yet somewhat inspiring show of digital noise. Enter the Black Pyramid!

Agoraphobic Nosebleed - Honky Reduction

This has to be the benchmark to which all drum machine grindcore is judged. ANb's first full length record is far cry from anything that has followed it (even the lightening fast pharmaceutical headfuck of Frozen Corpse... is a million miles away from this); the production is bassy, fat and bludgeoning, the guitars almost sludgy, and the shrieked, yelped vocals are almost drowned out by the cacophony of the strings and machine. And that harsh noise at the end... Jesus fuck, that's some moody shit which truly encompasses the meaning of the words "power electronics".

Can't really say much more other than just point out a few of my favourite tracks, "Die And Get The Fuck Out Of The Way", "Vexed", "Hat Full Of Shit".... the list, she goes on! Essential! 

Deafheaven - New Bermuda

Ah man, this is just, like, so lush. That was probably the Welshest sentence I've ever written to describe music, but I feel like it is somewhat entirely justified in this instance; you tend to hear the term "nice" black metal bandied about to describe acts such as Alcest, but I don't usually rate those types of acts. However, Deafheaven for some reason seem to be an exception for me. This band have managed to follow up the ethereal Sunbather with something even more profound, expansive and all-encompassing than before; heaps of washing atmospheres and glittering passages of light mash head on with elements of blasting brutality, throat shredding vocals and soaring leads. Or, you could just write it off as hipster black metal, if you like.

Can't wait to catch these guys live in a few weeks; if this material is anything to go by then the live show is bound to be intense as fuck. Favourite track: "Baby Blue".

Portal - Seepia

Jesus, what a glorious fucking mess. I am instantly reminded of the Pissgrave review I did recently; these guys are really, really similar, only Portal has a more dark and eery vibe, rather than the terrifyingly vivid, gory splurge of Pissgrave. It would not surprise me if the bands shared members or something (edit: I just found out how old this album is, guess that Pissgrave relation was wishful thinking).

Anyway, this is some spooky shit. It can be difficult to successfully blend a theatrical element into death metal, especially without it seeming hammy or corny as fuck, but Portal's racket (and image) is genuinely sinister and terrifying. It is almost as if the essence of death metal itself is being sucked through some other-worldly tear in the fabric of time and space; siphoned off to some unknown existence beyond the material plane, where it is subjected to inhuman and incomprehensible levels of horror, before being spewed back to us for our listening pleasure. Yeah.

Agathocles / Generation Spasfon - Split CD

I've had this for so long but the sodding thing is so small I keep losing it amongst my CDs! The Agathocles stuff here seems to be original tracks, which is refreshing in itself, but the greatest surprise is that they are also somewhat strangely melodic; it is the same lo-fi high quantity of shredding mincecore, but with strange, almost ethereal guitar leads over a few of the tracks. Just when I'd thought I'd heard it all with Agathocles, they really took me by surprise. Excellent stuff!

Generation Spasfon are hardcore punk through and through. Rebellion runs through the blood of this energetic, if not slightly typical, hardcore assault. This, unfortunately, appears to be the only thing that this band has released (correct me if I'm wrong!) The band provide reams of information on vegetarianism and veganism on the CD itself, and also run a website which is still going today, which you can visit here.

Repulsive Vision - Look Past The Gore And See The Art

Look Past The Gore... is the long awaiting debut album from Barrow-based death metallers Repulsive Vision. It is to my knowledge that RV have been around for quite some time in various different line ups, with the most recent incarnation of the band solidifying suitably enough for a much-overdue full length to finally gestate. I am pleased to say that it has been well worth the wait, as this is a serious slab of death metal we are dealing with here.

Man, this is fucking good (once you look past (see what I did there?) the cringey rock 'n' roll intro to track 2); the drumming is tight as fuck and the guitars are literally weeping Carcass blood. To say Repulsive Vision is melodic would be a lie, but there is definitely a progressive edge to this record; the band are not afraid to stray from the gurgle'n'blast death metal template, there is definitely a heavy punk and thrash influence here, and this only adds to the overall nuance and dexterity of the album (the production too, helps immensely with making this stand out from the bogs of typical death metal).

My favourite track has to be the closer, "Credophilic", although through the rasp of the vocals it kinda sounds like something far less savoury is being shouted about...

Hallucinocide - The Peel Session

Hallucinocide is one of the noise identities of Chilean artist Vicente Perez, perhaps most well known for his other project, Bucket Of Piss. The Peel Session isn't quite so drumstick-meets-saucepan-core as his more "meme'd" project, but it definitely offers up a much more violent and vital exercise in proper harsh noise.

Comprised of two tracks, each clocking in at over 20 minutes, The Peel Session is a meandering listen covering a broad spectrum of the patterns, frequencies and expressions one would expect to find in such a performance: "Espresso With A Twist Of Lemon" is almost primal in nature, sounding in parts like some sort of digitized wounded animal. "Get The Fuck Out Of Here? (No, I Cannot)" offers a more traditional exploration through the static; feedback loops, bleeps, rumbles and some nice'n'spicy crackling. 

Currently streaming on the Dismissive Records site but also coming soon on a physical tape release under Trashfuck. 

Nine Inch Nails - Not The Actual Events

I find that Nine Inch Nails' release history is constantly hit-and-miss. This latest EP is absolutely no exception to that rule. How can something that is only 5 tracks long be so "meh"? I mean, surely it is either going to be shit or it is going to be great? No. Not Nine Inch Nails. Not Not The Actual Events (see what I did there?).

Below is easily the best track on the whole release. When it's good, it's amazing, but for at least half of the time, this EP is neither of those things, so I'll just take my elitist ass back to listening to barely audible black metal cassette demos for now.

Craigs Watkins - Earth

(Words by Burra)

Here we have the Earth EP by South Wales based acoustic singer/song writer Craig Watkins; a well put together collection of soulful acoustic material, with lots of raw energy and passion coming through, with a very real sense coming off of it all as an artist (real in the sense of you can tell he's passionate about what he's playing and what he's singing about, which is always great to hear). 

Production wise the EP also has a very DIY, rough and ready, what-you-see-is-what-you-get type of sound, and that's not me criticising; it's again more a sense of "very real", with no fancy or shiny production values or effects taking that edge away. My favourite track off the EP is probably the song "Brother", which Craig has also used as the lead track and single to promote the record. It is a song that starts off slow and gradually climbs into a big, powerful, heartfelt chorus. Another highlight is the EP opener "Corporate Love", again with a nice big chorus. Also there's "Missing Piece", for that lovely acoustic sound with some nice vocal harmonies thrown in the mix.

The EP as a whole has a very acoustic/alternative rock sound to it, with easily accessible little ballads that wouldn't be out of place on the radio next to similar type acts. For fans of: Goo Goo Dolls, Third Eye Blind.

Kendrick Lamar - untitled unmastered.

This latest Kendrick Lamar record is a strange collection of what is supposed to be left over tracks and ideas related to the rapper's previous record, To Pimp A Butterfly. Musically, it has a lot in common with the beats and instrumentation of that album, but as these songs are demos, there is a welcome rougher feel to things. At first the vocals seem a little lo-fi, but every falls into place quickly and the slight drop in quality feels like a welcome addition rather than a curse.

Personally, I prefer this to the album itself. I mean, for a "collection of tracks" in such a way that is usually a proper good ol' barrel scrape for most artists, these are pretty fucking decent. I've never really been that much into Kendrick Lamar, but hopefully this release will help change all that. 

Abigail Williams - In The Shadow Of A Thousand Suns

This is one of those albums that I ended up checking out purely because of the cover art. I've been avoiding Abigail Williams for the best part of a decade, purely because I thought they were some sort of shitty scene metalcore band or something, and whilst they do bring that kinda "edge" to the table, In The Shadow Of A Thousand Suns is a complex piece of a work and a decent contribution to modern black metal. Imagine Dimmu Borgir meets Suicide Silence, or something along those lines.

Speaking of Dimmu, I could swear this band picked up Mustis after the Norwegian titans shuffled their staff; the keyboard playing is fucking on point. The metal is solid, especially the guitar work, but I keep waiting for the onslaught to end so I can get a earful of that sweet, sweet piano. Anyway, an incredibly solid record, although not something that I would usually pick.