Band:

Score: 6,5/10
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After previously releasing two EP’s, ‘The Word Alive’ have finally gotten a full-length together.
Like ‘Miss May I’ and ‘Woe, Is Me’, ‘The Word Alive’ have been very hyped recently – probably because ‘Deceiver’ has been under production for over two years and it’s their first full-length to date. The big question is if the hype do them justice. Let’s dive deeper into the subject.
Like ‘Miss May I’’s new release ‘Monument’, ‘Deceiver’ starts off heavy, with ‘The Hounds Of Anubis’. Honestly, the first few seconds give me a slight black metal-vibe with the eerie keys in the background, but it quickly turns into the metalcore it is. Tyler’s screams are powerful, the drumming is fast and intense – and a minute twenty seconds into the song you hear a somewhat unique legato-riff that I really like. ‘The Hounds Of Anubis’ turns out to be one of the few good songs on the record.

‘The Word Alive’ utilize practically every part of modern metalcore there is to include: Double-recorded screams in different pitches, generic clean vocals, countless breakdowns, incessant use of Shockwave – you name it. I can’t help to compare this album with previously mentioned ‘Monument’ (and to top that off, vocalist Levi of ‘Miss May I’ appears in the song ‘2012′). While both albums are heavy, they lack creativity and is just fodder to all scene kids. By the looks of it, metalcore will become the new deathcore when it comes to bands sounding like each other. Knock on wood.
Another song that got stuck on my mind was ‘Like Father Like Son’. It starts right off with a breakdown, and later on there’s a cozy electronic intermission with a lot of bass (yum) and a slight hint of dub.
‘The Word Alive’ decided to re-record the song ‘Battle Royale’ which they featured on their ‘Empire’ EP. Comparing the two versions show how much they’ve grown as a band. Even though their music is relatively boring it doesn’t change the fact that they’ve improved in all other musical aspects.

‘Deceiver’ doesn’t quite cut it for me – it feels like I’ve heard it all before. Sure, it’s decent when listening to it but I end up forgetting about it right away. I’m certain it will noticed by many others but I require more than this. It’s much too simple.

TRACKLIST:

1. The Hounds Of Anubis
2. Epiphany
3. The Wretched
4. Consider It Mutual
5. 2012
6. Dream Catcher
7. Like Father Like Son
8. Battle Royale
9. You’re All I See
10. We Know Who You Are

Band:

Score: 8,5/10
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There’s been a lot of fuzz regarding Woe, Is Me lately. Mostly because it’s an up-and-coming metalcore-band partly signed to Rise Records – one of the biggest labels out there in this scene. Bands signed to Rise usually have a very crowd-friendly sound to themselves, and Woe, Is Me is no exception.
Something new with Number[s] is that it’s marked as the first record where Velocity Records are in partnership with Rise Records.

To be honest, I was expecting Woe, Is Me to be another run-of-the-mill, whiny post-hardcore band. My mind was blown when I started listening to the intro, On Veiled Men. Starting off with rather timid riffing, it then explodes into a fat breakdown with deep growls that I in no way expected. The following song, [&] Delinquents, is none the less heavy. The beginning of the song reminds me of Circle of Contempt in a way I can’t explain, but then Woe, Is Me incorporate both modest electronics and clean vocals, which blew my previous thoughts away in an instant. They mix catchy verses and bridges with bone crushing breakdowns, and even though it’s often encountered in modern metalcore/post-hardcore, Woe, Is Me succeed in keeping it fresh. With pounding drums, powerful screams and melodic clean vocals they somehow manage to be both generic and groundbreaking at the same time. It probably doesn’t make much sense, but even though I’ve heard this kind of metalcore before, there’s something inside me that can’t get enough.
I have to mention the extremely kick-ass ending of the song I.: towards the end it becomes a sort of intermission-like ambience with some electronics and clean vocals, then it blows up into a slow, brutal breakdown that makes me want to punch a hole in my desk. Thumbs up!

Contributing to Woe, Is Me’s inevitable success is a guest appearance by Jonny Craig of Emarosa, in Desolate [The Conductor]. I still don’t know how Mr. Craig finds the time to be in three bands and still do guest vocals on seemingly every record that comes out as of now. Not that I’m complaining, I consider Jonny Craig to be one of the most talented singers in the world; I actually admire his devotion to music. But the song itself is actually a rather weird song. It’s mainly built of electronics, but segues in a similar way that I. ended in – a smashing breakdown. Jonny’s vocals are only heard for a split second so it’s not a huge appearance – but it being there is enough to catch a few additional ears. On a side note, the clean vocals are very similar to Jonny’s. Tyler utilize the same type of wailing-technique that characterize Jonny – and honestly, Jonny’s gonna have to look out now that he has a serious competitor.

Number[s] is, love for square brackets aside, both something old and something new (no, I’m not going to say something borrowed and something blue). In a sea with similar acts they somewhat drift with the other debris, but still manages to stay afloat. It turned out better than my expectations, and I’m happy I finally found something I really liked with so many poor releases that I’ve recently come across.

TRACKLIST:

1. On Veiled Men
2. [&] Delinquents
3. Mannequin Religion
4. Keep Your Enemies Close
5. Hell, Or High Water
6. For The Likes Of You
7. I.
8. Our Number[s]
9. If Not, For Ourselves
10. Desolate [The Conductor]

Band:

Score: 8/10
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After With Roots Above and Branches Below, expectations of future The Devil Wears Prada releases were high. Having established a world-wide network of fans and toured for a long time, the band, centered around vocalist Mike Hranica, decided to take a few weeks to record a five-track EP. The result of this was the Zombie EP, which is a conceptual EP whose themes deal with zombie warfare. For those of you who saw the pre-release trailer on their Myspace, anticipation must have been high – especially for fans of music that ranges heavier than TDWP’s previous records.

In an interview before this summer, Mike Hranica announced the EP to be a fun and brutal project, inspired by his likes for the topic of total zombie apocalypse. In comparison to With Roots Above and Branches Below, the band’s musical style has changed significantly. Every single one of the song titles on this EP consists of only one word, all of which are easily connected with the EP’s theme. The riffs, drumming and vocals are faster, heavier and have moved away from the melodic style they previously had. The clean vocals remain a trademark of this band, just as much as Mike Hranica’s missing front tooth, without which no one could imagine them.

The EP’s second song Anatomy starts with the sound of a chainsaw, accompanied by an only ever-so-slightly changing riff that pushes the song right into a breakdown. What a start to a song! One thing that stands out from this EP amongst all of The Devil Wears Prada’s earlier material is the use of sound effects that play before, after and during songs. This feature had previously not been used so extensively, but is commonly known in the genre. This adds to the musical experience, especially once one gets into the mind of what this band is playing. While listening to Revive, the first heavy breakdown (fairly early on) is adjoined by background noises of people screaming. What could better remind anyone of zombies? Maybe the creepy noises, grunts and gunshots at the end of said song? Or the news announcement that warns people of being Outnumbered?

The songs are fast, heavy and exciting. However, listening to them does get dull eventually. The entire EP is excellent and an amazing listen, but anyone with appreciation for a more melodic approach of metalcore will find themselves missing exactly that element of it. No more guitar solos, no melodic riffs. This may well be a personal opinion, but it does lack in the music. What makes up for this deficit is the extent of which clean vocals are used and how they are presented. Especially in large portions of Survivor, listeners can tap right into the feeling of the music. This section serves the emotional side, whereas the clean parts of Escape and Revive deliver a tune of well-sung lyrics that is easily remembered and sticks to your mind for the rest of the day. One can definitely conclude that this is a clear step upwards for The Devil Wears Prada. They’ve taken their talent and transformed their music into a heavier package than before, which will be amazing whenever delivered live. This is the kind of music that makes live shows fun. The band announced that this is the style of which they wish to publish their next, full-length album with – which will be a huge success if they fulfill their goal. Something to look forward to!

TRACKLIST:

1. Escape
2. Anatomy
3. Outnumbered
4. Revive
5. Survivor

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Bands: 50 Lions, Grave Maker, Antagonist A.D., Guilty
Date: 2010-08-19 @ Klubb 43, Stockholm, Sweden

First of all, it’s a huge difference between going to a hardcore show and going to a metalcore show, I tell you. Instead of all these kids ruining the show with their bad demeanour, the audience is a lot more mature and grown up. Just wanted to point it out.

Each and every band playing tonight traveled a long way from home to get to Stockholm (Guilty, too, in a way), with 50 Lions coming from Australia, Grave Maker from Canada, Antagonist A.D. from New Zeeland and Guilty from Jönköping/Linköping. Guilty was doing their debut show tonight, and I have to say – they could’ve gotten worse partners. I mean, their first show and they get to play with these bands? Not bad.

First up was Guilty, and as mentioned it was their first show as a band. I listened to their demo yesterday and I wasn’t pleased in any way; it sounded like a bad mix of hardcore and glam rock. They weren’t all bad live, but the music doesn’t really appeal to me. They got the crowd going though, and everyone seemed to enjoy it. However, I had some issues with the vocalist, he had a very weird way of acting on stage… First and foremost, without warning he threw the microphone into the crowd, twice, apparantly not caring if it hits someones face. I don’t see why anyone would do this. At any time. Anywhere.

Next was Antagonist A.D.. Their performance was pretty straight forward; nothing bad and nothing really good. Samsams vocals were a little weak, though. All-in-all it wasn’t a great show, but it certainly wasn’t bad. I’m glad they took their time to come here.

One of the bands I really wanted to see tonight was Grave Maker. Their new album Ghosts Among Men is pretty decent so I was psyched to get to see them, especially this short after release date. And they managed to put up the best performance of the night. Good stage presence, a lot of dancing and sing-alongs was key to their good show. I haven’t listened much to them to be honest, but I surely will after this.

Last time I was going to see 50 Lions was when they played with Parkway Drive and Despised Icon, but the show started earlier than planned so when I arrived 5 minutes after the show was supposedly going to start, they just finished their set. You can imagine how mad I was at that point. I’m glad they decided to come back though! There’s something about these Australian bands, they always seem to come back here over and over again, even though it’s really damn far… They must love us.
To be honest, I was a little disappointed in 50 Lions‘ performance. It was monotonous and tedious, and they didn’t quite have the energy I expected. Everyone else seemingly enjoyed the show, with countless stage dives, lyric-yelling and hardcore-dancing sessions.

Tonights show was ok. Nothing actually stood out of the ordinary, but Grave Maker did very well. Despite the show being mediocre, it was at least well worth the 60 SEK (~€6) admission fee.

Band:

Score: 7/10
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I remember falling in love with Miss May I’s cover of Swing, originally performed by Savage, back in 2008. At that time, Miss May I wasn’t very widely known. However, they really started making a name for themselves following their first full length, Apologies Are For The Weak, which sold over 20,000 copies over just a year. Their sophomore record, Monument, will most likely be nothing short of their previous success.
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Admittedly I didn’t quite like Apologies Are For The Weak. I have no real explanation as of why – it just didn’t appeal to me. Monuments, however, is something different. Opening Monuments is Our Kings, and Miss May I do not shy away from going at it right from the start. With such immense energy I instantly began thinking of how awesome this song would be to see live. Circle pit-inviting verses, bone crushing breakdowns and melodic parts with clean singing which allows you to recuperate. And it doesn’t stop there. Practically every song after Our Kings are so packed with energy that the CD ought to explode.
However, my interest seems to fade the closer to the end I get. Whereas the first couple of songs feature a lots of hooks and breakdowns that makes you want to break the furniture around you, the songs toward the end pretty much vanish from your mind the moment they are over; this indicates that Miss May I may have bitten off more than they can chew. The songs may suffice for a live show, but quickly bores you when listening for yourself.
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At first I really liked this album, but I found myself lowering the score further and further the more and more I listened. Perhaps they should’ve considered cutting the album in half and making an EP instead of a full-length, and focused on making fewer but better tracks. I’m sure this album will receive a lot of lovers, and haters. I’m somewhat in-between – it’s a good listen while it lasts, but I feel that they could’ve done a lot better.
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TRACKLIST:

1. Our Kings
2. Masses Of A Dying Breed
3. Answers
4. Relentless Chaos
5. Creations
6. Gears
7. Colossal
8. We Have Fallen
9. In Recognition
10. Monument

Date: 2010-08-12 @ Brewhouse, Gothenburg, Sweden

Last year, Gothenburg metalcore-quintet Eburnia won the annual Partillerocken music-competition. This last Thursday they were playing NEMIS’ stage at Brewhouse during the Kulturkalaset-festival. Eburnia started off with a heavy beat to get the crowd pumped up, and how it worked! From the first song, I’ll Follow You Home, Maybe Your Brother’s Got a PlayStation off their newly recorded EP, the crowd doesn’t miss a beat – They’re up for anything. It sure has to be an awesome feeling playing for a crowd that knows all the lyrics, every guitar-riff and who aren’t afraid to bring the party to the floor.

You can really feel the extacy, the chemistry between the band and crowd when lead vocalist Sebastian jumps around, get close to the crowd and puts the microphone in front of them so they too can be metal singers for a moment or two, and even throws the microphone to one guy in the front row at the end of Babe In Total Control of Herself, letting him do one final chorus.

It’s an intensive concert from the beginning to the end. Agonizing screams, harmonical clean vocals over an orgy of machingun-like doubble basspedals, heavy breakdowns and catchy guitar riffs. Eburnia is in your face all the time, kicking off song after song without any excessive talking inbetween – The schedule doesn’t allow it, and nobody’s there to listen to Eburnia talk, they’re there to see them play and rock out to it. And they do! A awesome show, however somewhat too short, but over all, exemplary.