The Helicopter Of The Holy Ghost - Afters (Kscope) [Matt Bladen]
This is an album that shouldn't have happened, originally written by Billy Reeves after he left Brit pop/indie rock band theaudience (the springboard for Sophie Ellis Bextor). However Reeves' Morris Minor was hit at 90 mph and he spent a large amount of time in coma, undergoing many operations and then being housebound for a year. The demos for the Yours project seemed lost to the ether, Reeves' memory of the accident and that period of time pretty much gone. However in 2017 his brother gave him two mini-discs (remember them folks?) which had the demos on them. With these Reeves set about writing Afters the album that should not be.
Reeves takes the synths here, making the inspired choice of The Bluetones vocalist Mark Morris behind the mic. On piano Crayola Lectern (Lost Horizons/Departure Lounge) and guitars come from Mark Peters (Engineers). In the writing sessions the original Brit pop sound was disregarded for one that delves into the Canterbury scene along with the more modern art rock sound. A genre that Reeves championed when he was a journalist and broadcaster. The jangly, atmospheric guitars of Reeves, keening indie vocal of Morris and the piano of Crayola Lectern conjuring musical soundscapes of Steven Wilson, Robert Wyatt, and Gazpacho, whose Thomas Anderson is a special guest along with Cocteau Twins' Simon Raymonde and some other high profile names.
This is an album that shouldn't have happened, originally written by Billy Reeves after he left Brit pop/indie rock band theaudience (the springboard for Sophie Ellis Bextor). However Reeves' Morris Minor was hit at 90 mph and he spent a large amount of time in coma, undergoing many operations and then being housebound for a year. The demos for the Yours project seemed lost to the ether, Reeves' memory of the accident and that period of time pretty much gone. However in 2017 his brother gave him two mini-discs (remember them folks?) which had the demos on them. With these Reeves set about writing Afters the album that should not be.
Reeves takes the synths here, making the inspired choice of The Bluetones vocalist Mark Morris behind the mic. On piano Crayola Lectern (Lost Horizons/Departure Lounge) and guitars come from Mark Peters (Engineers). In the writing sessions the original Brit pop sound was disregarded for one that delves into the Canterbury scene along with the more modern art rock sound. A genre that Reeves championed when he was a journalist and broadcaster. The jangly, atmospheric guitars of Reeves, keening indie vocal of Morris and the piano of Crayola Lectern conjuring musical soundscapes of Steven Wilson, Robert Wyatt, and Gazpacho, whose Thomas Anderson is a special guest along with Cocteau Twins' Simon Raymonde and some other high profile names.
Afters begins magically with Slow Down, this dream-like sound evident throughout the record, the beautiful strings behind Difficult Song, the jangly guitars and emotive keys of Tony Got A Car. Reeves and co-producer by Richard Archer of Hard-Fi bringing a esoteric ambience to these songs that Reeves himself, says he has no idea what they are about, in fact the band name is also a source of mystery. A wonderful collaborative project, taking victory from the jaws of defeat. 8/10
Dragged Under – We'll Do It Live (Mascot Records) [Liam True]
Cappocchi opens up like a machine gun as the drums pound relentlessly, a cool riff runs underneath it all alongside a heavy bass, a stonking track. The Real You opens up with a juicy bass line before the drum come in really strong with a blistering beat backed up by savage guitars and vocals, this track is off the chain for power and intensity, track of the ep without a doubt. From one ripper to another; Hey Chelsea rumbles into life with a seriously thick bass line, a crushing drum beat and cutting riffs, throw in a funky little solo and a chorus that is a combination of Weezer and NOFX and you have a classic on your hands.
Instability screams into life with Cappocchi tearing the throat out of himself to the backdrop of a cool mixed beat of drums, bass and guitars, talk about relentless, it has a heavier, if possible, edgier feel to it that is palpable through the speakers that will leave you breathless. Hypochondria closes the ep the only way it can; killing it, a punk/thrash crossover affair with a little alternative thrown in for good measure, a great way to sign off on a cracking EP. If this is the energy and sound they give off for a live stream, you can only imagine what it will be like with crowds in place, but for the moment this will have to do. 8/10
What’s that, you say, Death-Groove Metal from Poland? You have my fucking attention, even though that’s at least one too many words for a genre. Sub-sub-genre hate aside, I’ll get to reviewing this 11-track album from RiseuP titled Destructive Machine’s Chilling Time 3:27. That’s a mouthful isn’t it, and just for that, that’ll be about four words less in this review each time I’m made to repeat it. Rise introduces us to the album with some very detuned heavy thumping chugs, and I’m very much already liking where this is going. Enter double kick, and a blend of spoken and heavy vocals, and the song is on its way. It’s a groovy number that blends varied vocals styles throughout. Not a super heavy, or super-fast track, just a bouncer that always maintains a solid rhythm that you can slowly band your head to. Not a bad opener, but lets move on.
Next up is UNfaith which picks up the pace and hammers you straight in the face right from the get-go. Triple layered vocals in the chorus add an interesting element that pricks the ears up, and the verses introduce some semi-rapped vocals that you would have heard back in the good old Nu-Metal days. Let’s not throw them in that basket just yet though because these guys are actually pretty damn heavy, especially when the song reaches a very mechanical Fear Factory sounding breakdown. I could easily confuse the opening of the following track Crown as a track by Lamb Of God or Devildriver as it sits precisely in the Modern Metal and Groove Metal niches. These guys really capture the essence of groove and bounce that is missing in a lot of recent metal. Probably my favourite track so far, with another killer breakdown mid-song!
Grand Collapse - Empty Plinths (Self Released) [Matt Bladen]
Welsh politically charged hardcore/punk foursome, return to the fore with their first album since 2017. Since then of course there has been a little bit of political upheaval to say the least, so this album has a hell of a lot to rage about and rage it does. Calvin is the bile filled voice of Grand Collapse, he rages as the instrumental trio of guitarist Jon, drummer Glenn and bassist Blag bust out with biting riffs, the songs usually sitting around the 2 minute mark, using the short timing hammer their ideologically charged music home. Empty Plinths is a maelstrom of fury but with some nuances throughout as things move into some hardcore breakdowns, atmospheric passages and some clean melodic flourishes too to stop it from just being just an all out assault. A strong, punchy return for The Grand Collapse. 7/10
What’s that, you say, Death-Groove Metal from Poland? You have my fucking attention, even though that’s at least one too many words for a genre. Sub-sub-genre hate aside, I’ll get to reviewing this 11-track album from RiseuP titled Destructive Machine’s Chilling Time 3:27. That’s a mouthful isn’t it, and just for that, that’ll be about four words less in this review each time I’m made to repeat it. Rise introduces us to the album with some very detuned heavy thumping chugs, and I’m very much already liking where this is going. Enter double kick, and a blend of spoken and heavy vocals, and the song is on its way. It’s a groovy number that blends varied vocals styles throughout. Not a super heavy, or super-fast track, just a bouncer that always maintains a solid rhythm that you can slowly band your head to. Not a bad opener, but lets move on.
Next up is UNfaith which picks up the pace and hammers you straight in the face right from the get-go. Triple layered vocals in the chorus add an interesting element that pricks the ears up, and the verses introduce some semi-rapped vocals that you would have heard back in the good old Nu-Metal days. Let’s not throw them in that basket just yet though because these guys are actually pretty damn heavy, especially when the song reaches a very mechanical Fear Factory sounding breakdown. I could easily confuse the opening of the following track Crown as a track by Lamb Of God or Devildriver as it sits precisely in the Modern Metal and Groove Metal niches. These guys really capture the essence of groove and bounce that is missing in a lot of recent metal. Probably my favourite track so far, with another killer breakdown mid-song!
Digital Whore starts with some clean strumming, then heavies up with some chugs and a strange sounding out of place spoken word voice over. As the songs hits it’s verses it takes me back to a sound we heard coming out of Bakersfield many years ago. The choruses shift quickly and take us back to that groove metal vibe, which saves it from sounding too Nu. I’m struggling to hear where the whole Death Metal claim comes into this, but maybe it came from one of those boomers that call anything with heavy guitars and screamed vocals Death Metal.
Fire Still Burning commences with some heavily effected clean guitars which build a spacious atmosphere. A quick slap in the face with a whammy pedal or two throws us into the first verse with those multi layered vocals again, and before we know it we are full blast into a heavy punk style beat with quick sharp vocals. It’s a bit hard to actually tell where the verses, choruses, and bridges sit, and which is which, but it doesn’t really matter because the track is quite an enjoyable adventure. A 30-second noise track titled Inglorious 13 inserts itself here, and makes absolutely no sense. So, we’ll just leave it at that. 7/10
Fire Still Burning commences with some heavily effected clean guitars which build a spacious atmosphere. A quick slap in the face with a whammy pedal or two throws us into the first verse with those multi layered vocals again, and before we know it we are full blast into a heavy punk style beat with quick sharp vocals. It’s a bit hard to actually tell where the verses, choruses, and bridges sit, and which is which, but it doesn’t really matter because the track is quite an enjoyable adventure. A 30-second noise track titled Inglorious 13 inserts itself here, and makes absolutely no sense. So, we’ll just leave it at that. 7/10