Tag Archives: Industrial

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Live Bite – Johnny Deathshadow/Spectral Darkwave/Lady Rage/Prescription Happiness – The Unicorn, 28/10/19

At the beginning of the working week, and as the final countdown to Halloween, the outskirts of Camden houses Halloweek, a series of gigs and events hosted by curious free house The Unicorn, a mostly modern featured, open planned boozer, with opinionated locals who very clearly voice their disdain for live music as I scrutinise the bar, and a decently sized function space and stage for where tonight’s events would unfold.

I grab a beer, perch upon one of the many stools facing dead opposite the stage, and await tonight’s openers, Prescription Happiness. The inset and outset play out as moments best described as voices inside your head, akin to the Gene Wilder tunnel scene from the original Chocolate Factory film but eerieness switched for overwhelming dread. Initially their sound evaded an immediate touch point, their music oft feeling reminiscent yet totally their own. Half of their set borrowed from modern metal staples, Sempiternal-era Bring Me the Horizon and Slipknot being immediate reference points, but the other half an eyebrow-raising concoction of Korn, Incubus and most solid hard rock bands. However on record, there’s more of a Tokio Hotel comparison and that also becomes evident frequently. Without a shadow of a doubt though, these are boys with thick tones, and their breakdowns are plenty sizeable in stature. Despite a heavy emphasis placed on the screams, the clean vocals impress far more, and draw some emo-esque comparisons into their already head-spinning influence pool. The quartet’s set ends with Quietly Falling, a tremendous groove-laden number that scratches a future radio airplay itch if it hasn’t already. Their half hour elapsed rapidly, undoubtedly heavier than hardcore, yet not quite heavy enough to tussle with the bruisers of metalcore, not that they were trying to. 

The beginning of Lady Rage’s set is regrettably missed, after an awkward run-in with the Johnny Deathshadow boys face painting in the gentleman’s water closet, so I hasten to finish my business and make it back to the stage. Very much in the spirit of Halloween, a pumpkin, Beetlejuice, Harley Quinn and whom I believed to be Freddy Krueger, though I’m reliably informed they came dressed as the drummer, unleash a wall of noise that bridges that gap between Hole and The Distillers perfectly. Unmistakeable, ferocious, scuzzy, grunge-soaked, riot grrrl punk, with plenty of melodies to back it up. That’s without mentioning a bass tone with serious clout, and their vocalist, the aptly named Siren Sycho, having terrifying power behind her screams, and being able to maintain such a formidable strength consistently. Their repetoire busts out a cracking cover of Billie Eilish’s Bad Guy too, taking on the form of the Rolling Stones or T-Rex butting heads with Brody Dalle, and that is exactly as good as it sounds. Wholly entertaining enough to watch again, their set includes a guitar-bass duel, a song titled ‘Not Joan Jett,’ and another that ravages social media, while live-streaming their set on Facebook, so while not quite as angry as face value implies, these ladies present themselves just as talented as they are self-depreciating.

While also in the spirit of Halloween, though just their regular stage attire, the misleadingly named Spectral Darkwave stepped up, masks, monocles, and sunglasses upon leather clad vestments, addressing us to what was assumed to be hurtling through the space-time continuum. A name like that, you would expect perhaps some sort of gothic metal influx atop synth. Not even remotely close. Instead, what we get is far more progressive, sludgy, almost straying into doom territory at times from this trio masquerading as Lovecraftian time travellers. Musically, their assault is airlock tight as they dive through dirges often about war and the horrors of mankind, bar the odd track about elephants or the death of a red giant, each track assimilating subtle characteristics of its era or subject matter, a very clever writing touch. They bare some sonic resemblance to Mastodon or even Opeth, with a constant growl dictating their narratives, but interspersed with some light-hearted jibes between songs. It ends up endearing towards the end, something only a British band could accomplish comfortably. Some waves of synth and programmed symphonic brushes do fade in and out, giving a sense of ethereal gloom, but ultimately this spectral entity oozes sludge and a metric tonne at that.

At one point, Johnny Deathshadow introduce themselves as Germany’s most loved party band, before announcing that their next song is about cancer, and that sums up their performance pretty succinctly. Playing London for the first time in their careers, their setlist contained an excellent variety of old and new material, of blistering and nuanced paces while squeezing most of the hits in (Black Clouds, Dark Hearts admittedly a surprising omission). Their stage presence flickers between intimidating and intimate, minor sexual frictions dotted throughout their performance, and their show itself is nothing short of masterful, light choreography alone granting gravitas worthy of a band playing a thousand capacity crowd than a small pub on the fringe of Camden. Red Rain opens aggressively, the chorus of cries offsetting the white hot intensity that rarely lets up the whole show. The skull-faced quartet scorch through four of their best from latest album D.R.E.A.M. which next to Red Rain, include a stripped back yet even more fiery rendition of Legion, and a fittingly melancholy Embers. Paying tribute to their punk roots, Under His Eye ignites with the headbanging crowd as does several of the set’s second half including Bleed With Me fan favourites, the archetypical Neue Deutsche Hart groove of Apocalypse Trigger, and the ground-stomping sway of Shadow, before concluding on the exhilarating Kill The Lights, and they even finish with streamers. Blood red obviously, but such an unexpected delight at the end of a storming set.

Johnny Deathshadow jokingly remarked that the band would be dead in the water had they started in the UK, crediting the trio of bands they had shared the stage with that night, but the Hamburg group played with such passion and zeal, and with the aura of bonafide superstars, the performance felt every part special as they had intended. Poor attendance aside, this industrial metal troupe’s ascent can hopefully be a slow-burner, German gothic circles excluded, as live and on record, they are destined cult heroes in the making and a fearsome sight to experience.

Setlist:

Red Rain
Trauma
Legion
Embers
Sleeper
Forever
Under His Eye
Ghost
Apocalypse Trigger
Shadow
Kill The Lights

 

PRESCRIPTION HAPPINESS

www.facebook.com/PreHappiness
http://www.twitter.com/PreHappiness
www.prescriptionhappiness.net

LADY RAGE

http://www.facebook.com/ladyrageuk
http://www.twitter.com/ladyrage_uk

SPECTRAL DARKWAVE

http://www.facebook.com/SpectralDarkwave
http://www.twitter.com/SpectralDark
spectraldarkwave.bandcamp.com

JOHNNY DEATHSHADOW

http://www.facebook.com/johnnydeathshadow
http://www.instagram.com/johnnydeathshadow
www.johnnydeathshadow.com

THE SOUNDSHARK

http://www.facebook.com/IAmTheSoundshark
http://www.twitter.com/The_Soundshark

 

 

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20 Bands And Artists With New Music in 2019 You Should Keep An Eye On

By now, the hangover of 2018 should have long subsided, and 2019 should now begin to be as familiar to everyone as much as your work colleagues, classmates, or friends you go clubbing with, are. We’ve conversed, debated and voiced our collective opinions on what the best of the best of 2018 was, and ahead, we look into the eyes of 2019 longingly, yearning for continued musical excellence as this decade draws to a climax. So bearing that in mind, the site has put together 20 bands and artists bearing a variety of new musical fruit in 2019, that you should absolutely sample, and hopefully savour and find immense pleasure from.

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Track of the Week: Johnny Deathshadow – Sugar Like Salt

The debate between what constitutes the difference between a Neue Deutsche Härte band and an industrial metal band is a fascinating one. In fact, that debate is so passionate and hotly contested in certain pockets of the internet, it’s recommended reading perhaps along side this piece. For anyone not versed on their musical history, in its crudest definition, Neue Deutsche Härte tends to describe any German metal band, that sings almost exclusively in German and follows a musical template akin to Rammstein and Oomph! as the foundation of their sound. The label itself could be argued to be a product of its time, grouping the sounds of the emerging bands in the late 90’s/early 00’s with a media umbrella term, but its use is still insisted upon by not only German bands, but recent international ones too, inspired by the enduring legacy of those bands. Where Johnny Deathshadow enters this conversation, acknowledging that their vocals are predominantly in English, is that they are a German industrial band, with similar electronic flourishes to the genre’s progenitors, yet are not considered a Neue Deutsche Härte band despite Umbra et Imago being allowed a pass, carrying on their larger gothic roots and undertone in tandem. Start a petition if you must. Joking aside, and whatever your opinion on this argument is, it is this rich cultural phenomenon that Johnny Deathshadow both carries on, and sheds itself of, creating their own enticing sonic universe that wider Europe is starting to take notice of.

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Though the band’s roots actually lay more in the Misfits and horrorpunk covers of pop songs, earning them the moniker of the ‘Hollywood Death Cult’, a decision mid-decade to incorporate larger industrial elements into their compositions, caused the band’s popularity to erupt in their native Germany. Bleed With Me, their first full-length album adorning gothic industrial metal was a huge success, swiftly taking them overseas in the process, but while the album was excellent overall, their vision still seemed somewhat in utero, and restrained. Three years later, that worry is completely eradicated. D.R.E.A.M. is a seminal work, refining a tremendous formula, but scaling the production to a grandiose stage that benefits vastly, and reintroducing elements of their punk and hardcore backgrounds to electric effect. Sugar Like Salt pips many of the album’s highlights as D.R.E.A.M’s finest moment, and showcases why this band could slowly take over the world.

A muscular synth arpeggio throbs and winds at the inset, with strokes of strings and distorted thumps programmed, lurking within reaching distance behind, prodding at the nerves of its listener but also cranking energy levels to a feverous intensity. As the drum sequence beats its last, live drums pounding a mesmerising groove ,and the heavy chugging of down-tuned guitar, mimicking that of an engine, break forth with the synth, a stampede of a rhythm that will fuel metalheads and dancers alike. Monotone vocals shortly strip out the guitar, a hint of malice gleaming in every syllable recited from the morose prose, yet it carries a certain infectiousness that you visualise crowds repeating. No sooner you absorb those biting words, a brief blasting of relentless, hell-for-leather hardcore style beats suddenly smacks you in the head, ferocious growls scratching at your eardrums, this unforseen display of attitude neatly opening up for the chorus vocal melody that bursts as a wave of elation. Reminiscent of Candyass-era Orgy hooks, this is an earworm with such a latch, you’ll be fighting it for days for a release, and D.R.E.A.M. is absolutely infested with them. Interplaying perhaps as the titular sugar like salt, this sweet-stung moment in a realm of obsidian cynicism brings out the best in the track’s often energetic dynamics. Tailor made for fetish clubs and mosh pits, Johnny Deathshadow’s crossover appeal has scarcely begun to be realised, with a unique appearance and a fearsome live and recorded repetoire in tow, these gentlemen have a scene firmly in the palm of their hands, and it’s only a matter of time before they put the squeeze on it.

 

For more on their future plans on domination, their social media, tour dates and  can be found here:

http://www.facebook.com/johnnydeathshadow
http://www.johnnydeathshadow.com

And if you are interested in the plans of the Soundshark, though less steered towards domination, you can do so with a like, a follow, or by subscribing to the site for free:

http://www.facebook.com/IAmTheSoundshark
http://www.twitter.com/The_Soundshark

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The Soundshark’s Top 10 Albums of 2018

As the world begins to stir, gently putting the gears back into production, and steadily adjusting weary eyes to the bright new horizon of 2019 (I mean, it probably won’t be that different, other than some cases of lingering hangovers, apparent nationwide incense about a vegan sausage roll, and more than likely international condemnation of whatever Donald Trump does next), we at least have a period longer to contemplate how good a year of music 2018 really did provide us with. However the longer it took to mull over how a good year of music it was, the more frustrating it became to whittle down and distil the ten best. It’s very safe to say EVERY album about to be mentioned was in contention for a top ten position. Tantrums happened and tears were nearly shed. An iron resolve and persistence eventually paid off, and in the settling dust, lay the final ten chosen to represent the best of 2018. Just one of them became the victor and declared ‘the undisputed favourite.’ Continue reading →

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The Soundshark’s Top Ten Albums of 2017

I’ll be among the first to admit that 2017 is now a fading memory in long and short terms of immediate recollection. After all, we’ve reached a quarter of the year in already and only now do I find myself reflecting on and scrutinising the year past, since coming to terms with my current situation. Of which I feel is moving in a more positive direction. That said, while my own personal presence took a negative slant in the seventeenth year of the new millennium, musically, there was such a creative surge of magnificence which resulted in many, many excellent albums being released. Also one such reason for this list being delayed as it is. So, with ever-so-slightly wistful eyes, The Soundshark casts its spotlight on my ten favourite albums released in 2017, and for your listening indulgence:

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20 Bands And Artists You Should Listen To In 2017

It seems very few people utter a breath about 2016 any more. Probably for good reason, it seemed very much like a culling of revered figures and idols of popular culture, let alone a universal gasp of disbelief at what idiocy we may have unleashed on the world. 2017 isn’t really fairing any marginally better in that department, by a hair strand at best. But whisper it: The music is fantastic. If you want to invest in it of course. Admittedly, this list was compiled at the inset of 2017, but as the halfway stage of this year rapidly approaches, it still holds as an all-star ensemble of killer bands you may have overlooked, some yet to release their brand new material and some you may never have heard of. It seems like a solid enough foundation for this article to still exist, while maintaining some resemblance of relevance. That, and you may be reading this, looking for some new music to listen over the summer. Let’s get started, shall we?

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The Soundshark’s Top 10 Albums of 2016

Among all of the things that 2016 brought to us, no matter how good, bad or ugly, collectively, it was a very strong year for new music, hence why I have had an incredibly difficult task assembling a list of just ten albums that have lived on repeat and high volume. My only regret is that there are still albums missed I have yet to listen to, by artists I am yet to discover that could’ve been exemplary. If I were to just leave this to albums I’ve heard this year, Lantlos’ Melting Sun or Black Breath’s Slaves Beyond Death probably would have romped away with this one, despite being out in 2014 and 2015 respectively. There are so many honourable mentions too that a cephalopod with hands need be employed to even fathom counting. But, lo and behold, here are the ten albums from one of humanity’s most troubling years, that I personally consider to be certifiable must-listen experiences:

10. The Maras – Wax Beach

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Having never met The Maras personally, it would be safe to say that the brothers from Ontario are a little hyperactive. Not purely because they’ve released a demo, an album and a brand new EP in the space of a year, but the speed, urgency and average length of their songs might have something to do with it. Though Wax Beach could be seen as an expansion of their already superb demo, the re-recordings sound a lot denser and deranged, letting their garage punk snarls and smorgasbord of influences flourish, on what is on one hand a damning indictment on mental health services, but on the other a dizzying rush of genre-bending bliss.

http://www.facebook.com/themarasband
http://www.twitter.com/TheMarasBand
http://www.themaras.bandcamp.com

9. Cruz – Culto Abismal

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From beginning to end, 2016 has seen some magnificent death metal releases, but few have been quite as memorable as Barcelona quartet Cruz’s Culto Abismal. Injecting crust punk deep into the veins of death metal’s old blood, this untameable hellbeast of an album charges fast and ceases to relent once in motion. Deep growls in their native tongue punctuate the onslaught as a cavalcade of riffs over 40 minutes keeps the monster moving, the perfect balance of speed, technical ability and sickeningly heavy tone serving as Culto Abismal’s addictive centrepiece. Spain may not have the most renowned history in death metal, but on the basis of a debut this strong, Cruz sees reason for that to change very suddenly.

http://www.facebook.com/cruzmetalpunk
http://www.cruzbcn.bandcamp.com

8. Maeth – Shrouded Mountain

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With every stride that Maeth take musically, it surpasses and obliterates the last, ensuring their status as one of metal’s must-hear bands. Shrouded Mountain is their third gargantuan footprint and maintains their unique, boundary-warping compositions which straddles the planes of psychedelia and sludge like no other band before them. They also play a mean flute too, to boot. So however Maeth choose to construct their stunning, mostly instrumental journeys, whether taking you soaring through the vast reaches of space or crunching hard down into the Earth’s crust, you can bet that it will be with an energy, passion and talent that you can scarcely conceive, and Shrouded Mountain does not disappoint. Not by a long shot.

http://www.facebook.com/MaethBand
http://www.twitter.com/WeAreMaeth
http://www.maeth.bandcamp.com

7. Bossk – Audio Noir

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Always a looming presence on the UK’s stoner/doom scene, even during their split, Bossk’s first release outside of their seminal EP trilogy has catapulted their gorgeous ambient passages and pummeling riffs to unprecedented new heights. Though can be listened as an entire conceptual soundscape, the fragmentation certainly aids the quartet’s longest opus to date and makes every change of pace and tone a stellar moment. Even vocals, while used sparingly, are utilised at their most impactful, shifting what already sounds like ripping your throat out intensity, into ushering in a new Armageddon. Bossk undoubtedly stamped their authority through live performances over the decade their name has existed, but Audio Noir distills that very essence into an immensely satisfying anthology, proving that they are here to stay.

http://www.facebook.com/bosskonline
http://www.twitter.com/BosskUK
http://www.bosskband.bandcamp.com
http://www.bosskonline.com

6. Vodun – Possession

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Lifting its name from the homophone of voodoo, as well as incorporating aspects of its lifestyle and culture into this very music representing it, this trio from London perform an ungodly racket that’s equal parts punchy to pulse-raising. In arguably one of the most original takes on big, fuzz-saturated grooves in years, the literally spirit-fuelled Vodun drags stoner rock by its ankles and imbues it with a staggering amount of soul. Think Aretha Franklin fronting Kyuss and you’re damn near close. The presentation of the album in a semi-documentary form, with a ritualistic thread running throughout, is a neat touch and grants deeper immersion into Vodun’s already enchanting sledgehammer of force and one of the best hard rock debuts of the decade.

http://www.facebook.com/VODUNBAND
http://www.twitter.com/vodunband
http://www.vodunband.com
http://www.vodun.bandcamp.com

5. Losers – How To Ruin Other People’s Futures

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With an album title that scathing, you wouldn’t be wrong thinking there is intense subject matter here. Suitably riled up trio Losers, well versed in their weaving of expansive, luscious atmospheres, frightening buzzsaw synths, distorted guitar attacks and truly thunderous percussion, unleash one of the most adrenaline-surging bouts of electro-rock charged catharsis you could ever hope to listen to. While How To Ruin Other People’s Futures features several bursts of pounding rhythms and explosive instrumentation, it allows enough breathing space for a whirlwind of ambience to take shape, for every conflagration and slow-burner, all with Paul Mullen’s dynamic vocal delivery giving a touch of humanity where chaos could spiral out of control at any given moment. A simply tremendous listen.

http://www.facebook.com/losersuk
http://www.twitter.com/losersuk
http://www.losersband.co.uk

4. Youth Code – Commitment To Complications

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Certainly one of the most talked about bands of the year and for excellent reason, the Los Angeles duo’s sophomore offering builds upon the vintage analogue synths and drum machines of industrial’s heyday and cleverly sprinkles the zest of their own hardcore upbringings into the formula. The results are nothing short of spectacular. The growth from their debut is undeniably evident, not just as tempos vary and tones are more exploratory, but their whole sound is gigantic on this album making every notion of rage and every raw nerve amplified tenfold. When beats vibrate your skull and melodies claw into your brain like Youth Code’s do, it instigates that addictive property that all EBM enthusiasts have been raving about all year.

http://www.facebook.com/youthcodeforever
http://www.twitter.com/youth_code
http://www.youthcode.bandcamp.com

3. Noisia – Outer Edges

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After mentions for half a decade, then seemingly nonchalantly announced three months before its release, Dutch drum and bass production maestros Noisia have compiled their second studio album, far more abstract and experimental in approach than the trio’s previous Split The Atom. While you will find the same mind-altering, visceral bass lines associated with the Noisia name, it’s the deeper, darker and noticeably slower beats that become the show stealer here. Often quirky in nature and exquisitely composed to emphasise the very best of every minuscule detail, the heavy gestation period for every track, especially the beats-driven numbers, brings a world class finish to what could filter through as an oddity, but arrives as a masterpiece in sound design and further reason to immortalise Noisia as the one of the best the genre has ever seen.

http://www.facebook.com/noisia
http://www.twitter.com/Noisia_nl
http://www.noisia.nl

2. The Qemists – Warrior Sound

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In the six years since the Brighton drum and bass rock outfit’s last album, they’ve been honing their skills to create dancefloor anarchy on the live circuit, a tenure that has seen their reputation skyrocket as one of the UK’s best independent live acts. Now that energy has finally metamorphosed into The Qemists’ strongest, most consistent blockbuster yet. Fixing both live vocalists as permanent band members, has only benefited the original lightning strike of a production unit, and makes every word have purpose against the backdrop of all-out mayhem. Unforgettable, unbelievable and unflinching in the pursuit of perfect crossover bombshells, Warrior Sound is a sonic shockwave explicitly targeted to induce pleasure at an intoxicating level.

http://www.facebook.com/theqemists
http://www.twitter.com/TheQemists
http://www.theqemists.bandcamp.com
http://www.theqemists.com

1. All Hail The Yeti – Screams From A Black Wilderness

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Three years on from their scorching debut, the Los Angeles metalcore mob return with a follow-up that is perpetually more terrifying in every imaginable way. Spinning narratives so gripping and ghastly, the lines of fact and fiction dissipate into black mist as imposing, monstrous roars with some mightily impressive clean vocal support coalesce their strength as bloodthirsty wordsmiths. Though horror and the occult is the given flavour, Screams… exhibits a previously unseen versatility in All Hail The Yeti, in that their sound features much broader influences from rock and metal, that fires on all cylinders and mellows in acoustic gloom. A hard-hitting, yet gruesome landmark of metalcore, All Hail The Yeti have once again established that they are one of the most essential bands in modern metal.

http://www.facebook.com/officialallhailtheyeti
http://www.twitter.com/allhailtheyeti
http://www.ahty.bandcamp.com

If you liked the look of this list and want to hear more, then here is a handy Spotify playlist for you (except Maeth, whom you can find on their Bandcamp page):

And in the mean time, if I feature anywhere in a top ten for you, or you enjoy what features on this site, then by all means feel free to give me a like, a follow or a subscription to the site by clicking the link below:

http://www.facebook.com/IAmTheSoundshark
http://www.twitter.com/The_Soundshark

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The Soundshark’s Top 10 Favourite Live Performances of 2016

So this is a first for the site, as somebody sworn to never do live concert reviews, a run-down of ten stand out live acts that I’ve seen over the course of 2016. And I’ve seen a lot of them. It’s pretty self-explanatory really, only I’m not exactly reviewing them, just highlighting why they made this list. This isn’t limited to headline acts by the way. The only exception that I have made is to try and limit festival appearances, as there were numerous bands seen in the space of a day at some festivals that could’ve made up lists of their own. And I have had to discount one entry that should be on this list, that of being The Offspring and Bad Religion at Hammersmith Apollo. The reason being counting individual performances, both were absolutely superb on the night, more than satisfying the inner 13 year-old in me and being hard torn to pick a favourite, just makes it easier to disallow it altogether. Sorry, no joint entries for this one. Without any further ado, here’s who played stellar live shows in 2016:

10. Raveyards @ Camden Underworld (supporting Perturbator w/ Dan Terminus) – 08/06/16

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Credit: Eva Vlonk Photography

Bands like Raveyards perfectly demonstrate why you should always try and check out the support bands for a live show. Knowing nothing of them, walking into Underworld with half of the stage consumed by mesh netting, projection screens and one of the most elaborate live musical setups I’ve ever seen was an eyebrow-raiser. Every component of an electronic music performance was in their control and performed in real time, with their expansive shadowy atmospherics and gigantic beats, matched with a kaleidoscope of visuals made for a spell-binding spectacle. Spectators seemed happy to have the space back afterwards, but Raveyards’ attention to detail alone has to garner recognition.

http://www.facebook.com/raveyards
http://www.twitter.com/raveyards
http://www.soundcloud.com/raveyards

9. Allusondrugs @ The Black Heart, Camden (w/ Fizzy Blood, This Years Ghost and Snakes) – 03/08/16

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Always a band on the cusp of greatness, the Yorkshire grunge revivalists played a packed Black Heart and showed everybody why they are one of the most talked about live acts going in the UK right now. Switching between slower psychedelic pinches and frenzied fuzz slammers, all delivered with their inescapable talent for writing infectious hooks, I went into this show, having had some personal bad news that day and left with joy and an affirmation of life once more afterwards. They near had to be dragged off stage after a storming 45 minute performance, but such is their allure and brilliance of their music.

http://www.facebook.com/allusondrugs
http://www.twitter.com/allusondrugs
http://www.allusondrugs.com/

8. Youth Code @ Electrowerkz, Islington (w/ Shallow Sanction and Evestus) – 14/10/16

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Credit: Nick Fancher Photography

If there ever was a band that embodied controlled chaos, then Youth Code is that band. Marking their debut in the capital city with their revisionist approach to industrial and EBM, there is no wasted movement from beginning to end of their set, both Sara and Ryan screaming and launching themselves across the stage in a frenetic display. Despite a breadth of luscious synth arpeggios and skull-rattling drum machines, it’s their sprinkle of hardcore, that makes every word screamed at you personal and elevates Youth Code’s all-out sensory assault to an absorbing war dance you never want to end. Can you say: the next Ministry?

http://www.facebook.com/youthcodeforever
http://www.twitter.com/youth_code
youthcode.bandcamp.com

7. Jean-Michel Jarre @ The O2 Arena, London – 07/10/16

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It kinda goes without saying, that when you go to see a concert from somebody widely regarded as the Godfather of Electronic Music, as a pioneer whose forays into music and technology span 40 years and a former world record holder for the largest outdoor concert ever, you’re in for a spectacle. And having missed the chance six years previously to see him, he did not disappoint. Ever the showman, touring through his greatest hits and his frankly superb Electronica project, his inspiring ability to flawlessly recreate every nuance of his work, live, to a visual extravaganza that evolves much like his compositions can only cement his legacy as one of the most influential figures in modern music.

http://www.facebook.com/jeanmicheljarre
http://www.twitter.com/jeanmicheljarre
http://www.jeanmicheljarre.com

6. Petrol Bastard @ Resistanz Festival (Corporation, Sheffield) – 25/03/16

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I do wonder how many people have said at a Petrol Bastard show, that the duo played their dream set list. I certainly can. Opening up Resistanz Festival in Sheffield’s Corporation was a 45 minute performance piece about masturbation, drinking and violence set to an unrelenting techno, gabba and drum and bass soundtrack… and it was some of the most fun I’d had all year. Forcing crowd participation with a tide of inflatable penises and unforgettable slogans, and with a little help from Johnny Ultraviolence, this crude, colourful riot was impossible to ignore and left many smiling from ear to ear. Plus how many gigs let your girlfriend try to sexually assault one of the band members with an inflatable penis?

http://www.facebook.com/petrolbastard
petrolbastard.bandcamp.com

5. Monster Zoku Onsomb @ Boomtown Fair, Winchester – 12/08/16

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Out of the inconceivable number of bands and pass times at Boomtown Fair, these guys could’ve been easy to miss on one of the smallest stages around. But once in range, you couldn’t escape from them and those onlookers in attendance never wanted this madness to end. A troupe of Australian musicians specialising in belting rave tunes, spanning a whirlwind of tempos, spliced together with B-movie references galore and occasional 60’s surf guitar, happily run amok in their 45 minutes on stage. Choreographed dance routines, inviting an adult baby on stage and what may have been a declaration about being in Eurovision 2017 only added to their unique brand of electronic dance carnage.

http://www.facebook.com/mzofanpage
monsterzokuonsomb.bandcamp.com
http://www.monsterzoku.com

4. Toska @ The Boileroom, Guildford (EP Launch Show w/ Eschar, The Deadlights and Steal Rockets) – 27/02/16

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Possibly the only headline band I have ever seen without knowing a single thing about, was also one of the most astounding. Made up of three quarters of melodic hard rock starlets Dorje, Toska sacrifice none of that intensity and churn out wave after wave of instrumental metal bliss, hurled at such force you’d think there was an earthquake. The energy they emitted could’ve powered large city blocks and their respective talents are hypnotizing to observe; simply everything about their performance was immense in stature, given their debut recorded release. They made crafting invigorating, progressive music seem so effortless and it was an absolute pleasure to watch them at work.

http://www.facebook.com/officialtoska
officialtoska.bandcamp.com

3. Lionize @ Desertfest London (Camden Underworld) – 29/04/16

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In what is somewhat a recurring theme on this list, I went to watch Lionize, only knowing that they were Clutch’s in-house band and left absolutely speechless. Imagine if James Brown had fronted a balls-to-the-wall rock band and invited Bob Marley along as a touring member and that merely scratches the surface of what these gentlemen can do on stage. Ferociously charismatic and passionate beyond all belief, Lionize toured a myriad of genres and had tremendous fun doing it, all with every attendee transfixed at this true powerhouse of a performance. I’m surprised the Underworld didn’t burst having to contend with holding these guys back, one of the most impressive modern rock bands alive today.

http://www.facebook.com/LIONIZEMUSIC
http://www.twitter.com/LionizeMusic
http://www.soundcloud.com/lionizemusic
http://www.lionizemusic.com

2. Kowloon Walled City @ Camden Underworld (co-headliners w/ Minsk, also w/ Bossk and Wren) – 03/09/16

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Credit: Maria Louceiro

Credit where credit is due, Bossk were also spectacular on this night, but for a band that had never stepped foot in the UK before and had come to the end of a near two-month tour of Europe, emotions were always going to be high for these guys. Kowloon Walled City’s use of conveying so much intensity and feeling into their tone, while being pulverising in the same capacity, makes every note gripping to behold and very, very few bands can even touch them in making sludge sound so breathtaking. Spanning seven songs across 45 minutes, this set made a titanic statement as why Kowloon Walled City could be considered one of the best bands on the planet.

http://www.facebook.com/kowloonwalledcity
http://www.twitter.com/kowloonwalled
kowloonwalledcity.bandcamp.com
http://www.inthewalledcity.com

1. Placebo @ Wembley Arena, London (w/ Minor Victories) – 15/12/16

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What more can be said about Placebo? Never has a band resonated with me emotionally and spiritually as Placebo has and likely I wouldn’t be where I am today without them. Hell, I wouldn’t have a degree for starters. But there could be no more fitting show for them to play in their hometown on the 20th year of their inception. The atmosphere was electric and applause rapturous as the band strode through a terrific career-spanning set, that touched many through melancholy but lifted everyone through liveliness. Lyrically they have few peers and musically, their grunge-embezzled attack sounds as fresh as it did in June of 1996. Arguably, one of the UK’s greatest cultural phenomenons.

http://www.facebook.com/officialplacebo
http://www.twitter.com/placeboworld
http://www.placeboworld.co.uk

I hope you enjoyed my selection, and if you agree with these choices, or enjoy the writing that’s on this site, then you can show your appreciation through a like, a follow or subscribe to the site using the link below:

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30 Hotly Anticipated Releases Still To Come In 2016 You Should Get Excited About

2016, probably not just in my own personal opinion, has been a fantastic year for music releases so far depending on how far you’re willing to commit yourself to the kaleidoscopic universe out there. To name but a few of my favourites would include The Qemists, Youth Code, Autopsy Boys, All Hail The Yeti, Mask of Bees, Lowflyinghawks, Amplifighters and Weekend Nachos, and at this point, some music media outlets would like to take the chance to reflect on what has already come before and sum things up in a handy little list for you. The Soundshark isn’t some music media outlets. What The Soundshark has done has compiled a list of 30 forthcoming releases in 2016, of varying genres, and from mass appeal down to the underground to better illustrate why 2016 will remembered as a truly incredible year of music. There could be your new favourite band waiting here or an album announcement by that band you like you may have missed, who knows?

Let’s begin shall we?

Continue reading →

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Track of The Week: Bullet Height – Hold Together

Let it be said that some things carry on the way they started. In Bullet Height’s case, it carries on the sonic storm previously began by debut single Bastion in February, heading towards potential live dates in the near future and a forthcoming album tentatively inbound for the year’s close. But Bullet Height’s roots date back much farther. Circa eight years ago to be precise. For Pure Reason Revolution, the former band that frontman Jon Courtney had a significant hand in, after the success of their opus The Dark Third and subsequent departure of violinist James Dobson, their songwriting took a turn in a more electronic based direction, birthing second studio album Amor Vincit Omnia; an album that transformed the band’s sound from an atmospheric progressive rock opera, into a punchier, synth-injected rock hybrid, with scaled down but still ever-present progressive leanings. This evolution was completed on third and what would become final album Hammer And Anvil, which in my opinion remains one of the most underrated albums of the decade, and would be the only Pure Reason Revolution album to be published by Superball Music, whom the band signed with prior to its distribution. Pure Reason Revolution were to disband in 2011, a year after Hammer And Anvil’s release.

Fast forward some five years later, elements of the sound encapsulated from Amor Vincit Omnia and Hammer And Anvil, the revival of the partnership with Superball Music and the union of Jon Courtney and IAMX keyboardist and vocalist Sammi Doll in Europe’s second biggest capital, brought together Bullet Height, a duo whose talents can equal the exhilarating and electrifying nature of their music. Though quiet for several months since being hotly tipped as one of the bands to keep an eye on in 2016, the emergence of second single Hold Together is a swift reminder of what whipped up the frenzy and excitement in the first place, and an excellent point of entry for anyone curious about the diversity of electronic rock.

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And a reminder and point of entry none more swift and excellent than the blasting of intense volcanic guitar tones, dark and deep synth throbs and a incredibly forceful percussive pattern. Such is the impact and ferocity of the introduction here, that it relegates Bastion to a mere nursery rhyme in comparison. If your eyes weren’t open before, they certainly will be. The cavalry is quietened for the vocals to take centre stage, the warm hum of synth hovering below and the drums remaining as imposing a presence behind them. It’s here we’re also treated to the luscious vocal harmonies that Jon and Sammi are capable of conjuring. Each individual voice has its own powerful merits, but together it produces an intoxicating sensation yet still a hint of menace which serves the aggressive instrumentation well throughout. Especially as it reaches the pre-chorus, where against a thunderous series of drum kicks and synth throbs that devolve into shrieks, adds that extra edge to twist the tension into a truly explosive chorus. Hitting with the accumulated musical force of a tempest, the guitars, synth and drums decimate anything in the immediate vicinity, with vocals picking up a soaring pop sensibility which sounds eerily calming considering the annihilation unfolding before you. The result however is unfathomably satisfying. A quick glitch from the synths and a drum fill later, and you’re thrown head first back into the carnage. Nuances like additional fury vented on the microphone, jagged guitar you can feel the volatility of, synths expanding and growing in character and ambience and even solo moments of formidable gritty synth stabs all keep the soundscape an unpredictable thrill ride all to the very end. Hold Together is much less a song and more an event; a shockwave of inconceivable artistic and musical vision which can be experienced as both punishing and piquant. It almost seems as if Bullet Height had a crack at their own personal Manhattan Project, and boy did they nail the execution. This duo have the chemistry, talent, uncompromising attitude and simply immeasurable ambition to solidify their status as one of the most awe-inspiring bands in the world at this moment, with the potential to supercharge their electronic rock engine into one of the planet’s all-conquering live acts, just around the corner. The world is theirs for the taking. If they don’t destroy it first.

 
Hold Together is out right now at all respectable music retailers as a digital only single. You can pick up their previous single Bastion at the same music retailers also. The band are in the process of gearing up for live dates in their native Berlin which are yet to be announced, but certainly worth keeping an eye out for. Bullet Height’s debut album has been pencilled in for a release in Winter 2016 which no doubt you’ll hear more about in the coming months. And for a taster of what’s to come as well as back story for the band’s formation, check out this short documentary on them.

Once you’ve digested all of that, go give them your support right here:

http://www.facebook.com/Bulletheight
http://www.twitter.com/BulletHeight

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