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.
Out of many of the UK’s numerous cities, Bristol has always seemed the crux of a cultural zeitgeist, especially when it focuses on the world of music. Without needing to retread too much ground, it’s been richly documented how influential the city has been in electronic music, giving the world both trip-hop and drum and bass, the latter of which is still thriving within the city to this day. Yet as forward-thinking and exceptionally acclaimed its producers and electronic maestros are, the city seems to have struggled to create breakout metal, or dare I say it, even rock bands throughout the decades. Idles are now a household name with their BRITs nod, so they can assertively chalk one up on the tally, and Valis Ablaze recognisable thanks to ventures overseas, but other than perhaps Onslaught, Turbowolf or Vice Squad, among the famed names of this fine city’s musical alumni, guitars look like they went out of fashion at the turn of the millennium. Lying in wait however, cloaked deep within Bristol’s impossibly diverse sonic underground, is a band that pays homage to its criminally overlooked punk heritage, embraces its obsession with boundary-shattering electronics, and represents the city’s colours for metal on the national stage. That band is Drip Fed Empire.
They might not be the first band to smash a myriad of electronic genres together with metal, but they might be the most visceral one active. Alluding to the dystopian universe they create their music inside, even at first glance, Drip-Fed Empire is a petrifyingly close-to-home namesake to what our future could hold, should we continue our annihilation of Earth’s resources, or even a sly acknowledgement to the UK’s past atrocities, infamously grappling with its numerous colonies and infrastructures. Irrespective of past or future tense, the present is what dimension this new wave of crossover aggression dwells within, and presently sit the third iteration of this group since their inception in early 2015. And what better way to introduce the world to a third strike of metal-charged mayhem, than Smile You’re On CCTV’s opener Mk3.
The chimes of a bell, brought to life through synth, melodic yet foreboding, ease listeners in, but that ease is merely fleeting in an anthem that sounds like it’s set about triggering the apocalypse. What equates in atmosphere to a rush of wind, bubbles beneath the surface before being pitch-bent upwards and gathering magnitude at such a pace, that the resulting drop is absolutely startling. A monstrous bassline rips through the fabric of space and time, the sheer ferocity of this shockwave playing perfect host to the chaos and intensity to follow. A guttural bark spews forth, briefly transitioning into a blood-curdling scream, then back to its marginally restrained capacity, almost as if briefly escaping the chains of its handler. The bassline thrashes and snarls underneath it, with the mechanical precision of hard but pristine kick and snare rocketing Mk3 along, and a squelchy, near extraterrestrial variant on the opening bells providing one of the best earworms you’ll hear all year, while paying tribute to the jump-up generation of drum and bass. The bass is silenced, opening the floor for sporadic but focused guitar, interspersed with heavily distorted record scratches, contrasting with the continual barking, and drums that here present a little more finesse than the standard 170bpm backbone of kick and snare. That now familiar bassline eruption returns, and once again we dash into the conflagration, the unbridled energy of this track is capable of producing. And that’s only in the first minute and a half. In the remaining three minutes, you get three seperate breakdowns: one in which the guitar brings forth a little virtuosity of its own, a second in which the extraterrestrial synth hook goes haywire and on a rampage, in a burst of pure joyous jump-up bedlam that would make competent DnB producers blush, and the final, shifting the gear into a violent, half-time behemoth of a breakdown, exhibiting the true wrath and incendiary nature of the group, and its instrumental arsenal.
It bears repeating; Drip Fed Empire are certifiably a band with endless potential, with their amalgamation of bass, beats, and beatdowns, with a touch of their own vitriolic flair, forming some of the most electrifying songwriting the world has yet to latch onto. Remember this name, this band is going to be special. Bristol has even more to be proud of in these gentlemen.
These gentlemen are on tour from April onwards so if you wish to see them, make sure you check they’re near you soon, or contact your local promoter to bring them to a venue near you. Smile You’re On CCTV is out now on all respectable online music retailers and their discography is also available on Bandcamp. You can also pick up merch from their Big Cartel site too.
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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.
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:
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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
The first month of the year always brings forth the time to look ahead to the next 11 months of what we all hope will be a monument in each of our lives, but it also serves as a stopping point to reflect on our previous rotation around the Sun and everything that happened in that particular snapshot of our lives. Safe to say, 2018 was not short on stellar musical performances and releases whatsoever, it may have been among the strongest years of this decade undoubtedly. While this site is often not bound by dates nor limitations, the strength of the music that bands and artists have produced this year was simply staggering, staggering to the degree that recognising and commending it as such had to be the course of action. So when it came to deciding which bands or musicians should be in contention for this accolade, this shortlist wasn’t so short. However, in terms of sheer hard graft, songwriting, endless energy on and off stage and their frankly indescribable success this year, none were more deserving than Glasgow’s finest wrecking crew, Lotus Eater.
For context, Lotus Eater entered 2018 with a handful of music videos detailing their ferocious, laser-tight, tech-metal onslaught, pining for violence and bloodlust, from their crushingly heavy debut EP. They enter 2019 with a record label, even more European show dates, countless festivals under their belt, Radio One Rock Show airplay, and with a reputation as one of the UK’s most nerve-shredding live bands. In the space of 12 months and with less than ten recorded songs. If you want the definition of meteoric rise, then this is it. Even side-by-side with their brothers in brutality Loathe, who’ve had a similar build in exponential growth this year, that is a truly astonishing feat.
Bathed from head to toe in green, these snarling, seething verses from the throats of real, pissed off, and disenfranchised youth is not a commodity. It’s an experience, an exhibition, an exercise of conveying unchained aggression and pure cathartic release, in one of the most devastating fashions likely to grace auditory nerves. Their guitars scream in the most vindictive and vengeful tones imaginable, yet while it becomes the sonic equivalent taking a breezeblock to the skull, their sense of groove twists this into some of the most unique and innovative hooks tech-metal has yet to produce. As musicians, their meddling with time signatures is surprisingly complex, given their vast emphasis on blunt force trauma, so their raw skill and ability should never be downplayed. Even in atmosphere and ambience, there is an unrelenting dread and malice that strays far from being overbearing and slots perfectly into this volatile formula. Not everything is rooted in vehemence, you get occasional clean vocals that may seem an oddity amongst such bleak and barbaric displays, it is but another tool they transform into a hook and sinks their stories even further into your brain.
Lotus Eater create music, that is as intense and personal as structured chaos gets. A band so relevant and immediate, that from the poverty-ridden streets of the UK’s third most populous city, understands despair, hardship, and disadvantage better than some take for granted, and expel their rage into mantras with more than a healthy fucking dose of reality behind it. Once this surfaces, why they have resonated with so many, so quickly becomes a no-brainer. Their desire and fervour to bring gloom worldwide, with a small but captivating and concise catalogue has to be applauded. Gloom is their home, and everyone is welcome.
Five essential Lotus Eater tracks:
All of Lotus Eater’s music can be found on Bandcamp and your reputable online retailers. You can grab all other merch and the likes from their Bigcartel page, but everything sells out fast, so act quickly on that front. They are currently signed to Hopeless Records, and chances are this will herald new music in 2019, so watch this space. They also begin a headline live run from January, and support dates that run into February. Find them all here, or hit up your local promoter to bring them to a venue near you.
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On the 11th March 2018, something short of ground-breaking was announced on the social media outlets of one of the world’s most renowned progressive metal groups. Tool had entered the studio to record what has become their now fabled follow-up to 2006’s 10,000 Days. While this news has become a revelation and an answer to many a collective prayer (or keyboard warrior whinging, depending on how you view it), Maynard himself put on record at Metal Hammer’s Golden Gods ceremony that the new Tool album will most likely see the light of day in 2019. Affirmation is one thing, and commitment another, and while 2019 is just around the corner, chances are that will be the absolute bare minimum Tool’s global cult following will have to wait for a new sonic masterpiece. One more year after the twelve of relentless internet hyperbole and immeasurable anticipation that proceeded it, is surely doable, right?
Instead of preparing for what may end up becoming a mass exodus from the workplace on the day that album is released, and following the unexpected success of this article’s predecessor, The Soundshark has put together ten more bands from the underground, worthy of your time, until the musical gap has been bridged by the band themselves. To touch upon briefly from previous feedback, you won’t find Karnivool on this list, or any other list on this site themed similarly, as while not entirely known around the planet at present, they’ve had large enough worldwide success to be able to tour anywhere they see fit, which surely evolves beyond underground status.
Semantics aside, let’s begin:
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: