Track of the Week: You Win Again Gravity – Seamless

On February 4, 2001 (though broadcasting events 1,000 years in the future), Commander Zapp Branningan of the starship Nimbus suggests piloting Le Palm d’Orbit, a floating restaurant in space that was evacuated moments before as a result of a disastrous karaoke session. Though believing he can commandeer any vessel built, he shortly crashes the restaurant afterwards onto a nearby planet. In the ensuing descent, he curses, ‘You win again, gravity!’ right as the restaurant enters the planet’s atmosphere. Stay with me here. On Halloween the following year, five young gentlemen from Ontario released their self-titled debut album, proclaiming their sound to be ‘Catholic girls in the middle of a knife fight.’ They went on to become one of the most influential voices in post-hardcore and are still often referred to as The Only Band Ever, despite uncertainty surrounding whether they will make new music together. Still following? Fast forward four years to Halloween of 2006, and Meshuggah re-release Nothing, completely remastered and re-recorded with 8-string guitars, of which its all-conquering polyrhythmic riff stagger and use of then recent technical innovations, arguably became the catalyst for the tech metal explosion towards the close of the decade. Understanding the link between a Futurama quote, Alexisonfire, and the advent of tech metal, is crucial to the raison d’être of these five gentlemen from Windsor, who share the same name of the aforementioned quote. And if the cohesion of sublime melodic hardcore and infallible metallic groove is anything to go by, then You Win Again Gravity are absolutely a band you need to be excited about.

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Though happily being a presence on the UK live scene for a number of years, their work rate suddenly amped up with 2016’s three track EP What’s Left Of The Distance, which lends its laser-focused trio of punchy, nautically deep, progressive hardcore hits to the much larger Anonymity released late last year. Seamless is among the latest of the band’s studio output, refining their already killer formula, while lending more volume to some of their broader influences. First filtered through lo-fi radio, Seamless’ core hook broadcasts to the listener, drawing on those tech-metal leanings of theirs and playing a technically simple but astonishingly addictive pattern of notes that requires extra thick bleach to scrub free from. Not to mention a drum performance that is certainly a technical marvel. Bursting through into full stereo moments later, the third guitar produces a more ambient overtone that gracefully blankets atop an already captivating opening sequence and quite frankly, they could’ve still made as stellar a song staying within these boundaries. Yet the progressive dynamic of You Win Again Gravity turns everything they touch into an immersive musical narrative. That triumphant tone mellows, giving all guitars an ambient piece to play, and room for Jack Jennings’ entrancing vocal talents to perform poetry, on the everyday pantomime that is life and trying to find the one. Cleverly and carefully placed too, are soothing secondary vocal harmonies with Jack’s own melodic delivery that although subtle in execution, accentuate so much more passion and nuance in the meanings of every word. The chorus soon storms in, unifying all instruments in a steady headbang, complete with gang shouts and volatile potential to create chaos in a larger live environment, given the breathing space. Call it a breakdown if you will. In the truest of rollercoaster fashions, the mood continues to switch between a calming recital and a tidal wave of emotion, verging on fury at points, setting up for a far greater instrumental pummeling near the climax. Time signatures are thrown around with reckless abandon and vocals once harmonious, become hair-raising growls seemingly fuelled by bitter contempt, the combination of which comes off as the musical equivalent of a descent into madness. The bombardment of riffs comes to a crawl, tension soaring like invigorating light dispelling all previous negativity, and we find ourselves back at the opening sequence, as if it were all a lingering thought in our imaginations.

Make no mistake, You Win Again Gravity are a thinking man’s hardcore unit, but their finesse and songwriting ability are phenomenal, so much so that listener experience is mandatory to even grasp at how talented these guys are. Anonymity will get them on the track to success at last, as no doubt what else they have to offer the UK hardcore and metal scenes remains just as exciting a prospect. After all, they still have yet to release a full-length album, but in their wealth of EPs, lies one of the UK’s best unsigned bands hands down.

I once wrote a lot shorter exposé on these fine gentlemen if you want a TL;DR version of You Win Again Gravity. It might actually be better than this piece. Might. Anyway, I must insist you watch the video of Seamless, as it may be the funniest music video produced in years. They have all their material on Bandcamp, as well as all respectable music retailers, and they’re even on the bill of UK Tech Metal Fest this year, fancy that.

Go love them on social media:

http://www.facebook.com/YouWinAgainGravity
http://www.twitter.com/YWAGband

And if you feel like loving me too, you’re very welcome to give me a like, a follow or subscribe to the site, by using the link that can appear somewhere on the page:

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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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Rusted Doors

In our darkest hours, when we feel we have little left to turn to, music has become a light in which we can take our solace in, and a source of hope when our knees bear heavy the burden of what humanity has in store for us. Without diverting too far from the subject in question, these are troubled times we live in, no matter what walk of life you’re from. The world feels on the brink of a new political and economic Ice Age, and whatever transpires in the months to come, global census on the matter seems right to be worried that the timer to doomsday is quickly counting down. The Mayans would be only five years out with their prediction, should it come down to that. The Middle East, with Iran (or the Islamic Republic of Iran) fixed in the centre, has never really been known for its musical endeavours, at least sparsely in the Western world and if you were to speak of rock music, a positive response may need to be heard behind closed doors. And one such positive response can be heard behind closed doors, of a certain rusted variety. Despite being near the epicentre of turmoil troubling the region, Tehran’s Rusted Doors (formerly Rusted Doors of Heaven) base their music not on the surrounding conflict claiming so many lives, but on a different, more human conflict that can be just as fatal. The conflict inside the body. Physically and emotionally. This conceptual basis lends itself to some of the most incredibly evocative and stirring instrumental compositions post rock has spawned in recent years.

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Their album Tale of a Departure scores the story of a character simply known as ‘Nobody’ and chronicles his struggle with depression and illness before succumbing to death, leaving his spirit to observe the suffering and sorrow of his loved ones left behind, unable to protect them. There’s no two ways about it; this is a bleak, haunting depiction of a scarily real scenario that happens every single day, which makes what music accompanies it that much more absorbing and affecting. Something else that makes Rusted Doors’ music that much more fascinating a listen, is their cultural interpretation of a widely renowned genre of rock and its most notable instance, is in their most recent single Huntington. Named after the titular disease that degrades the brain’s cells, it is an unraveling of nine and a half minutes of melancholy, simmering to a boil through the means of funk-driven bass, soft reverb-kissed strums and skins bashed in such a manner that pace and tone matches neither celebration nor ceremony. Around two minutes in, an aggressive fuzz swamps the guitar tone and the drums begin to make headway, bass kicks leading the charge to where you feel the journey will take flight. But quick as speed picks up and volume skyrockets, it’s silenced just as fast. A wave of ambience hushes the beat to a simpler meter, while what previous warmth the music was building is subjected to a sudden chill and into more ethereal territory. The guitar slowly starts to bring abrasion back to the forefront and the drums creep back to tribal levels of complexity in this new found realm of frost. But as duration stretches to seven minutes, fragile tension is finally broken and a flood of emotion explodes forth, sorrowful in its timbre but startling in its execution. All phases of this song illustrate what a roller coaster fighting illness can be to your very last breath and the effect on those closest to you, right up until the final note. It gives perspective to how others cope with this situation. Rusted Doors chose to write a song about it. You may go for a walk or a quiet drive to help you reflect or distance yourself. But whatever life’s challenges throw your way, music will be always be a tool to give people reassurance, comfort and hope in those moments where there seems to be none, and Rusted Doors are a prime example in both a world similar and dissimilar from our own.

 

The album Tales From A Departure and Huntington can be found on Rusted Doors’ Bandcamp page on a very kind pay-what-you-want basis, although please give generously if you feel this is tremendous music as much as I do. The band is hoping to play live more into the New Year and looking into potential festival appearances if possible, but your best source to find out for certain is on their social media.

If you have enjoyed what you have heard of this talented group of musicians, please let them know via the following channels:

http://www.facebook.com/rusteddoors
http://rusteddoors.com/
https://www.instagram.com/rusted_doors/

And if you have enjoyed what you have read here, then you’re more than welcome to let me know if you so wish via a like, a follow or by subscribing to the site by clicking the link below:

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Secret Tsunami Club – Episode #13

So folks, it has been six months since I last endeavoured in radio, but at long last, I bring you the next instalment of the Secret Tsunami Club and the first podcast as an independently produced project. Quality may not be the best right now, but it can and will only improve over time. Hopefully it is of a standard you can enjoy.


Tracklist:

Black Vulpine – Twisted Knife
The Vibraphonic Orkestra – A Vibraphonic Introduction
The Impalers – Metro Azul
Geistfight – True Warriors
Release The Bats – Hornets In A Matchbox
Death Valley Sleepers – Your Face In The Skies
Seasloth – Marshmallon
Ten Tombs – Honestly
Ketch Hatbour Wolves – Queen City Believes You
In Case Of Fire – Do What I Say
Vektrill – I’ll Never Die
Elephantis – Stronghold
Octopede – The Gush
The Gentle Art Of Cooking People – King Tukan II
Cavern – Ithican
Atomis – Maelstrom
Bullet Height – Hold Together
Kurt Dirt – Pleasure Machine
Iltoro – High Fly
sØ؆ – ÐΔRKES† HØUR
Glass Cobra – Up
Furious Freaks – No Indeed
Youth Code – Doghead
Dirk Geiger – 24 Hours Without Interruption

If you enjoyed this, then you can keep up to date with the latest Secret Tsunami Club happenings via Facebook or Twitter, and you can never miss an episode by subscribing to the site on the link down below:

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The Schoenberg Automaton

All through out the mainstream, backstage, behind curtains and face-to-face, musicians take risks for their art. Risk is something at the very fabric of our being, a primal fear or instinct that can separate us from doing something good, and doing something great. Musicians are far too familiar with this concept. Some of the most famous and infamous moments in music history were all made on taking a risk. Bob Dylan’s switch to electric guitar attracted the ire of the folk community, but it did nothing to dent his legacy as most of the most acclaimed songwriters in music history. Iggy Pop, despite being great friends, rejecting David Bowie’s production of Raw Power in favour of his own and becoming one of the great rock albums of all time. In a reversal of fortune, Capitol Records wanted more airplay from Megadeth in 1999 and the band released the critically divisive and experimental album titled Risk, often considered to be the band’s worst work and could have even ended their careers. So where do The Schoenberg Automaton fit onto this scale of risk? Well, artists and musicians are often known to relocate to places where they feel their creativity can best thrive. But how many of them move to the other side of the planet? Relocating from Australia, one of the global hotspots for deathcore right now, the band opted to take their monstrous tech-death juggernaut and establish themselves in Canada, a land known in underground circles for its outstanding death metal exports. No matter what walk of life you come from, a career and life decision that gigantic is gutsy. And that’s a word that sums up The Schoenberg Automaton’s output perfectly. Gutsy, driven and unflinching in the pursuit of your passion.

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Second studio album Apus certainly seems to have benefited from the change of scenery, as the maturity and confidence has certainly grown in the years of development between Apus and debut album Vela. But it continues the same plotline from the end of Vela, exploring philosophical and science fiction themes as the ground concepts of the band’s storytelling and lyrical content. That story is woven into the fabric of an expansive death metal powerhouse with a dizzying amount of shifts in tempos and time signatures, performed with the heaviness and ferocity of a butcher in open-heart surgery. The universe that The Schoenberg Automaton have crafted is one of surprising atmosphere given the carnage they themselves create, but an enthralling one as Apus progresses and from the outset, it is opening track Swarm that is the greatest footnote to this revelation. Though Year Zero paints the scene, the first few chords of Swarm set up a metal rampage for the ages, drums below generating energy with swift beatings and fills to transfer into a frenzied full frontal assault. Double kicks rain down furiously, while the punishing, distorted blades of guitar rev up the engine, strum by unrelenting strum and deep, petrifying growls set the tone and the journey’s course. As statements of intent go, it certainly leaves very little to imagination as a tremendous display of fortitude and showmanship. Melodic wails spill from the guitar following a guttural, primal howl just as drums enter a sugar rush of tempo clashes and meter shifts, peeling the veil off just a mere fraction of the band’s technical ability. A brief, bone-shattering breakdown even gets squeezed into the action. But a lot of the chaos is dictated by guitars and drums going mano a mano, matching pace and intricacy by every individual note and beat running parallel one another, spawning harmonies and melodies to stir heightened emotions in their listeners. Much as the sight or experience of a swarm should feel. A delicate symphonic undertone is subtly introduced into the final minute, amongst the full effect of the metal barrage that is only in its first full-length track, which grows in grandiose as Swarm closes out, making the transition into what is to follow all the more satisfying. Though a balancing act of extremes could be said of Apus, given the unbridled aggression of chords and the complex, but emotive layering of their guitar work, a hyperactive level of drum technique and the frankly terrifying growls that tell the tale, it does nothing to detract from the spectacle of one of the most courageous and fascinating metal bands around today. An album worthy of both Canada and Australia’s death metal lineage.

Apus is out now at all respectable music retailers now in physical and digital formats. The band’s previous two releases Vela and their self-titled EP, are available on their Bandcamp for a reasonable fee as well as T-shirts and the likes via their webstore. They are actively touring, having just finished their first headline tour of the UK, but if you wanna see them at a venue near you, hit them up. You won’t regret it. They’ve just releases a brand new video for Vengeance too which you can find here.

Go tell them how much you enjoy what they do via social media right here:

http://www.facebook.com/TheSchoenbergAutomaton
http://www.twitter.com/TSAMetal

And if you want to tell me how much you enjoy these words, entirely at your discretion, then you can do so via a like, a follow or a subscription to the site down below, so you never miss a post, then you can do so here:

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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?

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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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