BoySetsFire - "The Misery Index: Notes From The Plague Years" (Burning Heart Records)

When I first stuck this on, I was pleasantly surprised at how melodic the band had become. With an extremely melodic, commercial intro and heavier but equally-melodic “Walk Astray”, followed by the excellent “Requiem”, this album was shaping up to be the best surprise of 2006.

Then “Final Communique” came on, and destroyed the spell. Harking back to their hardcore days, this is pure screaming, and pretty pained screaming, too. It doesn’t sound like it would be much fun to do. It’s a terrible song, really. “So Long… And Thanks For The Crutches” is another poor song – like a mix of Limp Bizkit and a bad Blindside tribute band… Very disappointing.

But, “The Misery Index” returns to the soaring, melodic musicality of the first two tracks, and I started to feel better with myself. Josh Latshaw’s vocals are perfect. Sounding like a less crooning Howard Jones (Killswitch Engage), with some elements of commercial, American Radio Rock – either Breaking Point or Vonray’s cleaner, more commercial singing, the album has great cross-over potential. Think The Calling, but with balls and conviction, and slightly less pop. Occasionally, a favourable comparison can be drawn with Blindside (especially with their latest single, "Fell In Love With The Game") The trend is continued on “(10) And Counting”, “Falling Out Theme”, “Empire”, and “With Cold Eyes”.

Overall, the band has grown as musicians, and their songwriting has improved tremendously, thanks to finding a home at Burning Hearts Records – the band have changed labels so many times, it’s not surprising that they always had an unsettled feel to their music.

Soaring, melodic, emotional, yet unique in many ways, this is the band many people should be listening to, instead of all the bandwagon-pap that’s spewing forth from some factory-like labels. It’s just a pity they fell flat on a couple of these songs.

www.boysetsfire.com

In Flames - "Come Clarity" (Nuclear Blast)

It’s often difficult to review your favourite band and be objective. Sometimes you can end up being too harsh – as I was with In Flames’ previous release, Soundtrack To Your Escape.

In Flames have grown yet further with this latest release, Come Clarity (their 9th full-length album). Some purists will again cry foul when they hear the guest vocals of Lisa Miskovsky on “Dead End”, or when they notice that every chorus on here will lodge itself in your subconscious. “Dead End” adds a lot to the band’s repertoire, and is perfectly placed on the album, making it all the more enjoyable to listen to.

This is not to say that the band have gone pop – far from it. “Take This Life” and “Leeches” open the album with a visceral roar of defiance, and the pace never really lets up. Guitarists Jesper Stromblad and Bjorn Gelotte continue to peal off melodic riff after melodic riff, while retaining a healthy amount of heaviness. The rhythm section, too, puts in an especially good performance, with Pete Iwers’ bass rumbling along in a satisfying manner, and Daniel Svensson’s superb drumming (groove, speed, variation, actual catchiness) underpins the whole work.

‘Anthemic’ is a good word for the whole album. With Anders Friden’s vocals continuing to defy all preconceptions of what the human voice can do, his highly melodic screams (seriously, have a listen to “Take This Life” and “” to hear it in its purest form) manage to lift the songs out of the drudgery that can often befall Death Metal albums. Other stand-out tracks include “Vacuum”, “Crawl Through Knives”, and “Versus Terminus”.

The title track drops the tempo a little, but not in a way that will jar us from the moment.

In a bizarre twist, on “Reflect The Storm”, Anders’ vocals actually make him sound like some of the American imitators that have sprung up in recent years, citing In Flames as influential. It’s odd, but he still sounds better than anyone else in the genre.

If you purchase the special edition with DVD, then that, too is pretty interesting. A little unimaginative, perhaps, as it merely shows the band perform the complete album in their rehearsal space, but interesting nonetheless.

Overall, this is the band once again spreading their wings, continuing to try new things, regardless of what people might think. They are all the better for it, and if this record doesn’t send them stratospheric, there really is no justice in this world. Each song could be singled out as potential radio hits, but there would be little point in spelling it out for you.

Truly essential listening.

www.inflames.com

Amorphis - "Eclipse" (Nuclear Blast)

One magazine likened Amorphis to Nightwish (I think it was the well intentioned, if lamentably edited Zero). This is wholly inaccurate.

Eclipse sees the band returning to a more gruff, muscular sound than their previous few releases. New vocalist, Tomi Jousten, in particular has brought a completely new element to the band's sound. He doesn't sound anything like previous vocalist, Pasi Koskinen, and sounds all the better for it. His vocals are actually an interesting blend of styles - at times pure Death Metal (or "grunts", as the press release describes them), at others coming across as groove-laden, soulful singing. Even many of his roars and screams retain a high level of melody (something I've only come across before with Anders Friden, of In Flames).

The band are not attempting to live in the past, instead they are trying to move forward, while remembering where they came from.

The music as a whole still retains a certain "bounce" to it (probably the result of the Finnish folk music influence), particularly in the guitar work, and especially evident on "Leaves Scar" and "Brother Moon".

As for specific songs of note, "House Of Sleep" sounds like a progression of Elegy (1996) and Tuonela (1999), assuming Am Universum (2001) and Far From The Sun (2003) never happened, while both "Perkele (The God Of Fire)" and bonus track "Stone Woman" sound like even earlier material than that.

Definitely a progression, different approach to the Amorphis of old, forging ahead with a (largely) new identity. If you were not a fan of previous Amorphis albums, I would still recommend giving Eclipse a listen, as you might be pleasantly surprised with what you find. As for existing fans, this should please fans of all types, coming across like a career retrospective in many ways.

Highly distinctive, without sounding like anyone else, this dark and melancholy album is highly recommended.

www.amorphis.net

Entwine - "Sliver" EP (Spikefarm/Century Media)

Entwine are one of the finer bands to come out of Finland in the past decade or so. Having shed themselves of their Death Metal roots long before they recorded their first album for Spikefarm Records (1999’s The Treasures Within Hearts), Entwine delved into the world of gothic rock.

Since that debut, the band have continued to evolve their sound to something completely their own – namely, dark themed, bombastic rock. On Sliver, a stop-gap EP before the release of their fifth full-length, the band are slaking the ravenous thirst of their fans for something new.

The three new tracks – “Break Me”, “Carry On Dancing” and “Still Waiting” – are all excellent examples of what the band are best at. Namely, big choruses and stirring musicianship. “Carry On Dancing” shows the band stretching their sound yet more, incorporating some new harmonies and stylistic elements that bode well for the new album. Mika Tauriainen's vocals in particular are on top form, with the rest of the band also sounding tighter than ever.

Sadly, the release is let down by the two live recordings. The energy of these two songs is no where near that of the studio recordings –often the case with live versions. The sheen and perfection of the studio is replaced by a rather limp sound. Still recognisable as Entwine, but after the perfection of the first three tracks, this is a great let-down.

With a wider appeal than HIM (yes, really), not as gloomy as Sentenced or Katatonia, better songs than most bands in any genre, and a hopelessly romantic air about them, it really is a wonder more people aren’t falling for these Finns’ music.

Recommended. Role on the fifth album proper!

www.entwine.org

Sinamore - "A New Day" (Napalm)

Touted by many as the band most likely to take up the slack of the Gothic Rock scene since the untimely demise of Sentenced, a lot is riding on A New Day, the band’s debut album.

“Sleeping Away”, the first released song from the album shows that the band just might have the talent to do so. Although not as good as Charon, Icon & The Black Roses or Entwine (two other leading lights on the scene), but different enough to avoid outright competition, Sinamore will likely be welcomed with open arms by the Gothic music scene. It does sound very similar to “Crimson Leaf”, though, dampening the impact of the song.

The band seem to borrow elements from all the leading lights of the gothic scene, but thankfully manage to retain enough of an identity of their own. Mikko Heikkila’s vocals are less ‘pretty’ than Ville Valo’s, which also makes the band stand out a lot more. Crunchier guitar riffs (Tommi Muhli), more varied drumming and bass (Miika Hostikka and Jarno Uski, respectively), and darker atmospherics make this band a very attractive proposition.

“Fallen” incorporates more forceful vocals and a heavier pace, and is easily one of the best tracks on the album. Sadly, “Misery Carnival” drops the pace, with slightly more droning vocals, and less of a punch.

Overall, though, and considering the press that preceded the release, this album doesn’t quite live up to expectations. Often derivative, the lack of any great variation weakens the album somewhat, and as a result the album never quite lives up to the promise.

Having said this, if you find your life with a gaping hole where Sentenced used to be, and HIM just doesn’t do it for you, then Sinamore’s A New Day could go a long way to filling this void (at least until you go and buy Icon & The Black Roses’ eponymous debut, that is…).

Sweeping melodies and sombre atmospheres, but with enough energy to avoid being somnambulant, Sinamore are like a more energetic, commercial Katatonia. Lacking the pop-commercialism of HIM, the band are also likely to be taken more seriously by the ever-pretentious and elitist Gothic Rock fans.

www.sinamore.com

Zero Cipher - "Diary Of A Sadist" (Anticulture)

Metal with ADD, on amphetamines. Completely uncompromising, forward-looking, genre redefining metal.

Below the screaming vocals can be heard some very good, clean harmonising (like a more angelic Anders Friden). Incendiary guitar licks and solos, catchy hooks galore and a musicianship unmatched by the majority of the music scene today, Zero Cipher are, along with Mendeed, great British hopes for metal!

Any description of this cornucopia of styles and boundary-defying noise could make it sound like any band from either the New Wave Of American Heavy Metal, or Metalcore. But, this has so much more going for it, that it would be folly to pass it up because you’ve heard “brutality and melody” blended together before. This is different, and far more superior!

They meld their infectious metal with beats and scratching, harking back to the days when One Minute Silence (R.I.P.) were still a force to be reckoned with. Yap – vocalist with One Minute Silence – guests on “My Statement Of Misintent”, but, rather disappointingly, this is the weakest song on the album. Bear in mind, ‘weakest’ is not the same as ‘weak’. The song’s still good, but he doesn’t sound as forceful or confident as he once did.

“It’s No Secret” is the album’s quieter number. It’s a single, if ever I heard one, with superb melodic vocals, great catchy music and it travels along at a fair clip, not once reducing the immediacy of the album at all.

Your parents will refer to this as noise. It’s guaranteed, but beyond the dissonant aural assault, Diary Of A Sadist is one of the most compelling albums to be released this year, if not decade (young as it still is).

Can something be beautifully insane? It can now.

www.zerocipher.com

Deathstars - "Termination Bliss" (Nuclear Blast)

“Tongues” opens with chugging guitars reminiscent of Rammstein, and Depeche Mode-like synth. Unfortunately, the song never takes off quite like Rammstein are able to. Deathstars have a lot in common with the German industrial superstars. “Blitzkreig” sounds a little too similar, I have to say. Vocalist Whiplasher Bernadotte (don’t ask) sounds too close to Till Lindeman for there not to be some influence creeping in.

But, the Deathstars have not managed to develop the skill of (or perhaps penchant for) large, catchy choruses that get the blood pumping. True, the chorus for “Blitzkrieg” is kind of catchy, yet bears more in common with the gloomy atmospherics of Type O Negative (minus the irony and sarcastic wit) than anything currently bothering the rock charts. “Motherzone” continues the deep vocals and synthesised music, but despite being rather interesting, is a touch forgettable.

Lead single, “Cyanide”, is a much more impressive beast. It’s also another Rammstein-alike romp. Whiplasher’s vocals take on a depth and gruffness akin to (Moonspell). It’s pretty good, almost stomping, but the lack of energy might be detrimental in a live setting.

Taking the more twisted, darker imagery and subject matter of the European industrial scene, Termination Bliss is a good album, but falls short of the mark. This will never be considered ‘great’, but considering the improvement we’ve seen from their debut, Synthetic Generation (2004), it’s possible that their next album will be something very good indeed. Personally, I think they should embrace some more commercial elements to make them properly memorable, as without obvious hooks, these songs are not so easily remembered.

Deep, dark, fun, bizarre, not pretty. Good, but ultimately unfulfilling.

www.deathstars.net

Trigger Point - "A Silent Protest" (Corporate Punishment)

Generally speaking, this album is okay. If you’re after a straight forward hard rock-metal crossover album, then Trigger Point’s debut will probably provide exactly what you’re looking for.

Sadly, that’s the problem. Although the music is well put together, the songs have punch and immediacy; they lack a certain finesse that is evident in the leading lights of the genre. Trivium, for example, mix perfectly executed metal with flawlessly melodic hard rock. Trigger Point’s album is somewhat disjointed and generic.

The title track, although skilfully and confidently played comes across as a first attempt. These guys have been in bands before, and they really should be better at writing.

“My Time” delves into the latter end of the Nu-Metal era, bearing similarities with Unloco, Twisted Method, Noise Therapy and American Head Charge. At least they are better than some of the casualties of that genre. This song has an almost melodic chorus that simply annoys because it never takes off, and really doesn’t sound very convincing. Singer Taylor doesn’t sound like his heart is in it. He does give a better performance on “Picking Up The Pieces”.

Compared to label-mates Allele, Trigger Point fall very short of the mark. As always, though, one person’s symphony is another’s earache, so have a listen for yourself.

The grooves are flat, the melodies are uncared for, the heavier moments are plodding. Potentially, this could have been great, but ultimately it was let down by a lack of spark, attention to detail or unique x-factor. Sadly forgettable.

Revelation Theory - "Truth Is Currency" (Idol Roc Entertainment)

Oho, this was a pleasant surprise! The mixture of grunge and harder, heavier rock is a rapidly growing genre in the USA, particularly in the Southern states (specifically Georgia and the Carolinas, which have given us Sevendust, Stereomud, Dark New Day, Virgos Merlot, to name but a few). Revelation Theory sort of fit into this genre, mixing less grunge with their heavier, harder-hitting moments. At the same time, they have a much more pronounced commercial skill that makes almost every one of these songs a potential single.

It’s a tough album to describe, other than that. In their own words, they say, "Most of our fans describe us as a mix between Sevendust, Staind, and Seether," the band tell me. Well, I think I'd agree to a certain extent. The band's sound certainly contains elements of heavier grunge (Seether), 'crooning' vocals (Staind - kind of, but nowhere near as whiny as Aaron Lewis), and a whole skip-load of raw emotion, power and talent (Sevendust).

Julien's heavy, driving guitars, coupled Rich's rougher singing and the groovy rhythms of Matty and Dave, the band have a sound purpose-built for the live setting.

Overall, this album turned out to be far more interesting, catchy and also better written than other reviews had led me to believe. No, they don’t reinvent the wheel, but they know how to rock like bastards, and surely that’s all we really need, right?

Top cuts: current single "Slowburn", and "Selfish And Cold" (personal favourite)

Far from being mere immitations of other bands, Revelation Theory have a familiar, yet unique hard rock sound that should be attractive to the majority of hard rock fans.

Mendeed - "This War Will Last Forever" (Rising)

Mendeed are an interesting proposition. Blending many musical styles and elements usually attributed to Scandinavian bands - controlled speed, guitar melodies you can almost sing, coherent roars and screams, precise and enthralling musicianship and bucket-loads of writing talent, you might be surprised to learn that they're from Scotland.

If you popped the album into your stereo and pushed play, you'd probably find yourself checking the box again: yes, it is Mendeed's album, and not some instrumental, Celtic thing. Intro "All That We Have Become" is simply a sublime piece of instrumental music. It's certainly not metallic in any way, sounding like a cut from the Braveheart soundtrack, but it serves its purpose in lulling the listener into a sense of calm and security before the poundingly heavy "Beneath A Burning Sky" slaps us awake again.

At times sounding like Arch Enemy, and at others sounding like a Scottish Children Of Bodom (the Celtic music influences don't disappear completely after the intro), Mendeed offer a fresh take on a growing number of Scandinavian-metal-influenced bands who do not wish to travel the now-dulled path of Metalcore.

Perhaps the only let-down for this album is the production on the clean vocals, which sound suppressed and slightly muffled. A minor gripe, perhaps, but rather noticeable on an otherwise impeccably produced album.

I've been following the band since their debut mini-album, From Shadows Came Darkness (2004), and subsequent singles. With This War Will Last Forever, the band have come of age and fully grown into their roles of metallic masters.

Fast, melodic, furious and exquisitely put together, one can only hope this band gets the recognition they deserve. Judging by the swathe of excellent reviews they've been receiving in the music press, it's only a matter of fighting your way into the consciousness of the record-buying public.

Fall Of The Leafe - "Vantage" (Firebox)

This album came across like an unexpected curve-ball. Fall Of The Leafe's debut album, Volvere, was a darkly majestic, sweeping gothic affair. Vantage is rather different.

Eschewing the morbidity and gloominess of the Finnish Gothic Rock scene that spawned them, the band now sounds like they have much more in common with Pearl Jam at their most introspective than anyone else. This is most evident in Tuomas Tuominen's vocals, which sound almost identical to Eddie Vedder - only somehow deeper and more arresting.

This is by no means a bad thing, as the band have much more of an identity now than they did previously - despite the striking vocal similarity, Fall Of The Leafe do have a very unique blend of grunge, hard rock and gothic rock. The latter is far more understated than any other element, but there are some idiocyncracies that almost all Scandanavian bands have; an air of slight melancholy.

Like Pearl Jam playing Gothic Rock, or Sentenced playing Seattle Grunge... It's very good. One gripe: there's not much variation between songs, so it can feel like you're listening to one (very) long song, instead of 12 great rock songs. This is why I haven't picked out any specific stand-out songs to draw your attention to. But, despite the formulaic songs, I do find myself continuously drawn back to it. Perhaps this album is perfect for the argument against constantly changing styles and being overly varied on an album. It's certainly become one of my albums of the year.

If you're looking for something a little different, and unafraid to follow a path that isn't in vogue, then Vantage is an album you should pick up.

P.O.D. - "Testify" (Atlantic/WEA)

POD have come under a bit of an attack from the broader British music press. While it's true that their previous album, Payable On Death (2004) didn't live up to the success or overall quality of their break-out record, Satellite (2002), which yielded a bucketload of singles and general adoration over the pond.

Testify shows the band a little more confident, and not so self indulgent throughout. The song-writing is tighter and more focused, with most songs having solid structure and some good melodies. Being a POD record, it would be incomplete without some reggae influences and flavours (I'm sorry, but I refuse to write 'flavaz'), which again add to the songs, rather than detract - as they did in Payable On Death.

The two opening tracks - "Roots In Stereo" and "Lights Out" - are good, strong numbers to start the album with heavier guitars. "If You Could See Me Now" is a softer, more soulful number, never really taking off like, or having the same style as "Youth Of The Nation" (which appeared on Satellite). It's a good song that, despite the drop in pace, doesn't derail the album.

"Goodbye For Now" sounds like POD trying to produce an Incubus song - mixing in their own rap elements, with the sweeping melodies we got from Incubus' Morning View and A Crow Left Of The Murder. There's a certain amount of irony that one of the lyrics is "when will we see a new song..." (repeated).

Overall, then, the album isn't as bad as the press has let on - most giving it a paltry 1 or 2 out of 5, which is rather harsh. Yes, it doesn't break the mould of what we've come to expect from the band, but really this isn't a bad thing.

More like Satellite than Payable On Death, I can imagine that the album will probably do quite well. This will probably be predominantly because of the die-hard POD fans (or 'Warriors', as they rather pretentiously call themselves).

Ultimately, though, rap-rock has passed its prime, so this won't help the band set the scene alight again. Dated, but competently written.

New Talent: Megan McCauley (Wind-Up)

This isn’t so much a review, as a preview of an amazing new talent on the rock/pop scene. You might have come across her songs on the Elektra and Fantastic Four soundtracks (both also released through Wind-Up Records). With the catchy hooks of Avril Lavigne and Evanescence – minus the ‘Goth’, backed up by a heavier guitar sound and a massive chorus that will get your blood flowing, “Die For You” is the perfect pop/rock song. Its somewhat darker subject matter is also another boon.

The only other tracks I’ve managed to get a hold of were “Reverie” (a softer, sad crooning number) and “Wonder” (another soaring chorus, coupled with a grungy, smokey verse). If you were after a female singer who doesn’t sound like a waif – something that is increasingly prevalent in the rock and metal genres, then Megan’s strong, powerful and sometimes forceful vocals should go a long way to pleasing you.

Her delayed debut album should be out sometime in early 2006. Something to keep an ear open for.

http://www.meganmccauley.com/

Charon - "Songs For The Sinners" (Spinefarm)

Ah, Finland. Where would we be without the magnificent Gothic Rock/Metal scene that seems to be part of the Finns’ genetic make-up? There are too many quality bands that have come out of that scene to name here, but without a shadow of a doubt, Charon are one of the top, if not the only band you really need to know from there, incorporating all of the best traits from the scene into one, handy, melancholy, and highly talented package.

Songs For The Sinners is their fifth album, and the band have remained true to their signature sound yet again! Whereas for some bands, this would be seen as a detriment, Charon have a sound so powerful, melodic and melancholy that it is hard not to get swept up by their huge choruses and the overwhelmingly dark atmosphere they manage to produce.

Often compared to Finland’s leading Gothic Metal band – Sentenced (R.I.P. 2005) – Charon are actually much better, never allowing themselves to be too drawn into the gloom, and always retaining a healthy amount of catchiness. They also bear some resemblances to Poisonblack, Fall Of The Leafe, Sinamore, and For My Pain.

JP’s vocals are so full of emotion that you’ll often find yourself covered in goose-bumps. His choruses are never quite as large or catchy as Charon’s most famous hit, “Little Angel” (Downhearted, 2001), which saw the band take a bit of a more commercial sound, before they returned to their sombre moods for The Dying Daylights (2003) and this most recent record.

Best cuts: “Rain”, “Ride On Tears”, “Gray”, and the superb opening track “Colder” (wonderful female vocals at the start and harmonising elsewhere).

If you are familiar with the work of HIM, but find that Ville and crew have gone too far down the commercial, pop-Goth route, then I strongly recommend any album from Charon for you, despite the relative difficulty in getting hold of their albums in the UK (thank for Amazon!).

http://www.charon.cjb.net/

Raunchy - "Death Pop Romance" (Lifeforce)

This third release from Denmark's Raunchy sees the band stepping further out of genre moulds, producing an even more catchy, infectious and gripping sound.

Compared to Confusion Bay (2004), Death Pop Romance is a far more assured, consistant piece of work. All the songs come equipped with the sort of catchy choruses that make bands like Atreyu and Linkin Park such fan favourites.

The arrival of new vocalist Kasper Thomas can be seen as a true turning point in the band's sound and no doubt - given time - success. His screams are far more powerful and coherent, while his clean singing is likewise superior to many in the genre. He does come across as similar to Anders Friden (vocalist with In Flames), at times, but this is no bad thing. Also, the melodic singing is much cleaner and... well, 'angelic' is the wrong word, but you get my drift.

There are so many huge choruses on this album! The band has clearly taken note of the success of their previous two singles, "Watch Out" and "I Get What I See", from Confusion Bay, both of which were focussed around crowd-pleasing, blood-pumping choruses.

They are described as 'Futuristic Hybrid Metal' by their label. Okay, I'll accept that as a tag. They have an industrial, busy element to their sound which does make them lean towards the territory of Strapping Young Lad - this is less pronounced than on Confusion Bay, which at times sounded so dense with all the elements blending into one powerhouse wall of sound.

But, now, I think the band has far more in common with In Flames and the increasingly (excellently) commericial Soilwork. It's good to know melodies are finding more and more purchase in the metal world.

Soaring, melodic, fast, heavy, and immediate. Excellent.

www.raunchy.dk

HIM - "Dark Light" (Sire/Warner Bros.)

This was bound to happen. HIM have produced an album that sounds pretty much exactly like everything they’ve released since their massive hit album Razorblade Romance (2000), which was, I admit, faultless. Razorblade Romance was my first HIM album, which I got when it came out. Since then, I’ve been eagerly awaiting everything the band releases, and have never been let down. Until now. Sort of…

This is the first HIM album where I’ve found myself skipping songs. Well, only one song, really: “Dark Light”. It’s just awful! Cloying, limp, poorly written, boring drivel. In my opinion, they should have left this off the album, and replaced it with the B-Side from the first single (“Wings Of A Butterfly”), “Poison Heart” (a Ramones cover).

On a completely different note, and while speaking of “Wings Of A Butterfly”; how amazing is this guitar riff? In fact, the whole song is certainly one of the best songs the band has ever written, not to mention the most ear-catching and likely to have you humming all day long. Love them or hate them (and isn’t that a long-dead debate in all the magazines…), you can’t deny that Ville Valo and chums certainly know how to write dark pop songs. “Killing Loneliness” fits into this category, too.

Apart from this stand out track, and the poorer one, the rest of the album is pretty much HIM-by-numbers, and is therefore only ‘okay’. Even then, they’ve made the album sound a lot weaker, toning down much of the bombast in favour of something they probably thought would sound like heartfelt angst… While “Under The Rose” and “Behind The Crimson Door” sound far too like a couple of other songs from previous albums.

Ordinarily, the lack of progression wouldn’t have been a problem, but the band are resting too much on their laurels and perhaps it’s time to up the ante! I don’t think a change in direction is a good idea (indeed, it would probably destroy their careers), but I think they’ll need to start doing something new to keep interests high, and keep the fans coming back for more.

http://www.heartagram.com/

Clap Your Hands Say Yeah - S/T

This band comes to England from the US on a wave of critical acclaim. The more careful critics label them as a lo-fi treat, while the less careful ones regard them as the new Modest Mouse. This is particularly dangerous. For one thing, Modest Mouse are lo-fi pioneers. To make this comparison is foolhardy at best. Second, this band don't even come close to their hype.

CYHSY have elements of Modest Mouse in their sound, but first and foremost, they are your average, run-of-the-mill, lo-fi band (Schizo Fun Addict wannabes, anyone?). 'Over and Over Again' is an absolutely stunning track, but I personally think it's the best one by a long way. The rest of the album plods along in the same manner most standard lo-fi albums do. Whoohoo… You sound dreamy and ethereal. Great; but how exactly are you different from every other band in your genre?

Do yourself a favour and buy Death Cab For Cutie's new album instead. It's far better, and guaranteed to have much the same effect.

CMcG 7/10

The Strokes - "First Impressions Of Earth"

I'm not going to lie to MWRI fans. The Strokes represent everything that is bland about garage rock to me. To be honest, it almost feels like they want this effect. The first album sounded like a mediocre attempt at NY punk and the second was just drivel. In just two albums, the band became the point of reference for both the scene's greatest supporters and harshest critics.

For this reason, the Strokes needed to do something truly amazing with album number 3. It should have been their masterpiece. After 2 and a half years of writing the bloody thing, it needed to be perfect. Was it perfect? God no!

Just two tracks in, they descended into yet another samey riff, and from there, the album only picked up in sporadic moments. Does Julian Casablancas really need someone to extol the virtues of development as an artist? Unfortunately, where the one saving grace with the first two LPs was their merciful brevity, FIOE is a 52 minute piece of dirge.

I'm less than wowed for much the same reason I'm always less than wowed by The Strokes. Blah, blah, blah… Get a haircut and try actually being punk for once. BORING!

CMcG 6/10

Bleeding Through - "The Truth" (Roadrunner)

Bleeding Through have come a long way since their last album, This Is Love…This Is Murderous. As pioneers of the Metalcore scene, the band have thankfully gone some way to ditching their ties to it, forging ahead with a much more abrasive, gripping sound. Still, we have the thundering music and coarse vocals, but instead of sounding like plain old Metalcore, the band has managed to step out on their own, upping the ante considerably.

Brandan’s vocals have particularly improved a great deal. Firstly, his (predominant) roar bears more in common with Melodic Death Metal bands such as Arch Enemy and Dark Tranquillity, while his clean vocals are far less Emo. Speaking of his clean vocals; I’m a little disappointed. On occasion they sound less confident than before. Whatever the reason for this, there’s little doubt that live, he is still an imposing vocalist. However, on stand-out track, "Kill To Believe", his singing does sound very good.

With stellar performances from all members of the band, this is a treat to listen to. Guitars duelling with each other, crushing the senses, drums and bass pummelling our ears, and Marta’s keyboards adding extra dimensions to the band’s sound. Overall, the song-writing has greatly improved, with these cuts easily proving to be their best – not to mention heaviest – material. The songs are shorter, on the whole, which also gives the album a great pace that never lets up – at times, This Is Love… tended to get a little bogged down and distracted by longer tracks, sapping some of it of the frenetic energy these guys display in a live setting. With these songs, the mosh-pits at their shows will be bigger and better, not to mention irresistible.

It’s good to know that bands are finally deciding to pursue more individual paths in extreme music, as really the Metalcore scene was long overdue an overhaul and spring clean. For those who were fond of their old sound, do not despair! Bleeding Through are still recognisable as the same band, and have not completely rid themselves of their roots. This is a progression, rather than a reinvention.

If you’re looking for convincing, angry, frenetic and impeccable metal, then The Truth is an album you should look into getting your mitt on.

Although it is far too early to say for sure, I think Bleeding Through might just have released one of the best extreme metal albums 2006 will see (I’d be truly amazed if any Metalcore band managed to produce anything more immediate, individual and stylistically superb).

Bottled fury at its best, The Truth ensures that Bleeding Through will still be around after Metalcore has been relegated to the bargain-bin of music history.

www.bleedingthrough.com

The Bronx Casket Co. - "Hellectric" (Regain)

Hellectric's sound falls somewhere in the middle of Charon, Sentenced, Billy Idol, Type O Negative and The Cult. A strange mix, I hear you say, but it really does manage to work very well. The music is firmly rooted in the Gothic Rock scene, but Myke Hideous’ vocals seamlessly segue between Ian Astbury’s rawking (The Cult), Billy Idol’s sneer, and the deep, melancholic croon of J-P Leppäluoto (Charon).

“Everything I Got” opens with a riff that even (the highly over-rated) Mastodon would be proud to call their own, so heavy and rumbling is it. The rest of the album is similarly heavy and groove-laden. All the songs have a high level of melody and catchiness, yet rather than pop-Goth - like HIM - they are much more like other Continental European Goth acts (the aforementioned Charon, for example), where the catchiness is created through slightly melancholy melodies.

The only two things that let this album down is the annoying woman bitching on “Sherimoon” (it sounds like an annoying Anime character giggling at the end… absolutely terrible!), and the rather dull, droning “Free Bird” (which is probably how Marilyn Manson would sound, were he to do a song completely stoned).

To further mix things up, “Bleed With Me” sounds like Godsmack’s more grungey moments, mixed with some of Orgy’s better songs (so, stuff from their first album, Candyass).

A very diverse, instantly likeable, highly recommended album!

www.bronxcasketco.com