Silverstein - This is How the Wind Shifts REVIEW

              2013, for what it's worth, is promising to be one hell of a year. Whether it's the fact that we all survived the apocalypse, or the fact that every band ever is releasing a record this year (more so the latter, let's be honest), we have a lot in store for us. With that being said, opening the celebrations along with Hatebreed's The Divinity of Purpose comes Silverstein, with their fifth studio album This is How the Wind Shifts, a concept album exploring multiple outcomes of different situations. Indeed, each pair of seventh songs (1st and 8th, 2nd and 9th, etc.) deals with the same situation, but with a different resolution.

           While 2011's Rescue had its moments, including a stellar guest appearance by Anthony Raneri on 'Texas Mickey' and mosh anthem 'The Artist', it was ultimately a mixed bag, criticized for its seemingly eclectic collection of songs. This is How the Wind Shifts is anything but. Retaining their emotional-tinged lyrics and melodic instrumentals, the album nevertheless packs an energetic punch as frontman Shane Told masterfully melds clean and unclean vocals. Supported by the guitarwork of Paul-Marc Rousseau and Josh Radford - who vary up the tempo and dynamics of every song. Meanwhile, Paul Koehler's talent as a drummer continues to shine through as he never lets up the relentless beat, mercilessly pummeling the hi-hat and snare.
            'On Brave Mountains We Conquer' melds dissonant guitars with Told's uncleans, creating a mesmerizing sound. The song ultimately bends in the direction of clean vocals, but that doesn't make it softer by any stretch of the imagination. The breakdown is perfectly hyped up, and the band's choice to include chords past the fourth fret is utterly refreshing.
             I previously discussed 'Massachusetts' in an older post. Without completely repeating myself, this is an incredible song. The delicate equilibrium between cleans and uncleans is masterfully worked, and the instrumentals mold themselves about it, bringing in a chilling melody during the clean chorus. I find myself singing along to 'With Northern Massachusetts on his knees to stay...' more often than not.
              'A Better Place', the album's requisite breakup song, supersedes previous Silverstein anthems ('Discovering the Waterfront', 'Burning Hearts', etc.) as Told ruminates 'I can't be spoken for anymore...' and heightens the emotion with soaring cleans.
               Indeed, the band as a whole has matured. As an album, it's lyrically far less melodramatic (Arrivals and Departures (2007) made me wince a few times) and even though it remains pessimistic, there's a little spark of hope in every song. Instrumentally, the band has graduated from cliche bar chords to melodic licks and complex riffs.
               As the 'story' (group of seven songs) progresses, the band goes from angry and energetic to pensive and resigned - 'Arrivals', which ties up the first 'part', is a song of regret over a breakup. It's short and sweet, wasting no time in beginning the next set of seven songs. 'In a Place of Solace', opening with a slow, thick guitar portion (which almost reminds me of Every Time I Die's 'Roman Holiday'), contrasts brilliantly with the slow, soft previous few songs. 'In a Place of Solace' drags a little bit, but 'In Silent Seas We Drown' returns to the energy.
                However, after 'Silent Seas', the album noticeably mellows out - 'Departures' and
'With Second Chances' feature reverberating guitars and slow, melodic passages. The former, in particular, ends the entire album gently - a rarity in current -core music. From start to finish, This is How the Wind Shift encompasses an entire spectrum of emotion, never letting up or slacking off.
              The album is fourteen incredible songs, a prime example that thirteen (thirteen) years of experience have not been wasted. The idea is original enough, and makes for an interesting experience when you listen to each set of two songs. There's a lot of thought put into every line, every riff, and every beat. Pop influences are used sparingly, and melded beautifully with the hardcore tinge the band has made famous. Simply said, this is an incredible album, and one I'm going to be listening to for quite some time. Pick this one up.

             This is How the Wind Shifts will be released on February 5th, via Hopeless Records.

Playlist of the Week - Week of 1/20

       Welcome to another iteration of playlist of the week! Sorry about last week, it completely slipped my mind. I've been getting into hardcore against recently in preparation for the Hatebreed impending awesomeness.

1.  Northlane - Worldeater
2. Cancer Bats - Sorceress
3. Dillinger Escape Plan - I Wouldn't If You Didn't
4. The Ghost Inside - The Great Unknown
5. Every Time I Die - Imitation is the Sincerest Form of Battery
6. Shai Hulud - Love is the Fall of Every Man
7. Hatebreed - Everyone Bleeds Now

        As usual, you can find the playlist here. Happy listening!

BLACK FLAG ARE COMING BACK OH GOD YES

     HOLT SWEET JESUS YES.
     Black Flag, one of the most iconic and seminal hardcore bands, who have been cited as inspiration for bands like Parkway Drive and Madball, have confirmed that they WILL BE REUNITING. We've been teased with rumors for months now, but thank everything that is good, they're actually true!

     
           Black Flag has confirmed that they will be playing a series of British shows for the first time in almost THIRTY (Yes, thirty) years. This is exciting for multiple reasons - namely the fact that the band defined hardcore in many ways. As the scene has evolved and differentiated, the return of a band like Black Flag would be about the same as Jimi Hendrix surveying modern rock.
           This has the potential to very well transform the scene.

Vanna Premier New Song: 'Year of the Rat'

  

  Boston (whoo!) hardcore outfit Vanna, who are set to release their fourth album The Few and Far Between on March 13th, have released the album's first single 'Year of the Rat'. While perhaps the band's glory days of Curses (2007) are over, 'Year of the Rat' features all the melody, harsh screams, and intense percussion Vanna is so well known for - as well as vastly improved clean vocals.
     The band fell off the radar in 2011 with And They Came Bearing Bones, which, while it was a phenomenal album, nevertheless was sidelined as giants came out swinging that year (the album was released the same month as August Burns Red's Leveler). The Few and Far Between, however, is set for a March release, which will perhaps prevent the same thing from happening again.
       You can stream 'Year of the Rat' here.

Jack White to play Grammys with Taylor Swift, others

                (via AP)

      Pinnacle of indie mediocrity and Telecaster legend Jack White has somehow garnered enough praise that he's set to play the Grammys along with the Lumineers.
      At first glance, I was moderately peeved (I goddamn hate this little bitch), but then I realized he's playing for the Grammys. Y'know, the award that doesn't even have a section for hard rock or metal? The one where we fan the egos of lady-beaters and arrogant sacks of shit? That's to say nothing of the fact that he'll be sharing the stage with such 'visionaries' as Taylor Swift, fun., and the Black Keys (okay maybe the last one isn't so bad). I'm almost glad we're associating White with his 'edgy' brethren.
      As long as White isn't playing Golden Gods, I'm satisfied.

The new Silverstein is going to be great

       Canadian post-hardcore icons Silverstein, who are set to drop their sixth album This is How the Wind Shifts in two weeks, have always held a special place in my heart. The band brings a certain amount of juvenile charm and fun into everything they do, but never at the expense of displaying their talent. As one of the longest-standing bands in their genre - outlasting giants like Alexisonfire and Of Machines (although the latter are back in the studio, excitement!) - they have had plenty of time to refine and hone their sound, and nowhere does that seem to be more evident (or exciting) than in the new album.
        While the last two years may have been less than kind to the group - 2011's Rescue had its moments, but was eclipsed by its spectacular predecessor A Shipwreck in the Sand (2009), This is How the Wind Shifts has the band coming out swinging, fixing their error-prone grammar, and sidelining the pop elements that previously characterized them.
         'Stand Amid the Roar', the album's first single, begins with frontman Shane Told's raw yell, segueing flawlessly into the delicate equilibrium between clean and unclean vocals that Silverstein always does so well. But what's so great about this song is the dearth of innovation the band has unleashed - breakdowns don't follow the same open-note rhythm that we've come to know so well. The song's structure is difficult to discern, with a plethora of riffs, clean sections, and ramp-ups that make it such a unique experience.
         But Silverstein really got me excited with their second single, 'Massachusetts'. Being a born-and-raised Masshole myself, this was a nice little gem. While 'Massachusetts' is slightly more poppy than 'Stand Amid the Roar', and reminds me at times of Shipwreck's anthem 'Vices', the melody the band has on this song is unparalleled. Again, song structure is anything but cookie-cutter, but what makes this single so great is Told's cleans. Good God, that man can sing. I can't describe it, but 'Massachusetts' is an amazing song. You can listen below.
           To put it very bluntly, I am fully expecting This is How the Wind Shifts to be not only a complete evolution of Silverstein's style, but an epic of an album from a band whose twelve years of experience are anything but wasted.

           This is How the Wind Shifts drops on February 6th, and I am  ridiculously pumped.

It's a good day to like hardcore

     Today, two new singles from Shai Hulud and Hatebreed have officially been released, making January 22nd a very good day for fans of metallic hardcore.
     Hatebreed, whose new album The Divinity of Purpose drops in a week, have continued the hype with 'Honor Never Dies' - a hardcore anthem this time with the added bonus of a second guitar portion. Fancy. The lyrics, even though they're typical Hatebreed ('I will stand by what I believe no matter what' etc.) are only part of the brutality 'Honor Never Dies' brings. Combine this single with 'Put it to the Torch', and Divinity is going to mosh your balls off. Get pumped.
      Stream it here.

      Shai Hulud have released the second single from their upcoming record Reach Beyond the Sun, this one entitled 'Human Failings'. To be completely honest, I don't like this one as much as 'Reach Beyond the Sun' (the title track). 'Failings' rambles on a bit, lacking hooks, but is nevertheless an intense hardcore ride from start to finish.
       Stream it here.

      Sorry I haven't been posting very often - it's been a bit of a hectic week, to say nothing of a slow time overall. Things should be back to normal this week, however, so stay tuned!

Like Moths to Flames, Crown the Empire, etc. announce 'Rise Records Tour'

       I sincerely wish I was joking, but here it is.

 

        How do I even...gah. All this is missing is some 'edgy street art' and this is the quintessential angsty-teen tour. Good grief.

You should help Protest the Hero!

      Canadian progressive quintet Protest the Hero, long-time contenders of the underground scene, have formally parted ways with their former record label Vagrant and are now self-funding their fourth album - which is slated for a summer release.
      The band began a fundraiser yesterday on indiegogo, hoping to get $125,000 within a month. At first, this seems like an incredibly difficult, if not impossible task, but within 24 hours, the band has raised over $117k. Damn.
       When last I checked (last night at 9pm), the band was more than halfway done, clocking in at about $69k. And to make things even better, the band has offered a host of freebies to anyone who donates - from vinyl copies to guitar picks to guitars to a pizza party with the band to Rody Walker writing and singing a song about you (it is Protest the Hero after all).
        It goes without saying that this band is one of the most technically talented and hard-working musicians out there. Yet somehow, they always manage to stay in good humor - I even listed them as one of the funniest bands on the scene right now. If you can spare $10, not only will you get a digital copy of the album before anyone else, but you'll be funding a project that's sure to deliver.

EDIT (1/18): Holy balls. The band has surpassed their $125k goal and has almost raised $200k. Whoa.

Playlist of the Week - Week of 1/6 - Chaos Reigns

      Welcome to another iteration of Playlist of the Week. This time around, we have a clusterfuck of genres that I somehow managed to make sound pleasant.

                 1.) Chiodos - Love is a Cat from Hell (ft. Vic Fuentes)
                 2.) Every Time I Die - After One Quarter of a Revolution
                 3.) Silverstein - Discovering the Waterfront
                 4.) Bring Me the Horizon - 15 Fathoms and Counting
                 5.) Enter Shikari - Zzzzonked
                 6.) Glass Cloud - White Flag
                 7.) Trivium - Drowning in Slow Motion
                 8.) Shai Hulud - A Profound Hatred of Man
                 9.) Vanna - Country Boys...Goddamn

     You can find the playlist here. Happy listening!

Infant Annihilator cover Pray for Plagues

    And yes, it's amazing. This band is actually one of the funniest artists out there right now.

    Not for the weak of heart.

 

BREAKING: Everyone realizes For Today are THAT kind of Christian

       It's a well known fact that For Today, a metalcore group from (is anyone surprised?) Iowa are really, really religious. Christian groups, particularly in metalcore, are nothing new - bands from August Burns Red to Impending Doom are openly religious and freely discuss their faith in songs - 'Salt and Light' is ABR's most definitive example.
      For Today, however, present a different case - one that, to put things bluntly, borders on extremist. En masse conversions of concertgoers, leading attendants in prayer - all of these things are fixtures of a typical For Today concert. That's saying nothing of their incredibly conservative lyrics.
        

Make your choice. Now is the time. But, as for me, I call down fire. God, rain fire. I believe that God will raise the dead, and He will use these hands to do it. I believe that God will heal the sick. And He has sent me forth to say: “He alone is God. Prepare for His victory.” (from 'Elijah (the Forerunner)' on Portraits (2009))

      And then this happened:

(via AP)

        Oh my. And the best part is that it keeps getting better. Here's the response the band had for Reynolds' rant:

        "For today has always and will always be a band that is about loving people, we have no hatred towards any people regardless of what they believe or how they live. We may not agree on everything but Jesus loves you and died for you. And so would we." (via AP)

       No comment on what Reynolds said, just vague statements as the band attempts to cover their ass with the old 'let's agree to disagree'. As a non-Christian (agnostic, to be exact), For Today has always left a bad taste in my mouth. I have no problem with religious folks - the Devil Wears Prada, one of my all-time favorite bands, are devout Christians - but it's when people let their faith completely claim them and start spouting shit like this bigot that I draw the line.

      To conclude, let this be a warning - it's easy to idolize and worship band members, but the reality is that these are fallible human beings who may hold homophobic, racist, or any other prejudiced views. Be smart. 

        

      Edit (1/11): Evergreen Terrace backs me up. In a response to Reynolds' hissy fit yesterday, the band had this to say:

         "This scene has always and will always be about acceptance. Homophobia and intolerance have no place here. Unity isnt just a hashtag. This isnt a platform for extremism and ignorance. Read lyrics. Fully understand what bands youre supporting with your hard earned dollars. Dont perpetuate hate, myth, and intolerance. Fucking evolve." (via Metalsucks)

        Couldn't have put it better. Rou Reynolds (Enter Shikari) shared his two cents on the band's website:

         "The thought that we actually toured and shared the same stage as this musician in 2011 now makes me feel a bit nauseous[...]there is obviously no place in our modern metal, punk, hardcore, rock (whatever you want to call it) scene for homophobia[...]Let me tell you now, a person’s right to spirituality, and a person’s right to believe in a God (whichever one they choose), is a right I would always ardently fight for. It would be a terrible day if freedom of belief is ever taken away. But when religion begins to dictate education and curriculum or starts calling people evil for harmlessly fulfilling their romantic destiny, it needs to simply fuck off[...]anyone wishing to label and exclude other humans as ‘sinners’, for simply loving the human that they wish to love, does not even deserve to pick up an instrument. (Source: http://www.entershikari.com/some-thoughts-re-homophobia-music-abuse-of-religious-texts/) 

       That's saying nothing of the amount of flak the band has gotten from bands like Trivium, Twitching Tongues, and even Touche Amore. Never have I been more proud to be a metalhead.

        EDIT (1/12): Mike Reynolds has left For Today to enroll in (I wish I was kidding here) bible college with his wife. The two hope to join missions to the Middle East (Source: http://altpress.com/news/entry/guitarist_mike_reynolds_no_longer_in_for_today ).

    

          

Let's take a second to realize how good this year will be.

      This is set to be one ridiculous year. Just look:

• Hatebreed - The Divinity of Purpose (1/29) (x)
• Silverstein - This is How the Wind Shifts (2/5) (x)
• Bullet for My Valentine - Temper Temper (2/12)(x)
• Shai Hulud - Reach Beyond the Sun (2/18) (x)
• Vanna - The Few and Far Between (3/19) (x)
• August Burns Red - Rescue and Restore (6/26)
• The Dillinger Escape Plan - One of Us is the Killer (5/15) (x)
• The Devil Wears Prada - TBA (Fall/winter)
• The Black Dahlia Murder - Everblack  (6/11)
•  Protest the Hero - TBA (Due out this summer)
•  A Day to Remember - Common Courtesy 
•  We Came as Romans - Tracing Back Roots (7/23)
•  Bring Me the Horizon - Sempiternal (4/1) (x)
•  Killswitch Engage - Disarm the Descent (4/2) (x)
• Asking Alexandria - From Death to Destiny (8/6)
• The Red Chord - TBA 
• Heaven Shall Burn - Veto (4/22 EU, 4/30 US) 
• letlive. - The Blackest Beautiful (7/8)

    Tourwise, we have Emmure touring with Whitechapel from now until March (LOL) as Of Mice & Men kicks off their own Scenesters ( + Volumes) Gone Wild, and finally we have Warped mopping the floor with last year's lineup. Seriously.

    EDIT (1/13): There are rumors of a new Born of Osiris and Volumes due out this year as well!

    EDIT (1/22): Blessthefall are back in the studio. They have hinted at a summer release, but so far nothing is set in stone.

   EDIT (3/29): Letlive. have confirmed a new album due out this summer.

   EDIT (4/2): The Human Abstract have hinted at a new release this summer.

The Plot in You - Could You Watch Your Children Burn REVIEW

     Let's talk about Risecore.
     You can't get far in the modern scene without hearing about the so-called evolution of crabcore (even though I find it hard to believe such a hideous thing could possibly stick around long enough to change), the bizarre amalgamation of dubstep electro coupled to a plethora of breakdowns. So named because many practitioners are found on Rise Records, the subgenre has become a scapegoat for veteran metalcore fans still lamenting the days of Earth Crisis.
      Enter the Plot in You - a band out of Christcore capital Ohio with a single album under their belt (2011's First Born) and one of the darkest messages the scene has ever seen. First Born is a concept album told from the point of view of a mistake child, covering topics such as abortion, domestic abuse, and depression. Compared to the typical crabcore 'I'm sad because my girlfriend left me :(' or 'We're better than you because we do what we love' ballad, the Plot in You certainly turned heads as they tackled very real issues with recordmates as cliche as Miss May I and Upon this Dawning.
       Thus is the stage set for their release of Could You Watch Your Children Burn next week. The title seems to suggest a continuation of the themes of First Born, and it some ways, it is. The first single released 'Premeditated' is an oath of revenge against a rapist. 'Fiction Religion' tackles the listlessness and feeling of futility accompanied by depression. 'Population Control' deals with drug addiction. As the record goes on, however, it becomes a bit more angry and generic as vocalist Landon Trewers rants and yells, melding spoken with unclean vocals.
          This is, overall, an incredibly serious album. While some might argue this is the new trend in metalcore - colloquially dubbed 'srscore' - I have to say that most bands typically labeled 'srscore' (Attack Attack!, The Devil Wears Prada, etc.), are rather vague about the themes they deal with.
       It's the specificity of TPIY's subject matter that sets them apart - these are all, as said before, pertinent and poignant problems. Fortunately, this uniqueness continues into the instrumentals TPIY unleashes. There's a good amount of time signature and song structure variation - and the album never quite turns off the intensity, swapping Trewers' screams for spoken words. 'This is a fucking promise' he vows quietly  on 'Troll' (which is Trewers' rant about his own abusive father)  'that I will make your life miserable'.
        Clean vocals are used very sparingly, and are almost never at odds or in contrast to the other instrumentals - the guitars will skillfully segue into melodic portions that support and mold well, hormoniously combining the various instruments together. Cleans, in fact, are delegated to their very own songs - 'Shyann Weeps' begins cleanly, and then rapidly goes back and forth between screaming and singing. Alternate picked riffs abound - a rarity in metalcore these days - and while there is a breakdown every song, there's a conscious amount of effort thrown in as well. Despite all this, however, the band is irreversibly Risecore - and while that may be a difficult hurdle to overcome, TPIY nevertheless make headway lyrically - even if there is a line that goes 'fuck your damn tattoo'!
        To conclude, I think Could You Watch Your Children Burn is a sign that Rise is attempting to diversify and shake their current image. In between signing the Acacia Strain last summer, and the seriousness of TPIY's subject matter, this may very well be a sign that change is on the horizon.

        Could You Watch Your Children Burn will be released on January 15th. The Plot in You have joined Emmure, Whitechapel, Obey the Brave, and Unearth as part of the Brothers of Brutality tour across North America from today until early March.

Playlist of the Week - Week of 12/30 - In Which I Rediscover ABR

        Welcome to another rendition of Playlsit of the Week! The title says it all - August Burns Red have always been one of my favorite bands, but recently I've been listening to them en masse again. Let's go!

                       1. August Burns Red - The Truth of a Liar
                       2. The Dillinger Escape Plan - 43% Burnt
                       3. Unearth - Crow Killer
                       4. August Burns Red - Existence
                       5. The Black Dahlia Murder - What a Horrible Night to Have a Curse
                       6. Whitechapel - Possibilities of an Impossible Existence
                       7. The Acacia Strain - Whoa! Shut it Down

         As usual, you can find the playlist here. Happy listening!

Go Listen to the New Shai Hulud Now

     
        Shai Hulud are a melodic hardcore group that have maintained a steady, loyal fanbase since the early 90s. Unlike lots of bands these days, the guys in Shai Hulud release an album once every five years. Their newest installment Reach Beyond the Sun is due out in February, and is a followup to 2008's Misanthropy Pure.
       Anyway, the first single from Reach was released about a week ago and...Jesus Christ. This is one hell of a song. While I loved Misanthropy, at times the album felt a little flat, lacking the epic feel of a lot of hardcore bands these days. While I realize this is a throwover from 90s style hardcore, Misanthropy, while a beast of an album overall, lacked good hooks - opting instead for quieter openings that would gradually explode into epicness.
        'Reach Beyond the Sun', as a song, grabs you by the ears and, quite simply, doesn't let go. From the melodic backing rhythm of the opening, overlaid with rapid arpeggios, to the tight verse, all the way through, Shai Hulud continues their penchant for excellence. There is nothing else I can say other than this is an amazing song and I'm eager for what the band has to offer in February.

         Listen to it here:

     

Bleeding Through Announce Break Up, Farewell Tour

   

        Following Underoath in the vein of calling it quits, seminal metalcore act Bleeding Through have formally announced that they are breaking up, and have posted dates for a final tour. Combine this, Underoath's departure, and the distinct possibility that Suicide Silence may be quitting too (RIP Mitch Lucker), and this is a very big deal. These three bands, in many ways, defined their respective genres - Bleeding Through's frontman Brendan Schiepatti has been identified as a source of inspiration for many vocalists. Suicide Silence was a valuable 'missing link' band between death metal and hardcore, and one of the first modern deathcore bands. That's saying nothing of the massive influence Underoath has had - both as a Christian band and as a metalcore act.
     What's surprising to me is that Bleeding Through has been going strong. Schiepatti was featured on the last Motionless in White album - not something to be taken lightly - and the band released what many consider is their strongest release only last year with The Great Fire. The band released a press release on the matter just today:
         
       "I think I can speak for the rest of my bandmates in saying that we always hoped it would end on our terms and it has.[...]We can no longer dedicate what we need to to keep BT going. Personally I feel doing this band in a part time fashion is not what this band is about and and feel like we have always been an all or nothing band." (Via AP)

       As far as reasons to quit, this is a good one. Music really is an all-or-nothing endeavor, there's no way to half-ass it. Quitting while you're on top is one of the best moves a band can make, especially when the engine seems to have gone dry, as is the case with BT.
      In any case, Bleeding Through are one of the better metalcore bands out there. Go see them now, because you won't be able to after this tour.

Bring Me the Horizon's New Song is...Interesting

        I am back in Montreal and a little tipsy, but here we go anyway.
        For those who are unacquainted, Sheffield's Bring Me the Horizon are one of the most popular and iconic faces of the modern scene. Since their inception in 2005 the British group has undergone multiple and constant incarnations and changes - whether it was the shift away from deathcore in Suicide Season (2008) or the foray into post-hardcore that This is a Hell, Believe Me I've Seen It... (2010) gave us. For better or for worse, the trend continues with their upcoming 2013 release Sempiternal.
        In interviews, the band hinted at moving towards a more post-rock sound, and this influence is easily visible in the band's new single 'Shadow Moses' (a Metal Gear Solid reference, for those who don't feel like googling). Whether it's the breakdown segueing into an epic few clean chords, or the echoing gang vocals and airy feel of the intro.
        Lyrically, however, not much has changed. This is still a BMTH song - you can expect personal vocals lamenting the human condition. The theme this time seems to be inevitability, as the rest of the band chants 'We're going nowhere...' supported by Oli Sykes' scream of 'This is sempiternal'! Speak of Sykes' scream, however, this is where the band's improvement as a whole has truly shone through.
        BMTH's last two records featured Sykes using his voice in a bizarre sort of scream-yell combo that did a number on his vocal chords - watch the band perform live and he has visible difficulty keeping a song going. 'Shadow Moses' has Sykes using more of a traditional scream and, to be honest, as iconic as his voice was on Suicide Season, this new style has promise. Not only does Sykes have more range, but his versatility, especially in 'Shadow Moses', is now on display.
        You can listen to the new single below. What do you think?

       

 

The Top 10 Albums of 2012 - Part II

      Happy new year to all of my readers! I hope you all had a great holiday, and weren't too hungover at work/school. Let's finish the countdown we started last time!


      6. Best Album: Post-hardcore

         Contestans: Enter Shikari (A Flash Flood of Colour), I See Stars (Digital Renegade), Silverstein (Short Songs), Sleeping with Sirens (If You Were a Movie, This Would Be Your Soundtrack)

          Contrarily to other genres, post-hardcore this year was rather bleak with regards to new material. It's usually harder for post-hardcore bands to make it these days, as innovation becomes more and more difficult. However, this year also saw rapid evolution from past giants as Johnny Craig quit Dance Gavin Dance, and Craig Owens rejoined Chiodos, formally disbanding his band Destroy Rebuild Until God Shows (DRUGS).
          In any case, I have to give the award for best release to Enter Shikari. In a scene where electronic elements have become the norm (Risecore, I'm looking at you), the British group's relentless attempt to make the fusion work has finally paid off. Incorporating less heavy elements than electro-heavy bands like Woe Is Me and I See Stars, Enter Shikari nevertheless masterfully manipulated the two genres into their own unique sound. Flash Flood presents itself as a hardcore-influenced rant, taking a healthy dose of inspiration from multiple genres - which, at its core, is what post-hardcore truly is.
         
          Winner: Enter Shikari (A Flash Flood of Colour)

 
      7. Best Lyrics

          Contestants: Motionless in White (Infamous),  The Chariot (One Wing), The Ghost Inside (Get What You Give), Every Time I Die (Ex Lives), The Contortionist (Intrinsic)

           This category is, for me, one of the more important ones on this countdown. The heavier genres of music often get a bad rap for cheesy, whiny, or fake lyrics. Thus, when a band actually has believable lyrics (read: ones that don't make me roll my eyes or wince), it's definitely a strong point in the band's repertoire.
            Frequent readers know that I tend to laud Motionless in White for having fairly eloquent lyrics, but this year they weren't quite the best of the bunch. Instead, I have to give the title to Every Time I Die - Ex Lives steadfastly continued the band's penchant for bitingly sarcastic lyrics with the added bonus of a little humor here and there When the band isn't funny, they're incredibly scathing - 'Touch Yourself' is a blistering commentary on religion. 'Underwater Bimboes from Outer Space' opens the record with an attack on the modern scene. It's this ability to bite, tease, and criticize that sets the band apart from the flock of metalcore releases this year.

           Winner: Every Time I Die (Ex Lives)

      8. Best Instrumentals
          Contestants: The Word Alive (Life Cycles), Art By Numbers (Reticence: the Musical), Devin Townsend Project (Epicloud), Deftones (Koi No Yokan), Veil of Maya (Eclipse)

         Similar to the last category, instrumentals are often what can make or break an album. As hardcore derivatives, metalcore and post-hardcore don't need to have the most complex riffs or most face-melting solos, but you can't play bar chords and chugga chugga constantly. Additionally, as a mix of metal and hardcore, you'd expect metalcore to have more of a focus on instrumentals - another unfortunate failing in the modern scene. But, in any case, this section is a salute to the best instrumentalists of 2012.
          As far as complexity and sheer prowess goes, Veil of Maya have this game in the bag. The band brings a brutal amount of time signature variation that constantly keeps you on your toes - all the while maintaining an overall rhythm in such a way that's mind-boggling. That's saying nothing of the guitarwork - which is as fast and complex as the rhythm section. 'Punisher' features a breakdown within a breakdown.
           However, you don't just have to be flashy with your instruments to have good instrumentals - in the catchiness game, this is Deftones' category. With a flawless segue away from the nu-metal stupidities of yesteryear, Koi No Yokan is one of the most fun and catchy albums of the year. Since you can't really judge one kind of instrumental over another, I have to give this one to both.

      Winner: Veil of Maya (Eclipse)/ Deftones (Koi No Yokan)

        
      9. Biggest Breakout
        Contestants: Motionless in White, Pierce the Veil, Sleeping with Sirens, Of Mice & Men, Miss May I, Like Moths to Flames

         Say what I will about Warped tour, it is quite a publicity machine. The tour gets a huge amount of press and if bands land the contract, it's guaranteed that they're going to the bank. For this reason, as much as it pains me to say, it's probably going to be scene bands having the biggest breakouts of the year, if only because they get the most attention at Warped - Black Dahlia Murder are playing this year, and they're probably not going to get any magazine attention.
           When all the facts are considered, I have to hand it to Miss May I this year - they really hit the nail on the head. Touted as one of Warped's biggest names, the band managed to evade the mediocre reviews leveled at At Heart and front Warped, a tour organized by AP, one in Latin America and another in Europe all in the space of about six months. If that's not a breakout, I don't know what is.

        Winner: Miss May I 

  
         10. Most Changed
             Contestants: Obey the Brave (Young Blood), Texas in July (Texas in July), Devin Townsend Project (Epicloud), Chelsea Grin (Evolve EP)

             At first glance, which bands have changed the most seems like an easy decision - obviously it's Chelsea Grin, right? What could possibly beat going from pig squeals to cleans, right? Wrong. All artists change from album to album (unless you're REM or Coldplay), whether it's for better or for worse is what we're trying to figure out.
            For starters, Texas in July definitely deserve a shoutout for their comeback from the complete mediocrity of 2010's One Reality and the return of actual riffs. But in the grand scheme of things, I have to give it to Obey the Brave for the degree to which the band members - Miguel Lepage and Alex Erian in particular - completely renovated their previous style. Erian was the former frontman of deathcore giant Despised Icon, and Lepage played bass for a similar sounding local Montreal band called Blind Witness. Young Blood, however, isn't so much of a comeback as it is a complete transformation - both bands quit at their prime, and there was very little to improve on. With Obey the Brave, the band shifted not only to a more metalcore sound, but also towards a remarkable sense of optimism - a rarity in -core genres indeed.

          Winner: Obey the Brave (Young Blood)

                            
          That concludes the top albums of 2012! This is shaping up to be one hell of a year - and you can be sure I'll be there the whole way through.