Big Wreck‘s early classics, most particularly The Oaf and That Song, were a huge staple on the radio when I was young. The latter especially stuck in my head as a kid. It’s easily one of the best all around rock songs to have come out in the 90’s. Some years ago, around the time of Big Wreck’s reunion, I decided to get more in to the band, starting from the beginning of course. I was met with a bit of disappointment. Well I wasn’t so disappointed as I was underwhelmed. This kind of cooled down my desire to get more in to the band. That is, until late last year when One Good Piece of Me from their then upcoming (now just over a month old) album Grace Street started playing on the radio.
Secrets is the name of the upcoming third album by A Breach of Silence. I must be doing something right because for the third time I was asked to review it. Whether or not I am doing something right, you can bet the band is doing plenty. The transition between their first album Dead or Alive and their second album The Darkest Road saw the band transition from being a pure and simple metalcore band, cliché’s and all, to a band making songs with a bit more substance. That told me I could only expect great things from Secrets.
What do you call metalcore music that doesn’t really have a lot of screaming at all? Sages certainly aren’t a metalcore band, but this thought occurs to me when I listen to their album Sleepwalker. I mean, just like any subgenre, metalcore has meant many different things for many different bands and has evolved (really for the worst) the way other genres evolve.
Frank Carter is hitting veteran status in the English punk scene. It’s been over a decade since he debuted with Gallows in 2005 before leaving the band in 2011. I’ve never been a faithful of the hardcore punk scene, so I must admit to being unfamiliar with Frank Carter. Needless to say his current band Frank Carter & The Rattlesnakes flew under my radar before their recently released second album Modern Ruin was given to me for review.
I remember late 2014, around the time I got Sound & Shape‘s Bad Actors album for review. That was a time I was actually getting a few extremely worthwhile independent albums, specifically by the bands Black Map and Suburban Myth. All three of these bands showed potential to be major recording acts, and had (and likely still have) a much better and more professional sound than most independent bands I’ve ever reviewed. One of these bands, Black Map, has since been signed to eOne‘s label. I don’t typically pick favourites among indie bands, but Sound & Shape’s Bad Actors is probably the album I found to be the best out of the three, which is why I was thrilled when they asked me to review their upcoming EP Peasants. Continue reading
2016 has proven to be a year to forget in respect to my reviews. The amount of albums I accepted and committed to reviewing completely overwhelmed me to the point of practically hiding myself and only coming out every once in a while. This includes writing reviews for the other two great sites that I love writing for. I’ve accepted considerably less albums to review this year and really just stuck with reviewing what I wanted to review, and for all of those emails that I never responded to and to the one or two reviews that I never wrote, I sincerely apologize and I hope that 2017 will bring me back to my old self.
That being said, 2016 was perhaps the best year in a long time for new albums, and as I so love to do every year, I want to talk about my top ten album picks of 2016. There are surely a lot of great independent albums that I passed up that could deserve mentions, and even a major release or two that could have stood a chance. For instance, had I listened to Kaleo‘s A/B in full I’m sure it would probably be on this list, considering how great everything I’ve heard from it is, but I haven’t heard the full album and thus can’t really assess it. But here are the ten picks that I know are great.
And please check out my past top 10 lists here.
It’s about time I review this album. Avenged Sevenfold‘s The Stage was one of the 2016 releases I anticipated the most, even though nothing much about it, including its name or even its release date was correctly known until the very day it was released. This once pure metalcore band left us with a controversial traditional sounding heavy metal album three years ago, so as per usual I was curious to see what direction Avenged Sevenfold would take on this adventure, thinking they have covered everything possible by this point. Then a few weeks before the album was released, the title track came out.