The debut EP from the London three-piece, Don’t Threaten Me With A Good Time is five lamentations on the unique blend of existentialism that greets one as they transition into their thirties. As those who have been dragged kicking and screaming into the banality of middle age will certainly know, such a subject isn’t of comfort. But with this record’s earnest vulnerability, relatable lyricism, engaging delivery and it’s brilliant dichotomy between modern and classic emo, Big Hug narrate this matter in a fashion that’s not just reassuring, but haplessly lovable.
Opener ‘Raise The Bar’ swiftly and effortlessly underpins both thematic and musical components of this record. Reminiscent of fellow DIY indie-punk upstarts Muttering and Buds. whilst harkening thoughts of those acts that initially laid the ground work of what consistent as brilliant modern emo – such as Fiddlehead and Balance And Composure – the track is a brilliant and zesty showcase of Big Hug’s influences. The proceeding brilliantly titled ‘Guinness Paltrow’ and ‘Danny Is The Greatest Lover’ furthers this whilst placing emphasis on the dichotomy at the crux of Big Hug’s sound. Whilst these tracks are driven by zesty and bouncing riffs that emit a profound of adolescent energy, the overarching theme of this EP musically is sense of subtle resigned languor. Whether it be an initial decision or not, this sense of sly contrast brilliantly mirrors the lyrical subject of wanting to attempting to retain one’s youth through the passing of years and the cascading of birthdays. The aforementioned ‘Danny Is The Greatest Lover’ is a brilliant example of this, with it’s slight post-hardcore fretwork countering the modern and mature emo delivery of the track.
Combining an early 2000s scene ethos and modern values Can’t Swim spent years jumping between genres from post-hardcore to alt-pop before finding their niche with slightly retro feeling, emo tinged pop-punk. Evoking bands like Jimmy Eat World, Hawthorne Heights and early Thrice, Can’t Swim’s latest, Thanks But No Thanks, is a refreshingly straightforward and honest album with some unique sonic elements and authentic, relatable lyrics.
Opening track and single ‘Nowhere, Ohio’ is bound to go down as one of Can’t Swim’s best and is certainly the catchiest on the album. Featuring thick dual guitars, booming drums and a singalong chorus ‘Nowhere, Ohio’ has all the hallmarks of a classic emo banger, the lyrics reference Alkaline Trio and the influence is certainly clear in the instrumentals. Frontman Chris LoPorto shines on this track, with his intense, darkly beautiful lyrics and unique vocal delivery at the forefront. LoPorto’s vocal style does take a little getting used to and may not grow on every listener, with a heavy New Jersey accent and a high pitched, nasal quality the vocals cut through the track and are perfectly suited to emo rock but may be a contentious subject for some listeners. With a more playful pop punk approach to songwriting and layered, clean production Nowhere, Ohio is bound to go down as one of Can’t Swim’s best hits.
A real strength of Thanks But No Thanks is the concise nature of the entire album, with none of the tracks going much over 3 minutes and the album clocking in at less than 30, this is exemplified on the track ‘Can You Help Me’. With a chugging bass line grounding the track and lyrics exploring addiction in a very open and frank way, ‘Can You Help Me’ dissects all of its ideas expertly within 2 and a half minutes while still finding time to fit in an earworm chorus.
Lead single me vs me vs all of y’all is one of the poppier tracks on the album, leaning more towards radio friendly rock, proving that Can’t Swim are ready for more mainstream attention. Incorporating a fuzzy synth throughline and name checking a number of the band’s influences, including The Cure and Eddie Vedder, this single eloquently brings across the stresses of living life on tour, missing out on major life events from the isolation of a tour bus. Sounding like the best of Warped Tour, Can’t Swim aim to keep the emo and pop punk greats on their toes and do an admirable job of smoothing out their sound with polished production while retaining the edge and expert storytelling they’re known for.
Zulu drop their debut album A New Tomorrow on March 3rd, marking it the first set of new songs from the group since the release of 2020’s My People…Hold On. With that in mind, Zulu have brought to the table a massive sense of empowerment wrapped up in some of the most eclectic and inspiring songs of the bands career to date. Showing signs of blatant, punchy hardcore and ripping powerviolence, the Los Angeles 5-piece also drops some styling of R&B, Reggae, Hip-Hop, Spoken Word, among other things; these guys are really out to prove they have just as much a place in this community as anyone.
Opening track ‘Africa’ is a minute long instrumental piece that eases into the album with a catchy African drum beat. At which point the album comes crashing in with track two, ‘For Sista Humphrey’. With a catchy string section and two step vibes this track is a perfect fit for album opener, and as we make our way through the album we are met with the track ‘Where I’m From’ at number five. Featuring the likes of Soul Glo‘s Pierce Jordan and Playtime‘s Obioma Ugonna, this number boasts a more hardcore/punk influence respectively, giving fans something to jump around to as we hit the single ‘Fakin’ Tha Funk (You Get Did)’ a single that will no doubt inspire carnage live and embolden spirits on record.
Hitting the halfway point of the album, the listener is met with the most enchanting, ambient style track ‘Shine Eternally’, which runs for about three minutes making it one of the longer tracks on this bombastic record. Following it is ‘Lyfe Az A Shorty Shun B So Ruff’. Brought forward with an almost death metal zeal, further adding even more welcome and dexterous variety to the melting pot of Zulu’s inspirations, it makes you appreciate how the band gave that three minutes of calm just moments before.
It’s been four years since their debut album, and that’s about three years too long. Coming from a generation of metalcore artists keener on melody and heart than anger and breakdowns (the musical kind), Acres have created a sophomore album in Burning Throne that is a passionate ten-track review of love, loss, and the COVID-19 pandemic.
From the first riff, the UK south coast four-piece are determined to create earworms. Featuring Silent Planet’s frontman Garrett Russell, ‘Nothing’ showcases the band’s talents and provides an introduction to the sounds and themes of Burning Throne. Starting with a monster riff and possessing some of the heaviest music on the record, ‘Nothing’ is one of the best opening tracks of 2023 so far.
The three-song run of ‘Nothing’, ‘Burning Throne’, and ‘Hold On’ might be the most memorable run in the last year. Acres write melodies like few other metalcore bands working right now. Not content with banger after banger, the band put a gorgeous atmospheric interlude in the middle of Burning Throne, but do not fall prey to the temptation of excessive intermissions.
Founded in 2004 by Kevin Sharp, frontman of New York Grindcore band Brutal Truth, and legendary Napalm Death bassist Shane Embury, joined on their 5th full length album by guitarist John Cooke (Napalm Death’s touring guitarist) and drummer Carl Stokes (ex-Cancer). Embracing their love of 80’s punk bands, even going as far as naming themselves in homage to Poison Idea, Venomous Concept combine the all out hardcore fury their members are known for with catchy hooks and chunky power chords.
Naming a hardcore punk album The Good Ship Lollipop sounds like something from a Hard Times article, Venomous Concept not only sincerely pull making it punk but go as far as sampling Shirley Temple’s sickly sweet song of the same name in the title track. The track starts with a distorted recording of the 1934 song from the film Bright Eyes before launching into machine gun drums and a pounding bass riff alongside beefy guitar chords with a fast tremolo effect. The album’s introduction to Sharp’s vocals come in the form of a vicious growl on this track with a power reminiscent of Mastodon’s Troy Sanders and thunderous gang vocals in the chorus. The title intro track is a fantastic statement of intent for a band determined not to take themselves too seriously but still deliver crushing brutality.
The album’s second track ‘Time Line’ is a firm standout with a real late 80s metal feel. Featuring some truly impressive shredding from guitarist John Cooke throughout the verses on top of a groove metal riff, ‘Time Line; shines with a surprisingly melodic, singalong chorus begging to be the soundtrack to an action movie bar brawl. At just over two and a half minutes this track is refreshingly succinct in a hardcore scene that’s all too confident with long songs that repeat themselves, exploring all of its musical ideas and moving on.
Another highlight of the album is the track ‘Clinical’, returning the use of samples and classic hardcore ethos. Beginning and ending with muffled samples of children at play alongside haunting violins, the track takes a slightly more subdued and ominous tone with chugging riffs, extended growls, omitting the flashy solos of other tracks with much more emphasis placed on the harmonies between the gang vocals and the more complex guitar chords. As one of the longer tracks on the album, ‘Clinical’ strives to earn its time in the spotlight, building layer upon layer of saturated vocals in the extended, almost ethereal outro.
Combining the complex rhythms of math rock, the intricate melodies of smooth jazz and the energy of pop and indie bands like The Police and Everything Everything, Real Terms create effortlessly impressive yet listenable tracks perfect for a quiet Sunday afternoon in a coffee shop. Debut album Vantage would act as an ideal introduction to the world of math rock for those wanting to explore it and is a welcome break from the genre’s more ostentatious tendencies for seasoned veterans.
Starting strong with opening track ‘Improve’, Real Terms waste no time in introducing themselves. Plunging the listener into a sea of atmosphere with layers of effect drenched guitars, subtle, jazz inspired drums and ambient keys. Lead singer John Crawford’s vocals shine right off the bat, sweetly floating through the song, occasionally being pushed into an effortless, lilting falsetto. One of the biggest strengths of Vantage is the succinct nature of the tracks, with a good few songs being less than three minutes and the longest barely pushing four, in a genre all too happy with flashy solos taking up time it’s refreshing to see a band understanding brevity.
An absolute highlight of the album is single ‘Veil is Thinner’, an upbeat, danceable track that elegantly brings the band’s influences together. Crawford’s vocals are really channelling Jonathan Higgs of Everything Everything on this track, showing off a truly impressive range with labyrinthine, abstract lyrics. The drums on this track are also a standout, floating between Phil Collins style dramatic fills and understated, jazz inspired beats. Against a backdrop of hazy synths and math rock inspired guitars ‘Veil is Thinner’ does the impossible of making a wild, experimental track that feels effortlessly poppy and joyfully simple.
