“It’s not a job, it’s a service / and I get paid in satisfaction”, Djamila Boden-Azzouz roars on ‘In The Way’, the opening song of Ithaca’s incendiary second album They Fear Us. If there were ever any question about following their debut The Language of Injury, they’re put to rest well within the first three minutes of searing metalcore. Over the course of the album, Ithaca prove not only have they met the high mark they left on the previous album, but surpassed it by some considerable margin.
Where Language… traded in unrestrained fury and aggression fuelled by hurt, They Fear Us is the sound of a band who have had time to consider every element of their sound and how they want to present Ithaca in 2022. For one thing, there’s a greater emphasis on clean singing; while it was present before, it’s dialled up here and brings a new dimension to their sound with its melodicism. The call and response of ‘The Future Says Thank You’ switches effortlessly between the two, while ‘Camera Eats First’ has a soaring melodic conclusion after a pummelling opener.
That’s not to say They Fear Us has lost an ounce of heaviness from the melodicism. Instead, it’s used more sparingly to ensure maximum effect. ‘Cremation Party’ is a brief, no holds barred battering with frantic guitar lines, while ‘The Future Says Thank You’ shifts and turns through different time signatures throughout in its frank view on abusive relationships. Heavier moments get sprinkled throughout as well, as guitarists Sam Chetan-Welsh and Will Sweet deploy panic chords less frequently than before but they’re all the more impactful. The title track in particular features them accentuating off-kilter riffing as well as one of the hardest mosh calls you’ll hear this year in “bow before your blood”.
Whilst being formed of members of Fresh, Me Rex, Finish Flag and Happy Accidents, to call Cheerbleederz a supergroup would probably be met with chagrin from those all-round. Not only would it contrast with the fact that the band are moreso the natural product of the intimate, familiar nature of the scene that birthed them, it would also be a direct disparity between their humble and modest nature. Cheerbleederz aren’t a band attempting to reinvent the game nor reap the spoils that could come with their credentials. Instead, all they’re here to do is write organic, zingy, catchy and haplessly endearing indie-punk bangers void of any gimmicks or pretence. even in jest is 10 tracks of that and it’s simply lovable.
From the dichotomy between the sugary sweet grunge pop and the combative lyricism of opener ‘break ur arm’, it’s nigh on impossible to argue against the sweet melodies and harmonies that compose this record. Whilst the acts that forged this band are known for dealing in the more ‘poppier’ side of the DIY sound, this record – along with the extended plays that predate even with jest – feel somewhat like a vessel for the sugar and caffeine addled pop that wouldn’t fit into the musical parameters of each member’s primary band.,
That’s not to say this record is overindulgent or sweetened to the point of it being sickening. A core part of this record’s charm is its blunt, borderline brutal honesty and unfiltered human emotion; values that simultaneously offset and embolden the pop sensibilities here. ‘my condolences’, ‘nail biters’ and the ever-thirsty ‘cute as hell’ demonstrate this wonderfully, with the licks, melodies and effortlessly catchy hooks within. Giddily manic, these rushes of indie-punk bolster the frank, candid and wholly brusque messages the songs exist to narrate.
Originally intended to be a three-track reissued extension to their late-Summer of 2020 debut studio album Self-Care; the Sydneysiders sought an unfiltered perception of contemporary life, via delving into the dark and dismal side of the human psyche which was greatly informed by the pandemic blues. In championing the truth above all else; is this what i look like currently stands as a sort of unshackling from progressive trepidation, which has given rise to an unbridled fearlessness within this drastic direction shift.
Throughout Yours Truly’s latest release there seems to be an unfortunate air of predictability, which lingers alongside their intriguingly potent grit; although the EP lands nowhere near the realms of atrociousness, a keen sense of harmlessness rings true to its overall appeal that can regrettably border on being somewhat forgettable. With such a hyped era promising a hefty weight of emotional availability, such examples of engaging concoctions include ‘Hallucinate’ featuring You Me At Six frontman Josh Franceschi, as well as their latest single ‘Careless Kind’.
Deaf Havana are back with their brand new album The Present Is A Foreign Land, an album that very nearly didn’t see the light of day when the band were ready to go their separate ways in 2020. The pandemic provided forced time upon them to stop and reflect and despite the discussions around calling it a day, Matty Veck-Gilodi continued to write songs and it was this that held Matty and his Brother James Veck-Gilodi together to continue as a two piece. ‘The Present Is A Foreign Land’ is a reflective and open account of the realisations and considerations that one faces when you start to hit your late 20’s/early 30’s and will easily resonate on a deeper level with fans in this age bracket.
Opening with ‘Pocari Sweat’ the tone of the album is clear from the outset and there’s no misunderstanding this account of James Veck-Gilodi’s experiences and how they’ve framed the context for The Present Is A Foreign Land. Quite cleverly these themes crop up throughout the album with “19Dreams” talking on the present and simultaneously reflecting on the time that flew by, considering how the duo didn’t stop to reflect on how they got to this stage and juxtaposing chasing the same dreams for the last decade with thoughts of feeling jaded in the face of life experience as well as loss, lack of motivation and struggling with ageing.
Elsewhere in the album a highlight come from ‘Nevermind’ an acoustic ballad accounting hopelessness, low self-esteem and lack of self-worth. It’s an outpouring complimented by James Veck-Gilodi’s raw vocal delivery and poignant tone carried through by his melodic rasp. “On The Wire” provides an upbeat reprieve with a roaring arena-ready anthemic chorus and the band’s usual strong delivery of melody.
There’s quite a bit of hype surrounding this band, with plenty of radio play, press and their recent signing with Modern Sky UK. Their debut EP Vox Pop got them a fair bit of attention in 2020 and now, their full length is sure to turn a few heads too as they continue to carve out their path.
First of all, you can really tell these guys are from Sheffield. The whole record has that dreary industrial ‘steel city’ vibe, painting mental images of nighttime streets and towering factories. It’s an atmospheric post-punk Joy Division-esque soundscape that captures the listener’s attention, sucking you into the world the band are creating.
The first three songs are solid, driving tracks which keep the pace up until ‘VACANCY’ drops it a little; perfectly placed fourth as track in. Dreamy, soaring and slightly less driving than the opening three, it slows down the album slightly and paves the way for ‘LOSING ALL INHIBITIONS’ to pick it back up again after.
The latter is a track which really pulls from some different places – jagged electronic elements, haunting guitars and poignant vocals from Lawrence Feenstra set to the backdrop of a solid rhythm section and multiple peaks and troughs.
Aptly named ‘All Is Not Well’ the album was born in the wake of the pandemic and subsequent political unrest that plagued the US. Observing everything going on around them and writing about it, the metal trio (originally from Queens, NY) have finally graced the world with their second full length.
Lyrically, it’s full of ACAB and ‘fuck the system’ vibes littering the record from start to finish. The opening track is literally called ‘PIG’. On the nose but still a banger, it was the first single and kicks off the album perfectly with a blend of traditional classic hardcore mixed with more extreme metal, gruelling growls and plenty of groove.
The pace stays high, brutal and relentless for the first three tracks, only giving the listener a break when it comes to track four ‘Hourglass’. Here, the pace dips significantly and opens up some aural space with a heartfelt and impassioned rock ballad. It’s a little Evanescence-esque which is no bad thing, and showcases the band’s ability to switch things up and experiment. Musically, there are a few moments like this on what is essentially quite a short album. It gets in hard and gets out fast, coming in at only 34 minutes and 9 tracks.
