Forming in 2007, post-metal act Toundra have existed in a state of constant activity, releasing an extensive back catalogue of seven full lengths and appearing at Desertfest Antwerp, Download Madrid and Reconstruction Fest whilst simultaneously selling out large scale shows across Europe. But of course, recent events forced the band to revaluate their journey, and in tandem, pulled them into an existentialist rabbit hole where they pondered the nature of humanity and its many flaws.
With limitless time at their disposal, Toundra entered a deep dive of studying the human condition, and after witnessing an act of revolting homophobia, began contemplating the unnatural nature of hatred. particularly how it’s an inherent product of the human condition, how our culture promotes unjustifiable aggression, how it propels our global society into blind perpetual conflict; but also how it’s one that propels action against such warfare and xenophobia. It’s a bold concept to explore, certainly one that gives meaning to their new record Hex. As well as being their finest hour, it shows Toundra are far more than just the Spanish lovechild of Pelican and Russian Circles.
Split into distinct halves, the first side of Hex is where this conceptual study of humanity is explored. Entitled ‘El Odio’ – which translates to ‘The Hatred’ – the track is a 22 minute musical documentation, split into three separate movements. Somewhat presented as the musical soundtrack to the realisations that led to the birth of this record, the three movements pull and tug in a nature that’s fluid, organic and erratic at times, mirroring the complex and ineffable nature of hate. Barbed and ironclad basslines reminiscent of Russian Circles’ latest record Blood Moon entangle and combat sparking riffs in a fight for supremacy that feels equally matched and respective, with the arrhythmic and explosive drumming of Álex Pérez spurring the ongoing battle forwards into bleak and brooding territories as it progresses.
Now some 14 years later a long awaited repress and re-release of the album is being issued via Alcopop Records. Upon the announcement last year, there was no doubt a collective wave of excitement from now gracefully ageing fans. Many put their orders in for a second physical copy to replace their now battered and war-torn originals all before collectively thinking in collective unison – “How does the record hold up?”
Frankly the world is missing a lot of what Waited Up ‘Till It Was Light offers. A record so perfectly blended between an optimistic attitude towards adult tribulations and sobering truths of a life more ordinary. All these relatable things wrapped up in catchy riffs and catchier gang vocal mantras, from L’ea Room’s ‘Get Up’ before the ‘Ship Goes Down’ past the “your life is a song but not this one” of ‘Eyes Wide Terrified’ straight into the endlessly quotable soliloquay outro of ‘Salt, Peppa and Spindarella’.
But that’s not to say that avoidance is the only way to achieve a taste of freedom from mental anguish; which is where Wilted Flower’s latest EP release Chapter 1: Locked Doors & Hospital Beds stands as an exemplary tale of tried and true passage of revisiting the storms of emotional devastation to be greeted by the rainbows end.
Offering us a rare glimpse at the dissection of destructive thought patterns of an individual living on a ward, lead singer and principal songwriter Micki Woods bravely expresses their inner most triggering selections of consciousness from the times they spent seeking psychiatric intervention. Although discussions surrounding severe mental health struggles have been extensively woven into the fabric of previous entries to their discography; Locked Doors seems to instil a new underlying essence of familiarity born out of a more informed and stable positioning, that creates an almost harrowing effect as Micki’s restrained yet powerful voice guides us through the real and shocking truths of a mind that has betrayed its host.
Forcing us to exit our collective realities and venture into a dissociative like state, the ominously named track – ‘Run’ paints a reflective account of ceaselessly juggling their past, present and future self as denial seems to have robbed the narrator of sense, as they yearn so deeply for what they used to be while being unable to reconcile with their past selves unfortunate demise; whereas the EP’s lead single ‘My Next Cigarette’ journeys through the “management” of emotional disturbance through the means of self-harm. Although illusions of physical impairment are manifested throughout the track, it also demonstrates how self-harm can be interpreted, through the means of alcohol and cigarettes to name a few.
Upon reflection, ‘My Next Cigarette’ feels like one of the most important cautionary tales for fellow sufferers; as the constant longing to nullify the internal pain with detrimental alternatives becomes too much to bear, it makes tussling with illusions of numbness a desirable headspace to capture, which in turn can tap into an adverse need to escape the grips of extreme apathy through any means necessary, to obtain that sweet release from all the pain riddled into every facet of our world. It is a devastating downward spiral that so many can avoid with the love, support and understanding of those closest as well as the proper intervention needed to help live a long and fulfilling life.
Locked Doors & Hospital Beds’ combination of overwhelming fear and grief-stricken admissions can be a triggering and unsettling experience, but it can also be cathartic, heroic, even inspirational to so many in the world who have a shared understanding of the horrific side of human psychology that most will never be able to comprehend. It’s a testament to the strength of will we can tap into in times of great strife and how the progress made in our darkest hours can illuminate to way through the trials and tribulations this world has in store for us.
It’s an insidious feeling that has only continued to wreak havoc on our mental health, and it feels worse when we cannot name it. It is this feeling that lends an indescribable quality to Underoath’s ninth album Voyeurist. On it, the Floridian post hardcore titans eschew traditional hooks and structure (not something uncommon in the band’s discography) for a record that is essentially a mood piece, though not appearing as such on its surface. It’s a record that breathes its life through the way it touches on a personal darkness that has bored its way into many of our souls. Rather than its melodies, it uses walls of light and darkness to strike the frayed nerves of listeners. Though it doesn’t always succeed in its lofty ambition, every minute feels as honest and emotionally revealing as Underoath has ever been.
The album has very distinct ways in which it seeks to resonate: appealing to our anger, and appealing to our personal desolation. And through those appeals, it either roars or whispers. When it roars, it reaches some fantastic heights. Opener ‘Damn Excuses’ is venomous and punchy, and rollicks with an almost hardcore cadence and tone in its guitars and drums. Vocalist Spencer Chamberlain is at his most venomous on this track, and it’s an excellent and potent jab right to the chin from the word go. ‘Cycle’ uses a wall of thick guitars and a sledgehammer of lyrical honesty and vocal emotionality from both Chamberlain and special guest Ghostemane, who’s guest presence on the track adds a thrilling new vocal quality to the band’s sounds. It’s certainly a collaboration that would be welcome again in the future based on how good this track is.
The fourth record from the eclectic collective Siamese, ‘Home’ is the latest in a hefty line of impressive full length releasese. Consisting of twelve immensely crafted tracks that instantly set the pace for where the band are currently sighting their aspirations, it’s clear from the starting line that Siamese are aiming high – and taking no prisoners in the process.
The record’s opener ‘Heights Above’ is an incredible kick of high octane screams and a soaring chorus, presenting with the same level of energy that the band brought to the table at Burn It Down Festival earlier this year. There is a distinct weight to the guitar tones across the entire album that could almost be described as crushing, but this is tastefully counterbalanced by a crisp clean vocal style that is intermittent throughout. The album’s title track accurately represents the remainder of the record still to come. Featuring some brutal guest vocals from Drew York (Stray From The Path) this particular number twists and evolves throughout, leaving the listener never quite sure where it will end up. Another stellar example of some brilliant guest vocals comes in with the record’s seventh track ‘Enough Ain’t Enough’. Consisting of pulsing synths that lay a bed for the velvety undertones of Rory Rodriguez (Dayseeker), it’s one of the least heavy tracks on the album, allowing some accurately placed breathing room before the intensity of its follow up ‘Numb’.
Whether you’ve encountered their explosive live show or stumbled across a record, there is no denying that there is something incredibly unique to their sonic approach. Having graced stages at some of the best UK festivals including Burn It Down and 2000 Trees, anyone set to catch the band in any kind of intimate setting needs to be prepared for nothing less than the time of their lives. Eat Your Own opens a whole new door in the band’s next chapter.
Pioneers of the unorthodox, it’s been an incredible year for the London four piece. When the band first teased fans that new music was well underway, no one could have predicted the magnitude of the six track monstrosity that exploded into life last week. Over the course of the entire release campaign Delaire The Liar have been incredibly consistent, with each single packing more of a punk rock punch than the last. ‘Furnace’ came in as the slightly younger sibling as the second single to drop, and takes pride of place as the second track on the record. A canvas of different textures throughout, the call & response style vocals give the track a pleasant edge.
