Review: Synodik - A Matter Of Perception EP

Perception in relation to reality is a topic that has long sparked many debates and theories, one of which being the theory of “Phenomenalism”. For those unfamiliar with the topic, phenomenalism dictates that physical objects only exist as a result of perceptual phenomena. In layman’s terms, if there is no perception, there is no existence; your reality is built around your perception. Meaning that, in theory, there are as many perceptions of reality as there are humans (roughly 7 billion). Italian quartet Synodik graciously invites us into their perception of the reality in which we exist. Their sophomore release, A Matter Of Perception EP, provides us with a short commentary on an age-old topic through a combined medium of deep ambience and brooding riffs that burn with the wisdom of an aging star.

The album opens with “Projections From the Edge”, an eerie track featuring tumultuous, rising synth medleys that most closely mimic the sensation of zooming through a Carl Sagan video. Layers of cascading echoed synth melodies progressively build, flourishing with bright intensity before descending into darker, ambient depths, churning with a force parallel to the cosmos.

Following is “When Parallels Fall”, an explosive track marked by an amalgamation of heavy death metal elements and serene dark ambience. Bursts of energetic melodic riffs from guitarist Leandro Scotto and deep growls from vocalist Matteo Campanini immediately blast your ears with the profound force of a supernova. Harsh, violent riffs backed by driving and emphatic percussion by drummer Edoardo Delucchi suddenly halt for waves of emotive, airy licks and overlays before delving into crushing riffs and solos. Campanini waivers between gritty mid screams and deep growls, often utilizing split scream harmonies for lyrical emphasis and an overall raw and sincere vocal style of delivery. However, what really makes this track stand out is Scotto’s split between fiercely violent riffs and simplistic, gentle synth undertones. The result is a playful mixing and parallel placing of the perceived simplistic beauty of the universe with the raging complexities of a galaxy.

This short but vast EP ends with “The Perceived Wisdom”, a track laden with false endings and spastic transitions in instrumental style.  Fast-paced heavy riffs collide and wrestle with melodic, atmospheric overlays, creating an emotional turbulence between the raw forces of the atmosphere and the peaceful serenity of the night sky. Within the mixture of mashing forces is the lightly playful groove of Gastaldi’s bass, which often shines through the competing layers of Scotto’s ambient licks and crushing chugging. Campanini alternates between clean vocals and deep growls, displaying the vast dynamic between perceived peacefulness and the true raw force that exists within each burning star.

Overall, Synodik provides a surprisingly in-depth, albeit short take on a topic that is as old as the universe itself.The dynamic, orchestrated collapse and expansion of the instrumentals can be as vibrant and daunting as a White Dwarf star. A Matter Of Perception is drenched with the introductory teachings of a vast, ancient knowledge that you can only begin to gain from watching the world turn for centuries- and it appears that Synodik is ready and eager to watch and learn more. A Matter Of Perception is a vastly reflective musical endeavor that gifts us aural windows from which to begin to explore the depths of our reality in relation to our existence. Ultimately, your view on this album- and the message that you take from it- depends on your perception of it.

8.5/10

For Fans Of: Fallujah, Opeth, Nile

Katt Hass

Review: Amber Sea - Infantile Vision

French sailors have an old saying, “Rouge le soir, bel espoir. Rouge le matin, de la pluie, en chemin.” For those who can’t read French, it’s folklore for determining seafaring weather, which roughly translates to “Red at night, great hope. Red in the morning, rain on the way.” Such lore and tales are relics of tradition, created through prior years of observation to serve as warnings or guidelines for future generations. While tradition and folklore has kept certain dangers at bay, no warning device can prepare or shield you from the oncoming violent storm that is Amber Sea. Their debut EP, Infantile Vision, embarks on heavy waters, encompassing the gentlest of tides and the crushing force of a tsunami. 

The album opens with “White Materia: Sideral”, a track marked by sudden crushing waves of heavy-hitting breakdowns and bursts of melodic riffs. At first listen, you will be suspended in a soothing sense of weightlessness by a layered, ethereal intro built on a sweeping piano medley and light guitar overlays. But do not be so deceived; behind these gentle waves of melodic instrumentation lies a raging storm. Calm melodies quickly turn violent as driving percussion from drummer Guy Tormel leads to storming riffs by guitarist Kevin Chasnais. Vocalist Matt Rouland’s low growls, hefty mid screams, and well-executed cleans join the fray of heavy instrumentation, flooding your ears with the rage and might of an ancient sea.

Next is “Deci(mate)”, a blistering track packed with the perfect blend of spastic riffs and controlled breakdowns. Amber Sea wastes no time, immediately hitting your ears with a lightning-fast solo from bassist Axel Richet before delving into spastic heavy riffs and Rouland’s ferocious growls backed by Tormel’s relentless percussion. The addition of vocalist Chris Baretto of Monuments adds a perfect layer of split scream harmonies with Rouland and an excellent pairing of clean vocals with heavy mid screams. Richet’s unwavering display of instrumental prowess shines once again in a brilliantly executed slap-bass solo before diving into waves of heavy breakdowns. What’s most impressive in this track is the band’s ability to lose themselves in spastic riffs and then regain control in a drastically slower-paced, yet crushing breakdown. It’s a dichotomy that shows an excellent amount of technical prowess and is a muscle that the band frequently flexes. What’s more, Amber Sea allows your ears a brief, gentle interlude to let you hear and see the beauty in the storm of heavy riffs before delving back into the crunchy, gritty, chaotic guitars that make up this track.

“Shinigami” is an explosive track laden with savage riffs and controlled pacing that creates an aural assault unlike the rest. It’s heavier. It’s grittier. And it’s more chaotic than you could imagine. Choppy, fast-paced riffs and melodic solos are backed by forceful percussion and heavy growls. What makes this track interesting is their mashing of pacing: fast-paced chugging crashes suddenly into slow, controlled sliding breakdowns led by Chasnais’ heavy guitar riffs and Richet’s sliding, groovy bass. Best yet, their delivery of furious and relentless instrumentals is seamless. The breakdowns in this track are met at a considerably slower pace that will leave you shaking in anticipation for the next wave of assault, the next chug, and the next sexy bass slide. The amount of energy and discipline necessary to deliver such controlled chaos is remarkable and extraordinary.

“Black Materia: Meteor” ends this brief but fierce album, packing a final wave of assault with ear-shattering breakdowns and spastic melodic interludes. A chaotic aria quickly breaks into heavy, grooving riffs and pulverizing breakdowns. Intermittent melodic solos –both unbelievably fast paced and groovy- break the seemingly relentless aural onslaught of bone-crunching breakdowns. Just for safe measure, Amber Sea hits you with one last rage-filled, insanity-inducing breakdown before calmly returning to softer medleys and then descending into the gentle melody that we were first introduced to in “White Materia: SIderal”. This gradual descent into simplistic, layered, melodic beauty results in a near-ghostly effect that is guaranteed to leave you with chills running down your spine and the hairs on your neck standing on end.

It’s impossible to pick out any stand-out tracks on this album, as each track can stand on its own. What’s most notable is the mirroring that can be heard between “White Materia” and “Black Materia”. The instrumentation on both tracks is reciprocal and complimentary to each other, creating a harmonious “yin-and-yang” effect.

Overall, Amber Sea’s Infantile Vision is one of the most timeless and dynamic releases of this year. It’s hard to believe that this is a debut release, given that Infantile Vision bears the collective weight and experience of a thousand waves. Each member gives their all for an extraordinarily consistent, brutal delivery both vocally and instrumentally. Every verse, solo, breakdown, hit, and kick is perfectly crafted to induce an addictive, rib cage-rattling quality that will leave you breathless and bruised. You can’t help but lose yourself physically and mentally in the gorgeous instrumentation in every ear-shattering melodic solo and every bone-shattering breakdown. Amber Sea carries the technical prowess and youthful recklessness that only the most seasoned waters can hold. Today, the sky is red and Amber Sea’s Infantile Vision is the storm that is lurking on the horizon.

9.8/10

For Fans Of:  Architects, Monuments, Periphery

Katt Hass

Review: Holly With A Gun - Shadow Parallel

Actor Alan Rickman once beautifully said, “It is an ancient need to be told stories. But the story needs a storyteller.” Within us exists a primal hunger that can only be satisfied by lucratively spun tales, layered with intrigue and emotion from an animated, imaginative storyteller.  Who better to craft such imaginative tales than Holly With A Gun? The 6-piece alternative rock band’s debut EP, Shadow Parallel, is bound to captivate and nourish you with its emotive, well-layered lyrical and instrumental content. 

Kicking off the album is “Shoulder Demons”: a catchy, powerful track that is filled with emotion and layered, energetic instrumentals. A tasteful, layered fade-in intro quickly turns to driven chords and riffs backed by beautiful, gentle piano medleys from Keyboardist Dan Carr and relentless, fitting percussive elements from drummer Jacob Grappin. Vocalist Scott Wiley pours out his heart with his lyrical content, stressing dynamic emphasis in his raw, almost Midwestern-emo style of vocal performance. It’s an intriguing, melodic track that will leave your ears begging for more.

Following is “Call Me (When You Need Something)": a vibrant track that gleams with the grittier side of alternative rock. Vocal and instrumental elements from “Shoulder Demons” bleeds through in the intro before taking a drastic turn towards a harsher vocal delivery and rougher riffs from guitarists Maldonado and Lugowski. Drummer Jacob Grappin showcases a driving delivery of jazz & hardcore-blended percussion that is artfully created to emphasize each emotive element in this track with each hit, crash, kick and roll. This is clearly the album’s stand-out track with a stellar display of well-blended musicality.

The album’s title track, “Shadow Parallel”, is a bouncy, explosive track packed with layered vocals, and angry riffs from guitars and keys. Bassist Ian Marcus shines in this track, with a clearly audible walking bass line that has the perfect balance of force and groove. Wiley’s shifts his vocal delivery from clean-cut to a progressively grittier, harsher, rawer delivery, incorporating mid-screams for the sake of vocal emphasis. Interestingly enough, the instrumentals also grow progressively grittier parallel to Wiley, before the whole track spirals downward into an “organized”, chaotic fade-out. 

Vocalist Scott Wiley shows a remarkable amount of talent with his ability to alternate between smooth and grittier styles of vocal delivery, often times blending both for a crisp but raw effect. Moreover, Wiley’s ability to add dynamic emphasis is a refreshing talent that is rarely found within this genre. He even incorporates light mid screams for the tasteful purpose of dramatic emphasis, and it works to the band’s advantage.

Instrumentally, Shadow Parallel has a lot going for it. Not only are Wiley’s vocals on a sliding scale from clean to grit, but the instrumental delivery follows parallel to the vocals.  No instrument overtakes another, despite the multiple layers within each track. But what really stands out is the band’s overall disregard for the popular “verse-chorus” structure, creating in its place a stream-of-conscious-esque form of delivery both lyrically and instrumentally in tracks such as “Shadow Parallel”, “Call Me”, and “Walks Of Life”. Furthermore, they craft an intricate, structured tale with a clear set-up, climax, and conclusion in each track.

Overall, Holly With A Gun has created one of the most entertaining Alternative Rock albums that I have heard in a very long time. You can hear the amount of raw energy and emotion that each of the band members put in to create the collection of stories that makes Shadow Parallel. The stellar blending of instruments and vocals- and their respective styles- paints each scene so vibrant and lively that it nearly takes form on a page. Holly With A Gun's Shadow Parallel is as much a musical endeavor as it is a timeless story. Listen to it and you'll know its meaning.

9/10

For Fans Of: Saosin, Circa Survive, Acceptance

Katt Hass

Review: Cry Excess - Ambition Is the Shit

Footballer William Eardley IV once said, “Ambition is the path to success. Persistence is the vehicle you arrive in.” Operating this vehicle is none other than Cry Excess with their debut album Ambition Is the Shit. The 5-piece metalcore band from Turin, Italy, is guaranteed to destroy your eardrums with a persistent blend of chugging, gritty riffs, harsh growls and blasting percussion in one of the darkest and heaviest albums to date.

The album opens with “Ripshit (Hands Up For the Italians)”, a brutal, ear-blasting track that opens with a modest electronica-driven fade-in intro before slamming your ears with gritty vocals, harsh growls, and dark undertones from heavy riffs. What’s different and most interesting about this track is the split between screams and a rap-style of delivery from vocalist Jaxon V. It’s a dark, brooding track that marks the underlying rage the band is putting forth- and it leaves you wanting more.   

Next is “The Public Enemy”, a rage-filled track that packs one hell-of-a punch with a sinister intro leading into heavy riffs, sliding breakdowns, relentless percussion, and a brilliant vocal display of cleans and screams.

The album’s title track, “Ambition Is the Shit” is marked by high screams, melodic synth solos, relentless percussion, fast riffs, and heavy breakdowns that are packed with an amount of force that’s capable of sending you flying across the room.  It’s the track that has it all in terms of persistent brutality, instrumental, and vocal variety- including a breakdown that is driven by a synthesizer with heavy chugging as a complementing undertone. 

Now, I don’t like electronic music in metalcore whatsoever, but Cry Excess has managed to utilize electronic elements to add a layer of depth to each track, including breakbeat-driven breakdowns in pulsating tracks such as “You Hate Because You Can’t Compete”, and “Hustler”. And it works to their advantage. But it’s not limited to just creating a break-beat sort of style. The electronic elements often take place of what would be melodic solos from the guitarists - and it doesn’t sound campy at all.

Vocalists Jaxon V. and  Brian N. show an absolutely brilliant display of vocal variety and range, incorporating multiple elements and a whole other genre (rap) within their heavy delivery. Tracks such as “What Keeps Us Alive” and “Rebel, Forever” display split scream harmonies, gritty cleans, and deep growls. “Ripshit” and “Ambition Is the Shit” best display their use of rap within heavy riffs and brutal breakdowns.

It’s hard to pick out any stand-out tracks, as most of the songs on this album are well-crafted and can stand for their own. One stand-out track is “Hustler”, as it gives a false notion of respite from the heavy chugging by giving us heavy lyricism and aptly crafted electronica before delving into an aggressive breakdown.

Another notable track is “Unto Death”, which features one of the best displays of instrumental musicality. Relentless and driving percussion from drummer Brian N. is paired with masterful riffage from guitarists Mark Agostini and Andrew V.  Light, melodic riffs lead into heavy, dark breakdowns before swinging full-circle to include melodic overlays and light arias within the heavy, fast-paced riffs.

Overall, Cry Excess has created a truly unique album that is packed with an ear-shredding, bone-rattling quality that will shake the very foundation upon which you stand. You can hear the amount of energy that the band has put into Ambition Is the Shit. The limitless energy and rage is so clearly audible that it is almost visual. Ambition Is the Shit is so well-crafted and relentless in every breakdown, verse, hit and kick, that it’s hard to believe that this is actually a debut album. You can’t help but mosh, groove, and headbang to every track. If ambition is the path to success, and persistence its vehicle, then Cry Excess's Ambition Is the Shit is a masterpiece. You’d be foolish to not listen to this album.

9.2/10

For Fans Of: Memory Of A Melody, I-Exist

Review: Enthrall the Weak - "Lighthouse" (Single)

Hardcore/Metal music has come a long way. Experimentation has created new subgenres and subcategories within the genre, giving the genre a surprising amount of depth and growth. However hardcore music progresses, we, as listeners, cannot forget its roots. Thankfully, Enthrall the Weak is here to remind us all of “core” music’s roots. Their latest single, “Lighthouse” will have you jumping to every hit, kick, and fast riff like a 17-year-old at a basement hardcore show.

Heavy riffs greet your ears before introducing you face-first to an onslaught of fast-paced riffs, harsh screams, and driving percussion.

Vocalist David Darlak brings forth a well-executed display of harsh growls, mids and high screams that are consistent within the genre. Darlak brilliantly blends them with clean vocals that carry a Midwest-emo quality. The overall vocal performance is perfectly gritty, honest, and heartfelt with every yell, note, and scream.

Instrumentally, “Lighthouse” is sure to induce heavy, fast moshing and jumping. Fast-paced riffs from guitarists Amato and Gray are tastefully meshed with intermittent melodic overlays, interludes, and breakdowns. Drummer Jimmy Amato is brutally consistent in his unwavering delivery of driving “core” percussion, never wasting a single fill or kick.

Overall, “Lighthouse” is a brilliant track. Enthrall the Weak has managed to pull off the “traditional” gritty-yet-melodic hardcore sound that you were first introduced to. Enthrall the Weak is the hardcore refresher course that you need. Their sound is addictively fast, edgy, and energetic. If you love hardcore, then you need these guys in your music library. 

9/10

http://www.reverbnation.com/enthralltheweak/song/22529966-lighthouse-2015

For fans of: Know Lyfe, When Skies Go Black, At No End

Katt Hass

Review: The Gospel Youth - Kids EP

Do you miss the early 2000’s pop-punk? The anthemic ballads that fused punk with pop-rock style? Or driving down the road, blasting the melodic, soft riffs of your youth? If nostalgia has been hitting you hard, then look no further than The Gospel Youth. The 3-piece outfit from Brighton, UK has just released their debut 3-track EP, Kids, and they’ve packed it full of catchy riffs that will have you bouncing and bopping your head as you sing your heart out to the sound of your youth.

“Mixtape” kicks off the EP with a display of the bands soft, anthemic sound.  Melodic soft riffs are paired with smartly implemented percussion, creating an overall bouncy sound that you so desperately crave. It’s like All Time Low blended with New Found Glory, and the result is a driving, poppy melodic sound that will easily get stuck in your head for days.

Next up is “Kids”, where The Gospel Youth flexes their pop-rock prowess in this equally-as-catchy song. Light, bouncy riffs and banging drums mark this extremely catchy track that will have you jumping and singing along to well-crafted verse & chorus.

We end with “H.L.B.”, a track in which there is no mistaking the band’s softer pop-rock side in this power ballad. Light melodies are set in the background of their vocalist’s heartfelt words, creating an overall empowering sound that will have you singing and swaying along. 

Overall, this EP is a real catch. The Gospel Youth set my nostalgia sensors ablaze in every song and every verse. You can hear and feel the energy and raw emotion put into every note and every word. Kids is the college refresher course on early 2000's pop-punk/rock blend that you need for the sound you truly miss. You absolutely should keep your eyes and ears on these guys, regardless if you’re looking for a nostalgic reminder of a past sound that you truly enjoyed.

8.9/10

http://thegospelyouth.bandcamp.com/album/kids-ep

The Gospel Youth is graciously offering their EP for free on their bandcamp page. You’d be foolish to not have this EP in your music library.

For fans of: All Time Low, New Found Glory, Since Forever

Katt Hass

The Weekly Tune-Up #2

Ouch That Hertz presents The Weekly Tune-Up! Once a week we carefully select music that we find absolutely necessary to add into your music library. And they’re all free to download by the artist! Of course, if you like what you hear, we encourage you to throw a donation their way!

This week we're giving you a wide variety from folk to jazz-hop. Check it all out below!

Jacky Bastek - "Wonderwoman" (Single) and " Cold Progression"  (Single)

A catchy and impressive fingerstyle singer/songwriter from Germany. If anything, you need to hear "Cold Progression"- a blues-y instrumental that will captivate your ears. "Wonderwoman" is one of her older works (with vocals). You'll find her voice to be quite soothing. 

http://jackybastek.bandcamp.com/track/wonderwoman

http://jackybastek.bandcamp.com/track/cold-progression

Jake Feeny - A Fit of Colours

Singer/Songwriter from Toronto, Ontario. A Fit of Colours is a breezy acoustic folk album mixed with an alternative-blues kind of style. You'll need this, trust me.

http://jakefeeney.bandcamp.com/album/a-fit-of-colours

Todd & Ryan Wright - "Snow"

A sweet, catchy holiday ballad written by a man and his daughter. Oh, yeah, you definitely need this. 

http://orangepopsongs.bandcamp.com/track/snow

Monster Rally & Jay Stone - Foreign Pedestrians

Rap/Hip-Hop set to surf-rock-esque beats. Mhhhmmmm.

http://monsterrally.bandcamp.com/album/foreign-pedestrians

Yeomans - Yeomans

Garage/surf-rock outfit from Toronto. Need I say more?

http://yeomans.bandcamp.com/album/yeomans-ep

Animal Flag - Animal Flag

Indie Rock that will have you wearing beanies and swaying like all the hip kids.

http://animalflag.bandcamp.com/album/animal-flag-ep

ProleteR - Rookie EP

Jazz-Hop/electro swing/abstract-ish... An eclectic mix that your ears need to hear.

http://proleter.bandcamp.com/album/rookie-ep