Saturday, 9 December 2017

Come Back From The Dead - Caro Data Vermibus


1. Vomits Of A Demonic Infestation
2. Caro Data Vermibus
3. Endless Bloodshed
4. Carnivorous Craving From Beyond

There's something about red covers that stand out, like this one from the new EP by Spanish death metallers Come Back From The Dead. "Caro Data Vermibus" was released on cd in September via Transcending Obscurity Records following a June vinyl release via Mono Canibal Records and Abstract Emotions. It features four putrid tracks and follows the band's two previous release; their 2013 demo and their 2014 full-length "The Coffin Earth's Entrails". La muerte es el Ășnico camino!

Come Back From The Dead pray at the alter of the old-school. EP opener Vomits Of A Demonic Infestation is raw with the vocals high in the mix. The driving guitars and rhythm section are left to slug it out behind them yet the screeching leads and melodic guitar work can be heard throughout, while the bass lays a deep furrow. The title-track is a gloriously mid-paced crusher with one hell of a dank atmosphere. At times doom-laden and sludgy, Come Back From The Dead don’t mind ripping people’s faces and ears off slowly! 

Endless Bloodshed starts with a ripping solo before launching into the type of song that the title suggests it will be. Blood-curdling and scuzzy. It is hard to get over the volume of the vocals sometimes but they do make the record fiercer. In closing song Carnivorous Craving From Beyond, Come Back From The Dead has written something that truly accurately demonstrates their sound. It’s a lurching doom/death song with added funky bass-lines in the background and festering lead guitar. It seems like they’ve really hit their stride with this one so it’s a pity that it’s the last song on the record. 

Needless to say, this is a killer EP from a band that are surely gonna drag Spanish death metal screaming into 2018 and beyond. The genre may have it’s roots embedded in Scandinavian folklore but other countries and bands are claiming their spot on it’s timeline. Come Back From The Dead deserves a place for sure. 

You can stream and purchase a download or vinyl copy below:-

You can also buy vinyl and cd copies from the releasing labels below:-

Transcending Obscurity Records -

Abstract Emotions -

Friday, 8 December 2017

Piri Reis/They Sleep We Live - Split


1. Piri Reis - Lend Me Your Life, Mine Is Kaput
2. Piri Reis - Meranduk Ke Laut, Merekah Ke Danau
3. They Sleep We Live - Fire Walk With Me

I'm a bit of a celebratory mood this evening and thought I'd spend it checking this little release from Malaysia's Piri Reis & Germany's They Sleep We Live (RIP). It was released in September as a one-sided 7" and features three quick-fire emoviolence/screamo songs. Piri Reis has been making fast & loud emoviolence know for about two years (or maybe more). They've released a demo and splits with both Coma Regalia and Child Meadow. They Sleep We Live started in 2014 and called it a day in February of this year and their last ever song appears here. They previously released a split with Vi Som Alskade Varandra Sa Mycket and a one-sided 12" EP. The split was made possible by no less than eight DIY record labels, whom I'll post links to below the review. 

Piri Reis start off with the ridiculously short Lend Me Your Life, Mine Is Kaput. It goes from screeching feedback, to atmospheric riffs, to utter chaos in the space of about thirty seconds. The screams are high-pitched and the percussion flails, while the guitars try and retain some melody amongst it all. Meranduk Ke Laut, Merekah Ke Danau is a lesson in how to fit a silly amount of music into no time at all. At barely a minute-and-a-half, Piri Reis changes mood, pace and allows their music to swirl around in masterful fashion. 

They Sleep We Live’s parting song Fire Walk With Me is equally as violent as the two numbers from Piri Reis, to begin with. They’re slightly more restrained tempo wise yet they exhibit the same level of raw emotion. They make use of melody more obviously, especially from what sounds like an organ (I think). The rest of the instrumentation is more atmospheric, while the vocals flit between all-out screams and old-school spoken word. 

Both bands are excellent at what they do. Piri Reis with their rapid violence and They Sleep We Live with their more sensitive screamo. Musically a lot of fun and while short, it will leave an impression. 

Stream and purchase the full split via Zegema Beach Records below:-

Piri Reis doesn't yet have their songs streaming on their own bandcamp page, but you can stream and purchase They Sleep We Live's track directly from them here too -

You can also stream and purchase the split from the other participating labels below:-

Wednesday, 6 December 2017

Counterpoint - If Not Now, When? EP


1. Leave It All Behind
2. Honestly
3. Between You And Me
4. DownDownDown
5. One Sided Conversations

I'm starting a little earlier than planned with this, but I promised you I'd start putting up some early reviews of 2018 releases so here we are. This is the new EP from Manchester's Counterpoint, who cite the likes of While She Sleeps, Letlive and Papa Roach as bands they admire, contributing to their own take on alt-rock. To prove they're not lying about loving a bit of nu-metal, they recently supported Crazytown on their Manchester date. This is the band's second EP, following their debut "Borrow Your Past, Steal Your Future". "If Not Now, When" is due to be self-released officially on 9th February.

Counterpoint is paving the way for what modern UK melodic hardcore/alt-rock will sound like in 2018. Leave It All Behind is a signal of their intent with driving guitars, big percussion and harsh/clean vocals that sit high in the mix. Lead single Honestly plays on their influences but thankfully eschews the nu-metal trappings. It’s melodic and catchy, without being cheesy and with plenty of sing-along moments. It’s a grower that will keep on burying itself in your head with that chorus! 

They swing back in a hardcore direction on Between You And Me, as the verse is raucous. Once again the chorus dispels any notions of the band exploding into a heavier sound altogether, as their intelligent song-writing takes over. DownDownDown is for those of you who still with Papa Roach were touring “The Paramour Sessions”. Behind the vocals there’s instrumentation that’s both energetic and sensitive. There’s a nod to modern pop-punk in there as well, though it’s minimal. 

Closing song One Sided Conversations epitomises what Counterpoint is aiming for in 2018. Their music will catch the ears of many modern rock/punk/metal fans and will no doubt see them gain more recognition and help them become an established band within the UK’s bulging alternative music scene.

You can stream the single Honestly via Youtube below:-

Keep an eye on Counterpoint's bandcamp and Facebook pages below for more news regarding the CD/Digital releases as they're published:-

Monday, 4 December 2017

Cool Jerks - Patriots EP


1. Patriots
2. Minimum Wage
3. New Opiate
4. Affable Fascism

New punk music (from a fairly new Leeds punk band). Cool Jerks are about to release a new EP called "Patriots" on tape via Ukrainian label Tapetalks. It follows their 2016 demo. I've been racking what's left of my rather frazzled brain to try and remember if I've ever seen Cool Jerks live before, as I seem to think they played in Harrogate once (though I might be getting them mixed up with someone else!). Anyway, they definitely did tour in the Ukraine earlier this year, so have already built up a cult following. 

Cool Jerks play noisy, shouty but musical punk. The title-track kicks off the EP with the theme of working on the breadline, tapping into the years of discontent we’ve faced since the financial crisis. They’re unmistakably British on Minimum Wage, which is unsurprisingly about working on minimum wage. It’s simple but really effective and the nod to the snotty punk of the 80s is noticeable. 

Short and sharp are perfect adjectives for Cool Jerks. New Opiate is performed with tonnes of urgency, which comes through in the drumming especially. Garage and no-wave spring to mind on Affable Fascism, with some ace guitar work and a raw edge. This EP is a throwback but one that pays no lip-service to the boot strap/skinhead mob. Britain has always been regarded as the home of punk (and heavy metal). Long may it continue with Cool Jerks.

You can stream the EP's title-track below

Keep an eye out on the Cool Jerks bandcamp page, as the full EP should be live any day now.

Tapes will also be available via Tapetalks soon -

Sunday, 3 December 2017

Barbarian Swords - Worms


1. I'm Your Demise
2. Outcast Warlords
3. Pure Demonology
4. Christian Worms
5. Total Nihilism
6. The Last Virgin On The Earth, Sodomized
7. Carnivorous Pussy
8. Requiem
9. Ultrasado Bloodbath

It snowed here the other day, but it was a pitiful amount and it just ended being really cold and gloomy. It meant that I have no inclination to venture out (apart from to work) so I started listening to  this album by Catalan black metal/doom band Barbarian Swords. Two sessions in an here I am. "Worms" is the second full-length from Catalan black/doom metallers Barbarian Swords. It follows their 2012 demo "Crusaders Of The Apocalypse" and 2014's debut full-length "Hunting Rats". It was released across all formats in January via Cimmerian Shade,  Satanath Records and The Ritual Productions. 

“Worms” is a lengthy beast and it begins with a curiously folk-like opening on I’m Your Demise, which carries on through the song in spite of the black metal barbarity. There’s melody (not the happy sort), rasping black-metal screams and down-tempo heaviness. The doom is really enjoyable and they weave it into their sound well. Barbarian Swords have done a pretty clever thing with Outcast Warlords, They’ve chosen to follow the slow tempo of the opener with another one. Most bands would just stick a fast one in there. Outcast Warlords itself is more akin to a doom/death song, at least until the vocals kick in. Gloriously nihilistic and evil. 

Their songwriting is well thought-out and it’s a point proved on Pure Demonology, with it’s fast/slow dynamic and grinding/blasting second half. The echo on the vocals is cool too. Something tells me their might be anti-religious undertones within Christian Worms. I’m not complaining though, as I can hate everything about organised religion, which is probably why I’m drawn to this unholy noise. Once again it’s a slow and lurching tome with a raw edge that bites. Another thing that Barbarian Swords likes to do is create atmosphere, so the little snippets of noise and samples here and they make the album flow and feel more imaginative. Total Nihilism is an example of that and it’s sound and make-up certainly reflects it’s title. 

The feedback/screeching guitar-work at the beginning of The Last Virgin On Earth, Sodomized (great title!) says all you need to know about the direction that Barbarian Swords are going in. Incredible doom that morphs into more death/black goodness. It’s great fun and also strangely mesmeric. The sample at the beginning on Carnivorous Pussy is just a little bit disturbing but it’s quick;y erased from your memory by a thrashing monster that’s the more urgent song on the album. The two songs that follow weigh in at almost thirty-minutes in their entirety. After that slightly light-hearted appetiser, Requiem drags you back down a gloomy path with nearly eighteen-minutes of slothenly blackened doom. Gloomy is actually a pretty good descriptor for this song, because everything abut it leads you to near despair (in a good way). 

Closing song Ultrasado Bloodbath contains bigger riffs and a ever so slight increase in tempo. Barbarian Swords are definitely at their best when ploughing that whole doom/black metal furrow and I have to say, it’s a unique take on it. The guitar work once again shows that no matter how heavy you try to be, traditional heavy metal ins’t far away and it’s pulled off well.  Barbarian Swords are great and they've created an album with it's own personality, which is becoming increasingly hard to do in this modern era.

Stream "Worms" and purchase it on all formats below:

You can also pick it up from the labels below:-

The Ritual Productions -

Also, please sign up for my newsletter, which I'll be starting in the new year! Thanks

Saturday, 2 December 2017

This Noise Is Ours E-mail Newsletter: Coming 2018

I thought I would post a quick update to let you know that the blog's e-mail newsletter will be coming in 2018. The first planned newsletter will be sent in January. I have decided to push on with it for two reasons: A) because while Facebook and Twitter are still great promotional tools for the blog, they can only reach so far. By using a newsletter I can make sure that my blog reaches those who a truly interested and B) because I want to use it as another way to help promote bands, releases, shows etc.

In terms of band, label, promoter participation etc in the newsletter, I am hoping to secure and offer subscriber special content, competitions, deals in partnership with different parties. If you would like to talk to me about helping out or promotional opportunities, please e-mail me at

Note: I will not be accepting money from subscribers or bands, labels, promoters etc. This newsletter will be a DIY communication that I hope will help grow both my blog's audience and those I support.

Please sign-up if you want to and please share this post and the blog with anybody you think will be interested. Thanks for your support!

Friday, 1 December 2017

American Standards - Interview + Anti-Melody Review

A week or so ago, Brandon Kellum (vocalist) from Amercan Standards sent me his top-ten favourite albums for inclusion in my ongoing Recollection feature series. At the same time, he was kind enough to answer some questions about the band's new album "Anti-Melody", it's themes and about being self-sufficient in the music biz. Here's that interview, a cheeky Spotify playlist and a review of the new record...

I first heard about American Standards around the time of the "Hungry Hands" EP. My friend Dale Robinson helped to release the EP via his label Enjoyment Records (RIP) in 2014. Your latest full-length “Anti-Melody” was released in April 2017. As a band, you’ve been through a lot over the years so how much of a relief was it to get the album out?

That’s awesome to hear. Dale is a great guy and was doing a lot of really cool stuff with Enjoyment Records. We’ve always been so appreciative of him and the run of vinyl he did for the Hungry Hands EP. Between that release and now we went through so many changes both as a band and in our personal lives. I think a lot of that may have delayed our new music but also built into the songs themselves. I’m thrilled that “Anti-Melody” is finally out and now we can begin the writing process for what’s next to come.

Can you talk about some of the themes and the subject matter on the album?

I started writing the lyrics for Anti-Melody in early 2016. Being an election year, I felt like we were all getting beat in every direction with decisive content whether it be in traditional media or online. Everywhere you looked there was something trying to instigate a visceral reaction. So my initial intent wasn’t to take on the individual issues but rather comment on the underlying theme of how our culture is evolving and through that evolution has created echo chambers. Those silos then feed into the disregard of critical thinking and make us opt for consuming headlines, expressing gut feelings then moving to the next.

Unfortunately during the process I woke one morning to a text that our founding guitarist Cody Conrad had committed suicide. Only weeks after my father was then diagnosed with cancer and passed very quickly. It made me reevaluate what the album was going to be about and where we landed was a concept in two acts. The first act being the growing divide in our society and the second the separation of losing a loved one.

Do you think it’s important for bands to help start conversations about serious issues, especially with such a focus on metal health in society now?

I feel that it’s important for everyone to put some thought into it because it impacts all of us in one way or another. I think it’s also key that if someone chooses to start a conversation that it truly is an open conversation where they’re willing to listen as much as they talk. We often forget that key part.

You’re currently planning more touring for 2018. What can people expect from an American Standards live show if they’re never seen you play before?

Our number one goal as a band is to make you feel something. Once we’ve done that, we hope that that feeling inspires you to then do something. We’re not the band at a show trying to recreate the album, we’re trying to create an experience that’s unique to that night and to everyone there with us.

Following on from that question; have you confirmed anything plans yet? If so, can you reveal any dates etc?

I can say that our first run of 2018 will be on the West Coast up through California, Oregon, Washington and if the stars align, a couple Canada dates. It’s been a while since we’ve done that route so we’re excited to go back. We’d also love to get out to the east coast and it’s always been a dream to do the UK.

You’re a DIY band. You’ve self-released “Anti-Melody” and you’re doing a lot of self-promotion and media work. How important do you think it is to be self-sufficient in today’s music industry?

Being self-sufficient is absolutely vital. Too often people wait around for something to happen and that’s just not the way it works... or at least not the way it works anymore. You can’t expect to write that one song that magically starts a fire. You’ve got to go out there and make it happen for yourself and hopefully others will see and respect that.

What advice would you give to bands that are just starting out themselves?

Don’t follow the trend because you’ll always be one step behind. Don’t get discouraged when people don’t seem to get it, it all takes time. Also, remember to have fun. The journey is what matters. No one is guaranteed anything more than that. 

You’ve played a lot of gigs in the States in support of Anti-Melody. Out of the bands you played alongside, who should we be checking out?

There are so many that deserve your attention. Locally, bands like Sundressed, Lifelink and DED are really doing things right. Outside of Arizona we love Stay Wild, Common War, Steaksauce Mustache, Fero Lux... there’s just too many more to name. We actually keep a monthly Spotify playlist of all the bands we love in our genre that we’d highly recommend giving a listen and follow - 


1. Writers Block Party
2. Carpe Diem, Tomorrow
3. Church Burner
4. Bartenders Without Wings
5. Danger Music #9
6. Cancer Eater
7. Broken Culture
8. Chicago Overcoat

American Standards have spent time crafting and honing their own brand of chaotic hardcore, playing live all over the States and putting their own experiences and emotions into their songs. It shows on “Anti-Melody”. They start straight off the bat on Writers Block Party, which is filled with harsh hardcore screams, classy percussion and riffs, plenty of riffs. Both the bass and the guitars adding aggression and technicality. They don’t write songs that hang around forever (neither do they tell you how long they are on their bandcamp page!). It’s a clever ploy actually because it makes you listen more intently. Carpe Diem, Tomorrow is a melodic hardcore song written in the key of Cancer Bats. I think that’s the best way to describe it, though i’m not directly comparing the two. 

The clean singing on Church Burner reminds me of a lot of the grungy/post-hardcore bands in the UK of late. There’s also plenty of heaviness going on too, so it’s certainly not a dialled down version of the band. Emotion coarses through Bartenders Without Wings, which features quite a cinematic verse structure. The gang vocals add to the  sing(scream)-along nature of it and the instrumentation is top notch, with some great guitar work along the way. Following that is their best take on the spazzy/technical hardcore blueprint with Danger Music #9. Granted, it’s not overtly mad but it’s off-kilter bursts work really well in adding yet more variation to the record. 

In the interview Brandon talks about re-thinking the theme of the album after going through some personal tragedies and it feels like Cancer Eater is a song born out of that time in both his and the band’s life. The anger and urgency is palpable. Broken Culture attacks the problems that exist in today’s modern society, including political issues relating to the US and made all the more pertinent because of the election of the current US President. Closing song Chicago Overcoat is mid-paced and bass-heavy. It’s one last chance for American Standards to unleash (and cleanse themselves of) their anger. It works for the listener too. 

“Anti-Melody” is an album that closes one chapter for American Standards and opens up another. They’ve taken the musical influences they wear on their sleeves and combined them with their life experience. The only way from here is up.

You can stream "Anti-Melody" and buy it both digitally and on cd below:-

I just want to take this opportunity to thank Brandon for answering my questions and for being so receptive. I have one more piece to bring you from Brandon, but won't be posting it for a week or so, so stay tuned...

Wednesday, 29 November 2017

Retrace My Fragments - Tidal Lock EP


1. Khlav Kalash
2. Le Bison De Hoggs
3. Laserbrain

I couldn't ignore a band who makes reference to The Simpsons in on of their song-titles! Khlav Kalash was the street-food that Homer Simpson eat when he went to retrieve his car from New York city (sorry, I'm a big fan of The Simpsons). Anyway, Retrace My Fragments are a progressive and experimental metal band from Luxembourg, who formed in 2006. Prior to the release of 2017's "Tidal Lock", the band released two EPs and an album called "Ethereal Flux", in 2014. "Tidal Lock" has been digitally self-released by the band, who've shared stages with the likes of Between The Buried And Me, Cephalic Carnage and Heaven Shall Burn amongst others. 

“Tidal Lock” begins with the song I mentioned at the top of the review. Khlav Kalash is a riff-heavy death metal song filled with experimental musicianship and modern metal touches. It’s fully instrumental, showing off the impressive range of the musicians involved. It’s bloody good. They don’t just do progressive well though, as they know their way around a solid metalcore/thrash attack. 

There are elements of both of those sub-genres on Le Bison De Hoggs, which is more urgent than the EPs opener but even more infectious for it. Closing with the aptly titled Laserbrain, Retrace My Fragments literally turns your brain to mush with some serious fretwork and frenetic pace. 

There’s no denying the musical quality displayed by this band, but they really need to release a proper long-player in my opinion, as this EP leaves you wanting more than just the three songs on offer here.. “Tidal Lock” is well worth a thorough listen if you’re into heavy but experimental music. 

You can stream "Tidal Lock" and grab it as a name-your-price-download here:-

Monday, 27 November 2017

Fister/CHRCH - Split


1. CHRCH - Temples
2. Fister - The Ditch

Yes!!!! Despite having a last week off work, I already feel the need for more escapism. Thankfully there's a lot of music out there to help me do that. Tonight I've chosen the recent split record between Sacramento (California, US) doom/sludge band CHRCH and fellow trio Fister from St. Louis (Missouri, US), which was released by Crown And Throne Ltd and Battleground Records about two weeks ago. CHRCH began life in 2013 as Church, releasing their first full-length "Unanswered Hymns" in 2015. Fister has been kicking out the slow and heavy jams since 2009 and since then they've released three full-lengths and no less than six previous splits, amongst other things. This particular record clock in at nearly 40 minutes, so you know it's gonna be heavy!

In a year that’s already brought us so much, it just keeps on giving. This split may only feature two songs but they’re more than that. CHRCH’s song Temples begins with the most beautifully restful guitar melodies. Melodies that don’t give away the band’s heavy leanings, even when the tribal-like drumming kicks in. It’s a building piece that makes use of both relaxation and anticipation at the same time. That anticipation finally boils over around the four-minute mark when vocalist Eva Rose growls atop of the full instrumental powerhouse that makes up CHRCH. The rhythm section and low-end delivered by both Adam (drums) and Ben (bass) respectively, drags the band’s doom influences out of the trenches while Shann & Chris (guitars/vocals) provide a nice counterpoint between melody and dissonance. It really is beautiful in both it’s musicality and it’s misery. 

Fister on side two presents an entirely different mood with The Ditch. If you like Primitive Man and the like, then this band will definitely be for you (heck, they even did a split together not so long ago). The trio spews forth a song that ignores thoughtful and enticing build-ups and just goes straight for your jugular. Kenny Snarzyk’s vocals are bone rattling (as is his bass playing), while the additional vocals and guitar-work of Marcus Newstead (any relation to Jason Newstead?) add extra heft, all the while being pinned down by Kirk Gatterer’s uncompromising drum work. This is a harrowing and brow beating 20+ minutes of doom/sludge that goes beyond genre lines. The guitar solo/improv madness following the opening passages is intense and they even show a more sensitive, subtly-bluesy side too during the instrumental mid-section. The extended instrumental section and limited use of vocals making up the rest of the song reminds you that impact ins’t just oral. 

Both CHRCH and Fister provide musically interesting takes on the doom/sludge blueprint with plenty of true emotion and organic sound thanks to the recording/production work of both Pat Hill and Gabe Usery. The artwork that adorns the record is perfect, drawn by Ethan Lee McCarthy and laid-out by N. Constantino Design. This record is as satisfying as it is harrowing.

You can stream the split here:-

You can buy physical copies from the below links:-

Friday, 24 November 2017

Recollection - Brandon (American Standards)

It's been a little while since I last posted one of these features. I put the word out last week to ask if people were interested in submitting their top-ten's and Brandon popped up. American Standards are still promoting the release of their latest album "Anti-Melody" and we've been speaking about a few bits & pieces, so don't expect this to be last post to feature Brandon or the band (spoiler alert!). For now though, I hope enjoy reading about the albums that have influenced him:-

Pantera - “Vulgar Display Of Power”
At this time in my life I was still heavily influenced by the musical tastes of my older brother. So while Beastie Boys And Rage Against The Machine were on constant rotation, Pantera was the band that first turned me on to more extreme metal.

Deftones - “Adrenaline” 
There was no escaping Nu Metal if you grew up in the 90s and early 2000s. It was the counter culture that somehow seeped its way into the mainstream and Deftones were possibly my first exposure to it. When getting into actually playing music, Adrenaline made me realize that you didn’t have to shred like Dimebag on guitar to write a good song.

System Of A Down - “Self-Titled”
Worm-holing deeper into Nu Metal, System Of A Down were possibly one of my favorite bands of that time. They made me realize that heavy music could still be fun and have an impactful message.

MewithoutYou - “A->B Life”
Much like Deftones did for guitar, MewithoutYou made me realize that a frontman could really carve out his own unique style in the scene. Both lyrically and in the delivery, MewithoutYou became a band that I felt always stood out on any show line up but was still respected by all.

Refused - “The Shape Of Punk To Come”
Refused is the band that planted the seeds for what was to become American Standards. They unabashedly made their message the forefront of the band and did so while taking chances musically by blending many elements. 

Alexisonfire - “Self-Titled”
I was a huge fan of Saetia, Orchid and Pg. 99, so naturally the “Self-Titled” Alexisonfire album felt like it carried that torch through the early 2000s. The album was raw, underproduced and wore it’s heart on its sleeve.

Poison The Well - “The Opposite Of December”
This was another album that was very emotionally driven. I think the dichotomy between the lyrics and music really struck a chord for me. I also had a PTW shirt that I probably wore 4 out of 5 days a week in high school.

Every Time I Die - “Hot Damn
I was a huge fan of lyrical content and hammer on riffs so naturally after hearing Hot Damn, Every Time I Die quickly become one of my favorite bands. The spastic song structures and tongue in cheek delivery were a big influence on American Standards. It was also that absence of the tough guy mentalities commonly seen in heavy music that won me over.

Norma Jean - “Bless The Martyr And Kiss The Child” 
Heavily distorted vocals and a sound that came  synonymous with diminished guitar chords; what more could you want? It was an added bonus that Aaron Weiss from MewithoutYou was also featured on this album.

Gallows - “Grey Britain”
“Grey Britain” by Gallows made me remember what I loved about Refused. It had the same urgency while also having a sharp pop sensibility for such a heavy album.

Amercian Standards' new album "Anti-Melody" is available now and you can buy it digitally and on cd via their bandcamp page below:-

I will have a review up next week, which will also include an interview, so keep checking back. Brandon has also sent me an end-of-year list, which I'll posting up in a couple of weeks time. Thanks once again to Brandon for taking the time to send this list in.