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Ennyire Egyedül by Escape My Shadows

3/18/2024

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2024 is proving a good year to be a metalcore fan. I’m finding it hard to keep up with all the new releases, not to mention the live shows. It seems everyone is writing music and taking it on the road, and I am not complaining. 

When I’m being hit with new releases from metalcore beasts like Fit for a King, ERRA (and I’m not just talking about ไสว่าซังเขา (ifyky)), and LANDMVRKS, I find I can get lost in the big names and forget to explore new bands or pay attention to the small ones. Maybe you’re like me, or maybe not. But if you are, I’d like to share some new releases with you from bands you may not know in the hopes that these bands can also enjoy the 2024 metalcore extravaganza.
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Escape My Shadows, photo from https://rozsdagyar.blog.hu/
Today, I'd like to introduce you to a band that is relatively new to me called Escape My Shadows. A modern metal band hailing from Hungary, EMS recently released the killer EP Ennyire Egyedül. The short collection of songs includes the catchy eponymous track with entirely clean vocals and emo lyrics that remind us of our PTV, BVB, and BMTH days. However, you may need the help of Google translate to understand them. 
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I beg you, don’t let the famously difficult Hungarian language turn you away from this album. You don’t need to understand the lyrics to headbang to the groovy breakdown in “H/Idegen” or sway to the cutting opening riffs of “Újrakezdhetem?”
EMS masterfully blends soft verses with hard bridges and rap-sung vocals throughout the album, ending the EP with the forward-driving “Elfutnék” and leaving us hoping we’ll be getting more new music soon from these young musicians. 
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I had the pleasure of seeing Escape My Shadows perform recently, and their live show did not disappoint. Despite the constraints of a small stage, they exuded energy and engaged the crowd. While the metal scene of Hungary is small, I have high hopes for EMS, though I don’t foresee them touring North America soon. 
So if you have 19 minutes to spare, give Ennyire Egyedül a listen. You won’t be disappointed.
Connect with Escape My Shadows on Facebook and Instagram. 
Listen to them on Spotify and Apple Music.
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Wolves by Rise Against

6/27/2017

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Photo from HEAVY Magazine
In their eighth studio album, released more than ten years after their punk debut The Unraveling, Rise Against traveled back to their roots. Wolves takes a dive back into their punk origins while maintaining their dedication to political messages. Just take a listen to the penultimate track– "How Many Walls."
Before even talking about the lyrics, the song is catchy with jamming instrumentals towards the end. Rise Against rarely gives time in their songs to just enjoy some guitar riffs, which is why songs like "Blood to Bleed" from Siren Song of the Counter Culture are so special, and which is why "How Many Walls" is a rocking tune, even at face value.
But dip even a pinky toe into the lyrics and we're on a different level. The title itself references President Donald Trump's campaign promise of building a wall on the United States-Mexico border, but more deeply reflects building metaphorical walls between friends. 
The song opens with short instrumentals followed by the chorus, which asks us, 
    How many walls can you put up?
    How many guns till you feel safe? 
    How many times can we watch this story over and over and over again? 

Lead singer Tim McIlrath is asking the listeners if more guns and a bigger military is really always the answer. Is it worth it to make the same mistake over and over and are these sacrifices for security really worth it? Because at some point we're no longer helping ourselves. We are instead lining the pockets of politicians and large corporations. 

The entire album is more hardcore than Appeal to Reason, Endgame, or The Black Market, but worth a listen. 
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I definitely recommend listening to:

​"Welcome to the Breakdown"

"Violence"

"Mourning in Amerika"

"Bullshit"

Click here to travel over to their YouTube Channel. 

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Zoe Adler is a music journalist from Long Beach, California. She is the editor and founder of TeenView Music as well as a dedicated musician. She is a summer intern at the Signal Tribune, a local newspaper. She will start at Lawrence University in Appleton, Wisconsin, in the fall. ​

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Album Review of Oxygen:Exhale, by Thousand Foot Krutch

5/24/2016

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Photo courtesy of Loudwire.com

First Inhale, Now Exhale. Thousand Foot Krutch Set to Release New Album

​I have only once had the opportunity to see Thousand Foot Krutch live and believe me, I was impressed. The band is incredibly talented and their musical style is perfectly suited for the outdoor party atmosphere at Rocklahoma.
 
TFK has released 8 studio albums over their twenty years of activity, and Rocklahoma fans are in for a treat as they will get the opportunity to hear some of the new material off their upcoming release Oxygen: Exhale. The new album is a companion, or follow-up, to their 2014 release Oxygen: Inhale.
 
I have had the opportunity to sample the entire album and I am struggling with sitting still while writing this review.  This album has the power of Rage Against the Machine, but with a touch of my favorite band of 2015: Crobot. This band can rock it hard but gives us some of that funky groove that makes a live show so enjoyable.
 
They have released three singles from the album: “Running With Giants,” “Incomplete,” and “Born Again,” and all three truly hit the spot.  The official video for “Running with Giants” is below:
​While TFK members are Christian, their lyrics are in fact are about topics that anyone can relate to. I especially like the opening to “Give up the Ghost” when lead singer Trevor McNevan sings, “I am a rose raised by wolves.” If it wasn’t for their mom, my daughters could definitely claim that song as their own.
 
The lyric video to “Give up the Ghost” can be seen below.
​The quality of these tracks is repeated consistently on the album. In fact, I feel the best songs on the album are “The River” and “Adrenaline,” which show off the best that this talented band can do. While “The River” is one crazy, funky party, “Adrenaline” starts off exactly as the name suggests.  Get in, sit down, strap in, and prepare for departure. Either that, or get yourself in the pit and give it your all. 
 
Exhale is scheduled to be released on June 17th, and it is definitely an album to pre-order so you are ready to rock on day one. TFK will be opening the main stage at Rocklahoma this Sunday and you absolutely positively do not want to miss a minute.  

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​Dan Adler was raised in Southern California to a mom and dad, one of whom appreciated Creedence and left wing anti-war politics.  By the teenage years, Dan became obsessed with Black Sabbath, listening to the same seven albums repeatedly for 5 years.  During this time, his favorite concert experience was seeing Metallica open for a bunch of bands that no longer exist and winning the 1st ever Santa Cruz Air Guitar contest.  After several years in Africa listening and dancing to Chimurenga music, Dan returned to have the two best children in the world, one of whom spends a lot of time at concerts with him.   What a lucky dad!
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AFFIANCE from Cleveland, Ohio, releases new EP GAIA

4/17/2016

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Gaia
​by Affiance

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Photo courtesy of YouTube.com
Through the years, Affiance has steadily increased the hardness of its metalcore, from a five out of ten in its first album No Secrets Revealed  (we don’t talk about the Calm Before the Storm EP) to a solid eight point seven out of ten in Gaia, the EP Affiance recently released. You can view the increase here: 
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​Gaia, funded through an Indie Go-Go campaign, features seven angry tracks that channel the excellence of prior-Affiance while adding on more screaming, more punchy bass lines, and several badass solos by guitarist Dominic Dickinson.
 

The album starts mercilessly with “Reboot,” a song accompanied with a music video that effectively articulates the corruption of government through the juxtaposition of violence and torture with media coverage.

​Starting with a muted guitar riff, it’s as if Affiance is lying, persuading listeners to think the song might stay quiet. Of course, the volume increases, the drums kick in, and the speakers are exploding from the bass strikes. A few more seconds and the drums pick up a punk beat, pushing forward, urgency filling the sound as lead singer Dennis Tvrdik introduces his operatic voice, proclaiming, “I no longer believe we’re in control of this. The machine [is] calculating our death.”

​“Reboot” continues and I find myself compelled to move with the bass line; it becomes impossible to resist. Affiance’s music walks in and dominates; nothing else is relevant when it begins to play.

​Probably the most brilliant part of the song is actually the ending, where Tvrdik sings, “This was not built to last. THIS WAS DESIGNED TO COLLAPSE!” Immediately, abruptly, the instrumentals cut off, mirroring the lyrics perfectly. 
“Gaia” follows “Reboot,” starting with an odd recording of voices singing, “We will reap what we sow.” Suddenly, the guitar lands a sucker-punch right in the ears, erupting in an intricate riff that tumbles into a drum fill and falls out the other end with another helping of bass smacks. Dickinson shows off by weaving in tasteful lines among the thick threads of bass.

​Gaia in Greek mythology was the deity that embodied Earth, and in this track, Tvrdik sings, “Mother Earth, she weeps tonight,” harkening back to the eponymous goddess of the track. “How can we live while she dies?” he asks, forcing listeners to simultaneously consider man’s destruction of Earth while head banging—a serious multitasking feat. 
There’s no beating around the bush in “Hollow Empire;” the music pulsates with energy and vibrates with fury from the first note. The beginning feels like an argument between the upper and lower registers of the guitar. Dickinson begins deep in the guitar’s range, laying a wrathful rhythm, a sword thrust at the upper range. About twelve seconds in, the higher octaves fight back, taking flight in a complex solo filled with dizzying finger movements and craftily placed high notes.

“Hollow Empire” is filled with a considerable amount of screaming, but Affiance goes about sreamo in a careful and artistic way—there is never a growl misplaced or a howl misused.

At around 2:38, Dickinson plays a chromatic cascade down the range of the guitar that lands in the booms of the bass drum and Tvrdik proclaiming, “THERE’S NO FUTURE HERE! THESE LIES WILL STAND NO LONGER! BRING OUR FUCKING JUSTICE!”

​After those livid screams, Affiance plunges into the classic metalcore sound—a thunderous bass rhythm topped with drum fills and a repeated guitar riff.
“Knowing” may be the closest Affiance can get to a ballad while still being Affiance. If they achieved any more ballad-like a sound than this, I’d be worried that they accidentally uploaded another band’s song to their EP.

The sonorous line from the guitar that opens “Knowing” lays the bedding for the vocals and continues as a quiet, ceaseless, and beautiful background for much of the song.

“Knowing” features Tvrdik’s enchanting singing, finally acquainting the audience with his vocal power unequalled in all of metal.

We all know those balladic guitar solos that are so melodious, so beautiful, so perfect within the mood that we can listen to them over and over and we’ll never tire. You may be thinking of any number of famous solos, but once you hear “Knowing,” Dickinson’s solo will be the one that you remember.

​The last thirty seconds of the song consists of synthesizer chords and beats, a peaceful ending to Affiance’s one and only ballad. 
The last three songs speed by in a whirlwind that churns up any hidden anger, resentment, and frustration, and leaves you feeling cleansed and refreshed.
 

​“Crusader” begins with a brief prologue of ambient noise before Tvrdik releases a guttural scream from deep within, unleashing a growl so violent that my own vocal chords hurt from listening to it.

The song contains an odd period where a radio-style recording plays over instrumentals, which serves as a slight break from the screaming, pounding bass, and electrifying guitar solos that comprise Affiance’s most furious track.   
The opening to “PRSVR” is a surprisingly beautiful guitar line that grows in strength, volume, and intensity to Tvrdik’s command to “persevere.” The melodious line continues over the beating drums and throbbing bass. As the song pushes forward, Tvrdik shows off his impressive vocal range (although if you want serious proof, listen to “The Hive”).

At 1:20, Affiance tries on a new hat, switching to the fast-tempo metalcore technique driven by drums and paired with quick, screamed lyrics. Although this style is normal for metalcore bands, this is a first for Affiance, and they pull it off better than any other group did before or will after.

The rhythmic quality of the chorus captivates the listener—often I become so engrossed in the music that I don’t realize I’m headbanging and singing aloud until all the heads in the room are already turned my way.

​“PRSVR” ends in reverse of the beginning. A loud scream and then Dickinson playing a beautiful line that fades into nothingness. 
Melody- and rhythm-driven, “Exist” reminds me more of prior Affiance albums, although it still demonstrates the stylistic shift to a heavier sound that they made in Gaia.

A sizable chunk of the track consists of an instrumental section with a personal speaking over the top. “There comes a time in everyone’s life,” says the metallic voice, “where we must question everything we think we know and understand about ourselves and the world around us.”

​When the voice cuts off, an echo hangs over the clean rhythm of the guitar, bass, and drums. The song carries on, and in the last minute or so, a sparing use of synthesizer toys with the time, rhythm, and sound and manipulates dynamic swells up to the end, where I cry because there’s not more Affiance left for me to listen to. 
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It's time to shift gears to the Clutch revolution- it's Psychic Warfare at Aftershock

10/20/2015

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It is less than a week until Aftershock 2015 and as I look at the lineup I cannot get my head around how I will divide my time between so many great bands.  There is Red Fang, Coheed & Cambria, The Sword, and, of course, Clutch.
 
I have never seen Clutch without a band I knew much better either opening or headlining for them, so while I enjoyed their shows, they never turned me into a hard-core Clutch fan. Psychic Warfare has completely changed that. This album is the best new album I have listened to all year.
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Photo courtesy of WeatherMakerMusic.com
For those of you who do not know Clutch, or have not shifted gears to the Clutch Revolution (sorry, terrible pun), the new album Psychic Warfare will convert you faster than a religious revival that successfully cures diseases in front of the eyes of the attendants.
 
This album gets started heavy and hard.  It kicks your ass from the first downbeat and simply does not let go. “X-Ray Vision” goes from zero to one hundred in less than a second and takes you around the track 1000 times before passing on your exhausted body to “Firebirds,” another hard-rocking song. 
It then took me 30 seconds of “A Quick Death in Texas” to think to myself that this album is something really special.  A funky, rocking tune that takes advantage of the infinite talents of the band, this song has great riffs and wonderful rhythm.  The guitar work is amazing and the drumming is top notch, brought together so well by lead singer Neil Fallon’s amazing voice.  This voice cannot be mentioned without linking to this unbelievable Clutch tune, “Gone Cold.”
​“Sucker for the Witch” and “Your Love is Incarceration” are songs that cover the same theme many of us guys understand.  The latter gets you off your ass dancing, but definitely leaves you wondering, “What the hell happened in Chattanooga with a hose and yellow pages?”  Do I really want to know?  Can you explain it on stage at Aftershock?
 
Now the album takes a turn to the dark side, and this is the kind of dark side I love: haunting minor keys and mind-melting vocalization. The almost creepy “Doom Saloon,” followed by  “Our Lady of Electric Light,” is probably the highlight of the album.  The first reminds me of “Mescaline” by Mount Salem, a song I have on repeat on my iPod, my car, and my life.  It now has a sister.
On the other hand, “Our Lady of Electric Light” is psychedelic Johnny Cash. The guitar is riveting and habit-forming and it allows Neil Fallon to stay in that range that makes Clutch so engaging. I only wish Clutch would do more with Fallon’s amazing voice.  It is rock and roll as sung by Morgan Freeman--a voice that cuts like butter, and brings that overwhelming sense of peace over the listener.  (Yes, Red, I will see you on that beautiful beach, Zihuatanejo.)
Johnny Cash, Neil Fallon, Morgan Freeman; Three of the most enjoyable voices in America
 
The album ends with two great songs: “Decapitation Blues,” which by its very name is a winner, but lives up to the hype both in terms of the riffs and the lyrics, and  “Son of Virginia,” another of those songs that takes advantage of the skills of this multitalented band.  Listening to this last song is a bit like watching the new Kyrie Irving Pepsi ad; he has so much talent that no one stands a chance.  Every part of the Clutch team is so gifted in their skills that they can do nothing but succeed.  This album is not just a touchdown, it’s a 99-yard, heart pounding, fist-thumping rush, followed by a two-point conversion and a successful on-sides kickoff.
 
Clutch has a new dedicated fan.  Never again will I go to a Clutch concert with the goal of seeing the other band…these guys rock.  

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​Dan Adler was raised in Southern California to a mom and dad, one of whom appreciated Creedence and left wing anti-war politics.  By the teenage years, Dan became obsessed with Black Sabbath, listening to the same seven albums repeatedly for 5 years.  During this time, his favorite concert experience was seeing Metallica open for a bunch of bands that no longer exist and winning the 1st ever Santa Cruz Air Guitar contest.  After several years in Africa listening and dancing to Chimurenga music, Dan returned to have the two best children in the world, one of whom spends a lot of time at concerts with him.   What a lucky dad!
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The Nolan Ryan of Stoner Metal, THE SWORD, releases new album High Country

10/11/2015

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High Country
by The Sword

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What if you could throw the best fastball in Major League Baseball?  You could throw that heater a hundred times and blow away batter after batter.  But sooner or later that move becomes so predictable your next start is going to look like batting practice.

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Another Great Rocklahoma Band; Aranda Releases New CD

7/2/2015

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Not The Same
by Oklahoma's Aranda

Of all the bands to grace the main stage at Rocklahoma 2015, none seemed to enjoy themselves as much as Aranda.  This Oklahoma-based post-grundge duo started off Sunday’s show in the best possible way.  Covering every inch of the massive stage, brothers Dameon and Gabe Aranda energized the audience and gave everyone who came early an energy packed performance which was a fantastic reward for the dedication of their fans. 
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Guitarist Dameon Aranda
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Singer Gabe Aranda
Following that incredible show, Aranda has now released their newest album, Not The Same.  I spent the morning listening to this amazing collection of music over and over, and I could not be more impressed. While Gabe and Dameon have not invented a new genre of music, what they have done is perfected the sound.  They belong in the same sentence with Seether and 10 Years. Gabe's voice is as inspiring as Jesse Hasek's and Dameon can play the guitar with the likes of anyone, including Shaun Morgan.  Their hard work and dedication has paid off in terms of quality in both song writing and delivery.
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Aranda's outstanding new album, Not the Same
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The Aranda brothers; Dameon (left) and Gabe
Not the Same gets started with “We Are The Enemy” hitting hard from the first note to the last.  The second song, the title track, “Not the Same” is a tribute to the incredible vocal talents of Gabe Aranda.  The album then serves up “Don’t Wake Me,” which was released on YouTube a few months back, and is simply a fantastic song which puts them at the pinnacle of their genre. The song "Dead Man Running" really highlights Dameon's talented guitar work.

The album continues with some quality collections. The power ballad “Stay” is another testament to the strength of Gabe’s voice.  “Center of the Universe” is a nod to their blues influences and is probably my favorite song on the album.  The theme of the album is moving on from the past and going forth into your future.  This is such a much-needed message for everyone struggling with anything holding them back and the songs are uplifting.

The truth is that I had not heard of Aranda before Rocklahoma, and while previewing the lineup   I was definitely intrigued by Aranda's sound and made them a “must see band” on my schedule.    I was certainly not disappointed as they were one of the most entertaining bands to play the entire weekend.  And, as pointed out before, they had as much fun on that stage as anyone did; whether you were an entertainer, fan, photographer, or mudpit mosher.
Aranda is officially listed as a two-piece band made up of brothers Gabe and Dameon Aranda.  They have played together since they were young, and their live shows demonstrate just how comfortable they are performing together, both in terms of music and stage presence.  They will be touring with 3 Doors Down and Seether this summer and you would be foolish to miss this show or to get there late.  Aranda is one of those opening bands that really should be a headliner.
From their Wind Up Records page, Dameon Aranda says, “We want to create high energy, keep rocking, keep everybody entertained. We want to involve the audience and make it fun for them. Our hope is that you’ll keep coming back for more.”  All I can say from both their show at Rocklahoma and from the sounds of their new CD, “Mission Accomplished.”

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Zoe Adler is a music journalist from Long Beach, California. Besides her website, which is her pride and joy, she works with the GRAMMY Foundation and the Long Beach Independent. Additionally, Ms. Adler is a musician, spending half of her time playing the flute, piccolo, trombone, and marching baritone. She has been with TeenView Music since the very start and hopes to make something of it in the future.
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Recorded by Los Angeles-based Armenian rock band 24 Black

4/20/2015

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Recorded by 24 Black

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As I have discovered in the last few years, there is a surprisingly substantial Armenian rock and metal scene in Los Angeles. Who would have thought it? The list consisted of VIZA, Blackmore, Serj Tankian, System of a Down, and The Dirty Diamond until about a month ago, when 24 Black joined the scene with the most outstanding album I’ve heard in months: Recorded.

Formerly under the name Mercenaries, 24 Black consists of vocalist and rhythm guitarist Harout Ichlokmanian, drummer Hovannes Dongelyan, bassist Sako Dovlatyan, and lead guitarist Michael Solis. Their music is a fascinating melodic metal mix with heavy ethnic and Klezmer-style influences.

Recorded starts out with an angry riff for several bars before introducing Ichlokmanian’s rich vocals in “All She Wrote.” After the bridge comes the musical guitar playing so prominently displayed in their music. 
Next up is “Autograph,” which opens with a very mellow Mediterranean guitar riff that quickly transitions into grungy background guitar for the vocalist to spin his hypnotic voice. Heavily rhythmic underneath the vocals, the bass and drums compliment the entire sound like adding just the right amount of spice to a dish.

If the beginning of “Autograph” intrigues you, definitely take a look at the 10th track on Recorded, the instrumental-only feat called “Wedding Dance,” which I surmise to be loosely based off Jacques Press’ “Wedding Dance” from his symphonic suite Hasseneh. If there is no actual relationship, the melodies and style are strikingly similar.



24 Black exhibits three sounds in Recorded: what I call “the Mediterranean,” “the ballad,” and “the metal.” Of course, each song is a swirl between all three, but listen to “Thou Shall Not Kill” or the addicting and beautiful “Cradled,” and you hear a distinctly balladic sound. 
Their more metallic side is unleashed in the hard-hitting “Hollywood Monroe,” “Beer Goggles,” “Shakespeare’s Bridge,” and my absolute favorite, “Heroin.” Its epic guitar opening that slides into an awesome, offbeat section before Ichlokmanian introduces an incredibly catchy melody captivates me every time.
If you’re going for some excellent lyrics, go for the brilliant “Saints & Sinners,” which features the insightful and beautifully phrased chorus:
Hell and heaven bridge together,
spinning every wheel within.
Saints and sinners share a mother,
all this sings my only dreams.

24 Black has been on a hiatus for several months now with no word of getting back into the scene, which truly breaks my heart. This band exhibits musical skill on a variety of levels and writes music that has become my heroin.

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Zoe Adler is a music journalist from Long Beach, California. Besides her website, which is her pride and joy, she works with the GRAMMY Foundation and the Long Beach Independent. Additionally, Ms. Adler is a musician, spending half of her time playing the flute, piccolo, trombone, and marching baritone. She has been with TeenView Music since the very start and hopes to make something of it in the future.

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Album Review- For the Dearly Departed EP by The Funeral Portrait

12/1/2014

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Album Cover; Photo Courtesy of The Funeral Portrait's Facebook page

For the Dearly Departed
by The Funeral Portrait

I first learned about The Funeral Portrait about three months ago when I was emailed their debut album, For the Dearly Departed, mp3s. I was skeptical after doing a bit of research, because TFP is the definition of unknown band. Because of their limited fan base, I assumed mediocrity. I can tell you right now that I never could have been more wrong.

As I hit the play button to song one, “Casanova (C’est La Vie),” a catchy riff filled my ears. A light background of cymbal accompanies the perfect balance of guitar and synthesizer until all fades away into a melancholy chord. At this point, a musty, semi-deep voice sings out, “I’d rather bury you alive than bear the burden that you keep ‘cause you’re a poison in my veins. I’ll never say surrender.” A quick transition leads the listener into the gloriously upbeat sounds of pop rock that feature clever guitar work mixed with strategic drumming that adds excellent splashes of sound. The most curious voice leads the entire ensemble, weaving and winding with a Serj Tankian-esque timbre and five-star range.

The track listing for this six-song masterpiece is:

1.  Casanova (C’est La Vie)
2.  A River In Egypt
3.  All My Circuits
4.  Marrow
5.  The Optimist
6.  Wax Romantic

 My personal favourite is hands-down track one, but from taking a look at fans’ comments, “Wax Romantic” is a unanimously adulated (this is one of my vocabulary words for English class, so I had to use it!) track.

 “Wax Romantic” starts out more as a tribute to the metalcore scene, featuring vicious screams and a driving, punk-reminiscent drumbeat. However, this doesn’t last long; within thirty seconds, The Funeral Portrait returns to their trademark sound that draws from pop, ska, and polka but always stay true to the instrumental intelligences of rock and metal. Next comes the catchy chorus that they are so excellent at crafting: “this is the part where I apologize for everything I’ve done, and when my world is torn asunder, will you go underneath with me?”

 Track three, “All My Circuits,” I find quite compelling. An opening with a soft vocal line backed with light minor chords swells into a rage of sound before sliding into a call response between clean vocals and gruff chants, and later the inevitable chorus that will not leave your head for days.

I personally think that The Funeral Portrait is my greatest musical discovery since Nothing More and Affiance. Their music is brilliantly written, and the members are at heart true musicians. If they play their cards right, they will become the next big rock band. So I insist, go on iTunes right now and purchase this EP. You will not in any way regret it, and if for some reason you do, well—you won’t so I won’t even bother coming up with something for that.
Feel free to check out their Facebook or go find their music on iTunes!
The Funeral Portrait is from Atlanta, Georgia, and is signed to Revival Recordings.

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Zoe Adler is a music journalist from Long Beach, California. Besides her website, which is her pride and joy, she works with the GRAMMY Foundation and the Long Beach Independent. Additionally, Ms. Adler is a musician, spending half of her time playing the flute, piccolo, trombone, and marching baritone. She has been with TeenView Music since the very start and hopes to make something of it in the future.

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AfterShock-ing New Albums

9/9/2014

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Dead Sara

Hard rock quartet featuring front woman Emily Armstrong’s powerhouse vocals will be releasing an album sometime soon, although little is known about the album. In my household at least, anticipation is already building; especially after hearing their debut full-length Dead Sara, which boasted melodic but still gruff vocals, intelligent guitar work, and all around groovy melodies. From their self-titled record, “Weatherman” was listed as number one on Loudwire’s “Top Ten Songs of 2012.” This is definitely a band to look for.    

Memphis May Fire

Dallas, Texas, metalcore band headed by diverse and intelligent vocalist Matty Mullins rocked the charts with their fourth full-length Unconditional, released on March 25th of this year. Peaking at number one on the US Indie chart and number four on the top 200 chart, Unconditional captivated listeners more than ever before. Single “No Ordinary Love” follows the story of a boy and his father and exhibits the emotional lyrics MMF is so good at writing. The video is heart wrenching, and parallels seamlessly with the video for “Beneath the Skin,” which details a struggling daughter who finds comfort in her father. With unbeatable stage presence and fantastic music, Memphis May Fire is a band you don’t want to miss.    

Anti-Mortem

Hailing from Chickasha, Oklahoma, true Southern rock band Anti-Mortem gets down like nobody else. Their debut album New Southern, released in April of this year, is genuine rock and tons of fun. Gruff and raspy vocals partnered with killer guitar solos puts Anti-Mortem on a level with classic Southern bands from ages ago.

Rise Against

Punk/hardcore band Rise Against from Chicago, Illinois, released another musical feat this year with their seventh studio album The Black Market. Peaking at number three on the US Billboard 200, number two on the UK Rock Chart, and number one on the Canadian Albums Chart, this record yet again awed the world with musical intelligence and lyrical genius. Selling 53,000 copies in its first week, The Black Market has the potential to surpass the popularity of their previous album Endgame. Single “I Don’t Want to Be Here Anymore” is a throwback to their punk past and a testament to their lyrical skills; the song describes the feelings and tensions of being in a position—whether it is work, relationship, or family related—that causes discomfort. Ballad song “People Live Here” details the inner hurt felt by people who feel their god has abandoned them and who’s families are torn apart from religious intolerance, and truly touches the hearts of anyone who listens. 

Seether

Seether, the post-grunge trio from South Africa, released their newest album Isolate and Medicate this year to much excitement. Peaking at four on the US Billboard 200, the album featured numerous songs telling the tolls drugs takes on the human body and mind, and the thought cycles addicts go through. Single “Words As Weapons” demonstrates Seether’s newer sound displayed on the album, which boasts harmonic key signatures, falsetto, and diverse musical composition. This single peaked at number one on the US Billboard Mainstream Rock Chart and number ten on the Canada Active Rock Chart. The other single, “Weak,” takes a time travel back to the heavy, grungier sounds Seether has to offer.

Nothing More

Self-titled album Nothing More by the San Antonio hardrock band is a true masterpiece. This is most definitely THE BEST album to be released since Endgame by Rise Against. Lead singer Johnny Hawkins has a mind-blowing range and the ability to write the most harsh, angry, and political lyrics one song and intensely emotional and personal lyrics the next. Nothing More peaked at thirty-three on the Billboard 200 chart, but deserved so much more than that. Single “This Is the Time (Ballast)” has been the number one played song on Sirius XM Octane for over three weeks now and peaked at number two on the Billboard Mainstream Rock Chart. The music exhibits the incredible musical intelligence each member possesses, and uses synthesizers and recordings to enhance the sound. Lyrically, the best songs are “Jenny” and “God Went North.” The first tells the story of Hawkins’ sister who struggled with drug addiction and was always in a downward spiral; the latter speaks of Hawkins’ mother who was fatally ill in a hospice and suffering from unspeakable pain. Hawkins speaks to God in the song, saying, “If you won’t save her, please just take her.” Not only does Nothing More boast incredible lyrical and musical skill, they also have an energy and presence on stage that leaves a heavy impact. Bassist Daniel Oliver is by far the most charismatic and active bassist in rock today; drummer Paul O’Brien has intense vigor; and guitarist Mark Vollelunga has skill with his instrument that’s truly awe-inspiring.  Releasing the best album in over two years, Nothing More is a must-see, must-hear band.

Young Guns

Pop-punk Young Guns from Buckinghamshire and London, England, will be releasing their third full-length album in the next few months. The only single released so far is “I Want Out,” which plays to Young Guns’ more melodic side, showing off their impeccable ability to write catchy tunes. Look out for their album soon!    
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Look forward to reviews of these bands and more from AFTERSHOCK FESTIVAL!!!

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Zoe Adler is a music journalist from Long Beach, California. Besides her website, which is her pride and joy, she works with the GRAMMY Foundation and the Long Beach Independent. Additionally, Ms. Adler is a musician, spending half of her time playing the flute, piccolo, trombone, and marching baritone. She has been with TeenView Music since the very start and hopes to make something of it in the future.

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