Silver Spark - Flames Run Deep

Track Listing:

1. Dangerous Game
2. Light The Fuse
3. Coming Home
4. Smokin' Gun
5. Before The Shadows Play
6. One Way Street
7. By The Fireplace
8. Something About You
9. Don't Bring Me Down
10. The Thief

For a female fronted band to have as much maturity as this band is a unique things. Their opening track, 'Dangerous Game' is pleasingly simple to listen to and the verses guitar tone is lovely - a series of complex, caressing guitar licks accompany overdubbed vocals that constantly promise to jump up and down in pitch at the drop of a hat. Vocals sound mature and capable and are a world away from the works of other modern female artists (Hayley Williams, Taylor Momsen etc) and whether this is to your tastes or not is not for me to decide.

The styling of guitar is something I particluarly enjoy - chords are complex and easy on the ear. Distortion is given out but in minimal measures - the band are comfortable to rely on vocals to hold the song together, and when the overdrive pedal is pressed on a very 'classic rock' sound is acheived.
I find that at times the album becomes repetitive - the tone and feel of the album changes very little throughout; this may be simply because its not something I would normally choose to listen to.
The opening of 'Before The Shadows Play' is a refreshing wave of calm after the blues rock tidal wave that has come before and I was left wanting more when the rest of the band joined in on the line 'I just needed to breathe.....'. A chorus and then once again the band resumes its new, quieter, feel. While the guitar sounds good - either very slightly modulated or very well double tracked - the bass is far too quiet and this is a characteristic that defines the EP as a whole.

Drums sound.. strange, on this EP. They are quiet, as far as drums go - perhaps recorded on an electric kit, I'm not sure. Whilst normally I would not enjoy this (I'm usually a 'noise, noise noise!) sort of guy - always add more crash cymbals!) the use of a more subdued approach here works well for the 'blues rock' feel of the band, but this is not to say I wouldn't like to hear more of him - complex drum fills are rare and in a manner thats all too reminding of Snow Patrol, Hewittson seems happy to simply create a beat that works for the song and stick with it for the next 3 minutes.
I'm trying to find something to comment on about the bass but I'm really struggling because for the most part, I simply can't hear it. Something needs to be done about this. For a blues rock band, groovy bass is essential, and I'm sorry to say it but Silver Spark are almost completely lacking.

Listening to the EP, I was constantly waiting for a track that revolved around a Piano/Keyboard styled instrument - the genre of the band, and the style of vocals, seem perfect for such an experiment. Phillip's emotional vocals could be easily complimented by some meaningful (and not necessarily complex to play) chords on an electric keyboard.
Mixing is good - the use of a 'telephone' effect on the vocals in the verses, most prominently the first, of 'Smokin' Gun' sounds great.
Perhaps its the blues feel of the band coming through which I'm not accustomed to, but I can't help but feel that the EP has a 'cheesy' feel about it. The vocals in times are overbearingly emotional and the styling of the songs never changes, this removes some of the authenticity of the work the band has evidently put into their work; experimentation with different genres, time signatures, tones are simply not there.

One thing I must complain about - the band seem very orientated about their frontwoman, Carley Phillips. Capable as she is - and do not doubt that she is capable! - She seems to dominate the other members - to the point where a picture of her is the profile picture of the band, and a few of their previous ones are also solely her. Let the other members, shine Carley! Your a team, after all.

To sum up, I think this is an EP that's only halfway there. The vocals, and bits of the guitar is all present, but the drums and bass are nowhere to be found, and I feel that the band try to cover this up with the other instruments. I hope my critisism helps the band come back and smash it the second time round, because this could become something really exciting!
5/10

Harry Loker
-https://www.facebook.com/BearsInTransylvania?ref=hl

Best Of Enemies - Stay Young, Trust Me

18/09/14
Track Listing:

1. Your A Good Mate, Really
2. Ignorance Is Bliss
3. Hopes And Dreams
4. Wasting Away

Immediately, almost as soon as the first few chords have rung out, I've decided that I like this band. They sound like something that people who, like me, enjoy the likes of Lower Than Atlantis and Gnarwolves, would enjoy listening to, and they have a professional enough recording to make it sound more than legitimate. Back this with the competent songwriting and lyrical ability and you've got a cocktail for success.

One thing that strikes me is the lyrics - they sound developed and worked over, and deliver real emotion. The words - and the singing itself - is pure Mike Duce (frontman, Lower Than Atlantis) but before he turned into an arsehole. (This house is falling apart, just like the family that once lived inside/things are how they used to be/your not on X factor, don't want to hear your soap story again)
The band fit in well with the genre that they claim to be and their image works well. Aiding this is strong backing vocals - I'm not sure if sung by the main singer in production or if by another member of the band.

The guitar lets down the track a little. It needs the treble turning down to stop it peircing my eardrums - the moderately distorted, none stop barrage of chords that drive the songs are in places a little incessant and it would only take minor tweaks to tone to stop them being so piercing. I imagine this tone is coming from the untamed bridge pickup of a Tele or Strat's single coil pickup.
This being said, it does sonnd good otherwise and in other places the band prove that they can write guitar that need not be non stop - in places it slows, and a melodic tune is strummed out; a brief respite from the action.

Track 3, 'Hopes And Dreams', opens with a guitar riff not too disimilar to Lower Than Atlantis' newest track, 'Emily' - except this one doesn't degenerate into a steaming slagpile of crap when the rest of the band join - it nearly does the opposite. The lyrics are poignant and hit home (I've been living on my hands and knees, since I was only 16, and thats not how its meant to be) and a quiet lead guitar in the chorus adds flavour; later on, this same riff develops into a solo in the bridge. Whilst lacking in technical ability, it works well. (Look at wonderwall, its like 3 chords)
The band cleverly incorporate acoustic guitar into parts of the EP, usually very quietly behind the rest of the track, the twang of the strings really helps back up the leading electric guitars. Its not loud enough to be head unless your really paying attention, and it works well.

The final track, 'Wasting Away' once agains opens with guitars but this time they are a little more tames and I really enjoy the use of the second guitar that joins at 0.11; it use of delay/reverb is exemplary. Lyrics once again shine, describing what I can relate to - a music festival - with efficiency (thinking back to this summer, when I had a beer in hand, I was watching my favourite bands/I spent five days, drinking with my friends in our tent/it was time well spent). They continue to mourn the loss of their youth and this really strikes a chord inside me. Whilst the chords used in the song are major, the message sent is mixed - time is good, but short. The aforementioned acoustic guitar used in this song adds to the sombre feel well; it is clever how they manipulate emotions to feel both happy and sad in a manner that would make Orwell proud.

I seriously, seriously really like this band. I'm sure I'll be giving them another listen in the future and I hope you do too.
Nice work lads, send me anything else you record!
9/10


Check them out at: http://bestofenemiesuk.bandcamp.com/album/stay-young-trust-me
Their music can be bought from that above link for a mere 99p! Like a McFlurry, but much better..
And check them out on Facebook too at: https://www.facebook.com/#!/bestofenemiesband?fref=ts

Harry Loker
Guitarist and Vocalist at Bears In Transylvania (https://www.facebook.com/BearsInTransylvania?ref=hl)

The Basement Effect - Just Like You

Video Review

18/09/14

A youthful band with a youthful sound - something more than welcome on this website.
The Basement effect have more than a dash of early Arctic Monkeys over their song and image and multiple adept guitar solo's cover this track, which wouldn't be out of place nestled in next to Mardy Bum and Fake Tales of San Francisco. It's not just the bands sound that is fun and playful - judging from the video, this band can't be older than 17 - and to say they are good enough to write their own material and record it at such an early stage, they clearly have an idea of how things work.
Opening with guitar on its own in the intro, the band soon join and a fast paced, guitar driven song by the name of 'Just Like You' and the singer makes your stereotypical teenage boy remarks of 'let me know I'm not wasting my time!'. The guitar's tone in the opening leaves something to be desired - it is too dry and scratchy to really fill the space on its own. The band have a good understanding of how to work with each other - often leaving spaces in which the drums or bass perform fills which add character and depth to the band and prove their capability.

Recording and mixing is not the best, but good enough. For an early recording, not much more could be expected - but in parts, mostly the verses and chorus, the bass is nearly unaudible. But the vocals, and guitar - which is what most listeners hear - is good enough that the song is satisfactory. Vocals are clear and audible.
The video editing quality is likewise good enough for the level of the band, but often lips come out of sync with the music and there's a spot in the middle where for a few seconds, the screen is entirely black. However clever scene changes do occur - we are taken through about 3/4 gigs and to a skatepark before an audience (I must admit, I'm not sure if CGI'd or not) cheers the band as they conclude the song.
The final guitar solo, which closes the song, cleverly utilises a subtle wah wah pedal with skill until the notes slow down to close.
In summary, some good work from a band who hopefully have much more work to do!
6.5/10
Here's the song: https://www.youtube.com/watch?v=9yIjgsJ2Dz0
And if you want to hear more from The Basement Effect, check them out on facebook here: https://www.facebook.com/TheBasementEffect

Harry Loker
https://www.facebook.com/#!/BearsInTransylvania

Lost In Space - Excuses

This song opens with brilliantly experimentative guitar that is soon joined by the rest of the band. The bouncy, exuberant beat works well, and is retained through the majority of the song to great critical effect. I feel that the bass is to be commended - it isn't afraid to stray away from the root notes in the verses and it really drives song.

The vocals in the verse are performed well - but I feel that in the chorus, they are too restrained - perhaps because of my own tastes.
The guitars should be talked about on this song. Both interact with each other well and the solo towards the end is interesting - rather than the solo be played over a nonchanging riff, it is the solo that largely stays the same and the riff behind it that chops and changes - a clever way of dividing the audience's attention. I feel as if the two guitarists sat down and really planned out how this was going to work - it is not something that could simply be 'jammed' as many solo's - however commendable - can be. Another example of how the guitars work well is in the post chorus' and second verses - in the former, the instrument is utilised to add an interesting layer an octave higher, while in the verses, it is lightly overdubbed ontop of the song filling the empty space in the higher frequencies, while barely being noticed. For me, this is what lead guitar should do. The tone is also good - subtle and I beleive using either reverb or very tight and close delay effects. I feel this song to be a good example that rock music can be played without the need for excessive distortion - this bands guitars are not nearly as heavy as some other bands and they sound great for it - filling the space using technique and good recording rather than just a ProCo RAT on full.
In summary, a well recorded and executed track, with interesting interactions between the muscians and listener.
7.5/10

-Harry Loker
https://www.facebook.com/#!/BearsInTransylvania

Champion Jack - EP

Track Listing:

1. Collisions
2. Godzuki
3. Godzilla
4. Collisions (Acoustic)

17/09/14

Champion Jack's opening song, Collisions, is a brilliant celebration of everything rock. Whilst I feel that there is more to be desired from the vocals at times, the rest of the band fit together well and I'm not sure if I'm just thinking of the famous Many Of Horror Lyrics, but there is a feel of Biffy Clyro about this album - minus the Scottish accent. Collisions has a brilliant breakdown near the end in which time signatures are thrown on their head with the efficiency of a baby throwing his toys out of the pram - this band show that their songwriting means business.
The lyrics are something that could be easily sung along to (and now, and now I feel like I'm home) but the vocal performance is, I must confess, a little boring at times. The vocalist needs to throw himself at the vocals more, in my opinion - pour more angst and shouty volume into your work to compliment the angy guitars!
Collisions flows into Godzuki - well - without paying attention, one wouldn't notice that the songs had changed - not due to the songs being too similar but due to the EP retaining a similiar 'feel' throughout. Palm mutes invite the verse and a steady beat is established - but soon enough, the second guitar opens up and allows the pre-chorus/chorus to come along and thus does what the band does best - rock out!
Godzilla opens with a catchy guitar hook that makes this my favourite track of the EP. The chorus of this song really allows the guitar to shine, using subtle overdrive. The bridges further enhances the guitarist apparent skill with the professional use of some delay. This guitarist seems to have a solid pedalboard and the know-how how to use it, well.

I must confess, when I first saw that there was an acoustic track of one of their own songs on the EP I was unsure why - surely the band should focus on getting more different songs in?
I could not have been more wrong. The guitar is totally different than in the first version and I much prefer this version of the track. The vocals which I previously denounced as boring work much better in this version.. He seems to be more comfortable to experiment with tone and pitch a little more, and his words are expertly accompanied by light reverb which works perfectly. The guitar here sounds like a quality recording - this band has seriously thought about how they were going to go about recording this acoustic version, not just played it all the same with acoustic guitars. Top marks for this song. The only possible criticism I could think for this is that in places, some violin/orchestral instruments would have worked perfectly.

I'm not allowed to link you to the soundcloud with these tracks, as I do beleive it hasn't been released yet - but I'll say, if your a Biffy Clyo fan, or a fan of this band, get ready for some solid tracks - especially with the hidden gem at the end.
6/10

Check out the band: https://facebook.com/ChampJackBand

Goodbye The Sunset - Minus The Murder From The Scene

17/09/14

First of all, apologies if I got the name of this song wrong - I wasn't sure if it was supposed to have the word Radio in brackets at the end or if that was part of the file name. So, it may be called 'Minus The Murder From The Scene (Radio). Your guess is as good as mine, reader - pick whichever you prefer!

Opening with a guitar riff that reminds me of Blink-182's cover of 'Another Girl Another Planet', the bands guitar give a reasonably cheerful and happy atmosphere. This is contrasted with the vocals - which seem suitably sombre and refreshing. The singer could be criticised for making little effort to leave his vocal comfort zone - not to say he isn't good at it, but I would have liked to hear more from him. Saying that, I was only sent one song, so I may soon stand corrected.
His lyrics are compelling - sitting in the zone where they could comfortably apply to both everyone and noone at the same time (He won't win the fight/we all fall down sometimes/when the sky falls down, I will hold your hand). I enjoy his use of imagery.
I must point out that the guitar in what I beleive is the pre chorus and the chorus to be repetitive. It works - but it could be made better by adding different octaves or variations of chords rather than repeating the same 3 or 4 notes. That being said, the tone of the guitar - especially on the string bends - is nice.
The bass is annoyingly happy to sit underneath the other instruments. Please feel confident to not follow the other instruments as strictly as you do - make some groovy basslines and boost your volume to let them shine!
The song follows a generic structure, with a softer chorus and verse towards the end - not something to be criticised, yet not something to be praised either. However the song ends well, with all instruments ceasing quite quickly in a pleasing manner.
Nice work. 6/10

Harry Loker
https://www.facebook.com/#!/BearsInTransylvania

Secrets Of Mariana - Reach

Track Listing:

1. Chinese Whispers
2. Fake Smiles And False Pretences
3. Reach
4. Slipping Away
5. Lost

17/09/14

This band strike me immediately as something different. The band comfortably mix the genres that they flagship on their bandcamp page - alternative rock and metal. Wyatt's vocals command the audience's attention and demonstrate not just a wide range of tonal options, but a strong command of pitch.

Opening with a confident, hard hitting 'Chinese Whispers', female half scream/shout vocals immediately give this band something unique - the band have a good feel, sitting comfortably somewhere between metal and rock. They seem capable to write material that interlocks and changes well between the members. Guitars overlap and perform harmonies with each other, and the bass occupies its own space - Schultz has mastered a bass tone that works well for the band, sitting more on the rock side of the spectrum - but I'm hoping that the band will note that in further recordings the bass perhaps should be turned up to allow it to really shine.
In the titular song, Reach, one band member - I'm not sure who - shows that Wyatt is not the only one capable of scream vocals and I would like to hear more of this mystery members backing vocals as they really added to the song.

While the band are very good at their chosen genre, it should be noted that the EP - while short - lacks variety, excluding their final track (more on this later!). This is not necessarily yet a bad thing - the band are just finding their feet - but I would encourage them, in their further writings, to try and branch out - what I'm listening to proves that they have the capacity to do so. Experiments with different time signatures, perhaps a song led by bass, or (shock horror!) cleaner guitar could be something that could be played about with.

A particular moment that I enjoy in the record is a very short breakdown (? correct me if I'm wrong) near the midpart of the song 'Slipping Away'. Guitars squeal perfectly off key chords and the beat is broken down in a Nirvana styled mashup, but the band perfectly come back together in a timely fashion leaving the listener wanting more of this experimentation. Wyatt once again demonstrates her capable vocal ability in the chorus of this song, singing 'something inside me is slipping away' with a lung capacity rivalling dolphins and other aquatic mammals in a quite magnificient manner.

The closing song, 'Lost', is my favourite. Chorus-drenched guitar and bass accompany a mournful lullaby through the first verse which is a departure from the earlier EP - the guitar is much cleaner and this shows a vertasility which otherwise has not been demonstrated in the EP. At the close of the first chorus, Hyatt gives a shimmer on one of his cymbals, and I was expecting the song to drop and become heavy - but I was pleasantly surprised to hear that I was wrong as the guitar wonders on calmly for a while yet.
We reach the bridge, and midway through, I'm once again expecting an onslaught of distorted guitars as bass, drums, and guitar unite in a series of emphasised quarter notes - but I'm pleasantly surprised to hear that again, it is not to come - and this marks out a good band - delivering the listener what they do not expect. Later in the song, the band do return to their original style with ease and finish what is a great EP with guitars ringing out and vocals holding out until the lungs have nothing left in them.

The album is well recorded and mixed; a sheen of 'quality' sits over it that is necessary to make this genre of music sound good through headphones. Not that music should be judged on how well it is recorded - but it always helps to compliment the well written tunes.
This is a band I would be keen to see live. They are a band to be listened to at high volumes, and sung along to - something that is aided by the posting of the bands lyrics on their page - something which I consider to be a good idea.
In summary, a confident EP, well written - but with much room for experiment. Good luck, and let me know about anything else you guys make! 8/10

Harry Loker
Guitarist and vocals at Bears In Transylvania (https://www.facebook.com/#!/BearsInTransylvania)

If you want to hear more from this band, their facebook page is: https://www.facebook.com/SecretsOfMariana
And you can listen to their EP at:

https://secretsofmariana.bandcamp.com/
Which can be purchased for a modest £3!

Pioneer - Debut EP, 'Paralysis'

Track Listing:
1. Introduction
2. Hold On
3. Day By Day
4. Paralysis
5. Da Na Now
6. Apogee

17/09/14

First ever review! Soon after I'd posted to announce this blog a cheery sounding chap by the name of Dean Grant sent me an email asking him to review his bands EP, which to the best of my knowledge was released earlier this year.
The EP opens with a tense, eerie sounding lone guitar in the form of 'introduction' - the clean tone and spaced out notes really got me interested as to what was coming with the following five tracks.

Hold on is a fast paced rocker with complex and interesting lead guitar riffs; the guitar struck due to its skilled use of subtle modulation. The music is definitely in the 'rock' curtain but a brilliant sounding almost electronic bass adds flavour to the song in the opening. The vocals are solid and are spoken well clear to hear and understand - this is a quality recording. I swear I can hear synth of some sort or description very lightly in the background and this backs up the solid feel of the recording.
The EP skillfully passes from song to song - with guitar ringing out until the opening chords of the next song to pick up the action, as if it was all one recording - and this adds to the feel of a singular, connected record.

Day By Day shows skillful writing in the verses in that the band manage to keep up the fast pace while slowing down the guitar - letting chords ring out - a good use of the 'less is more' principle.
The way in which the guitars fit together demonstrate that - at least in recording - this is a tight band.

The eponymous song opens with clean guitars and vocals that depart from the faster pace of the previous songs, but I find that the change is not a good one - the singer is not as much in his strong suit when not fully backed up; this is not to say that it is bad singing either.
An unsettling atmosphere is created by backing vocals that sing 'ooh's that can't help but make me think of cartoon, Scooby Doo style ghosts - demonstrating yet more of this bands tonal and songwriting palette. I must admit I'm confused as to why this song was chosen to be the titular one as I don't consider it as strong as the happier, more upbeat songs that fill the rest of the album.

Da Na Now, despite its strange sounding name, is a song that would sit perfectly comfortably in the charts - and I can't say I wouldn't like it to be there. The skillful use of a piano in the background and more conventional backing vocals give a more pop feel than that of previous songs on the EP and this makes me believe it to be the highligh of the EP. An relatively complex and joyeous drum fill sits in the middle and this points the attention to a member of the band that up til now has avoided my attention. The song is let down however, in my humble opinion, by having the final chorus transpose to a higher key - inviting a Westlife like style of cheesiness that could otherwise have been left out.

Finally, Apogee demonstrates yet more creative ability by the welcome arrival of an acoustic guitar and yet more skillful playing. Tension builds through the song, until the rest of the band joins the singer and guitarist in full glory - not that this song couldn't have finished as a poignant acoustic track. Emotion, if at all lacking earlier in the EP, seems to be poured into the final section of this song, from all members of the band, until all too soon they depart, leaving the singer and guitarist to finish the song, and the EP.

In summary, a good, well written, and well recorded EP - brilliant work for a debut.
7.5/10