'Blossom' by Frank Carter and the Rattlesnakes

When I decided to review 'Blossom', I was a little bit nervous. I'm not the best at listening to heavy music (I normally have much more bad things to say about it than good things) and I was worried that the album was all going to be on one heavy, thrashy level. I should not have been worried. 'Blossom' is the most varied album I've heard in 2015, and I am shocked at how much I enjoyed it. 

Starting off with 'Juggernaut', the intense intro, frenetic punk shouting and simple breakdown make for the best possible start to this album. If there was ever any doubt this song wipes it out - Frank Carter is back, and he's back with a vengeance. 

'Trouble' is much more melodic than 'Juggernaut', the "I know, I know, I know" repetition meaning that a crowd will having something to chant along to as well as mosh to (and come on, a lack of moshing is not going to be a problem at a Frank Carter and the Rattlesnakes show!), but that's the thing with this song - it makes you want to be violent, sure, but it also just makes you want to sing along, so if you aren't into moshing music don't be alarmed.
Back when 'Fangs', the first single, was released it instantly grabbed my attention. It's so calm and relaxed at the beginning and then it just kicks you in the teeth (no pun intended), grabs you and doesn't let you go. It seems so obvious to me that Frank has a new lease of life because this is the best music he's ever written and performed. 'Fangs' is definitely my most preferred heavy song, because again it's one that you can sing along to and dance to - it's not overwhelmingly heavy.
The first three songs are all different to each other, but similar, but when 'Devil Inside Me' arrives it brings with it a very unexpected facet of this album. With the riff sounding like the Doctor Who theme song, and the vocal much more singing than screaming, it's a breath of fresh air in amongst all of the shouting and screaming, but it doesn't last for long.
'Paradise' goes back to the heavy formula that Frank writes so well, but where the rest of 'Blossom' seems to be Frank breaking down boundaries and trying new things, 'Paradise' feels a bit too much like it's using the generic hardcore song blueprints. This is definitely my least favourite song on the album. The frantic first half of the song gets completely slowed down for the interlude and a slow burning ending which did lose my attention - the repetitive lyrics, dragging guitars and heavy drums feel sluggish and weren't as effective as the rest of the album.
Lyrically, 'Loss' is brilliant - I think it's going to be one of those songs that a lot of people related to and end up getting tattoos for. Musically, it does feel like something we've already heard on the album, but the ending definitely makes up for it - with Frank's visceral screaming suddenly stopping, cutting out to him saying "fuck, fuck" and coughing, it makes it feel like you're hearing a first take. I don't know if it necessarily was, but it certainly makes it feel like something more special.
'Beautiful Death' is what it says in the name - absolutely beautiful. The intro to the song sounds as though it could have been pulled from a new We Are The Ocean or Deaf Havana song, which is a complete surprise. When Frank throws himself into the vocal and starts shouting once more it does feel reminiscent of Bring Me The Horizon's 'Sempiternal' album - the singing and screaming are perfectly balanced on that album, and they're perfectly balanced here too. It doesn't feel forced or fake, it feels like a fabulous decision that suits the song to a tee.
Similarly to 'Loss', 'Rotten Blossom' employs the tactic of hearing Frank's breathing in the middle of the song. It just makes the music feel so intimate, like you could be at a concert crammed into a tiny room with just half a dozen other people, and I wonder - because the atmosphere feels so small on the album, will Frank be able to sell out bigger rooms or will it just not work with this style of music? I know it's something to dwell upon for the future, but it is something to think about. 'Rotten Blossom' also has great lyrical content, posing the question of "what happens to us when we die" and getting right philosophical, and I love the mention of "Do we blossom, or are we just rotten?" because this album really shows that Frank is blossoming into a much more skilled vocalist and writer.
I don't have much to say about 'Primary Explosion', because it just sounds like something we've already heard. Don't get me wrong, it's well performed, it just doesn't blow me away or grab my attention the way that some of the other songs on the album do. Where eighty percent of the album is new, interesting and captivating, there's still the twenty percent that feels formulaic, but at least it's not the majority of songs that do.
There's no question in my mind that 'I Hate You' is my favourite song on the album. The lyrics are superb - "I hate you, and I wish you would die. It makes me violently angry when I see you alive" - and it sounds to me like Taking Back Sunday if they were from the rough streets of London. The power that Frank puts into his held notes is amazing - we don't normally hear Frank singing this purely, but it sounds fantastic. If you don't like heavy music, skip the rest of the album and go straight to this track, but it's flawless and is a perfect ending to the album.

This album will appeal to fans of Frank Carter, whether they're fans of previous incarnations Gallows or Pure Love. It was obvious from the release of 'Fangs' that Gallows fans were going to be able to get on board with this new material, but with 'Devil Inside Me' and 'I Hate You' focusing on singing rather than screaming it's going to appeal to Pure Love fans too. Frank has always been a chameleon, changing his style from one extreme to the other, but I think Frank Carter and the Rattlesnakes is his perfect blend, and it's definitely an album from a man at the top of his game. On Twitter last week, Frank mentioned that the second Rattlesnakes album is already being worked on, so I don't think it's going to be too long at all until we get even more new material - until then I'm definitely looking forward to Reading festival, this set is going to be unmissable.

'Automatic' (Deluxe Edition) by Don Broco

Don Broco's debut album, 'Priorities', is one of the best albums of all time. After it was released back in 2012, I listened to nothing else for the following year - I absolutely fell in love with it. So I hoped exactly the same thing would happen with 'Automatic'.

The first three songs - 'Superlove', 'Automatic' and 'What You Do To Me' - already have videos, so I've already had the chance to listen to them all lots and they've all grown on me. The first time I heard 'Superlove' I absolutely hated it: the over the top high-pitch vocal, the constant repetition... The song just completely grated on my nerves, but it slowly started to annoy me less. I liked 'Automatic' when I first heard it then completely despised the video that accompanied the song, but I've loved 'What You Do To Me' since day one. 

I'd heard 'Fire' once before and really disliked it - the 'nanana' section is so cliched and overused that it's completely obsolete at this point in time, so using it in a pop song in 2015 felt like a ridiculous choice. Listening back to it now, it still feels as though there's a disconnect somewhere: the first verse is beautifully produced, but the chorus just falls flat and leaves the whole song feeling uncomfortable. With that being said, even hearing it another two times to write this review means that I've started to enjoy it more - I think that if you ask me again in a year or two, this album will be one of my favourites; I'm just being super hard on it because it's only just been released. 

The same cannot be said for 'Nerve'. A slower choice for Don Broco, it definitely stands out from the other songs in their back catalogue. The falsetto chorus is a more natural choice and makes more sense than it did in 'Superlove', and this might be the first song on the album that feels like Don Broco but still embodies a strong step forward. If you asked me to choose one word to describe the band's music it would have to be sexy, and 'Nerve' embodies that sentiment perfectly. The song is extremely summery, being the most anthemic song the band have ever released, and I can imagine it going down brilliantly with the crowd at Reading festival in two weeks time.

'Let You Get Away' reminds me strongly of another song - I can't quite put my finger on what though. It just feels like I've heard it somewhere before, so it's not the most unique song. However, using "oh my days" as a lyric is something I definitely haven't encountered before, so the band get extra bro-points for that one. Feels like someone needs to get the Cheeky Nandos in... 

As soon as 'I Got Sick' starts it cements itself as the most rock-centered song on 'Automatic', which is definitely leaning more towards a pop album on the whole. The riff that kicks the song off is extremely catchy and gets stuck in your head automatically ('scuse the pun). The lyrics might be a little more than creepy ("if you buy some new shoes, when you buy some new clothes I got to know. When you're watching your TV or your favourite movie I got to know") but that means that this song stands out lyrically on the album as well as musically, even if it's not for the best reason...

'Keep On Pushing' feels like an ode to the push up squad, but it doesn't really go anywhere... It feels as though the start of the song is just repeated constantly throughout, and while that works with dance music it just falls really flat on pop-rock, meaning that this is the most disappointing song in the collection. If they'd put more of a dance background with it, it may have felt more cohesive - sadly, that was not the case. 

I absolutely love 'Tough On You' already. It's one of the heavier songs but it's definitely one you can dance and sing along to, making it feel like one of the only fully-rounded inclusions. 'Further' is very similar: both songs feel more like older Don Broco, so it means that this album should appeal to brand new fans and older fans. The band have changed quite drastically over the last three years, but there are still features from their previous songs so they haven't abandoned their roots. 'Further' has a sound of folk music (just listen to it, and you'll understand what I mean) so it definitely stands out - it feels like an extremely triumphant closing track from the album, and this collection of songs definitely finishes off stronger than it starts. I love the dual vocal between drummer Matt Donnelly and singer Rob Damiani on this final song, as it really feels like a collaborative effort instead of just Matt performing backing vocals. 

For the deluxe songs on the album, two of them are already rather well-loved, the other two are brand new tracks. I loved 'Money Power Fame' when I first heard it at Reading festival last year, but since realising that it fitted almost perfectly with Lower Than Atlantis' 'Here We Go', I've definitely ruined the song for myself. It still deserved to be included on the new album though, so I was glad they chose to put it on - even if it is only on the deluxe edition.

'Bad Feeling' kind of feels like a strange ode to Vampire Weekend or the Mystery Jets - it's much more indie than the other Don Broco songs, and it's a huge leap across genres. It's interesting to hear the band trying something that is so completely different, but it just feels so odd. If Don Broco decided to do more indie music in the future I wouldn't be opposed to it, but this isn't the best sound that they've ever made. 

I'm surprised 'Wrong Place Wrong Time' didn't make it on to the normal version of the album, because the frenetic, speedy sound will definitely appeal to fans. It's one of the catchier songs from 'Automatic' and it's definitely one that will get people moving: the backing track takes an almost dubstep turn in the middle, which is intriguing, and - again - it's a hugely different sound. The deluxe tracks definitely seem like the place where Don Broco took the most time to experiment with what they were doing, and I love the results. 

I'm so happy that 'You Wanna Know' made it on to the deluxe edition of this album, because it is two years old at this point. Since the first time I heard it, I've always thought of it as part two of 'Whole Truth', and it definitely feels like a huge nod to the success of 'Priorities', that this song wraps up the new album. 

This year, there have been many albums that I've been excited about that have completely disappointed me, so I'm glad that 'Automatic' was such a varied bunch of songs. I'm already in love with some of these tunes, and I'm sure that the rest of them are going to grow on me - especially after seeing them live, because Don Broco are a band that are much, much better in a live environment. I'm glad that they've tried to do something a bit different and it's definitely working out for them - in the mid-week chart update this album was already at number three, so hopefully it's going to be an extremely high charter for the lads. They definitely deserve this success, because they're an extremely hard-working band, and I still love them to pieces. 

Tracklist:

Superlove 

Automatic

What You Do To Me

Fire

Nerve

Let You Get Away

I Got Sick

Keep On Pushing

Tough On You

Further

'Endings EP' by With Ghosts

After seeing With Ghosts supporting All Ears Avow at the end of June, I lamented once again about the fact that these guys didn't have an EP - so I need to say a huge thank you to the band for sending me 'Endings', which is being released pretty soon.

'Endings' is four songs of completely unadulterated, perfectly produced, pop-punk. It's an obvious fact from the first line of 'Bury Me'. Nathan Gregory's crystal clear vocal rings out over a beautifully played intro, hooking you into the song with a merciless grip, and it just gets catchier from there. This is a chorus that will stick in your mind for hours, or even days, on end; it's already driving me crazy, but I love it so damn much. 

'Just A Ghost' is my favourite song on the album, because it just struck a chord with me so powerfully hearing it live. One of the things I really appreciate about With Ghosts is that their lyrics get extremely dark in places, but the music is still upbeat and enlightening (in a similar vein to twenty one pilots), and even with the lyric "you were the noose around my neck, you were the chair I'll kick right out from under me" I still can't stop smiling through this entire song; the music is just so uplifting and fun!

Third track, 'Sorry, I'm Not Sorry', actually had a video released last night through Discovered Magazine - so first things first, go and check it out! Too often with upcoming bands their videos are cheesy and terribly shot, so it was brilliant that With Ghosts had such a fab production team behind them; I really enjoyed the video. 'Sorry, I'm Not Sorry' feels to me like the heaviest song on the album, and it definitely stands out; you can feel the confidence from the band, as they obviously know what they're doing and aren't afraid to take risks.
Last, but definitely not least, 'Strangers' cements once again how brilliant With Ghosts are lyrically. There isn't a dull moment on this EP, and all of the songs are as great as each other - there isn't a weak link to dull the overall effect of the collection, and fans are not going to be disappointed. After seeing them live multiple times, and already having my favourite songs, the band picked the best ones for this EP - the tracks complement each other brilliantly, each song standing out on its own but also helping to show the audience exactly who With Ghosts are.
If you're a fan of pop-punk, you're going to love this EP. It's been difficult to find a stand-out pop-punk band recently; You Me At Six have developed from their earlier sound, and after Canterbury and Kids In Glass Houses both split it was looking quite dire for the UK pop-punk scene for a while. However, if With Ghosts play their cards right and keep releasing songs like this, they could be filling those vacancies pretty soon. Any band that can write songs that get stuck in your head this early in their career have a huge amount of talent, and I am so excited to see where this band can go. 

Tracklist: 

Bury Me 

Just A Ghost

Sorry, I'm Not Sorry

Strangers

If you want to get 'Endings', please pre-order it on their Pledge Music to help the boys out! 

'American Candy' by The Maine (plus Acoustic EP '15:00')

One of the things that annoys me more than anything is when a band changes in a dramatic fashion from album to album. I can appreciate development, and I can appreciate it when it makes the music better, but when a band loses everything that makes them unique, everything that makes them "them", it just fills me with complete and utter despair.

Thankfully, that is not the case with 'American Candy'. While it might only be ten songs long, it manages to both develop from their last album, 'Forever Halloween', and still keep the essence of The Maine alive. There's no mistaking that this is one of their albums - there is not a single opportunity to get it confused with another band, because they don't sound like anyone else, and they don't try to. 'American Candy' is their third independent release, and I do think that they made a brilliant decision to go down the independent music route, because it definitely keeps them genuine. 

In all honesty, I don't have much to say about this album, which is a brilliant thing in itself. Too often in my album reviews I am just criticising all of the mistakes, but there are none to be found here. 'Miles Away' makes me want to pack up my bags and go exploring, encouraging a serious case of wanderlust, while 'Same Suit, Different Tie' would make even the biggest haters of The Maine want to dance their socks off. Meanwhile, 'My Hair' manages to be completely ironic in a completely unintentional way, with vocalist John O'Callaghan encouraging people to "grow your hair out" after chopping his hair off following the announcement of this album. 

There might be no songs that I dislike on this album, but there are two that stand out above all of the others, and those are 'English Girls' and '24 Floors'. If you haven't heard 'English Girls' already, I'll be extremely surprised, because this song has been getting quite a lot of attention since the video for it was released around a month ago. The video is brilliant, which might be one of the reasons that I fell for this song so quickly, but it just seems to embody such a departure from 'Forever Halloween' - while the previous album was introspective and dark, this song has a light flooding from it that shows a big transformation for the band. While 'English Girls' is the happiest song on the album, '24 Floors' is the most heart-breaking, and the most likely of the songs to be able to comfortably find a place on one of their previous releases. With John singing "24 floors up in some hotel room, feeling so low, thinking of jumping soon" I'd be surprised if this song didn't strike a chord deep inside nearly every listener. On my first play through of it I was moved to tears, which was something I definitely hadn't been expecting from this album, but it just demonstrates what a brilliant lyricist John really is - he's utterly honest about feelings and it makes it very easy to fall in love with this band.

On the whole, however, this is definitely a pop rock album determined to make people dance. 'Diet Soda Society' is genius, with an acoustic introduction that gets more and more upbeat as the song progresses. 'Am I Pretty?' is the only song that comes even close to having the "oh, oh, oh" or "na, na, na" section that seems to be required in every pop rock or pop punk album recently, and it's a big relief to not be absolutely overwhelmed by a bands attempt to get the crowd involved. The song that I definitely think will have the biggest reaction in a live environment is closing track 'Another Night On Mars', which has a chorus that lends itself perfectly to a concert, and I can imagine that the gang vocals that will come with this singalong every night will be superb.

I highly recommend this album - if you're a fan of The Maine, you will absolutely love it, because they definitely aren't forgetting their roots. If you're not a fan of The Maine yet, why not? This is as good a place as any to start, so you might as well go out and pick it up now. 

Tracklist: 

Miles Away

Same Suit, Different Tie

My Hair

English Girls

24 Floors

Diet Soda Society

Am I Pretty?

(Un)Lost

American Candy

Another Night On Mars

However the Acoustic EP, '15:00', is a slightly different story. As I'm sure you can guess by the title, this is a single fifteen minute track, in an acoustic fashion. Contained within the fifteen minutes are 'American Candy' and 'Miles Away', both slowed down and remixed so that they're more relaxing and can fit better on a chill out album than a pop punk record. 

I wasn't as blown away by it as I was hoping, because I was hoping there would be more than the two songs included in the fifteen minutes (I was picturing more on an acoustic medley album), but overall it's still quite enjoyable and will appeal to hardcore fans. I wouldn't suggest starting here, and if you've got a low attention span or like music that just gets straight to the point I would definitely point you in another direction, but if you're looking to unwind at the end of the day this will definitely do it for you. 

The EP has the definition of "sleep" on the back of it, and that's definitely where this EP will get you - it's very melodic, verging on music that could be used for meditation. These definitely aren't negatives, because it definitely won't be boring you to sleep, because it still does sound very beautiful. It's just extremely different, and something that I definitely haven't heard before. 

'Future Hearts' by All Time Low

After seeing All Time Low twice last week, I jumped for joy when I saw that the 'Future Hearts' pre-release album stream had been put on Youtube by Hopeless Records. If you know anything about All Time Low, you'll know that they often stream their albums about a week before their release dates, so I'd been expecting this day to come, and I was very glad it had arrived. After hearing 'Something's Gotta Give' and 'Kids In The Dark', I was certain that this was going to be All Time Low's best ever album, so I dived straight in with no qualms. 

Opening track 'Satellite' is one of the shortest All Time Low tracks I've heard, but it's also one of the most intriguing. The gravelly tone in Alex Gaskarth's voice is an aspect that hasn't really been explored in their music before, giving a mature feel to a band who have often only been equated to appealing to younger fans. The difference is style meant that it didn't really feel like one of their songs, but this was actually in a positive way, perfectly demonstrating a skill that they've kept hidden up their sleeves this long. After their last album, 'Don't Panic', it felt like All Time Low had lost the ability to write a standout, interesting song - too many of them sounded similar and faded in together, making it hard to find any songs that were too varied. However this track shows more development in sound than the entirety of 'Don't Panic' put together, which is a massive cause for celebration. 

This feeling continues throughout the majority of the first half of the album. 'Kicking and Screaming' starts with a bang, with a feeling reminiscent of early All Time Low tracks showing that the band definitely don't want to forget their routes, even as they're entering into the release for their sixth album. 'Something's Gotta Give' and 'Kids In The Dark' still sound as good as the did on the day that they debuted, feeling more like instant classics than slow burners, and it's brilliant to know that their skill for writing singles is definitely something that isn't depleting over time. These songs are likely to be on their setlists for years to come, going down in history with the likes of 'Weightless' and 'Dear Maria, Count Me In'.

However, from this point the album just seems to fall a little flat for me. 'Runaways' gets a little bit too overly repetitive, making me feeling a bit bored halfway through the song, and if it can't hold my attention the first time I hear it, it's definitely not going to become one of the more memorable tracks from the album. 'Cinderblock Garden' has an original intro, but soon becomes a generic pop-rock songs with the constantly repeated "oh, oh, oh" really getting on my nerves, and 'Don't You Go' sounds like the poor man's version of 'The Anthem' by Good Charlotte, with overly sexualised pop lyrics thickly spread throughout making me feel more uncomfortable than anything else.

There are still some good moments, most notably the two songs with guest appearances. 'Tidal Waves', which features Mark Hoppus from Blink-182, has been one of the most hyped songs since the tracklisting was announced, specifically because All Time Low started off as a Blink-182 tribute band and it's always inspiring to see people working with their complete idols. While musically it does resemble Blink-182 a little bit, it's not an obvious copy and it still has the ability to stand out on its own, and Mark and Alex's vocals are extremely complementary, making it a brilliant and organic collaboration. The same can be said about Joel Madden's appearance on 'Bail Me Out', with the acoustic at the beginning of the song making it feel more like a bonus track than an album track - it's a very interesting inclusion and I personally think it's brilliant.

One of the most interesting moments on the album is definitely 'Missing You', which makes me think of Mumford and Sons in a way that is not bad at all. With beautiful lyrics and a soaring sound that feels uplifting and inspiring all at once, I can imagine this one quickly becoming a fan favourite in the same vein as 'Therapy' and 'Remembering Sunday', and if Alex doesn't start doing this song in his nightly mid-set acoustic I'll be extremely surprised. My personal favourite moment is most definitely 'Dancing With A Wolf', which has angsty, anger-filled lyrics that are reminiscent of all of the best All Time Low songs (namely 'The Irony of Choking On A Lifesaver' and 'A Love Like War'). Whereas some of the album just feels like the band are going through the motions, 'Dancing With A Wolf' has the band grabbing the bull by the horns and pouring everything into the song, making a dark song that is chockablock with passion, fire and soul.

Closing track 'Old Scars/Future Hearts' is also a great inclusion, with slight aspects that are leaning towards dance elements. It would have been interesting if they'd taken more of a risk with it and turned it into a fully blown dance song, with synths and the suchlike, because the underscored music definitely feels as though it's leaning into that area, but the band seem to hold back for a reason that I can't quite put my finger on. By the end of the song the riffs have built up to a blazing crescendo and the song has a complete life of his own, which definitely takes away from the disappointing beginning, but it still feels as though it has so much unfulfilled potential. 

You can definitely tell that All Time Low have written this album with arenas in mind, because the "woah, oh" and "na, na, na" aspects are consistent in almost every song, so much so that it feels a bit over the top when you listen to it all in one go - it definitely feels more like a collection of individual songs than an album with a cohesive theme riding throughout. However I'm sure that these songs will lend themselves extremely well to a brilliant set live, even if they aren't that great in this context. This album definitely isn't as disappointed as 'Don't Panic', but the band have still got some way to go to be able to make an album that was as utterly flawless as 'Nothing Personal'.

Tracklist: 
Satellite
Kicking & Screaming
Something's Gotta Give
Kids In The Dark
Runaways
Missing You
Cinderblock Garden
Tidal Waves ft. Mark Hoppus
Don't You Go
Bail Me Out ft. Joel Madden
Dancing With A Wolf
The Edge of Tonight
Old Scars/Future Hearts

'Madness' by Sleeping With Sirens

I think I might be listening to the wrong album, because all of the reviews that I've seen so far have cited 'Madness' as Sleeping With Sirens best album, and this was just a massive pile of disappointment to me. It hurts to write that, because I am a massive Sleeping With Sirens fan - I pre-ordered the album the day that it came out and I have been eagerly anticipating it, but I now wish I hadn't. 

Kick starting things with 'Kick Me', the song that Sleeping With Sirens released in the middle of 2014, I was automatically struck by how over-produced the track seemed. A song that talks about kicking someone when they're down should be visceral and violent, gripped in the midst of emotion, but the production on this track takes away all of the soul. After seeing it live at Reading festival I was beyond impressed with the fury and the explosive attitude that filled the song, but all of the life was seeped out of it in the recorded version.

Sadly, this theme just continues throughout. Whereas I really enjoy Sleeping With Sirens faster songs, the majority of this album is slow and dreary. During multiple songs (most noticeably 'Save Me A Spark' and 'November') I just felt like giving up and going to sleep, because the effusive energy that radiated throughout the whole of the 'Feel' album has dissipated somewhere along the way. 

I can understand why people are impressed by this album: it's more mature, lyrically and musically, and vocalist Kellin Quinn has tamed his voice giving them the opportunity to appeal to the people who wrote them off automatically due to his vocal tone. 

There are a few songs that are stand out tracks, the main two being 'Fly' and closing track 'Don't Say Anything'. 'Fly' sounds more like the Sleeping With Sirens of old, but not in a repetitive way - you can hear that they've taken a step forward, but it's not so far forward that it loses everything that made them special. Similarly, 'Don't Say Anything' manages to get a mixture between fast and slow so that it really stands out, instead of becoming another dreary almost-ballad. It's just a shame that the closing track is also one of the most brilliant; it would have been a much better album if Sleeping With Sirens had chosen that as the starting point. But they didn't, meaning that throughout the entire rest of the album, all the songs start to blur together.

However, as well as the majority of the songs being similar due to their timing and structure, most of them also sound like other songs. The riff featured in the middle of 'Go Go Go' sounds like a direct pull from Busted's 'Crash and Burn' (while, funnily enough, 'Crash and Burn' is repeated through the lyrics multiple times... Coincidence?), the 'Ooh, ooh, ooh' at the end of 'Save Me A Spark' is exactly the same as the structured ooh-ing in 'Magic' by Coldplay, and the speedy, kick you in the teeth 'We Like It Loud' sounds scarily similar to You Me At Six's 'Underdog'. Yes, some of these might be coincidences, but all of them? Seems like too much to me... 

And while the other songs on the album don't necessarily sound as though they've pulled directly from other artists, they all sound similar to songs that are already out there, meaning that this isn't a revolutionary - or even that exciting - album. 'The Strays' shows an acoustic mixture with the heavier music that is already being done better by other bands, 'Better Off Dead' sounds just like 'Face Down' by Red Jumpsuit Apparatus sped up a notch or two and 'Gold' sounds like it wouldn't be out of place as a new All Time Low song. 

I can't imagine this album winning over any new Sleeping With Sirens fans. I enjoyed it, because I already really care about the band, but if I was new to the band and this was my starting point I definitely wouldn't continue. Instead of featuring their unique sound, it just sounds as though all of the mainstream radio rock bands have been combined into one album - more like a compilation of covers than something that can stand out on its own as a brilliant collection of tunes. 

'Cavalier Youth: Special Edition' by You Me At Six

I reviewed 'Cavalier Youth' when it was first released all the way back at the start of the year, and this is what I said then:


"Following the release of lead single 'Lived A Lie' and follow-up 'Fresh Start Fever', my expectations of You Me At Six's fourth full-length were raised pretty high. Their third release 'Sinners Never Sleep', released just over two years ago, reached number 3 on the UK album charts and inspired a live DVD of their biggest headline show to date, aptly titled 'The Final Night Of Sin'. With TFNOS being the highest point of YMAS's career to ate, the follow-up needed to be spectacular. 
However, it falls short of the mark. In the past I've criticised Josh Franceschi's lyrics for being lazy (an example being during 'Crash' when he croons 'I know I've said this all before'). This is still a major fault with their newest release. Opening song 'Too Young To Feel This Old' contains the lyric 'what happens next, who cares?' which immediately makes me answer 'I don't'. 'Win Some, Lose Some', 'Cold Night' and 'Wild Ones' are too slow and repetitive, causing the feeling that something essential is lacking in this album that has never been absent in a YMAS release before. 
The album picks up drastically during 'Hope For The Best', with a fast paced intro which grabs the audience, the lyrics 'I hope for the best, I prepare for the worst' showing that despite being a band that can sell out Wembley Arena, Franceschi still has doubts and he hasn't let the fame get to his head. 'Love Me Like You Used To' is another high point on the album and when Franceschi demands 'Love me like you used to [...] just love me like you need me' fans are not going to refuse.
'Be Who You Are' is, for me, the biggest disappointment on the album. After the speedy delivery of 'Love Me Like You Used To', it feels awkwardly placed in the track listing, making the album sound more mix-and-match than a final, polished product. With a run-time of 1:48, the song sounds unfinished and incomplete, with the cliched sentiment 'You are my little star' making me feel sick for the sugary sweetness.
Followed by the uplifting and inspiring 'Carpe Diem', soon to be a stadium anthem adored by all YMAS fans, 'Be Who You Are' just seems inconsequential and unnecessary. 'Carpe Diem' feels more honest to YMAS and, along with 'Lived A Lie' and 'Fresh Start Fever', is one of the only songs that I could envision at any point in their back catalogue. 
It's good to see the band going in a new direction and you can definitely feel that the experiences that they gathered during their last album cycle have impacted their writing style, as you can feel that they're aiming towards stadium fillers, even if they do miss the mark on a few songs. Old YMAS fans will not be turned off and they're likely to gather a few more in, especially with the close 'Wild Ones' giving an atmospheric feel that will appeal to London Grammar fans and will be massive on the festival circuit this summer. I just can't imagine this album having as big an impact on YMAS's career as the game-changing 'Sinners Never Sleep'."


Apparently 'Cavalier Youth' was destined to have a big impact on You Me At Six's career, because it ended up shooting to number one, their first album to reach such a high position. I have always had a disconnect with You Me At Six recently released albums; it took me three or four months to like 'Hold Me Down' and a good few listens to appreciate the skill and talent showcased on 'Sinners Never Sleep'.
However, I still don't really understand why everyone is so enamoured with this album. I still love the singles ('Lived A Lie' and 'Fresh Start Fever' respectively) while 'Room To Breathe' and 'Forgive and Forget' seemed extremely forgettable the first time I heard the album but now they're probably my two favourite tracks after experiencing them live at Alexandra Palace back in April. 'Hope For The Best' and 'Carpe Diem' are still brilliant, but as a whole it still doesn't feel like a cohesive collection of songs, so I still feel like I'm walking away more confused than satisfied by this release.
So you might be wondering "if you didn't like the album that much the first time around and you still don't particularly love it now, why did you order the re-release?"
Partially because of the beautiful repackaging; the black and white is reminiscent of 'Sinners Never Sleep' and I think it's so well designed, with amazing photography.
But the main reason?
There is a simple answer to that question - the acoustic tracks.
Since the release of their Record Store Day vinyl back in 2011, I have been a strong advocate for You Me At Six to do an acoustic, unplugged album, so with these five tracks I get a bit of a taste of what I've always been craving. Acoustic You Me At Six is far better than normal You Me At Six and I could argue this until the cows come home. After experiencing their secret set at Reading, in which they played these five songs, I knew I had to pre-order it and I've been anticipating its release for the last two months.
The rearrangement of 'Lived A Lie' is much better than the original song, and the original is probably my favourite song off of 'Cavalier Youth', so it gets off to an extremely strong start. Second up, 'Fresh Start Fever' and I'm in equal parts impressed and disappointed how raw and exposed Josh Franceschi's voice is. There are pieces that seem a bit too raw and badly sung, but it adds to the emotion in the song and it makes you feel as though you're experiencing something really important. Too many bands nowadays use too many effects on their music, even when attempting to get a live sounding recording, so these Dean Street Studios sessions are brilliant. I still don't like 'Cold Night', so I wasn't in love with the acoustic because it still felt too boring, but 'Room To Breathe' is breathtaking. Out of all of the acoustics, 'Room To Breathe' is definitely the standout one - the guitars are brilliant and Josh's vocal is completely on point. In my opinion songs like this suit his voice much more, as sometimes during their songs I feel as though he's pushing and straining his vocals but his voice sounds so much better when he relaxes into it more. 'Wild Ones' seems like a strange one to conclude the five tracks, because after 'Room To Breathe' it just falls a little bit short. Regardless of that, it's still a really good reissue and if you haven't already picked up 'Cavalier Youth' I'd recommend getting it if you like You Me At Six doing acoustic stuff. If they don't play any acoustic songs on their February arena tour with All Time Low I'm going to be extremely disappointed, so I hope they include a couple of these to shake things up a bit.

Tracklist:
Too Young To Feel This Old
Lived A Lie
Fresh Start Fever
Forgive and Forget
Room To Breathe
Win Some, Lose Some
Cold Night
Hope For The Best
Love Me Like You Used To
Be Who You Are
Carpe Diem
Wild Ones
Lived A Lie (acoustic)
Fresh Start Fever (acoustic)
Cold Night (acoustic)
Room To Breathe (acoustic)
Wild Ones (acoustic)

'Asymmetry' (Deluxe Edition) by Mallory Knox

The first thing I need to say about this album is that the design of it is absolutely superb. The front cover is a kind of shiny foil and the fold-out includes four lyrics (pictured below).

It's so unusual to see an album designed so well, and so uniquely, that it put my expectations for the quality of the music through the roof. Based off of the first three releases from this album ('QOD II', 'Ghost In The Mirror' and 'Shout At The Moon') as well as the song they debuted at Reading Festival ('The Remedy') I already knew I enjoyed some of Mallory Knox's new songs, but the album as a whole?
I don't even have the words to describe how utterly impressed I am.
Opening track 'Ghost In The Mirror' has already gathered a lot of fans in the few months since it's been released and, although I wasn't too impressed when I heard it for the first time at Slam Dunk Festival way back in May, it has most definitely grown on me. It sounds a lot like 'Lighthouse' from debut album 'Signals' which left me feeling a bit anxious in case the album wasn't a progression but was instead a repetition, but this anxiety was completely unfounded.
The standout tracks that show how much Mallory Knox have developed and improved are definitely 'Getaway' and 'She Took Him To The Lake'. 'Getaway' is absolutely beautiful, with the repetition of "tell me you're okay, cause you're dying just to tell me you're not" sure to evoke emotions amongst many fans, while 'She Took Him To The Lake' is the first song I've ever heard that is over seven minutes that has held my attention until the end. Normally I am a strong advocate for songs less than five minutes as I do have an extremely low attention span, but I cannot even describe how perfectly written and performed this song really is. One of the things that sets Mallory Knox apart from the crowd is that the backing vocals are always equally as good as main vocalist Mikey Chapman, or in some instances even better. This is one of the latter occurrences. "Tied up, she took him to the lake to watch him drown", is the best imagery that they paint throughout the album, but with Mikey singing "If it's you that makes the first mistake, then it's me that makes the last" being one of the most emotional and impassioned lines I've ever heard in a Mallory Knox song. Seeing the play time at 7:20 automatically filled me with dread, but in just one play this has become my favourite Mallory Knox song and I can imagine it being atmospheric and received perfectly well in a live environment despite the length.
Despite the fact that those two songs are my standouts, the others are all equally strong and successful. 'Dying To Survive' starts off feeling rather grungey, which is unusual for Mallory Knox, but I was disenchanted by the end of it because of the inclusion of siren sound effects in the backing track, which is just being done by everyone recently. 'Shout At The Moon' didn't impress me too much the first time I heard it because it sounded so much like the songs Mallory Knox had put out in the past, but it's grown on me and I can definitely appreciate the subtle nuances that make it one of the best songs in a pretty flawless album. 'Fire' includes Mikey Chapman showing off his vocal skills in a way he hasn't really done before and it's good to see the band growing in confidence, because they really have a talent that puts them ahead of the game for upcoming bands.
However, despite the fact that they're ahead of the game, you can definitely see the influence of their peers upon them. 'Heart and Desire' includes a "lover, lover" repetition that echoes Don Broco's 'Here's The Thing', but there are also aspects of the album that could fit perfectly on a Deaf Havana or a Lower Than Atlantis release, showing the friendships weaved in the upcoming British rock scene are not likely to be ripped apart because of higher album sales or a more popular single.
The final song on the normal album is 'Dare You', which is pretty obvious because the minute long introduction is epic and impressive in a way that never seemed to be achieved on 'Signals'. It's the perfect conclusion to an amazing album but in my opinion, if you haven't already purchased 'Asymmetry', it's worth purchasing the deluxe edition just for the final three songs. 'Piece Of My Heart' sounds like something that could have come straight off of 'Signals' and 'QOD II' has already gotten a lot of love as it was the first song that Mallory Knox released before the second album announcement news, but it's the third song, 'Glimmer' that really stands out. The song is filled with country influence meaning it's something completely different for Mallory Knox, but it's also so unique and original I don't think I've ever heard anything like this song before.
I went into this album so worried that it was just going to be 'Signals 2' but this is one of the most exciting releases of 2014 so far, and with only a few weeks to go I think it's going to be in a lot of the best album of the year lists. While the number one album spot this weekend is likely to be handed to Taylor Swift, Mallory Knox deserve it a hell of a lot more, so I hope they get a good debut spot for a brilliant album. If you can get along to see their November tour you definitely should; not for Frank Iero's UK debut tour, but because Mallory Knox are an exciting band and they're only gonna get bigger from here. If they don't headline a show at Brixton Academy next year I will be extremely surprised.

Tracklist:
Ghost In The Mirror
Getaway
Dying To Survive
Shout At The Moon
Fire
When Are We Waking Up?
She Took Him To The Lake
Heart and Desire
Lonely Hours
The Remedy
Dare You
Piece Of My Heart
Glimmer
QOD II

'Wolves' by The Blackout

In my opinion, 'The Best In Town' by The Blackout is one of the best albums of all time. If I had to choose my top five favourite albums, it would most definitely be in it and because of that I have been disappointed by their last two albums, 'Hope' and 'Start The Party'. When they announced the Kickstarter for 'Wolves' there wasn't a question in my mind that I was going to help fund it, because any new The Blackout music is better than none, even if it doesn't fit into my particular liking. 

But now, The Blackout are back.

'Wolves' is a return to form the likes of which I've been waiting for for a long time. Just under nineteen minutes, it's a tour de force showcasing a combination of their best moments across the years. It couldn't possibly be any better than it is.

Opening with the title track, 'Wolves', which was released back in September (and now has a stunning music video, which you should check out), my only complaint about this song is the effect on the vocals throughout the verses. When a band has a vocalist like Gavin Butler, no effects are needed; his voice is absolutely amazing by itself and it would be much better if he was allowed to shine. However, even with that complaint, it's still one of the best songs The Blackout have written and released in recent years. 

'Liars' is my personal favourite track on the album, as it seems the one that is most likely to be able to fit on 'The Best In Town'. Sean Smith's screaming is one of the focal points and I can imagine in a live environment this would get an amazingly good reaction. The repeated "Take me to the hospital" is reminiscent of the end of 'Higher and Higher' and the frantic repetition is one of the things The Blackout do best. 

Third up, 'Pieces', the song that sounds most like it could fit onto 'Hope'. The "woah-oh" sections also point towards working well in a live environment, but as a whole the entire EP could fit well into their setlist. With their upcoming November tour (featuring support from When We Were Wolves and Yashin) rapidly approaching, I hope that you all get tickets, as I'm sure it'll be an improvement on a setlist that was already completely amazing. You can't beat The Blackout's live performance, so if you're on the fence about going along you must do it. 

The start of 'Hold On' is like a kick in the teeth with how heavy it is and the chorus is one of the catchiest things I've heard in a few months, while finale track 'Chains' is atmospheric and beautiful in a way The Blackout have never attempted before. If you've never listened to this band before, this is the perfect gateway, as it blends all of the aspects they've ever succeeded with in the past in an absolutely genius way, while still sounding unique and original. Similarly, if you're already a fan of The Blackout and you haven't yet heard this album, that's a massive mistake. 

The only major problem with this EP is that it's so damn short! Despite the fact that it's only just been released, I'm already getting excited to see where the band go next. They've gone back to their roots, they've gone back to what they do best - it can only get better from here.

Tracklist:
Wolves
Liars
Pieces
Hold On
Chains

'Lower Than Atlantis' by Lower Than Atlantis

When Lower Than Atlantis signed to Island Records back in early 2012, everyone thought that the album that followed would be the one that changed their lives, so when 'Changing Tune' didn't go as well as expected, I don't think anyone had any ideas about where they would end up heading with their fourth album. With a tumultuous couple of years and an awful lot of uncertainty, the first single from their eponymous album, 'Here We Go', was released in June with vocalist Mike Duce ominously announcing that if things didn't go to plan with this album, it could be the end of them.

But after hearing this album, I don't think that's going to be happening. 

Quite frankly, this album is a triumph. Mike has always been accused of being a miserable bastard, but this is the most upbeat and positive Lower Than Atlantis that I think I've ever heard. 'Here We Go' is a battle cry of epic proportions, proclaiming "Come and have a go if you think you are hard enough" and challenging all of their critics to hit out at them following one of, if not the, most successful singles of the year. This sentiment is further developed on later, with a lyric in 'Criminal' stating "Is it really selling out if we just used them for their funds?". Second track 'Ain't No Friend' features a dance influence grounded in their rockier roots perfectly demonstrates the fact that this is a new Lower Than Atlantis, and a better one, than ever before. They've got the balls to stand up for themselves against critics and label bosses and the balls to make risky decisions, both of which make for a brilliant band. 

Despite the fact that I think this is probably one of the best albums of the year, there is an off moment in the shape of penultimate track 'Just What You Need'. Coupling echoey vocals with dance undertones seems uncomfortable with the juxtaposition of the chorus, which is of a much more conventional and enjoyable sound. 

But other than that, everything is absolutely magnificent. 'English Kids In America' was one of the most well-received songs at Reading Festival back in August and when a song that's only been released for a few weeks gets a sing-along of those kinds of proportions it proves that something big is coming. People have been ranting and raving about 'Emily' since its release last month and, although I don't really think it lives up to that level of hype, it really demonstrates a softer side to Mike, who admitted penning the song about his dog Rosie. Similarly, in 'Words Don't Come So Easily' the emotions are also shoved to the forefront, displaying the lyrical prowess that has resulted in Mike writing for the likes of McBusted and 5 Seconds of Summer in recent months. 

However much I hate to disagree with a man that I deeply respect, the lyric of "I'm only gonna waste your time" from 'Time' is completely incorrect. 'Lower Than Atlantis' was anything but a waste of my time. One of my most anticipated albums of 2014, I am pleased to say that I am not disappointed at all. For a band that I greatly admire but wouldn't describe myself as being a huge fan of, that has changed with this album. I am completely converted. The lyrics that Mike writes are completely flawless and, in my opinion, I think that lyrics are the most important piece of any song. 'Damn Nation' really gets you thinking, while 'Live Slow, Die Old' is much more inspiring than the YOLO message that seems to be preached by most young people in recent times. The lyric "Everyone dies, I'm gonna have fun until then" perfectly sums up this album. With the music industry starting to struggling due to the rise of illegal downloads and piracy, so many bands are packing their bags and moving on with their lives (see: Canterbury, Kids In Glass Houses, Jody Has a Hitlist), so the fact that Lower Than Atlantis have managed to fill the majority of this album with fun and positivity is impressive. Even while changing labels and nearly not making this album it shows that music is their passion and they aren't giving in any time soon, as well they shouldn't. 

Tracklist:

Here We Go 

Ain't No Friend

English Kids In America

Criminal

Words Don't Come So Easily

Emily

Stays The Same

Live Slow, Die Old

Damn Nation

Time

Just What You Need

Number One

'Lift A Sail' by Yellowcard

I have always liked Yellowcard, but I've never loved them. Seeing them live (twice!) at Warped Tour UK at Alexandra Palace last year, I thought that was beginning to change - their live show is energetic and charismatic the likes of which I haven't stumbled across very often. I have been anticipating the release of 'Lift A Sail' for quite a while now and, sadly, I'm rather disappointed. 

Starting off with 'Convocation', a beautifully haunting instrumental introduction, was both intriguing and confusing. This is not a Yellowcard that I've heard before and that theme continues throughout the majority of these thirteen tracks. I'd heard about the fact that Yellowcard had switched labels to Razor & Tie and had announced that this album was going to be less pop-punk and more rock, but I hadn't really considered the implications of that announcement. The implications being that, honestly, this doesn't sound like a Yellowcard album. 

I'm not sure if it was just me that got the feeling, but many of the songs sounded similar to Jimmy Eat World, resonating a vibe that would have fitted perfectly at home on 'Futures' or 'Clarity'. 'Transmission Home', 'Crash The Gates', 'Fragile and Dear' and 'Lift A Sail' were all songs that I had this problem with and when the majority of an album sounds like it could be coming from another band that's not a positive thing. However, despite the fact that the songs didn't sound like Yellowcard, they did all sound extremely good. 'Transmission Home' and 'Lift A Sail' were both anthemic and had a soaring atmospheric that sent chills down my spine, with 'Crash The Gates' having a "ohh, ohh, ohh" moment that will be electric in a live environment. 

Other than these exceptions, I absolutely adore the rest of the album. 'Make Me So' is the only song that really feels like it could fit on to a previous Yellowcard album and I can imagine this being the favourite song amongst the hardcore fans, but development is not always a negative thing. The inclusion of 'Fragile and Dear' with its dance undertones and the auto-tuning on vocalist Ryan Key seems like a modern choice included to show how the band are attempting to stretch their reach and try something different, but to me it just grated on my nerves. When the vocal is impressive enough without any effects they're just completely unnecessary. 

My favourite moment is a toss-up between the unexpected and absolutely brilliant collaboration of 'The Deepest Well' with Matty Mullins from Memphis May Fire and 'Madrid', which I think is one of the most beautiful songs I've heard in a long time. However, a lot of the songs on this album are very beautiful musically and lyrically, with 'One Bedroom', 'California' and 'MSK' (which has an amazing introduction by Sean Mackin, by the way) all seeming as though they wouldn't be out of place on the soundtrack of 'The Vampire Diaries', 'Pretty Little Liars' or some other teen movie-esque type show. 

As a whole, I wouldn't call the album bad, but it just doesn't seem very cohesive. The jumping between fast and slow songs gets a bit draining, but I understand why it was organised in such a way as having all of the slow songs together might have made it boring. Individually the songs are all pretty good and I would definitely recommend checking it out, but it's not the best of the nine Yellowcard albums even though some of the songs are definitely the best that they've done.

Tracklist:

Convocation

Transmission Home

Crash The Gates

Make Me So

One Bedroom

Fragile and Dear

Illuminate

Madrid

The Deepest Well ft. Matty Mullins

Lift A Sail

MSK

My Mountain

California