2019 Archive | The Uncarved Block

"Forget Everything You Know" by Alteration

Alteration, from South London, have been around for a few years now, treating us to some explosive gig experiences, and they have finally got together ten songs for their first album release: "Forget Everything You Know." Fans of metal, punk, grunge and classic rock will all find something to hook them in to this album, but what really stands out is the live feel to it. This is not a polished piece of mixing, with layers of orchestration thrown at it - no, it's down and dirty and raw.

Cat Stevenson really delivers snarling, impassioned vocals that remind me, in a way, of Billy Graziadei (from Biohazard). You can hear the frustration in her voice and this accentuates the social criticism that is evident in many of their tracks. Defiant and distinctive, the band raise questions about society, as well as their own individual gripes about life (which is especially prominent in "Why?" which is a fast-paced punk onslaught of issues that annoy the band). Cat also takes on the bass duties with some powerful riffing and dark tones, especially in "Last Day" which feels like a bass machine-gun firing into your ears, and also "Guile" where the bass drones menacingly under the clean guitar picking during the first section of the song. This is one of those tunes that begins quite mellow and relaxed - almost power-ballad in style, but soon builds up the heavy, crunching distortion and over-drive as Alexander Wrigley unleashes his guitar through a variety of different sounds. His versatility is also demonstrated in "Get Your Act Together" which has a number of great riffs, much in the style of "Never Say Die" era Black Sabbath. He also shows a more grunge-like edge in songs such as "Want It More" and "Alteration" (and how many bands, these days, have a song with the same title as the band name?) and then there are those examples of energetic, punk power-chord thrashing in "Why?" "Who Wants To Be Alone?" and "Like It Like This."

So that brings us on to Jason Brett - his drumming is full of energy without losing any precision, with plenty of double-bass-pedal thunder strikes, that mirror the bass guitar. It is a delight to hear the drums build up during "Want It More" and "Guile." Jason shows he is not all about loud and fast beats, as he adds a more progressive feel to "Last Day" which has plenty of style changes throughout the song. This track also has some dark moments, as does "54" and the unapologetic "I Shouldn't Be Doing This" which contrast to those punk vibes in the other tracks already mentioned.

So, to sum up - this is an album of frustration, passion, energy and moral conscience. It crosses genres of rock music, and the band use their instruments to accurately portray these emotions that have become so evident during their live performances. It is available on Bandcamp, for "name your price," which demonstrates Alteration are not in this for profit - they make their own style of music because that is what is within them, and that is what they need to get out; and after all it is infinitely much better than having to get therapy.

Again, I hear the words of Biohazard - "Music's for you and me, not the f@#£in' industry."

Andy

Check out the band online:

"Sugar" by Wynona Bleach

This EP reminds me of when I was young and had only just discovered music; hearing a new band for the first time that completely blew me away, instantly falling in love with their sound, my heart feeling like it would burst from my chest. Ah, the memories - well, Wynona Bleach evokes that same feeling within me, as an adult. "Sugar" is their latest release (actually from the end of 2018) but is belatedly my first introduction to their music. This Belfast band has been releasing pop-laced indie/rock since 2014, having recently changed their name from R51. Their mastery of that early 90s sound, epitomised by such bands as Lush, Curve, Voice Of The Beehive to name a few, is made more refreshing and modern, played with energy, passion and lashing guitars, like a proverbial "Sherbet Dib-Dab" - sweet yet fierce (and mightily addictive).

The first track is "Eyes Burning" that opens like a sonic assault on the emotions, demonstrating the twin guitar onslaught of Jonny Woods and Aaron Black with the glorious vocals of Melyssa Shannon. The chorus will make you want to run out into the summer rain and spin around in circles because "this is what kids do." A lull near the end of the track allows the drums (played by Matt Killen) and bass (of Carl Gilmore) to build up the tension before the song explodes back into the chorus. It ends abruptly before we are hit with a deep bass drop that leads into the stirring rhythms of "Say It Now" which are haunting and ethereal, because after all we've just made ourselves dizzy from the previous song and are now laying in the long grass, with echoes of Nik Kershaw's "Wouldn't It Be Good" ringing in our ears. By the time we reach track three, we have slowly drifted into a blissful sleep and are now deep in a "Cherrydream." A droning guitar lick accompanies Melyssa's dreamy vocals (with harmonies provided by Jonny), then the beat kicks in as we swirl through the ether. Suddenly we are hit with the heavy bass and distortion that wrenches us out of the tranquil slumber, waking us back into reality (whatever that is) just in time to bare witness to the title track: "Sugar." What a true gem this song is. It has swagger beneath that pop overcoat with an under current of funky bass and a beat to match, bringing a smile to your face as you dance, uncontrollably around the room.

The next song, "Graves" has a hard job to follow, but it kicks straight in with punch and energy, making it the heaviest and darkest track on the EP, as the night draws in. The vocals continue to impress, whilst the guitars take it in turns to dominate the relentless drumming. This is a perfect example of how a simple riff, well executed, can always be the most powerful. "Honestly I'm Fine" closes the EP as we return to the dream-scape created by the previous songs, drifting back into peaceful rest after the raucous riffs of "Graves." Subtle harmonies float over the gentle guitar, slowly expanding into a flood of well-mixed sound: acoustic rhythm guitar and a whirring lead, over precision bass lines and laid back drums. A delicate end to a fantastic EP, and if it leaves you wanting more, well look no further than their full back catalogue available on bandcamp, with more songs that are equally as beautiful and come highly recommended.

Wynona Bleach are deservedly making good headway in the difficult world of the music industry, having showcased for BBC Introducing on stage at Reading and Leeds festivals, supported Feeder, and performed on a televised anniversary of the BBC’s Introducing music show in Northern Ireland at a sold out show in the Ulster Hall. They have some great music videos to check out on Youtube, and have promised us a new album soon, in 2020 (which of course, will be reviewed here on The Uncarved Block). The future is looking much brighter with Wynona Bleach in our lives.

Andy

Wynona Bleach

Lunar Echoes

Check out the band online:

"What Goes On In Our Heads" by Lunar Echoes

This album is a sublime slice of pop/rock magic: the songs resonate with your heart-strings and tickle your soul. The band consists of Ben Taylor (guitars, backing vocals and synths), Ben Nunn (bass, backing vocals and synths), Mark Thomson (drums and synths) with Ronnie White (lead vocals and synths); Lunar Echoes skillfully blend different styles into a cocktail of beautiful songs, each distinct and intense, yet gracefully combine well on "What Goes On In Our Heads" - an album that they dedicate to those whose lives have been effected by mental health issues.

Track one is "Stockholm Syndrome" that begins strongly - the drums and bass provide a driving background to the delay-ridden guitars, before the amazing voice of Ronnie kicks in. The verse takes us into a surging chorus, where Ronnie opens up her vocals and gives us a taste of what is to come throughout the album. The middle of the song slows briefly to allow you to catch your breath, before exploding back into an effects-laden guitar solo and another chorus with extra power. Where this song may have darker over-tones, the next tune "Something That I Said" sees light breaking through the clouds across the horizon with bright-toned guitar-licks leading into a more dance-inducing rhythm. The melody is cheerful and up-lifting, and you can't help but smile at the dynamics of this song.

Track three begins to take us into the meat of the album. "Void" displays some impressive song-writing skills, as it builds up, splicing heavy dance beats with tones of almost goth-like proportions and the powerful voice of Ronnie piercing through. The backing vocals of the two Bens give it another dimension that adds fullness to the melody. As with the first two tracks, "Saving Grace" is a brighter song that follows. More wonderful guitar arpeggios and a happy-go-lucky rhythm keeps the positive mood; a seriously catchy and pretty chorus is the stand-out part of this tune.

"Lies" sits in the middle of the album, acting like the keystone; and here I must offer up a confession: I have formed an addiction to this song, particularly when the chorus kicks in. Synth effects open up to a great beat and muted guitar picking. The verse slows the song down momentarily, before Ronnie calls out "Is this what I've been calling a life? More like a cage in a fight to survive" whilst the bass builds up the anticipation into that chorus. The band show their skill at keeping you wanting more, by utilising the dynamics between verse and chorus. This is fast becoming one of my favourite songs of the year (see it for yourselves here). Track 6 is "Neon" which continues in the same vein, and is a true anthem, beautifully telling a story about belonging. This song has an accompanying video that can be seen here, as well as on our videos page.

"Strangers" showcases another style of writing - a more disco/pop style rhythm, synth dubbed bass, with clean folk/Spanish style guitar picking running through it, giving this a more "pop" vibe, which would be perfect for a late summer evening, chilling by the pool with a cocktail. This is followed by "Wild" which uses more synth sounds and beats in a song that would grace any dance floor or would even be a great aerobics workout soundtrack. In fact these final three songs are fast-paced dance songs, with "Radio Silence" concluding the album. It is driven by the bass-line, with arguably the heaviest tone of over-driven guitars on display, spiced with delay and reverb, providing a punchy full-stop to 33 minutes of quality songs.

This album has been immaculately produced (with credit going to John Metcalfe of Crooks Hall Studio, and Nigel Palmer of Lowland Masters) and showcases the soaring vocals of Ronnie, backed up by fantastic musicianship, creating unique songs that you want to listen to again and again. Memorable choruses and inspiring melodies make this one of the most accomplished albums of the year. Well done Lunar Echoes.

Andy

Kickstarter Ritual

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"Drifting By A Protostar" by Kickstarter Ritual

This is the latest offering from the well-established Italian trio Kickstarter Ritual, who are a band moulded from the clay of classic rock: massive guitar riffs and scorching solos (courtesy of Juliusz), fast-paced, energetic drumming (played by Fortu) and loud punchy bass-lines (from Gaby). Fortu also takes on the main vocals duties, with a gratifying, howling tone (similar to David Coverdale of Deep Purple and Whitesnake), whilst the other two members provide atmospheric harmonies and backing vocals.

This is a blistering four-track EP, that impressively displays their craft. Track one is called "Ulysses" that sets the pace well: beginning with the muted-tone guitar that clears to introduce the drums and bass, leading straight into catchy riffs (much in the style of Richie Blackmore of Deep Purple and Rainbow), raunchy bass runs and crashing drum patterns. This song just fills your rocking boots with all the classic elements that those 70s rock bands encapsulated. Indeed we could almost be "Space Truckin" our way past a Protostar as we power into track 2.

"Stardust" begins with another well-crafted riff, which is followed by muted chords partnering punchy bass and drums/hi-hats, that give the verse a more cutting feel, before the chorus explodes, with Fortu screaming out the title "Stardust" (emphasised by the use of the crash cymbal). The great use of vocal harmonies and plenty of low end growl in the guitar and bass make this a song that resonates in the pit of your stomach, until Juliusz breaks loose with the high-end screeching solo that shoots through your nervous system, towards the end of the song.

"Annihilate" is a little heavier, stroking the totem pole of the more classic heavy metal style of bands like Iron Maiden, whilst not losing it's rock 'n' roll roots. This track races along faster and darker, with both quiet and loud sections driven along by the great drumming, and a fantastically growling bass (that truly stands out throughout this song, particularly during the impressive guitar solo). The vocals are strong, here, too, with Fortu really hitting his stride, in this head-banger of a tune.

The final track "Breeze" takes a more rock-ballad approach, with touches of funky guitar and bass riffs in the verse, to the soaring vocals and a hummed chorus that we can all sing along to; this song is a memorable ending to a brilliant EP that pays homage to the rock classics, even down to the way it seems to have that 'analogue' feel to the recording, which betrays the modern digital world. But this is not to say that it is an anachronism - it most definitely has a freshness and passion that this experienced band displays in each song - all three members play their part in creating this big, booming sound, and this kind of teamwork is so important for the rock music community today.

Andy

Desert Clouds

Check out the band online:

"Nothing Beyond The Cage" by Desert Clouds

This band are serious song-writers. Yes, their songs have a dark broodiness that runs through the rich tones of this album but that does not mean it is a miserable album, far from it. It is a masterful collection of seven songs that are thoughtful and moody, but also deeply positive and confident. There is a defiant assertiveness to the songs, executed with such skill and tightness that demonstrates they have a sharpness that could etch their own groove into a disc made of the hardest jade!

David Land's vocals have a distinct tone, and come across as powerful as Serj Tankian (SOAD), whilst the dual guitars of David and Val Wallace both growl and scream together, with an essence mined from the depths of a deep cavern. The bass (played by Julius "Little Wing" Caesar) comes through like an undercurrent of magma, beneath the floors of the cave, whilst the drums of Andrea Orabona hack away at the walls of the mine, carving out a rift and opening up a seam of sparkling minerals, as the band continues it's search for the green gold.

“The Outcast Trail” begins the album, with a melancholic introduction, that ebbs and flows with emotion that would feel just as uncomfortable on any grunge rock album but still feels modern and fresh. Next comes the single “Speed Of Light” (check out the accompanying video here) that feels like it was forged from a meeting of experienced rock stars in the deserts of America, under the clouds of the coming night. Track three is “Take Off” that continues in that same vibe, with more powerful vocals and an arrangement that just wants to explode from within and quite literally take off. Next up is “Under Tons” that feels a little more optimistic, with it's acoustic guitar intro, and ballad-like rhythm. Track five is the Black Crowes styled rocker “Overmore” that makes you want to dance and sway into the night in a dark and smoky bar, in the middle of nowhere. “The Judgement” is another frighteningly beautiful ballad with the vocals sounding more fragile, taking a lighter tone, as we listen to the desperation of someone who has reached the end. The final track is the achingly catchy “Whistling In The Rain” which completes the album in style.

This is a truly accomplished recording, from a talented group of musicians that have crafted their style through the years. They make compelling viewing as a live act, too, so if you get the chance to see them, make the effort.

Andy

Shockpowder

Check out the band online:

Soundcloud

"The Final Thoughts Of Gaia" by Shockpowder

Picture a cauldron cooking away on the fire, with a concoction of guitar sounds swirling in the pot. The bass-lines bubble up through the mix giving it energy, whilst the spoon rattles noisily against the side of the pot, clinking rhythmically (that's the drums in this metaphor, by the way!). The vocals rise from the cauldron, like thick vapour, that swirls and mingles with the air. What we have is a magical potion, lovingly created in order to excite the senses. Well, this is what The Final Thoughts Of Gaia provides!

With surreal metaphors aside, upon first listen you would think this album had come from the era of indie shoe-gazing bands of the early 90s, such as The Jesus And Mary Chain, Ride, Curve, et al, but listen again. This album belongs to the modern day; it draws you in and makes you want to listen closer.

This album is beautiful. Firstly, the CD artwork (by Maciej Kamuda)) is evocatively autumnal, and the inner sleeve opens up to display the lyrics and moody pictures of the band in the forest - just like CD inlays used to show (ah, I reminisce!).

As for the actual songs, the album begins with "Floral" which takes us on a journey of floating arpeggios (from the guitar of Joshua Colin Scurfield), before the Louie Watson joins on the drums, and Alasdair Spence on the bass. The song is a fragrant start to the album, as it's name suggests. "Hills Under Twilight" takes the energy up a notch and we begin to hear Alasdair's bass take on an almost lead-guitar quality, whilst Joshua provides that wall of guitar sound that we most associate with the shoe-gazing bands of the 90s. We are also treated to some intricate drum patterns, as Louie infuses a jazz-like edge to the song. "Nebula" feels more anthemic with catchy riffs and a fluid bass line, over the twin-tempo drums. Joshua's vocals cut through the mix with subtle elegance, fitting perfectly to the music behind it, as demonstrated in "Love For The Sun" which is both light and then heavy (listen out for the scream-like splash cymbal used by Louie, during the chorus). "Serene" is a brighter song that could act as a "single" release from the album. The band has an accompanying video on Youtube (see it here) as well as a video of them performing it live in the studio (check that out here). "Voyage To The Moon" holds the album together as the middle song, with more of the same impressive musicianship displayed. The great song-writing continues with the catchy "Airy" that feels like it would bring a smile to your face even in the coldest of autumn days! Then we get to the heaviest track on the album, "Those Who Traversed" with power riffs and that lead bass line that works so well with these songs. "Slow" is a real nod towards the indie era, that would fit comfortably on any 90's playlist. The drumming in "Last Breath For Autumn" reaches a crescendo as we head to the end of the album, conjuring images of stormy nights, fighting through the incessant wind and rain. The last track is the grandiose "Lucid" with some seriously heavy guitar chops thrown in, which makes it a fitting finale to a well written album of quality, skill and beauty.

Andy

Free Recovery "EP"

Free Recovery are from Guildford, and are self-confessed Seattle grunge advocates. It is true that some cynical people will say their sound is stuck in the 90s, but considering there are no major bands making that style of song any more (even Pearl Jam have evolved), combined with the fact that lots of us still love it, I say good for them and long may it continue. Staying true to their love of this music is a positive thing and we should thank them for making new songs for old-school grunge fans to listen to. In all fairness they could easily have set themselves up as a cover band and played that circuit, making a living that way, but instead they have chosen to write their own songs.

So having established their credentials, I must admit that this review is a few years out of date, as the EP was released in 2015. The reason for the inclusion here is because I recently saw them play for the first time (I was immediately hooked), and they promised there is more new material to come in the very near future. So, until that time, I wanted to catch up on what I had missed, with this 6-track EP.

It begins with "Furtherman", a song which would easily take the anchor leg of the 4x400m relay race in the "Grunge Olympics" (alongside Pearl Jam’s Nothingman, Betterman and Leatherman trio) to take the gold medal. The crafting of this song nods towards classic Alice In Chains as well as Pearl Jam, with hooks, riffs and lead licks that feel well sculpted and necessary. This leads into the superbly catchy "Summer Is Dead" which has had me jumping about the place whilst singing along with the chorus. "Vintage Sky" and "Denial" take a more melodic angle, with Warrick James belting out the vocals, infused with Eddie Vedder tones; these two songs take you right back to those heady days of grunge-ballad dominance, that warmed the heart and offered momentary release from the disillusionment of youth. "Swamp Thing" returns to the heavier sound of Soundgarden with some great moments of bass and drum interaction and killer guitar solos. The final track is "Mary Rose" that has a slightly different feel to it. The vocals are more ghostly, in the background of the mix, whilst the rest of the band build up the mood as the song progresses, leaving us wanting more, like we have been dashed against the rocks, ship-wrecked and fighting for survival whilst we wait for rescue.

So, more is what we have been promised, and more is what we want. This EP is still available to buy via bandcamp, and is a fantastic introduction to Free Recovery, and the burgeoning grunge revival.

Andy

Check out the band online:

SoundCloud

Free Recovery

Nothin 2 Heavy

Check out the band online:

Bandcamp

"N2H EP" by Nothin2Heavy

RELEASED ON 31ST MAY 2019

This 3-piece from Manchester are no nonsense, loud and visceral. They are the kind of band you'd want to be mates with; the kind of band that turn up for gigs, plug in and ask “Is it loud? Good, lets do it!” Their sound varies from edgy punk to melancholic grunge (much in the style of "In Utero" era Nirvana) with added angst and drama.

Nothin2Heavy consists of Jamie on guitars and vocals, Tim on drums (and sound engineering) and Jac on bass. The band began as a bid to keep their label, CounterCult Records, going after some misfortunes, and their name came from a recurring issue where gig promoters continuously request "nothing too heavy."

This EP consists of four tracks. "Cool Kids" tackles that problem of not fitting in at school and modern popular culture. It sways from down-and-dirty grunge riffs, to loud-and-fast punk angst, showing raw emotion and disillusionment with society. This same cognitive dissonance is demonstrated in "Hate Me" that rips through your soul, as Jamie screams out the chorus with a pain that you can tell comes from experience. Facing up to that suffering is an under-lying theme of this EP and it even touches on mental health issues, none more so than in "Reject" which is a high energy, punchy power-punk track that is guaranteed to get you moshing to the growling, heavy bass sound that combines so well with the fast drumming. "Stranger Danger" has a degree of anxiety mixed in with the aggression, giving you an uncomfortable feeling that you just want to shake from you brain by dancing wildly and uncontrollably.

To sum up, the music of Nothin2Heavy is not the kind you’d sit down and listen to with the family on a quiet Sunday afternoon. No, this is the kind of music you’d play as the soundtrack to the zombie apocalypse (and god damn it you'd survive!). The EP was released on 31st May, and is available via the band's bandcamp page

Andy

Check out the band online:

"Blinded Generation" by Cyanide Sundae

Cyanide Sundae hail from Worthing, where they have gathered quite a following, as well as having air-play on BBC Introducing and Kerrang Radio, with a live performance due on Radio Sussex and Kent, in June 2019. "Blinded Generation" is their second recording, and you will be treated to 11 tracks of high energy, edgy, punk-infused grunge, (similar to the style of Therapy?) with the bassist Andre Andrews cleverly using a mix of effects that work well behind the fierce, tonal guitar of Paul Fielder. Paul also takes the vocal duties, with a confidence that sounds effortless. Kev Terry skillfully completes the line-up on drums and backing vocals.

The album begins like a fast paced car race, screeching away from the lights with "Can't Run Can't Hide" which demonstrates the great use of bass effects to punch through the driving guitar sound. This style continues into "What Can I Do?" with catchy riffs and a pounding drum beat. By the time we hit track three, called "Cycle By Design," it feels like the squealing tyres of our race car have warmed up to temperature, and are now laying down the rubber on the tarmac. This is a slightly darker song, with a little heavy-metal thrown in to keep you interested, before we are hit with the screaming guitar of the grunge-rock anthem that is "Let Me Out Of Here." "Dead End Desire" returns to the energetic punk riffs and power chords and that continues seamlessly into the anthemic "Born Ready" - a song that really gets the crowds going. Now we hit the mid-race pit-stop with "Under This Disguise" that slows the pace down for a brief moment, before screeching away once more, to rejoin the race. This song has a more progressive feel, that is mirrored in the lyrics, that call for more transparency and truth in this society of a blinded generation. Track 8 is the heaviest on the album, simply titled "Bleed" (and also featuring James Dawson from Bleed Again), with plenty of overdrive and screaming vocals. "The Rebound" is bass and drum heavy with a memorable chorus that'll get you singing along as you cross the finish line in first place, punching the air in celebration. The final track ("Better Now") has an almost power-ballad feel to it, that gives you the feeling that you are driving home after a long days racing, with the trophy resting on the back seat, the smell of oil and burning rubber now just a sweet memory. And as if those ten tracks weren't enough, we are treated to a bonus track: "The Hatch"

"Blinded Generation" is an accomplished album, by talented and creative musicians. It's energetic and punky, with elements of grunge, metal and even power-ballads thrown in to good effect, providing enough anthems to keep you singing along at the top of your voice.

Andy

Cyanide Sundae

"Sub-Urban" by Electric Retro Spectrum

I was lucky enough to see French band, Electric Retro Spectrum play live at The New Cross Inn, London, (during their 4 day visit to the UK in March) and was blown away by the awesome energy and sound created by this three piece. And I was not alone in that opinion, as it is rare to see the other supporting bands queue up to buy a CD and other merchandise! In fact, next morning I downloaded their entire back catalogue from Bandcamp.

This is that CD – the EP entitled “Sub -Urban.” The trio consists of Tara Clamart (guitar and vocals), Marko Simic (guitar and vocals) and Pierre Dessauny (drums), and their sound is reminiscent of that particular energy of Boss Hog, early Pixies and Sonic Youth, with a little of the Cramps mixed in. Tara takes her 6 string and makes it sound more like a bass guitar, using a combination of effects and amp choice; Marko jumps around the stage with wild abandon,whilst always in control of his pedal effects. This EP was recorded within 5 days, in a kitchen in Paris, with Pierre utilising his skills as a sound engineer to manufacture a fierce but controlled sound.

The EP begins with “Frontline” which erupts from the speakers like a sonic crusade that will not let go, insisting you listen to the message of youth empowerment, fighting for truth and the end to gun violence. "To Make You Mine" throws in elements of dark grunge into the whirlwind of sound and feedback, before "Seasons" takes the tempo down slightly, with a more grinding feel and blues edginess. "New World Order" begins like the calm before the storm, with a more relaxed guitar that leads into heavy riffs and sonic psychedelia, kept moving by the foot-tappingly catchy drum beat. The last track is "Plane" where the experimental sounds and effects really shine through, tying it all together perfectly as the longest track on the EP.

As I mentioned at the start, this band is a phenomenal live act, and a true workhorse. With the help of their Independent label Stolen Body Records, they have managed to tour some dates in the USA and UK as well as relentlessly gigging in their home country. They have honed their live sound and stage presence and have worked to translate that into their recordings. Truly awesome.

Andy

Check out the band online:

Electric Retro Spetrum

"Silent Snare" by Silent Snare

Silent Snare hail from Ghent, in Belgium, and this is their second recorded offering. Their sound can only be described as epic, with a range of powerful effects which give the songs a fullness that echoes from the speakers. Their musicianship is well formed and confident, with hints of Black Sabbath oozing through the reverb and distortion.

Vocalist Lucas De Corte can really belt out the songs, and is not afraid of the guttural scream, with the use of reverb giving a haunting tone to his voice, whilst his guitar sound surges through the tracks, merging seamlessly with Tim Eeckhout's flawless melodies and lead work on the other guitar. The bass lines of Ramses De Ruyck add a massive boom to the songs that accompanies the heavy drums of Sam Goekint, which, when all put together shows a skill and confidence from this young band.

The first track, "Perished In Perihelion" begins as a mellow psychedlic blues number, with atmospheric spoken lyrics, before rolling itself into a taste of the heavy riffs that are yet to come. Track 2, "Yawmuddin" continues in the same vein, also getting progressively heavier, before we explode into the amusingly-titled "Vegetarians Are Biodegradable." Here we begin to hear the kind of riffs that "Obi Wan" Iommi himself would be proud of, and the songs move whole-heartedly into this vein of heavy Psych-rock. The tempo speeds up slightly for the fourth song "Feeding The Oceans" which borrows some aspects of heavy metal to create a truly grand rock song, where those screaming vocals begin to expose why the band chose such an apocalyptic cover to the album! Then we hit "Hold Your Mammoths" which begins like a true head-banger! This a song to get the audience moving, with interludes of delay-soaked melodies and almost disco-like drums, before throwing you back into the mosh-pit! This acts as a perfect slide into the final song "Armagheaddon." After a false start, this track further stamps authority on their sound. Arguably the catchiest song on the album, there are lead riffs, booming bass runs and commanding drumming that ends the album in style.

In fact, my only complaint is that this album is too short, at only 34 minutes long. But have no fear, as the "Darken EP" is also available to buy, which, although released in 2015, gives another 4 songs to fill that void. With Silent Snare we can see that the last few years have been spent mastering their instruments, and particularly their effects, producing an album of vast depth and feeling. If you ever get a chance to see them live, I advise you do not hesitate - this sounds is more than replicated on stage, and fills the room so much you can almost see the music in the air!

Andy

Check out the band online:

Silent Snare

"Thicker Skin EP" by Concrete Bones

Concrete Bones are four girls with grunge attitude, encapsulating the essence of bands like Veruca Salt and Elastica. There is Maya on vocals, Sally-Anne on guitars and backing vocals (and she also covers the bass duties on this recording), Grace on the drums and Jeannie on guitar. The band first got together at "Women Rock, London" in May 2017 and began writing songs immediately. This is their debut EP, which was financed by a Kickstarter crowd-funding campaign in 2018 and released in August of that year. So, to celebrate the one year anniversary (and pre-empt the release of their new single coming out in September), we felt compelled to review it for The Uncarved Block.

The opening track is the title song “Thicker Skin” which starts meaningfully heavy; the power-chord riffs and thumping drums lay the background for Maya's passionate vocals, as they build up to the chorus. A breathless moment of silence leads into the echoing lines: “feeling everything.... heart still beating” which is then answered by the beating drums before powering it's way back into the verse. This song grinds majestically through just over 5 minutes of attitude-drenched grunge with a message of breaking boundaries and standing strong against adversity.

“Cinema” is described by the band as their love song, and it begins softly, with the growling rhythm guitar, laced with flange effects, giving a wall of sound that is penetrated by the Joey Santiago (Pixies) style licks of Jeannie's guitar, piercing over the top, slow and deliberate. The song builds up, getting more intense, as Sally-Anne sings the backing vocals like a Siren calling out to passing ships, while Maya enchants the stricken sailors: "'Cos you give it all, just to tear it apart."

The final track on the EP is “Miss Liberty” which begins with Grace's thunder on the drums, laying the foundations of this song about life in the dirty city. The twin guitars of Sally-Anne and Jeannie subtly entwine intricate licks with distorted power-chords, perfectly setting the scene for Maya's vocals to paint a picture of dusty, smoky streets and disillusionment with this fast-paced life that we are forced to endure. After the chorus the guitars and drums come back at you, like a rattling train cutting through the hot, busy streets, carrying you home after a long day's work, while the sun sets between the tall sky-scrapers that cast shadows across the concrete jungle we call home.

The songs on this EP are atmospheric and powerful; and if this is the product of just a few months writing and recording, it fills us with anticipation as to what Concrete Bones will produce next. Having heard the next single during a recent live show, I can guarantee they will not disappoint us. Keep an eye out for the September release of "Millennial" and take yourself along to one of their gigs, to catch the live feel of this band in action. Expect more greatness from this band in the future.

Andy

Check out the band online:

Concrete Bones

Imaginary Dreamers

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Bandcamp