Album per day: Day 16

Artist: Beartooth
Album: Disgusting
Released: 2014

If you remember Attack Attack!, well done. Well they're now defunct and Caleb Shomo is now fronting Beartooth, a Ohio band that mix punk and metal to create a sound of grizzly proportions. Having just opened the Kerrang! Tour around the UK, big things are said to be on the horizon for these guys, so I thought I'd see if their bite really is as strong as their name suggests.
Starting off with The Lines, with screams of ferocity and downtuned sludge riffs aplenty, there is a catchy chorus that culminates in a bone-breaking ending. Whilst Body Bag is the name of a song on this LP, it seems fitting as that is exactly what you may end up leaving a Beartooth concert in should you touch the mosh pit. I find myself drawn to the introductory vocal hook from In Between when noticing its familiarity to Sweetness by Jimmy Eat World, and then the chorus just screams A Day To Remember, so amidst all of the modern punk/metal tendencies, there is a pop sensibility that will strike a chord with a wider audience. The guitar lines shine in Relapsing, with a chorus that channels Sacramento metallers Deftones.
So far there isn't much on this album that makes it easy for me to distinguish Beartooth from a lot of American bands plying their trade at the moment on the Warped Tour circuit. I haven't tracked down that distinguishable quality yet.
I have a problem... but enough about me, I Have a Problem is a powerhouse of a tune. It's the loser anthem to end all loser anthems, and Shomo delivers the message as loud as he possibly can. Keep Your American Dream is your typical 4/4 "fight the power" song, and Shomo sounds more like Jeremy McKinnon with every passing word. The extremity of Beartooth's sound is there for all to hear on Dead, a fast blast of blood and sweat. The emotion is there in Shomo's opening lines of closer Sick And Disgusting; "I just wanna feel loved!",  he screams. Its self-loathing nature, coupled with Shomo's alternative vocal style, may just be the birthmark of this band that I was searching for: the feature that makes them different from everyone else. The song is driven with such strong feelings that it sounds like Shomo is crying by the end of the song, and not just crocodile tears either.
Just like Neck Deep's album that I reviewed a few days ago, this is a debut that builds a ship for an army of young fans to get on board with. No doubt they will be on the festival circuit for the next couple of years at least, so check out their live credentials and experience this album in its full power. They're the sort of band that Kerrang! will be hyping up all up until their second album, and then the focus will either double in euphoria, or crash and burn. Honestly, there are bands who do what Beartooth do, but do it better, but that didn't stop me from liking this album. As a new band, they have to hang onto what makes them unique, and accentuate those qualities. Only then will they reach bigger heights.

Rating: 7/10
Recommended songs: I Have a Problem, Sick And Disgusting

Album per day: Day 15

Artist: Pavement
Album: Crooked Rain, Crooked Rain
Released: 1994

Who would've thought that at a moment in time, alternative rock was one at the forefront of the music world? Bands like Smashing Pumpkins and Pearl Jam reigned supreme, and similar bands were making a ruckus around the world. One of those bands was the now defunct Pavement, an American rock band who hold a somewhat cult status nowadays for leading the line of the underground indie rock movement. Their album Crooked Rain, Crooked Rain was said to define the nineties, and for a decade which has given us so many brilliant artists, I decided I wanted to see what all the fuss was about.
Silence Kit and Elevate Me Later have nineties rock written all over them, churning out distortion and melodic backing vocals all the same. It's very Pablo Honey (early Radiohead). Cut Your Hair was a moderate commercial success when released as a single, and you can see why it was chosen for release: the backing vocals designed to hook the listener and make sure they have it in their head for the foreseeable future. There was clearly a template style in alternative rock music back then, because I hear traces of Weezer and even The Dandy Warhols in here, meaning this must have had an influence on these groups, although Weezer released their debut album around the same time, which I already reviewed, so check that out! I loved the nineties, and would happily live in it as a teenager if this is what was considered to be the scene to be in.
Unfair is a balls-to-the-wall rocker, adding guitar effects to an already comprehensive wall of noise, and vocalist Stephen Malkmus leads the song to its end with his tormented wailing. Gold Soundz has a more positive vibe about it, making Malkmus sound like the polar opposite of messrs Corgan and Yorke. But whilst the music is upbeat and infectious, the lyrics are self-loathing and hard to grasp. Onto 5-4=Unity, and I feel like I've just entered a jazz club in New Orleans. This short instrumental piece puts pianos and the bass guitar in focus, and suddenly a cigarette has appeared in my mouth, and my fedora is firmly tipped (m'lady). The pop melodies of Range Life call to mind the post-Britpop of Travis, but with more aggro, and Heaven Is A Truck applies the wah-wah pedal in such a carefree, but soothing manner. Closing song Fillmore Jive is the magnum opus of the album if you can call it that, exceeding six minutes without following a typical song structure, and it brings Crooked Rain, Crooked Rain to an epic and noisy close.
The critical acclaim that this album received is easy to understand. It's a record many can put on from start to finish and not skip one song, simply because it's all killer, no filler. This doesn't mean all of the songs are brilliant, but each song has at least one quality about it that makes it distinctive and special. These Californian boys are now grown men, and I'm sure I wouldn't be alone in approving their reunion. Maybe they could show these modern indie bands a thing or two about emotion and talent.

Rating: 8.5/10
Recommended tracks: Cut Your Hair, Unfair, Gold Soundz, Fillmore Jam

Album per day: Day 14

Artist: Neck Deep

Album: Wishful Thinking

Released: 2014

Pop punk has nary been touched upon over in our fair country. When we celebrate said genre, we focus on the American heavyweights such as Blink-182, Green Day, New Found Glory and The Offspring, and other upcoming acts from the USA such as A Day To Remember. With all that, it's refreshing that with all of the cries of "pop punk will never die!", Neck Deep are proof that the industry is still spouting bands that fall into this genre.

Opening song Losing Teeth breaks you in nicely with tasty riffs that bring that sweet air of summer around, and Staircase Wit allows frontman Ben Barlow to let his guitarists shine for a minute with some heavy power chord work. Barlow can be a little guilty of overdoing his vocals, and I'm hoping later in the record that the instrumentalists can take centre stage with some big breakdowns or solos. Meanwhile, Damsel In Distress mixes it up with more intricate guitar work, and Zoltar Speaks is the circle pit song of the album: pure unadulterated punk energy.

Picking up from where Zoltar Speaks left off, Growing Pains is a bit more anthemic with its relatable lyrics about your typical heartbreak, but delivered with ferocious pace and a tight groove. Mileage, for some reason, calls to mind the sort of stuff that Simple Plan would release if they were a bit more daring. There is a slight frustration though as the song ends, as I find myself wondering how much more they could have added if they included more instrumental moments. Sweet Nothings shines brightly amongst a group that hasn't really disappointed me (much), but it's easily the most infectious song on the album, showcasing how much talents these boys possess. The soaring melodies of Blank Pages make for pleasant listening, and then BAM! You're crushed under the pummelling rhythms and angry lyrics once again. Final track Candour is definitely an anomaly, but it's beautiful all the same. It shows these guys can rally an army, but they can also weather a storm. Easily the best song on the album.

Another album I've enjoyed, and another strong major debut effort. Despite the insistence from Ben Barlow to sing like an American, and opportunities missed by not allowing the musicians to showcase their obvious talents a bit more, Wishful Thinking is a strong record; not the finished article, but strong. If you're a fan of A Day To Remember's more pop punk over metalcore moments, then this may be the new band for you. I look forward to seeing how far these boys go in an industry that is starting to welcome pop punk back with open arms, but I would also be interested in seeing how far they go across the pond. Can British pop punk invade the USA? I certainly hope so.

Rating: 7.5/10

Recommended tracks: Sweet Nothings, Candour 

Album per day: Day 13

Artist: Catfish and the Bottlemen
Album: The Balcony
Released: 2014

It's refreshing when acts placed in the indie bracket come out with new and innovative ideas. One of the newest bands looking to achieve that are Catfish and the Bottlemen, hailing from Llandudno, Wales. Judging from the suggestive album cover alone on their debut record The Balcony, I would expect something a little edgier than what previous listens have suggested, but here we go.
Opening track Homesick is no statement of intent, but it is colourful and bright, following a quiet-loud formula. Fellow singles Kathleen and Cocoon are both straight up catchy indie bangers, with Cocoon especially cranking things up a notch with guitar solos and a huge chorus. You can already see the inevitable image of 17 year old girls on their male friend's shoulders at Reading and Leeds Festival, and the guy thinks he has a shot but the girl is too captivated by lead singer Van McCann's flowing locks. It's by the time that Fallout kicks in that the resemblance to the music of The Kooks is more than apparent, in both music and vocal style. I quite like The Kooks, so I don't find myself disliking what I'm hearing, but I can get critical when similarities are more than apparent, or verging on just directly ripping off. There are also flashes of indie stalwarts The Libertines and The Courteeners, and even some early Arctic Monkeys scattered around.
Business sounds like exactly the sort of staple track I'd found played every Saturday night at my old Wolverhampton haunt, Blast Off. The last minute of Rango raises the song to great heights that it failed to hit in the previous two minutes. Sidewinder is the probably the best song on the album, simply because of the lead guitar work distinguishing it from about eight of the other tracks, and closing track Tyrants is again awash with lead guitar melodies that sound like they've come out of Johnny Marr's scrapbook.
The band's debut album, as anticipated, wasn't perfect. There's nothing new to get too excited about, but what there is is an enjoyable record if you're in the right age bracket. The quartet though, sound a bit dated for me. Comparing them to those aforementioned bands would only seek to support my claim. The death of this genre clearly hasn't reached northern Wales, because if this album had been released about ten years previously, then these guys would be riding on the crest of a wave. Sadly though, the world has moved on, and it may be time for them to move on and show some more inventiveness on album number two in an attempt to remain unforgotten. Lyrics about teenage angst and living life in the middle of nowhere will only get you so far, boys.

Rating: 6/10
Recommended songs: Cocoon, Sidewinder

Album per day: Day 12

Artist: Lightning Bolt
Album: Ride The Skies
Released: 2001

As a fan of Royal Blood, I've read a lot of opinionated views on them. Many of those who tend to find them boring or lacking innovation end up pointing readers in the direction of Lightning Bolt as a worthy of example of how being a two-piece shouldn't limit your sound. This band, composed of drummer/vocalist Brian Chippendale and bassist Brian Gibson, hail from Providence, Rhode Island and have influenced more bands than you think.
Kicking off with first track Forcefield, a four minute instrumental whirlwind of noise, it appears that listeners who are more accustomed to the authentic and refined sounds of Royal Blood might be taken aback by what is happening. There is some Muse-esque guitar wankery that is being played through the bass guitar, but there is so much going on that I am struggling to put into words what is going on. Let's just say that Lightning Bolt fit the genre "noise rock" considerably well. 13 Monsters at least incorporates some vocals, albeit extremely distorted ones, and whilst I am a fan of vocal distortion when used properly, it still isn't distinguishable. Ride The Sky is built around an odd time scale and progressively gets weirder with every bass riff. This band were definitely not meant for the mainstream.
The Faire Folk grabs my interests for its speedy and skilled bass playing, but it ends up sounding boring and repetitive. With some questionable wailing happening in the background, it is a shame that more wasn't done with the six minutes that this song had to offer. Wee One's Parade begins with what sounds like a back and forth between Kenny from South Park talking into a megaphone, and Sooty talking through a cheap microphone. Then thankfully, we get a little more going on with some heavy bass and interesting drum fills. I'm also pretty sure there are some vocals in there somewhere. Rotator finishes things off in heavy fashion, incorporating what sounds like synths from a retro Space Invaders game. The only way to describe this album is fast and furious.
I was very much looking forward to giving this album a listen, but I've ended up feeling let down. For an album that has so many elements in which it influences Muse, I don't seem to be connecting with it. This album is definitely something I can't air guitar to, or even air drum to. There is no doubt that beneath all of this noise, there is a band who amass wonderful talents on their instruments, but it did nothing for me due to a distinct lack of melody, structure and memorable moments.  I can credit Brian Gibson for his incredible skills on the bass guitar; he knows all the tricks and makes it sound like five instruments at once. I remember when I first heard Slipknot, I wondered what the fuck I was listening to, but now I bloody love them. Granted I was 13 when I first heard Slipknot, so sadly I may not get on board with Lightning Bolt right now at the age of 22, but in order to solidify my opinion I will have to check out a few more of their songs before fully dismissing them. Kudos to them for making even more of a racket than Royal Blood though with just two people.

Rating: 4/10
Recommended song: Forcefield

Album per day: Day 11

Artist: Drenge
Album: Drenge
Released: 2013

Drenge have long been one of those bands that people have recommended to me, but in my lazy, uninspired state, I continue to fall back into the welcoming arms of my favourite bands. I managed to catch a tiny portion of them at Leeds Festival, but ended up being sidetracked by whatever band I had planned to see prior to that. From what I know, they're a two-piece band of brothers who are desperate to revitalise grunge, but they bring along a touring bassist for the ride as well to add to their noise. You may think a bass guitar isn't as vital to the sound of a band, but let me tell you, it contributes more than you think. Hold on, I'm tipsy when writing this, so bare with me...
The first two tracks on this record encompass around four minutes of this debut album, and as catchy as they are, they're nothing to shout about, and I find myself hoping there will be more impressive moments around the corner. I Want To Break You In Half begins with a filthy guitar line carried on through the verses along with the angsty lyrics from Eoin Loveless that you wouldn't expect from any other duo act out there, and when the song explodes into its outro, you find yourself wishing it wasn't the end. Bloodsports, one of the better known tracks, kicks things up another gear with more complex guitar work and aggressive drumming, and at this point is just about the highlight. There's something quintessentially British about these boys, and yes, even though they are British, it wouldn't have taken a genius to work it out. The lyrics of Loveless are filled with anger and discern, and are delivered with the kind of accent that would make Alex Turner sound like he was from Jamaica.
Backwaters picks up from where Bloodsports left off, and the guitar keeps getting louder and weirder. These guys know how to tick the boxes with me, it seems. Gun Crazy recalls early Feeder with its fuzzy guitar tone, and delivers rolling punches to the eardrums with pulsating drum work from Rory Loveless - there is a real QOTSA feel to this track. Having pleasured myself so far with the brand of rock n'roll that Drenge are delivering, I defy anyone to put them in the category of "indie"; they just fucking aren't, so don't categorise them with The Libertines or The View.
I find myself humoured at Drenge's attempt to pay tribute to Muddy Waters' hit I Just Want To Make Love To You through it's antithesis I Don't Want To Make Love To You, which is a nice touch, but I thought may have fit as more of a B-side. Bye Bye Bao Bao takes up about half of it's running time with gruelling, yet delectable feedback, but then you realise it is more of an interlude to segue into what follows.
What does follow is Let's Pretend, an eight minute developing thunderstorm which calls to mind the melodic intensity that Radiohead used to treat us to. Violent screams kick in halfway through and then suddenly, the pace slows down in an attempt to rebuild what has been built. The raw element and cheap-sounding guitar pedals make the record sound less tampered with, and this less refined sound even manages to make something like Let's Pretend not sound dull. Onto Fuckabout, which I thought was Pixies at the time, and is the closest that Drenge get to a lighters-out anthem. It's a curveball of a track to finish the record on, but definitely one of the best.
There will be a new Drenge album this year, and if their lifestyle of relentless touring and a wider experience in the music industry gives them a more cohesive sound, I think they will vastly increase their fanbase, but they have certainly won my attention. In a world of infamous rock duos such as The White Stripes, The Black Keys, Royal Blood and Death From Above 1979, Drenge stick out like a sore thumb, and I think this is because there is true hate in this record, and I believe every word that Eoin Loveless sings. The instrumentation may not be groundbreaking, but there is a passion in here that is missing from some of the aforementioned acts.

Rating: 8/10
Recommended songs: Bloodsports, Gun Crazy, Fuckabout

Album per day: Day 10

Artist: Weezer
Album: Weezer (The Blue Album)
Released: 1994

In a time where the embers of grunge were dying out, along with the sad demise of Kurt Cobain, Californian quartet Weezer were conjuring up something a lot more left-field. They've come to be known as the stalwarts of emo music, even though they were hardly self-loathing. They come across as a more nerdy, college rock band, and along the way they have amassed a fanbase of relatable clever clogs. Vocalist Rivers Cuomo is a Harvard graduate, don't you know? He's a "loser" like you.
My Name Is Jonas gets things underway, and is a strong opening track for a debut album. The riffs are heavy without being too brutal for the listeners. It's this kind of pop sensibility that brings in fans of Weezer from a load of different subcultures. No One Else continues this trend, incorporating pop punk influences with its thrashing power chords, sounding a little like The Offspring. Most rock fans know Buddy Holly (the song, as well as the young and tragically lost pioneer of rock n'roll), and if you've heard it or seen the video set in the cafe from Happy Days, you already know it's a big tune, stretching out into a set of more obscure guitar sounds. Undone - The Sweater Song is supposedly the song that Rivers Cuomo is most proud of, and it's easy to see why. It has a more melodic feel to it than the previous songs on The Blue Album, ending up in a lovely mess of shredding and feedback.
Just like Buddy Holly, Say It Ain't So is another huge single from the record, with some of my favourite guitar performances in it; no matter how simple it is to play, it just sounds killer. The chorus is huge too, the kind that festival crowds would be singing along to nowadays rather than Radioactive or Pompeii. Holiday is the closest thing this album has to filler, but even so, it's not one I'd be skipping over, and halfway through briefly changes from a rock song to something resembling a barbershop group. Closing number Only In Dreams is built around another beautiful melody, incorporating the quiet-loud-quiet-loud method. It's eight minutes of alternative rock genius, which amalgamates pretty much every impressive characteristic of the rest of the songs on this album, therefore creating a fully evolved track. This is Weezer's "final form". And just like that, the album ends, and I find myself wanting a lot more, which is one of very few things I can find myself moaning about with The Blue Album.
I seriously love this album. These guys are incredibly talented, and they don't settle for that three chord bullshit. The power pop they deliver is built around odd time frames and fantastic harmonisation. Weezer made guitar solos cooler, even though you wouldn't usually put the words "Weezer" and "cool" together, but maybe they were so uncool that they were cool. In more recent times, they've never quite reached the level of fame they once had in the 90's, but their ninth album Everything Will Be Alright In The End has received strong praise, so could we be seeing an old school emo revival? Maybe they can show Vampire Weekend what college rock really is.

Rating: 9/10
Recommended songs: My Name Is Jonas, Undone - The Sweater Song, Say It Ain't So, Only In Dreams