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No.124 JULY 2009

“ W e ’r e p u t t i n g t h e ‘h o ’ b a c k i n ‘s h o w b u s i n e s s ’, ” ES MAIN FEAT38URBILLY TALENT

One of Billy Talent can shit on demand, but which one is it? There’s only one way to find out…

St ix Za d in ia


Drugs, sex, booze, drugs, sex, booze, drugs, sex, booze – we think you get the idea...

54 THE GASLIGHT ANTHEM 68 YOU ME AT SIX Brian Fallon and co reveal all about their struggle with life in the spotlight…


Fresh from a nationwide university tour, The King Blues discuss Lady Gaga, protests and students…

© Nigel Crane


Frontman Mitch Lucker opens up to ROCK SOUND about his troubled childhood and life on the road with Disturbed…

Currently holed-up together and working on their second album, ROCK SOUND visits pop-punk’s finest at home…

74 ALEXISONFIRE With a new album and a new label, we find out what’s in store for Alexisonfire and chat Deep Purple… [3]




08 96 54





Okay, it’s official. How can I tell that it’s official? Easy. When your skin literally starts peeling from your body and you’re drowning in your own sweat, that’s how you know it’s officially summer time in the Rock Sound office. Yes, we’ve reached that time of the year when putting the magazine together becomes a truly arduous task. It looks like we’re in for a long, hot summer and that’s got to be good news for the festival season ahead. No doubt, many of you are burnt raw from Download festival and the aloe vera is close at hand, but there’s still plenty of hot rockin’ action to come – including the Rock Sound stage at GuilFest where we’ve lined-up You Me At Six, Hundred Reasons and The King Blues to headline this year’s event. There’s a fantastic supporting cast in tow with the likes of The Ghost Of A Thousand, Kylesa, Attack! Attack! and Hexes too. Make sure you don’t miss out, it’s going to be a blinder. Speaking of festivals, this month’s cover stars are playing at pretty much every one of them this summer, including a slot with The Boss himself in London’s Hyde Park. If there’s one band you definitely need to see it’s The Gaslight Anthem, so make sure you catch them at whichever outdoor gigfest you attend. Right, back to baking…

HULA out gs T ' do

Darren Taylor, Editor

6 -7 RSVP Got something to say? Get that shit off your chest…


Who’s making a racket in the world of rock? The latest from Paramore, Poison The Well, Kylesa and Pink Punk, as well as the latest studio reports from Frank Turner and Johnny Foreigner. Also this month: your chance to win tickets to Sonisphere or Bloodstock.

25-36 EXPOSURE Bringing you the best new music first. FACT. No really, FACT (the band), plus BrokeNCYDE, People In Planes, Crazy Arm, The Gay Blades, Viva Machine and more.

80-95 REVIEWS ROCK SOUND reviews and rates all the best new music, films, DVDs, games and books. Featuring Enter Shikari, Rancid, Killswitch Engage, The Mars Volta, Suicide Silence and more, while New Found Glory tackle the singles.

96-111 LIVES The hottest gigs from around the world reviewed, including Gallows, The Great Escape, ATP Vs The Fans, Placebo, The Cumshots and more. Plus, we bring you access-all-areas to the hottest upcoming gigs with features on The Red Chord, Supersonic festival and Failsafe.



And what Superhero they'd be… Rock Sound, Unit 22, Jack’s Place, 6 Corbet Place, Spitalfields, London, E1 6NN Tel: + 44 (0)20 7877 8770 Fax: + 44 (0)20 7377 0455 e-mail: EDITOR: Darren Taylor (Northstar) DEPUTY EDITOR: Darren Sadler (Tuck The Turtle) REVIEWS EDITOR: Darren Taylor SUB EDITOR: Jen Walker (SuperTed) EDITORIAL ASSISTANT / STAFF WRITER: Faye Lewis (Burnt Face Man) GAMES EDITOR: David Jenkins (Batman) FILMS EDITOR: Rachel Kellehar (Rogue) DESIGN: Alistair Cook (Hellboy) ONLINE EDITOR: Andy Kelham (Neo) WEB DEVELOPER: Sonic Network ROCK SOUND SLAVES: Tarik Algin, Trevor Baker, Duncan Bryceland, Jim Burt, Richard Cartey, Helen Catchpowle, Richard Childs, Alex Deller, Mike Diver, James Dominic, Robyn Doreian, Victoria Durham, Lewis Fraser, Neil Gardner, Noel F Gardner, Eleanor Goodman, Shane Harrison, Mike Haydock, Chris Hidden, Darren Johns, Emily Kearns, Rachel Kellehar, Mike Kemp, Adam F Kennedy, Ronnie Kerswell, Jonathan Long, Amy Mcgill, James Mclaren, Joe Marshall, Ken McGrath, Iain Moffat, Dan Morgan, Giles Moorhouse, Tim Newbound, Paul Raggity, Oli Robertson, Mike Watt, Plum Woodard, Ben Yates. HAPPY SNAPPERS: Tom Barnes, Duncan Bryceland, Nigel Crane, Steve Gerrard, Kate Hoggett, Zen Inoya, Mark Latham, Mei Lewis, Danny North, Owen Richards,

Graham Smith, Andy Stubbs, Joe Watson, Gary Wolstenholme. US & CANADA CORRESPONDENTS: J Bennett, Nick Green, Chantal Hennessey, Hardeep Phull, Kevin Stewart-Panko, Corey Taylor (8), Robin Laananen (photos), Chris Mottalini (photos) SPECIAL THANKS: Ash Balachandran, the bloody Sun! Steel Panther for the entertainment... ADVERTISING MANAGER: Lianne Sparkes (Black Cat) Tel: 0207 877 8776 EVENTS COORDINATOR: Chloe Brown (Storm) PUBLISHER: Patrick Napier (Banana Man) Tel: 0207 877 8779 Newstrade distribution by Marketforce. If you have any trouble getting hold of Rock Sound in the shops please call: 020 3148 3333. Subscription rates are as follows: UK £34.97, Europe £46.00, US/Canada £46.00, Rest of world £66.00. To subscribe or if you have a problem with your subscription please call: 0844 249 0217 or email: Rock Sound cannot (and will not) accept responsibility for any unsolicited manuscripts and photographs or for material lost or damaged in the post. All material remains the copyright of Rock Sound Ltd. No part of Rock Sound may be reproduced in whole or part without the prior permission of the publisher (and that includes scanning and uploading it to the net, kids!). Or our lawyers will be round (and they’re very scary!). ABC Member of The Audit Bureau Of Circulation July-Dec 2008: Average net circulation 20,011 ISSN: 1465-0185 COVER PHOTO: Nigel Crane Printed in the UK by St Ives (Roche) Published by Rock Sound Ltd – a 100 per cent independent operation. Text printed on 100 per cent post consumer recylced waste.





nd u o s k c o r . w ww


After a tough few years touring ‘Riot!’, Paramore are finally on better terms and working on their next record. ROCK SOUND spoke to frontgal Hayley to find out what went on…

MOVIE MAKERS ETID and Fall Out Boy to star in movie together very Time I Die frontman Keith Buckley is planning on working with Fall Out Boy’s Pete Wentz and Patrick Stump on a feature film! The frontman told Rock Sound he’s been busy working on the script for his debut flick. “I’ve been talking to Pete Wentz and Patrick Stump from Fall Out Boy about doing a movie,” Buckley explained. “Pete came to me first about writing a movie together, I gave him my idea and we started going back and forth on it. Patrick then said he wants to direct it. I’m really excited about that.” According to Buckley the film is a cross between It’s A Wonderful Life and Being John Malkovich, and currently the script is two pages long. Wentz commented: “The idea is insane, it’s ridiculous. I actually have no idea how he is going to pull it off.” In other ETID-related news, Buckley said the five-piece will not be making any traditional music videos to support their new album and Epitaph debut ‘New Junk Aesthetic’. “I really don’t think there is a point to doing videos anymore, unless you’re Justin Timberlake then TV will not play your video anyway. I think we’re going to do a bunch of shit and put it on the internet for free instead. I want to try and do something around really bad homemade videos, the audio will be great but the footage will be recorded on my parents’ old camera and nothing else. I think kids will love it.” /




Paramore overcome difficulties for album three

aramore frontgal Hayley Williams has told Rock Sound how the pop sensations almost didn’t make it onto album number three. Since the release of ‘Riot!’ in June 07, the band have been on a steady ascent from the scene to stars as Grammy nominations, headline tours, soundtrack appearances and solid album sales have steadily separated the quintet from the chasing pack. Despite the veneer of success and joy, inside the rise things looked very different for the band. “We had a lot of pressure and a lot of people watching us,” vocalist Hayley recalled. “I felt like we were in a room that was always getting smaller and smaller while more people were looking on. I don’t know if any of us thought the band was over but there were certainly times when it would have been easier if it was. It was definitely never said out loud but I know everyone thought it at some point. There were times when I wondered if I would be happier, or even if I would get along better with the guys, if we were not playing music together anymore.” Some of the band’s problems began in the UK on their January 08 headlining run and, in Rock Sound issue 107, the band admitted they were fighting and exhausted by the demands of their schedule. “That was a really tough tour for us,” Williams reflected. “We were telling everyone that we were so happy, that we were best friends and as soon as we got home from a five-month tour we would be hanging out again every day. It was a very unrealistic image of ourselves and very exaggerated. “We did that innocently,” clarified the singer, guessing the next question. “We weren’t trying to come off as perfect, it was just that we had never done this before, we had never been in a band that people paid attention too.” Eventually Paramore cancelled the remaining dates due to ‘internal issues’. In later interviews it was claimed that those issues were resolved, they were not. “There was a really awkward tension around us all the time,” Williams remembered. “Even if we tried to hang out together there was always some kind of black cloud directly above us and it felt really bad. All of a sudden it felt like we didn’t care about each other and we didn’t care about the music we were making either.”

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That feeling of discontent followed the band all the way to Malibu as they recorded their third, as-yet-untitled record, produced by Rob Cavallo (Green Day, My Chemical Romance) and due out in September. It took Williams writing the lyrics to new song ‘Ignorance’ for the five-piece to finally address their longstanding personal issues. “I was feeling really alone and really judged,” she admitted. “I felt really by myself and angry, it took me writing those lyrics to get our band talking again and getting us to the point of starting over. This new album is us admitting that we are extremely screwed up and that we don’t have this happy little family all the time.

“I don’t know if any of us thought the band was over but there were certainly times when it would have been easier if it was.” Hayley Williams “This album is about the experiences of being in a band with four of my friends, growing up with them and feeling like we are all growing apart,” Williams surmised. “A lot of fans will understand exactly what I’m talking about on certain songs. To the people that follow Paramore this album will answer a lot of questions. It’s scary to think about it, but it might be nice to finally have everything out there in the open. There’s a lot of heart on the record.” [9]


After a bad major label experience and a name change, People In Planes are ready to take on the world, again…





Splendid Stuff


We’re definitely ready to get up to speed in the UK now.” And while it’s certainly been a long time coming, People In Planes’ debut UK release – the band’s second album ‘Beyond The Horizon’ – is now imminent. An epic alt-rock record of staggering depth and musical diversity, it came together via sessions with various producers both in the US and UK. Says Pete: “Making this record was a rollercoaster experience. We had some great and significant sessions in America and really found our feet with it there but it wasn’t until we came home to finish it that it really made sense. It was a painstaking process but we’re blown away by the result. It’s musically diverse but that’s always been our approach. I’ve always been inspired by bands whose records are easily recognisable but still completely unpredictable.”

Chris Hidden


Formerly known as Tetra Splendour, Welsh rockers, People In Planes, changed their name after splitting with UK label EMI in the mid 00s. After regrouping and adding a fifth member, they soon found a new way to realise their ambitions by signing to American label, Wind-Up, in 05. “After EMI we just looked at our options,” says guitarist Pete Roberts. “We had a few fans in New York who knew various people in the industry; a press guy in particular took us under his wing. We played a showcase for Wind-Up and were pretty much signed straight away.” The brave decision to up-sticks to the States paid off though; a relentless touring schedule rewarded by an ever-increasing fan base, national radio and TV exposure, a featured role in the Hollywood movie John Tucker Must Die and a video directed by Joaquin Phoenix. “The past four years have been a real adventure,” continues Pete. “It’s been a different way to do things but it’s worked out better than we imagined.

LINE-UP: Gareth Jones (guitar, vocals), Pete Roberts (guitar, vocals), Kris Blight (bass), John Maloney (drums), Ian Russell (keyboard) FROM: South Wales SOUNDS LIKE: Parts psyched-out prog, monolithic rock and blissful indie – all elements bound together by stunning melody, soaring vocals and expertly structured dynamics. CURRENT RELEASE: ‘Beyond The Horizon’ (album, Wind-Up. Out now) WEBSITE: DOWNLOAD THIS: ‘Better Than Life’


With their self-produced / financed debut album ‘Play In The Dirt’ already available in Japan, this London-based quartet apply themselves to producing forwardly mobile, dirty anthemic rock choons, and they’re pretty damn good at it too. Why it’s out in Japan already and not here is beyond us, but if you like your bands to produce no-holds-barred rock gems then this lot are definitely worth checking out. As the Borg would say, “Resistance is futile”. JL WWW.MYSPACE.COM/RESISTORSMUSIC PLAY THIS: ‘Defaulter’


This East London trio make free-flowing instrumental music that will keep you guessing. Powerful moments of distortion fold inwards into delicately tapped out licks, which then mushroom outwards again. In the case of the lead track on their Myspace player (and debut EP), ‘Shipwrecking’, the spiralling riffs go on and on, toying with the listener as you go through the motions: admiration, confusion, impatience… then surrender and wonderment. They’ve shared stages with Enablers and Young Widows – two bands they have much in common with, musically speaking. MH WWW.MYSPACE.COM/THEEIGHTYFIVEBEARS PLAY THIS: ‘Shipwrecking’


Blackpool is famous for its Pleasure Beach and illuminations already, but soon it’s going to have another factor to add to its already impressive list of ‘landmarks’. Pop-punk five-piece Me Vs Hero formed in 07 and have already shared bills with the likes of Story Of The Year, Kids In Glass Houses, Cute Is What We Aim For and Bring Me The Horizon. Flirting with the mainstream, Me Vs Hero write melodic pop riffs and sing-along choruses, so expect them to be the soundtrack to your summer. JW WWW.MYSPACE.COM/MEVSHERO PLAY THIS: ‘What Seems To Be The Officer’

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WE WERE PROMISED JETPACKS SOUNDS LIKE: Brooding Scottish indie that explodes with youthful aggression.

If you’re a fan of Scottish indie outfit Frightened Rabbit, chances are you’ve been exposed to We Were Promised Jetpacks already – either through their Myspace friends list, their shared label (FatCat) or their gigs. It’s a touching tale of patronage, with Frightened Rabbit taking their young countrymen (average age 21) under their wing and setting them on their way. “We got to support them in Glasgow at the tiny 13th Note for an Is This Music? night,” says … Jetpacks frontman Adam Thompson of the bands’ first meeting. “We loved the band, obviously, so were pretty excited. We crashed a party they were having afterwards, then played with them again a few months later and they told FatCat about us…” So it’s a case of who you know not what you know? Well, only partly. Such is the strength of the songs on …Jetpacks’ debut album, ‘These Four Walls’, that they would have been picked up soon enough anyway. The band’s sound is inherently Scottish, the power chords flecked with

Celtic folk and carried home by Thompson’s raw, passionate vocals. It makes you think of Idlewild, of Biffy Clyro and, yes, of Frightened Rabbit. “We’re only really influenced by current bands,” says Thompson. “We’re still pretty young, so have no relationship with anything particularly old. We were 16 when ‘Aha Shake Heartbreak’ came out, the Kings Of Leon album, so that was massive for us.” With a taste for commercial music as well as intricate indie, …Jetpacks’ sound is easy to digest on first listen but also full of details to come back to. Not bad for a band still in full-time education. “Three of us are still at university, so we spend a lot of time procrastinating,” Thompson admits. “When we’re at home trying to do uni work the only band stuff for us to do is sit Googling our own name like losers.” They won’t have time for that soon… CURRENT RELEASE: ‘These Four Walls’ (album, FatCat. Out now) DOWNLOAD THIS: ‘Quiet Little Voices’ WWW.MYSPACE.COM/WEWEREPROMISEDJETPACKS



SOUNDS LIKE: Keelhaul wrestling with DC hardcore.

When UK underground instrumentalists Capricorns dissolved around the release of their second album, for guitarist Kevin Williams and drummer Nathan Perrier splitting was never an option. Even before Capricorns officially fell apart, the duo were already locked in a rehearsal room jamming as a two piece, working on riffs inspired by Kev’s love of late 80s and early 90s hardcore, the Dischord Records catalogue, a bit of post-rock and a “no ground rules” ethos to ensure anything was possible with the ‘Suns. Fans of obscure 80s hardcore may even notice where the band chose their moniker – for the rest of us, head over to Wikipedia now! “It was more like trying to do something that was removed from Capricorns, as obviously there was no point in doing something that was in a similar vein,” explains the guitarist / vocalist. “It was the





first time I had had the responsibility of writing stuff [on my own] and I wanted to sing as I had never sung before. I wanted that challenge of doing something a bit new.” With the liberation of having no one else to please, the duo shat out songs in the rehearsal room, two eventually became three (with the addition of bassist Anthony Dearlove) and, by Williams’ own admission, Alabaster Suns is growing and evolving all the time. The debut mini-album, however, is a decent and honest representation of the band’s vibe so far. How would Kevin sum it up? “Dark, brooding and… something,” he laughs. Rock Sound suggests you are free to replace “something” with whatever you feel appropriate! CURRENT RELEASE: ‘Alabaster Suns’ (mini-album, Iron Pig. Out now) DOWNLOAD THIS: ‘Royal 6 In Hand’ WWW.MYSPACE.COM/ALABASTERSUNS


BAGHERA [5] ‘Decline To Winter’ sets out the Nottingham quintet’s statement of intent clearly. Citing the likes of Norma Jean and Underøath as influences, as the first track unfolds it offers no surprises and sounds exactly how you’d imagine it to. Put said influences in a tumble dryer and out will pop a band like this one. The recording is tight, well-produced and the sound is polished, however it does little to further the genre and fails to stand out from the crowd. AB WWW.MYSPACE.COM/BAGHERABAND

THE HOPELESS ABANDONED [4] Hopeless by name, hopeless by nature. This five-track EP from Welsh three-piece The Hopeless Abandoned is so badly recorded that it’s difficult to listen to more than one song at a time. All crashing symbols and not much else, someone should have told these guys to get rid of Animal before heading into the studio. The potential is there, but until they tighten up their act and budget accordingly there’s no way we can force ourselves to listen to this tat. JW WWW.MYSPACE.COM/HOPELESSPUNX

DARK SPARKS [6] A stylish interpretation of 80s misery pop, Dark Sparks are pretty much a taste of Echo And The Bunnymen and The Jesus And Mary Chain. Stripped down and elusive, they’re certainly reluctant to jump on the modern indie bandwagon preferring to cajole lo-fi bass rumbling songs. Unfortunately not only are the band unwilling to join the modern indie scene, they’re unwilling to do anything contemporary. It’s not the 80s and in the wise words of Echo And The Bunnymen, ‘Nothing Ever Lasts Forever’ so move on. FL WWW.ILOVEDARKSPARKS.COM

send us your demo! You know we love them! Send to the usual Rock Sound address. Please mark your envelope – 'Here's our demo - don't be scared!' – just so we know! [29]

CHAR Charli don’t Button demo giving howev your t Your c nothin Enter quakin MC L We’ll www.



SpongeBob SquarePants, shitting on demand, gay pride trance music and the ratio of people in Toronto, you folks want to know some weird things. Billy Talent answer IAN, DO YOU THINK YOU’LL HAVE THE SAME HAIRCUT WHEN your strange questions… YOU’RE OLD? Neil Mandell, London



Benjamin Kowalewicz (vocals): “Jonny G.” Ian D’Sa (guitar): “Jon.” Aaron Solowoniuk (drums): “Jon.” Jonathan Gallant (bass): “It’s so not me …” Ian: [Points at Ben] “You’re the guy that can shit on command.” Ben: “It’s true, I can shit on command.” Aaron: “I would save my shit for until I got there…” Ian: “It would be the cleanest shit you ever had.” Jon: “That’s a controversial thing to say over here.” Ian: “Be careful the monarchy doesn’t try to stab you.”


Jon: “Well, maybe I wouldn’t want it on pasta.” Ian: “Pickles.”

DON’T YOU WISH YOUR HAIR WAS MADE OF GLUE? Kirsty, Gloucester Ben: “They’re referencing an old song of ours…” Ian: “My hair is made of glue.”


Alexandra Louisa Dannenberg, Germany Aaron: “Yes.” Jon: “No, not really.” Ian: “No.” Ben: “I believe in a theory of something bigger and better and being connected to something.” Ian: “It depends on your definition of ‘God’.”


Ian: “Probably not.”

IAN, WHAT KIND OF HAIR GEL DO YOU USE AND IS IT AVAILABLE IN CANADA? Leanne Chung, Regina Ian: “It’s discontinued now, but it’s Salon Selectives Stay Put.”

DADDY OR CHIPS? AllySykes, via Myspace Aaron: “Your father or chips?” Ian: “Your father?” Jon: “Chips?” Ben: “Our fathers...” Ian: “As in fish and chips?”

ARE YOU SCARED OF AUSTRIANS BECAUSE I’VE NEVER SEEN YOU LIVE? Agnes Löffler, Zwettl Jon: “You’ve missed out. You should have turned up to the five shows we played in Austria!”


Lisanne, Maassluis Aaron: “A guitar.” Ben: “A piano.” Ian: “A flute… with a pretty girl playing it.” RS: “After American Pie that takes on a whole new meaning…” Ben: “We met that girl.” [Alyson Hannigan] Jon: “A tuba, but knowing my luck there would be a big, heavy man blowing me!”

HAS THE RATIO OF PEOPLE IN YOUR HOMETOWN CHANGED SINCE YOU GOT FAMOUS? Nicolai Hess, Germany Aaron: “We never really spend a lot of time in our old town. I guess it’s probably doubled in population size, but it’s nothing to do with us being famous.” Jon: “It’s just a popular place to live.”

n Gallant: walewicz, Jo oniuk, Ben Ko er why? w lo nd So wo n e W ro . D’Sa, Aa ir questions ha y dg do L-R Below Ian e th Ian gets all

ach other e h c in p e w breakfast r e v o y trance.” y a a g d y ’s r n o J “Eve to ing lewicz a w o K – while listen in m ja Ben [39]

Sink Or Swim

WORDS: Andrew Kelham / PHOTOS: Nigel Crane


“I’m all about provoking thought whether it is by giving a tip or getting in a fight.” Brian Fallon

As their circumstances change so do the people around them, The Gaslight Anthem let ROCK SOUND in to see how life differs when you’ve had a taste of success…


don’t know what happened to this place,” The Gaslight Anthem vocalist Brian Fallon shouts above a cacophony of television sporting commentary and bad 80s music. “It used to be different.” It’s Friday night and Fallon is sat with Rock Sound at a table in the corner of The Brickwall Tavern And Dining Room on Cookman Avenue in Asbury Park, New Jersey. The restaurant was a former favourite of Fallon’s but tonight the combination of bad atmosphere, and unhelpful waitressing has pushed his buttons and made him reconsider his position. The singer is clearly riled and asks for the cheque before the food has even finished coming out of the kitchen. As the bill is paid Fallon unravels a $50 note and places it inside the wallet before ensuring it is passed directly to the server most responsible for his displeasure.

“Doing a bad job drives me crazy,” he admits, partly excusing and partly explaining his erratic and slightly menacing behaviour. “Whatever job you do you should do it well, if you are going to be a bin man then be the best one you can. Take pride in what you are. That waitress doesn’t deserve that tip, but she is getting it anyway and that should make her think. I’m all about provoking thought whether it is by giving a tip or getting in a fight.” He laughs, pulls a cigarette out, lights it, takes a drag and then begins the five-minute walk to The Stone Pony, a club that faces out onto the Atlantic Ocean and the place where The Gaslight Anthem will be playing the first of two sold out shows. Fallon once dreamt of living on Cookman amidst the buzz of independent businesses, bars, restaurants and converted lofts, he even wrote about his dream in a track from the band’s 08 EP ‘Señor And The Queen’. But now, like the Tavern, the singer has changed. [55]





’m pretty sure most people say Iron Maiden, Metallica or AC/DC, but for me it’s all about GlassJAw’s ‘Worship And Tribute’. I saw the video for ‘Cosmopolitan Bloodloss’ on TV and loved the song so much that I went straight out and bought the CD. I was only just getting into rock and metal at the time and this was such a perfect introduction to it. If you’ve not heard it, check it out NOW!!! It’s fucking killer.”




Listening to Admiral Angry makes you want to destroy things. To spit in your boss’ face, smash random cars and throw yourself full force at walls. An unholy, punishing mix of Will Havenesque groove and pummelling bass, mixed with noise guitar, hefty doom and Lazarus Blackstar fucking Rabies Caste vocals it’s unstoppably, brilliantly ugly. It’s dirty and untamed (‘Kill Yourself’, ‘Circling The Drain’) with a ferocious energy. The tragic death of their guitarist, Daniel Kraus, in February makes this debut a bitter pill, but if they decide to call it a day they’ve left a hell of a legacy. FOR FANS OF: Lazarus Blackstar, Rabies Caste, Will Haven, Charger KEN MCGRATH


If you really, really, really couldn’t fathom instrumental provocateurs Capricorns solely because of their lack of a frontman thrusting his schlong in your face while warbling on about whoknows-what, then Alabaster Suns are likely more up your alley. Not that there’s any untoward thrusting and warbling to be had, but the apple doesn’t fall far from the tree – 66.6 per cent of this band features former Capricorns members – and the arrangements, riffs, all-around fist-inthe-air rock of ‘Iron Gang’ and ‘Royal 6 In Hand’ are decisively angular, discordant and challenging as compelling, catchy and worthy of furtive air guitar sessions when reserved, thinking man’s metal types aren’t looking. FOR FANS OF: Unsane, Capricorns, Die Kreuzen, Breadwinner

Alexisonfire have rung the changes on their fourth album; labels have changed, members have married and the band’s brash quiet-loud dynamic has been refined into something much smarter, stronger and representative of their skills as musicians. On ‘Old Crows / Young Cardinals’ songs about go-karting are out and socio-political commentary is in as the band represent their present fears and concerns over 11 questioning tracks that take aim at America (‘Sons Of Privilege’), opponents of same-sex marriage (‘Accept Crime’) and ongoing plight of those damaged by the abrasive economics of modern society (‘Midnight Regulations’). In short, a great record and a great use of their platform. FOR FANS OF: Moneen, Thursday, Farside













Barely out of their teens and in thrall to the indie spirit of contemporaries Bon Iver – Bombay Bicycle Club are most known for winning 06s Road To V competition. The band are also great at penning transitional songs (‘The Hill’ and ‘Evening/ Morning’) while masterfully executing haunting tracks like ‘Ghost’ and, unexpectedly, full-blown rock on ‘Dust On The Ground’. Destroying the soft, radio-friendly approach to music that leaves sensitive indie schmindie types quaking in their converse, BBC mix emotional intensity ripe in layers with exhilarating songwriting that nods to Pull Tiger Tail and Flashguns, making their first full-length debut a standout effort. FOR FANS OF: The Holloways, The Young Knives


Clutch are now on their ninth album but they show no signs of jacking it in yet. And when the results are as polished and effortlessly cool as ‘Strange Cousins From The West’, why should they? Kicking off with the countrified slide guitar of ‘Motherless Child’ and ending with stomping party anthem ‘Algo Ha Cambiado’, that shit-eating grin will stay with you for the album’s duration. Tom Morelloesque guitar riffs go down well, as do the lurching drunk rhythms that Scissorfight typify while mellow (relatively) highlight ‘Witchdoctor’ evokes a scenic Cadillac drive in its unhurried groove. It’s good to have them back. FOR FANS OF: Scissorfight, The Bakerton Group, Nebula





If any band has constantly kept its followers guessing, it is Coalesce. Musically at least, the band have been fairly consistent, previously churning out three albums of low-end math / sludge that never really failed to impress. It was then that they embarked on the kind of on / off hiatus that had fans scratching their heads in confusion. And now, a whole decade after last effort ‘0:12 Revolution In Just Listening’ was released, they are back with ‘OX’, a slower, sludgier, downright dirtier affair. ‘Designed To Break A Man’, for instance, showcases southern-fried, bluesy, bass-heavy riffs aplenty, rather like Pantera on Valium. Pump up the drone! FOR FANS OF: Botch, Curl Up And Die, Crowbar OLI ROBERTSON




The jubilant return of Asphyx is proof that you can’t keep an old dog down, even when it’s clearly had its day. One suspects the veteran protagonists are fully aware, but on this evidence they just don’t give a shit. Martin Van Drunen is back behind the mic again to deliver his trademark drunken bark, alongside long-standing tubthumper Bob Bagchus. Opener ‘Scorbutics’ and the urgent ‘Eisenbahnmörser’ deliver a dry slap at best, but nowhere near a knockout blow. If it’s old-school metal that rocks your boat you’ll most likely be gently moved by Asphyx’s latest efforts. You certainly won’t be capsized. FOR FANS OF: Autopsy, Cancer, Pestilence







Black President? As if that could ever happen. Great name for a band though, and one very cool band at that. Ripping vocals, seething guitars and a skullbanging backbeat driving this along like a stolen car through a crowded shopping centre, taking careful aim to mow down as many fuckers as possible. It occasionally slows down slightly, maneuvering such corners as Alice Cooper’s ‘Elected’ with (deserved) arrogant confidence but not for long, before resuming its full-throttle journey to the centre of punk rock. Ignore the fact various members attract such hideous descriptions as “punk supergroup” [shudder]; this album stands proud on its own merits. FOR FANS OF: Zeke, Bad Religion, The Distillers


It’s a sad but inevitable truth that fans of extreme metal will eventually become numb to its blistering tempos and untamed savagery. Record labels do their utmost to convince you that their latest signing is the most intense thing since sliced bread, but honestly, when was the last time you were genuinely shocked by a metal record? Enter Anaal Nathrakh… This is the stuff of nightmares; a searing mass of hyperviolent black metal and industrial-strength grindcore, overlaid with some of the harshest screams you’ll ever hear. Hell, there’s even some Ihsahn-style clean vox thrown in just for kicks. Godspeed, You! Fucking Psychos. FOR FANS OF: Emperor, Agoraphobic Nosebleed, Impaled Nazarene














A progressive rock concept album that’s not from bygone decades – what the hell is going on? Well, just take one listen to these San Diego cosmonauts and all is revealed! According to the band the album draws on themes of death, introspection and contemplating what lies beyond. What you only really need to know about is the spiralling journey that Astra take you on. For the drug takers out there, this is your complete ride all wrapped up in one go, and for contemplators out there, this is your album to sit back and get lost to. Truly moving and exciting stuff. FOR FANS OF: Witchcraft, Pilgrim Fathers, Pink Floyd JAMES DOMINIC




Languishing in misogyny while reaping commercial success, screamo crunksters BrokeNCYDE are upon us like a disease. Digitalised vocals and probing lyrics about sucking dick make for a tedious hour, while “Shut up and sit, get on your knees girl suck you bitch!” is just offensive! It’s easy to doubt the album’s worth, but it’s so fantastically dumb, especially ‘I’m Sorry’, where the idiot savants sing: “Rain drips, the rain drops drip”. Mikl may feel that “after we have sex [we’ll] probably get attached” but having your ears raped by this shit will only leave a bad taste in your mouth... and probably gonorrhoea. FOR FANS OF: Blessthefall, date rape. FAYE LEWIS





These Anglo / Norwegian avantgarde black metallers certainly know how to send a chill up the spine with ‘Resplendent Grotesque’ which comes some four years after cult effort ‘Nouveau Gloaming’. Their second full-length sees guest drummer ex-At The Gates / Cradle Of Filth Adrian Erlandsson adding a steady pace to the eerie, atmospheric sonics and vocalist Kvohst’s visions of a candlelit, windchilling world. ‘The Rattle Of Black Teeth’ is like the sonic partner to H.G Wells’ rheumy tales, while ‘A Sutra Of Wounds’ is a ghostly affair conjuring up images of the desolate and dying. Unsettling, sinister and theatrical in all its grotesque glory. FOR FANS OF: Opeth, Emperor, Ulver RONNIE KERSWELL






If criticism can be laid at 06s ‘As Daylight Dies’ opus it’s that Killswitch didn’t peel back the layers of their musical creativity enough. After the amazing success of ‘The End Of Heartache’ which was a groundbreaking, brilliant execution of modern melodic metal, its follow-up – while hardly shit – sounded somewhat safe; it showed a great band perhaps going through the tried and trusted motions. What the Massachusetts quintet have done this time around is truly excel in pushing their musical creativity without losing any of their identity. As the band have already proclaimed, this is Killswitch… but different. From the opening bludgeon of ‘Never Again’ right until the last notes of closer ‘This Is Goodbye’ ring out through the speakers, this is pure, fired-up Killswitch playing on 11. There are more European metal-influenced twin guitar harmonies, more classic rock-inspired moments, and even the band’s hardcore roots shine through to tremendous effect. What really impresses are Howard Jones’ passionate lyrics (emo enough to out-emo the most emo of emo bands) and the incredible vocal delivery that sees him roar like the head lion of the pride, and sing with the passion of Freddie Mercury. While to some ‘My Last Serenade’ may never be topped, Killswitch haven’t disappointed here whatsoever.

FOR FANS OF: Trivium, In Flames, Shadows Fall DARREN SADLER

EARTH CRISIS [8] ‘TO THE DEATH’ (CENTURY MEDIA) When Earth Crisis reunited in 07 they must have known that if they wrote any new material it would be judged harshly by diehard fans and critics alike. The band who made history in the early 90s hardcore scene by marrying the sounds of Pantera and Sepultura with the CroMags and Final Conflict weren‘t going to get away with half-arsing a few new songs so they could tour. If a new album was to be released it had to be good, Earth Crisis knew that and acted accordingly. New album ‘To The Death’ is a blistering hybrid of 95s album ‘Destroy The Machines’, 96s album ‘Gomorrah‘s Season Ends’ and the 98 Roadrunner offering ‘Breed The Killers’. The album, their first in eight years, is the crispest

of crossover metallic hardcore, lacking in none of the latter’s intensity but delivered with all of the former’s precision and dynamic clarity as the band give people 11 good reasons to pay attention to them again. You may not care for the vegan straightedge life of activism that Earth Crisis shamelessly promote, but you can’t deny the sound of a band returning to form. FOR FANS OF: Strife, Birthright, Cro-Mags ANDREW KELHAM


JOEL STROETZEL (GUITAR) WHAT HAS THE CONTRAST BETWEEN WORKING WITH BRENDAN O’BRIEN AND ADAM D BEEN LIKE? “Brendan is really into the vibe of things and making sure everybody is relaxed, Adam is like, ‘It’s time to bust balls, 12-hour days, let’s get this shit done’. So it’s just a different style and I think they both work well in their own ways and together as well. I think it was nice for Adam to sit back and listen a bit more.”

IT’S AN ALBUM OF EXTREMES – HOWARD’S VOCALS FOR EXAMPLE, THE HARSH HAS GONE HARSHER AND THE MELODIES MORE MELODIC… “Yeah, there’s a lot of vocal harmony stuff going on, it’s all Howard [Jones] this time as in the past we did a lot of call and response-type choruses with Adam and Howard together. I think this time round Brendan just focused on Howard and getting some soaring melodies and I think, as far as the screaming stuff goes, it’s a little more raw and more brutal with the glass in his throat, which is kind of cool.”

IN TERMS OF HOWARD’S LYRICS TOO, HE SEEMS TO BE EXPLORING A LOT OF EMOTION ON THIS RECORD… “I think that this one lyrically for Howard, and he could answer this one better, seems a lot more personal to me than a lot of the other stuff he has done in the past. I think a lot of the songs must be about feelings he has, relationships… whatever. He is pretty quiet with what his songs are about. It seems a little bit more personal than things in the past.”

IN THREE WORDS, SUM UP THIS ALBUM… “Killswitch but different.” [83]




D [8], SOUNDS LIKE VIOLENCE [6] AN OUS TH A OF ST GHO E TH [9], DIE I E SUPPORT: EVERY TIM hts have quite purposefully evolved FORUM, LONDON the feeling that these Buffalo heavyweig on.


e in north west Lond t feels like a mini-revolution is taking shap over by the stewed, taken truly The underground has been well and way towards their se traip they as es mass oed screwed and tatto HMV Forum the as n know me Kentish Town to what has now beco billing rarely seen of kind the ss witne to order in d!), (revolution indee this side of the big, grey pond. phorical ‘Viking invaders’, could be Sounds Like Violence, the evening’s meta indie-tinged post-hardcore may Their . forgiven for feeling slightly out of place on, but when nestled amongst passi e ctabl respe a with well shimmer and burn ht’s other acts, they fall tonig of sity the brutal riffage and in-your-face inten at. ever so slightly fl The Ghost Of A Thousand have a lot What becomes clear very quickly is that from bar to dancefloor in time for us exod mass The ht. of friends here tonig ‘Bored Of Math’ is astounding to gh throu an all-screaming, all-moshing pile y to connect with ‘the kids’ as watch, and when you’ve got the natural abilit surprise really. A legendary no as s come frontman Tom Lacey does then it played in to date is only have they room st large the in set ‘coming-of-age’ ingly hampered mildly seem desk d soun a of t marred somewhat by the outpu set closer ‘Black Art time ver, by the by a small toddler on a sugar rush. Howe kind of reaction usuthe s elicit and oric euph is Number One’ erupts, the place to destroy. going is tour line ally reserved for a headline act. July’s head , it would defidives rock and ts ea-pi fl UK’s the d After countless treks aroun lingers Andy Axe-s ht. tonig age of nitely seem as if Every Time I Die have come ually slow-paced unus the for up make than more ley Williams and Jordan Buck of dirty, low-slung guitar drone, opener ‘We’rewolf’ with plentiful lashings several further helpings, one gets After . come to is setting the tone for what


ative years into a monstrous from the raw hardcore sound of their form don than, say, Comeback Kid. Masto of likes the to akin rock monolith more that fact, as the Forum bangs rms confi ’ One listen through ‘Cities And Years ley diving head-first into the throng heads en masse. The sight of Jordan Buck loser ‘No Son Of Mine’ confirms set-c on and high-fiving every palm in sight truly arrived. and well have Die I Time another fact: Every Jacks (grey, naturally), Gallows Union in d Amidst a backdrop of amps drape re (Act II)’ and the Forum goes tear into life with the high-paced ‘The Vultu have brought along their own ws Gallo kfully seven shades of bat shit. Than er’s sugar rush has been replaced soundman, and the aforementioned toddl of course, suits the band’s sound This, . glass n by a lead pipe covered in broke aren’t meant to be held, scripts and style down to the ground, when notes t meant to be, period. It doesn’t aren’ es fring and aren’t meant to be followed of ferocious energy – long to throw take Frank Carter – that tightly-wound ball waiting two fucking weeks to play been e “We’v . himself into the adoring arms launch into ‘London Is The Reason’, this song here,” he cries, before his band evening. During a set that sees this ance reson al a song that conveys a speci Time I Die, Blackhole and Rolo onstage appearances from members of Every cover of Black Flag’s ‘Nervous dary legen their up, let Tomassi, the band don’t Breakdown’ sounding as ramshackle as ever. across the pond to Buffalo, where On the night, however, the spoils must go into one of the world’s most exciting Every Time I Die have been slowly evolv argue, a work in progress, but they ing prospects. Gallows are still, one could are so nearly there. OLI ROBERTSON

VOX ROCK Charlie, Hemel Hempstead “Well, I’m from Hemel Hempstead, so it is for me! British music is great at the moment, though, so it’s best just to get on with it and focus on the good times!” Memby, Brighton “Most days it is, but now it’s summer so not really at the moment! Punk thrives in recessions, but our society is privileged really, it has no right to be pissed off.” Jon, Chelmsford “Yeah, it’s pretty shit!”

© Nigel Crane

Is Britain really as grey as Gallows make it out to be?



Waiting for Your Demise to take to the stage tonight is like surveying a pre-battle scene – though admittedly one sponsored by American Apparel. Teens are gathered in packs on either side of the room, and as frontman George Noble sprints onstage screaming “Are you ready? We’re the march of St Albans!” the audience scream and flail their arms around in response. Between songs crowd-surfing is given a brutal turn as fans run onstage, somersaulting into the audience. George is humbled by the response admitting: “Never did I think this band would still be going, ever”. Your Demise play a few old favourites like ‘Blood Stays On The Blade’ but promote new album ‘Ignorance Never Dies’ with ‘Antipode’ and ‘Burnt Tongues’. At the end of the set, George dives into the arms of his adoring fans. Mental. FAYE LEWIS



Anyone who has heard Acey’s new stuff will think it’s either the coolest thing since um... Trashlight Vision, or that it’s just lightweight electro-pap geared toward the masses. Tonight though, the guitarist-cum-frontman’s passion cannot be questioned as he proves that he’s still the effervescent performer we’ve always loved, jumping about like he’s got glitter on his crotch. On new material, including ‘She Brings Down The Moon’, the electronics that dominate on record take a backseat to raging guitars, raw vocals and an old-school punk spirit. Following a solid cover of The Cult’s ‘She Sells Sanctuary’, with Billy Idol / Murderdolls’ ‘White Wedding’ Slade reminds die-hard fans that he can do a classic job on his own. While his band may never incite the euphoric chaos achieved during the Dolls’ high-profile performances, tonight’s show is a decent substitute and a reminder that the spirit of glam is alive and well. DOM SMITH

Breed 77 [9]

Cathouse, Glasgow

By fusing their native Gibraltan influences with contemporary rock and metal, Breed 77 prove they are still a force to be reckoned with. Spectacular opener ‘La Última Hora’ sets the agenda for tonight with its innovative mix of English and Spanish vocals, classical flamenco guitar with heavy rock riffs creating a fiery cosmopolitan cocktail. Both the catchy ‘World’s On Fire’ and the more jugular grabbing new number ‘The Battle Of Hatin’ impress, but Breed 77 are at their best when they let their cultural heritage shine through. Frontman Paul Isola’s closing line of “I want to say goodbye in a very special way” is backed by an inspired and radically different take on The Cranberries’ ‘Zombie’. As the crowd rabidly bounce around, stirring cries of “No more war!” resonate throughout the venue. It’s enough to send shivers down your spine. DUNCAN BRYCELAND


backstage banter...


ROCK SOUND CHATS WITH GALLOWS GUITARIST STEPH CARTER… HOW WAS IT FOR YOU? “It was probably the best show we’ve ever played. It was the most fun, for me at least. We’ve sold out the Forum, so it’s the biggest show we’ve ever done. Next up, we’re spending three months on the Warped Tour, so there’s no rest for the wicked!”

It’s a shame tonight’s gig isn’t a sell-out, with almost two decades of acclaim behind The Wildhearts’ frontman Ginger. Though it does mean the Islington Academy shuts off its ace upstairs lounge, it also results in the two-thirds-full floor being treated to some extended song arrangements and friendly, relaxed banter that might be out of place at a sold-out gig or festival. With an onstage band comprising the most metal-looking guitarist ever (who possesses a deceptively lovely voice), coupled with a decidedly polished bassist, keyboardist and drummer who, in turn, could handle the more metal-edged tunes, justice is done to Ginger’s signature melodic choruses and riff-heavy instrumental interludes. The setlist draws as much on new songs as it does vintage Silver Ginger 5 material (‘Girls Are Better Than Boys’ garners a particularly loud cheer), so the nights ends with both the old (and new) Ginger fans satiated. AMY BANGS [97]

Rock Sound 124  

The Gaslight Anthem, Paramore, Billy Talent, Alexisonfire, You Me At Six, Rancid, Suicide Silence + more

Rock Sound 124  

The Gaslight Anthem, Paramore, Billy Talent, Alexisonfire, You Me At Six, Rancid, Suicide Silence + more