THE GARDEN
BEACH MUSIC
Domino
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17 tracks. 17!
The Shears twins have always had a disregard for the conventional. Favouring selfsatisfaction over structure, the duo’s shambolic clash of electric hooks and garage punk has become infamous – and synonymous with a good time. If enjoyment were to be measured in the amount of times the ridiculous is made real, then with second album ‘Haha’ The Garden are going for gold. Whether they’re having a laugh or making a statement of true intent, it doesn’t matter. Embodying their “Vada Vada” philosophy of
creative expression and disregard for genres, The Garden act every bit out of instinct. 17 tracks is a mammoth feat – for both band and listener – but the duo have a way of making each song as addictive as the last. Jessica Goodman
SVALBARD
ONE DAY ALL THIS WILL END
Holy Roar
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A massive debut.
Nothing makes you feel more alive than a hardcore record that reminds you that everything dies. Your time here limited, efforts eventually futile. However, right from the opening notes of ‘Perspective’ there is optimism to be found amongst the fury. Nothing is
forever, but that’s okay. Svalbard took some time in releasing their debut album. It shows. ‘One Day All This Will End’ is blistering posthardcore of true ambition and scale. Kristy Diaz
CITY AND COLOUR
IF I SHOULD GO BEFORE YOU
Dine Alone
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An upbeat exploration.
If the new City and Colour album was a film, it would start in a bar. Smoke filled, the group would be jamming out in the dimly lit den. They’ve nailed that suave vibe. City and Colour’s acoustic flare has found its place in a bigger mix of styles, the production is refined and, really, ‘If I Should Go Before You’ offers more than just a lyrical story, where you find yourself inadvertently wandering down hot streets from the comfort of your own couch. Heather McDaid
THE WORLD IS A BEAUTIFUL PLACE
PERMANENCE
Collect Records
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A huge depth of sound.
The overwhelming presence on ‘Permanence’ is the synth work of keys-man, Jamie Oliver; ominous and haunting tones hover throughout. Geoff Rickly’s vocals are distorted, often sparse and yet powerful. When he reaches an emotional peak on ‘I Wanna Be Your God’, he almost echoes Refused’s Dennis Lyxzen; an exciting prospect. Instrumental monolith ‘Death Rattle’ divides the album: the first half an obtuse soundscape, and the latter a more tangible collection of songs. This second half is where the band’s anthemic qualities shine. Jack Glasscock
BLACK LINES
HARMLESSNESS
Fearless Records
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A complicated web of love and loss.
Epitaph
NO DEVOTION
MAYDAY PARADE
A massive step up for an already much-loved band. TWIABP’s 2013 debut LP, ‘Whenever, If Ever’ arrived at the crest of the emo revival wave. As great as their first album was, the sheer brilliance of the songwriting on ‘Harmlessness’ shows just how unrefined it was. Virtually everything on this album is ‘bigger’ than anything they’ve done before. It was hard to pinpoint exactly where the band could have improved before hearing this, but they’ve absolutely nailed it. Ryan De Freitas
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Putting the band’s taste for a frenetic mosh pit aside, Mayday Parade’s fifth LP is their heaviest yet. Songs like ‘One Of Them Will Destroy You’ and ‘Let’s Be Honest’ are filled with punch. Forget about the five-piece’s Capri Sun equipped, overly polished pop punk. It’s a thing of the past. Instead, think gutsy riffs, aggressive snares and a feisty attitude. For a band who’s recreated their sound time and time again, these stark new influences are sure to divide opinion. Emma Matthews 53