Hacktivist – Reprogram
One thing that seems to happen a lot with Hacktivist is a fairly extended period of grind and adversity followed by a real explosion in success. It happened off the back of their EP and long-awaited debut full-length, and now with a lineup shift under their belt and a rather long stint of relative inactivity, itâs what needs to happen again. Thankfully though, Reprogram is definitely a good start as far as execution goes anyway. Instrumentally not a lot has changed, with the tumbling tech-metal riffs with slight hints of grime swagger peppered in here and there, but new co-vocalist Jot Maxi brings an intensity to proceedings that matches this sound better than ever, dipping into a hardcore influence at points that feels like their most cogent, succinct blend of each element to date. As for the writing though, the chastising of modern technology and social media does feel particularly heavy-handed in a way it canât really afford to, but itâs easy to give Hacktivist the benefit of the doubt when theyâre effectively finding their feet all over again. Hopefully itâs something to be straightened out in due course, but as of now, whatâs coming down the pipeline definitely looks promising.
Baroness – Seasons
It says a lot about Baronessâ clout in rock that just one track has made Gold & Grey one of the most highly-anticipated albums of 2019, but itâs not as though itâs not deserved. Theyâve barely put a foot wrong through their entire career, and when theyâre at the height of popularity like they are now, that fact they can continue with such a ridiculous level of quality is enormously exciting. Itâs gotten to a point where thereâs not even any point in being facetious with statements like âtheyâre due a fall anytime nowâ, because they seem to be actively working against it. Just look at Seasons, another fantastic track that sees a band continuing to expand their arsenal while making music thatâs complex and progressive but startlingly accessible. Thereâs a sense of melody here thatâs borderline pop-rock in the rollicking guitar work and John Baizleyâs bellowed-out hooks, but the underlying complexity is where the hook really digs in, particularly in the drumming that contorts from galloping crashes to genuine blastbeats before the enormous, stomping cacophony to round off ensues. If thereâs a nitpick to be made, the production can sometimes feel a bit too glazed-over, but otherwise, Baronessâ reign as one of the most consistently excellent bands on the planet is showing no signs of slowing down any time soon.
Defeater – Stale Smoke
Mothersâ Sons might have been something of a disappointment, but itâs going to take more than that to drain the good will from Defeater. Theyâve proven in the past theyâre capable of doing a lot more with emotional hardcore than many, and one middling track doesnât automatically negate that. So hereâs Stale Smoke, which proceeds to clear away the majority of apprehension for a rather back-to-basics example of what this band do best, namely instrumentation that has an ominous sense of grind that the band are so adept as pulling off and embracing, a vocal performance from Derek Archembault that puts in some tremendous effort in its beaten, broken openness, and writing that feels more like a purging process than anything else. It might feel a bit too close to some of their previous work, and the abrupt ending really does bring the mood to a standstill, but this is still much improved overall, and when the new album is virtually just around the corner, thatâs a good sign.
Cave In – All Illusion
As much as the reputations of both Cave In and Stephen Brodsky precede them, it felt as though thatâs how it would stay for the longest time. White Silence was released in 2011, after all, and with both a lack of real activity and the tragic death of bassist Caleb Scofield in 2018, it looked as though that might be the cut-off point for any real new activity from Cave In. All Illusion clearly says otherwise though, the new single from a brand new album that feels as though it hits about the right spot for Cave In material in 2018, taking their space-rock soundscapes and pairing them with fuzzed-out alt-rock and indie-rock in a way that doesnât quite match up to how revolutionary theyâve been in the past, but itâs certainly interesting stuff. Brodskyâs swaying vocal performance especially adds an air of mystique to the whole thing, and with the darker knell of the bass protruding through at just the right points, itâs definitely a track that works best as the sum of its parts rather than picking and choosing individual elements. Of course, that can be said about Cave In as a whole, and while All Illusion isnât quite enough on its own to get fully excited about this new album (honestly, the bandâs legacy alone does more on that front), itâs a good taster of what to expect, and for a band to come back after a long while on a strong foot like this is always good to see.
Charly Bliss – Young Enough
This largely feels like the final chance for Charly Bliss to really impress before Young Enough is released, not only because itâs pretty imminent but also because theyâve not really done so up to now. Their previous singles certainly havenât been bad, but in terms of real star power to set them apart from other indie-pop bands, theyâve shown flashes of an idea that hasnât fully crystallised. Thatâs why Hard To Believeâs back-to-basics approach feels so refreshing, going back to a straightforward indie-pop framework that places a heavy emphasis on the pop, not only in Eva Hendricksâ vocals which prove to be a much better fit this time around, but in the general sense of exuberance, both in the writing and instrumentation, that connects to a far greater extent. The issue prevails of a sound that isnât exactly original, but this feels like an area that Charly Bliss are far more comfortable in, and itâs hard to begrudge that when the results work as well as they do.
Woes – Suburbs
For a band like Woes whoâve always fielded accusations of trafficking off the modern wave of pop-punk with little to say in their own right (because, yâknow, thatâs what theyâve done), releasing a song titled Suburbs can feel like a pivot to an equally mercenary pivot towards 2000s nostalgia and the sort of performative, hometown-hating angst that comes with it. And thatâs kind of the case, at least sonically, but this isnât all that far removed from Woes typical fare. If anything, itâs akin to the shift that ROAM made between their first two albums, adopting a more agreeable sense of melody to replace the hardcore posturing, but Woes simply donât have the same presence or spark, and thus, Suburbs ends up feeling like literally any other pop-punk track to come from any band looking for even the slightest whiff of success. Itâs at least a bit better, but between an utterly bog-standard instrumental palate and vocalist DJ being virtually indistinguishable from the vast crop of other frontmen out there, there still isnât much that Woes are doing to help them stand out. One for pop-punk completionists only.
John Floreani – Echoes
As much as this feels as though it came out of nowhere, the deeper implications of it all are just as confusing. After all, Trophy Eyes have already made a name for themselves with emotional rigour bordering on hardcore in a way that few of their pop-punk peers have been able to muster, so to see their frontman go down the route that typically arises when the genreâs players want to go deeper themselves makes it difficult to know what to really expect. The good news, then, is that Echoes definitely plays to a different mould, opting for a more openly sentimental sound leaning far more towards indie-pop and modern pop-rock than anything else, with Floreaniâs willowy, vulnerable vocal performance standing chiefly as its best feature when delivering sentiments as cinematic and lovestruck as these. The only issue is that it tries to lean on those sentiments a bit too much, leading to a pile-up of crashing percussion and formless synths on the chorus that attempts to capture an epic swell, but compared to the expertly-crafted restraint elsewhere, feels like a clumsy transition that barely pays off. Still, this is solid stuff overall, and if thereâs more to come like this, Floreani might be able to break out of the âpop-punk goes soloâ template and into something all of his own.
Anavae – High
It feels like itâs been a long time since weâve heard anything from Anavae, something that might come as a surprise considering their once-touted status as superstars-in-waiting, but less surprising when their arrival came at the midst of Britrock oversaturation that eventually saw them as little more than another factor clogging the bottleneck. At least thereâs more of a reason to give them a look now given that Britrock has largely dissipated, but with High, it doesnât look like theyâve undergone much evolution. They still know their way around a hook, but the big, blustery tableaux serving as instrumentation donât do a whole lot but fill space, and while that soaring sense of bombast is something they can manage, it feels like a step past what Holding Absence and their ilk are doing with atmospheric rock, and when even that can have its limits, Anavae can struggle to impress. Itâs not bad and certainly gets the job done, but for a band whoâve been out of the spotlight for so long, you kind of hope for more than this.
The St. Pierre Snake Invasion – Casanovacaine
At a time when punk is allowed to be as lairy and rowdy as it wants, there feels like no better time for The St. Pierre Snake Invasion to really move. Theyâve already built a considerable following for themselves in some circles, but 2019 could give way to something truly great for them, and Casanovacaine looks to be the first step in a band really starting to hit that high watermark. For one, thereâs next to no time wasted here between passages of filthy basslines and Damien Sayellâs dejected sneers that make way for the sort of riotous, angular punk that always has plenty to offer, all wrapped in a two-and-a-half-minute package that feels like just the right amount of time for a track like this. Of course, the raucousness is the key driving force here, but itâs one of those tracks that circumvents the issues that could come with it by just being as full-throttle as it is, and thatâs honestly enough. Thereâs a lot of potential for more here, but if The St. Pierre Snake Invasion carry on in this direction, that shouldnât be too much of a hassle to deliver.
Black Mountain – Boogie Lover
Thereâs every reason to peg Black Mountain as another muggy blues / stoner crew, especially when up to now theyâve rarely been able to distinguish themselves from the rest of that scene which, on its own, seems fixated on that one idea and never wants to develop it. Thatâs not to say itâs incapable of working though, and judging Boogie Lover on those merits, its only positives seem to be that it follows those rigid guidelines extremely well. Yes, the slow grind and guitars fuzzed to the point of oblivion are nothing new, but thereâs a sense of weight behind what Black Mountain are doing, and if this whole scene can largely be boiled down to who can make the biggest weed-fuelled noise possible, theyâre not doing too bad of a job. Thereâs no way this is going to be what revitalises the scene because thereâs absolutely nothing here thatâs capable of that, but for an enjoyable if derivative addition, you could do worse.
Words by Luke Nuttall
