TSS
End Of Time
French modern metal act TSS—formerly known as The Sunday Sadness prior to re-branding in 2021–draw together their eclectic and dynamic sound in this new album, End Of Time. Across the band’s discography can be found an exploration of emo, metalcore, alternative rock, and synthwave. But it isn’t simply the stylistic fusion contained within that produces an exuberant sonic quality. TSS deliver with huge anthemic choruses, textural layers of electronics and captivating melodies.
Within End Of Time, numerous moods are explored from the high-octane energy levels to the intensely aggressive heavy. The eerie dystopian soundscape of the title track is enticing, setting the tone for the rest of the album. Segueing into Notes In The Dark, it’s not long before TSS’s stylistic smorgasbord sound manifests. From the catchy chorus to the intimate French lyrics, along with the nu-metal drum samples and obliterating heavy breakdown, it’s a thrilling track that explores so many directions. The processing on the vocal provides a synth like quality that enhances the atmosphere of the tracks. Pop sensibilities are present notably in the arrangement of the tracks; memorable hooks and rhythmic sections are impossible to ignore.
Would You Be My Therapy is intense. The dark sound of the verses erupts into a mid-2000s-esque nu-metal chorus. With TSS, always expect the unexpected—for example, as shown with the arrival of a synthwave inspired bridge. In The Haze We Hide reveals TSS’s softer side. Pop-orientated with a lighter feel; this dreamy offering filled with vintage-tinted synths is airy and uplifting. The juxtaposition with a heavy breakdown-outro and harsh vocals situates it cohesively in End Of Time. Gothic and seductive, DEAD! (featuring CVLTE’s Aviel Kaei Tozzo) dynamically ebbs and flows. Trap drums and beats enhance the more minimalist sections while the heavy instruments explode in the track’s chorus, and yet again, the breakdown is brutal. Deeply emotive, So long my friend is heartfelt and sorrowful, a very intimate track to end on.
End Of Time is an expressive offering that demonstrates the band’s creativity. Years of honing their sound have paid off fruitfully as TSS successfully blend multiple genres and styles seamlessly, where absolutely nothing feels out of place. • HR
For fans of: I See Stars, Annisokay, Poppy
‘End Of Time’ by TSS is out now on Fearless Records.
Deadlands
SEVEN.
Right off the bat, let’s give some props to Kasey Karlsen for her start making vocal covers online without the angle of “Metalcore Version of Pop Song?! Wow, wacky times to be had!” A low bar, absolutely, but it presents Deadlands as an act with care for the craft, rather than banking on the successes of a novelty. Karlsen also sings on tour for Nita Strauss, so obviously there’s metal acumen to be found here. So some hearty congratulations are in order for not fumbling that on SEVEN….entirely. While this is markedly better than the unholy alliance of flat-pack metalcore and online personality would suggest, some brand-new-band roughness hasn’t been ignored, either.
For a start, Deadlands are trying really hard to swing for the fences, though in the process, only betray their inconsistencies. MORE!’s pronounced bass is nice, though having to contend with an overpowering lockstep and rushes of production at every turn is unfortunate. Later on, Kundalini plays around with a Polyphia-style math / trap blend and full-on rapped section, only to have both swerves seem remarkably disparate. These, presumably, are supposed to instil the notion of freedom and fluidity about Deadlands, and only gets about halfway there. It’s a strange case—they’re thrown at the wall, do stick, but almost expect to have a masterpiece formed from them without any further rearrangement or touch-ups.
Even so, that’s still so far above the pay grade of debut metalcore releases that it’s getting ready to brush the troposphere. It’s what a serviceable, slightly more flexible product can get you in this game, at the end of the day. Thus, Deadlands already start to feel like a more complete entity when—save for the neutered guitars and drums on Villain—the vibe on SEVEN. is of consummate, complete professionalism. With the EP’s standout chorus, Limbo does a solid impression of Spiritbox and sharp, languid, melodically satisfying ilk. Wither then has Karlsen show off how deep her skills as a vocalist run, quite literally in the savage demeanour thrown out by her low-end screams. In moments like this, when you pit Deadlands against the swathes of garden-variety metalcore chaff that still hasn’t taken the hint, it’s no contest which is the most worthwhile.
And that’s even while acknowledging that SEVEN. definitely still needs work if its creators want to run with the big boys longterm. It could use some tightening and tweaking, and maybe a lyrical conceit that’s not so groaningly rote as the Seven Deadly Sins. Bits like that are ultimately what show Deadlands’ greenness the most. For the rest of it, though, there’s something here, no doubt. Especially if the work is put in without casting off some of their sharper turns, that’ll be even more true going forward. Surprisingly okay stuff. • LN
For fans of: Spiritbox, Motionless In White, Bad Omens
‘SEVEN.’ by Deadlands is out now on Spinefarm Records.
Mugshot
All The Devils Are Here
There will always be an audience for bands like Mugshot. No matter how many of these low-down, heavy-duty hardcore chugsters come around, to the right sets of ears, there can never be too many. And while, to those of us not as immersed in the world of mutually consensual brutalising, it’s a little difficult to find what individual values lie beneath the surface, you’ll be assured that they are there. Apparently, Mugshot’s second album has been quite anticipated, as the first proper display of Ringo Waterman on vocals. Plus, y’know…it’s another sub-half-hour beatdown sesh; that’s enough on its own to some.
All The Devils Are Here arguably stands out most on those fat-free merits, comparatively speaking, if nothing else. Free from the swiftness with which an extended length becomes excruciatingly tiresome, there’s an increased animalism in Mugshot’s work. The opening pair of Die In Fear and Afore A Waking Nightmare—neither of which clock even near two minutes—get their hoary, nu-metalcore-adjacent wrath cranked all the way up. Flesh Of My Body goes even further still, as a 40-second-long colossus hulking along with care for trifles like melody or tune. It’s undoubtedly the coolest turn that Mugshot take, partly because the avenues it presents feel incredibly tempting to explore, and partly because ‘turns’ are pretty slim pickings on this thing.
Yeah, it had to come eventually: the way that albums like this have violent, retributive rage down to a science, without a whole lot else to supplement it. Yeah, ‘one-note’ is part of the appeal, and in the same ballpark as Kublai Khan TX or Boundaries, Mugshot can keep pace. But just like with those bands up to a certain point, it can wear a little thin. As an album rather than a stress releaser, you’d struggle to pick out many individual songs that survive beyond how hard and brutal they go. Again, it’s assuredly the point, though when that’s all that’s on offer, the ceiling has to be acknowledged at some point.
And thus, at present, Mugshot’s fate is with their pit-ready brethren, perpetually going until maybe one day—maybe—they decide to step out of the mosh for a breather and discover a new path for themselves. It’s a nice thought that rarely happens, and Mugshot aren’t displaying a lot to have them break the trend. If anything, they’re doubling down, which might do better for them overall, but still isn’t breaking new ground. Either way, don’t expect Mugshot to be leaving anytime soon. They’re too fit for purpose for anything of the sort. • LN
For fans of: Kublai Khan TX, Boundaries, The Acacia Strain
‘All The Devils Are Here’ by Mugshot is out now on Pure Noise Records.
Words by Holly Royle (HR) and Luke Nuttall (LN)
