Artist Name: Trap Them
Album Name: Seizures in Barren Praise
Year: 2008
Genre: Hardcore Punk
Label: Deathwish

I have been submerging my ears in a lot of independently produced underground hardcore music recently, and it has not always been pleasant. But listening to Trap Them’s second album, Seizures in Barren Praise, I feel like all hope is not lost. Every music reviewer longs to find a decent, listenable emerging band; it gives credence to the underground scene and the few stars which shine in its murky blackness.

Having said all that, Trap Them is noticeably good, but not about blow-up manholes and give life to the dying. Their hardcore element of the music is great, with superb energy coursing through every song, and a few great riffs played at the fastest speed of human-induced sound (i.e. pretty fast but nothing that will reach the next planet in a few million years). Despite their punk influences, like one-minute-long songs, they have nothing of that namby-pamby, punk-rock stuff which could blow their creditability. I was more pleased by their insane pace, more in line with good thrash metal than bad punk. I am convinced they needed a healthy dose of something illegal to pull this album off. It makes me sweat just listening to it.

As a downer, and despite some ballsy drumming, I found their guitars let this band down. Their riffs lack the kind of genius which makes you nod your head and smile. I guess it is something about the songwriting and structure, which seems a little recycled and boring. I loved the opening track, ‘F*cking Viva’, it just seemed to hold all that genius within 1 minute and 40 seconds. After that, I found the rest of the album just a little stale. But what I really found interesting about this album is the lyrics, which are haphazardly strewn all over the inside, but with enough readability that you can tell that this band is all about the poetry; although, not much of it actual makes any sense to me. It’s brutal and holds a lot of angsty hatred. Pity you can’t hear the words in the actual songs, but the feeling is there.

Best Tracks: ‘F*cking Viva’ and ‘Angels Anonymous in Transit’

67/100

- Claire Martens

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Artist Name: Secrets
Album Name: The Ascent
Year: 2012
Genre: Post-Hardcore
Label: Rise Records

When you look at the press pic for Secrets, I wouldn’t blame you if you thought of them as just another scene band – and, in many ways, they are exactly just that. Think about it: sugary choruses contrasted by vicious growl sections; more breakdowns than Britney Spears over the holiday season; a dip into the electronic music world to open up the possibility of a Skrillex collab; and every band member looking like they raided Oli Sykes’ wardrobe.

However, to their credit, the San Diego post-hardcore outfit did do a lot right on their debut full-length, The Ascent – especially choosing the production assistance of Tom Denney (formerly of A Day To Remember), who really brought some of ADTR’s infectious charm to the party. Concentrating on their strengths rather than just vomiting out another post-hardcore rehash, Denney assisted the five-piece in creating a brutally catchy 11-track album, which explodes with syrupy vocals, dynamic drumming and downright addictive songs – whether it’s the wholly headbang-inciting (‘Genesis’) or the more sing-along natured (‘Somewhere in Hiding’), Secrets drop it like it’s hot.

As mentioned above, one of the most noticeable differences in Secrets’ overall sound is the drumming approach, which instead of predominantly featuring more double-bass than brains is made up of a healthy reliance on audible cymbals (like the good old days, elitists). The verses for ‘Genesis’ and ‘The Heartless Part’ are two fantastic instances where the rhythm section of Secrets differentiates them from every other cut-paste scene band today. Well done to Joe English on his superb percussion work; may he inspire the generation of kick drum beaters to discover the magical world of cymbals – and use them.

The more that you listen, the more Secrets’ The Ascent will grow on you. It won’t win any prizes for album of the year, but it will provide glimpses of irresistibility.

Best Tracks: ‘Genesis’, ‘Somewhere in Hiding’, and ‘The Ascent’

68/100

- Josh Smith

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Artist Name: Rammstein
Album Name: Made in Germany 1995 – 2011
Year: 2011
Genre: Industrial Metal
Label: Universal

Released late last year, Made in Germany 1995 – 2011 is Rammstein’s greatest hits collection, capturing all their hits from (surprise, surprise) 1995 – 2011. The release is available in 3 different editions: the Standard Edition, which contains 1 CD; the Special Edition, which contains 2 CDs; and the Super Deluxe Edition, which contains 2 CDs and 3 DVDs. Personally, I’d go for the Super Deluxe Edition, which might be a little more expensive, but is more value for buck and comes across like the complete Rammstein experience.

As with most greatest hits collections, you’re likely to clash with your friends over which song should be labelled as quintessential Rammstein and which shouldn’t. However, the compilers did do a decent job of selecting the more well-known Rammstein songs, such as ‘Ich Will’, ‘Du Hast’ and ‘Links 2-3-4’, and also throwing in a few other hits that are more popular amongst the real Ramheads, such as ‘Mein Herz Brennt’, ‘Mutter’ and ‘Rosenrot’. Even so, I still struggling to understand why the Depeche Mode cover, ‘Stripped’, ‘Seemann’, ‘Feuer Frei!’, and ‘Rammstein’ (some of these songs do appear in remixed form on the second disc) failed to make the grade, because those songs are arguably better known than ‘Haifisch’, for example. Almost feels like they’re trying to push other tracks as the “best of”, when really they’re okay-ish at best.

So, is Made in Germany 1995 – 2011 worthwhile and should you buy it? Well, if you don’t own all the Rammstein albums, I’d say yes. However, if you’re an avid fan, who owns all their CDs and DVDs, this collection’s relevance might be lost on you – apart from the remix disc and the odd DVD. Maybe buy the tracks, which you’re missing, individually, such as the never-released-before ‘Mein Land’.

Best Tracks: ‘Mein Herz Brennt’, ‘Pussy’, and ‘Ich Will’

65/100

- Frankie Styxx

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Artist Name: Famous Last Words
Album Name: Pick Your Poison
Year: 2012
Genre: Post-Hardcore/Electronica
Label: InVogue Records

As soon as the contrasting synth lines and breakdowns of ‘Labyrinth’ introduce Famous Last Words’ debut EP, Pick Your Poison, I instantly assume FLW is the resultant bastard child of a ménage à trios between Everyone Dies in Utah, We Came as Romans and Enter Shikari. Drifting in and out of genres quicker than the impatient wanker driver across traffic lanes, Pick Your Poison is a safe haven for rockers, metalheads and EDM aficionados to live in harmony and without shame. Hell, don’t feel humiliated if you’re a metalhead who got caught getting your two-step on during the electronic floor-burner ‘Interlude’.

With most songs barely pushing 3.5 minutes, the songs are laconic and instantly accessible, ushering you into Famous Last Words’ sonic chamber without any fuss or complication. All things considered, Pick Your Poison isn’t earth-shattering or revolutionary by any means – however, the EP does contain 7 consistent (and humorously titled, such as ‘I’ll Get You Next Time, Gadget!’ and ‘Snowmageddon’) tracks from beginning to end, which demonstrate FLW are able to keep the same standard throughout a release.

Catchy, danceable and breakdownable, Pick Your Poison might piss off the elitists, but if you’re the kind of listener who doesn’t mind a little bit of Skrillex or Deadmau5 in between your Attack Attack! and Like Moths to Flames, you’ll be kicking it to Famous Last Words in no time.

Best Tracks: ‘Labyrinth’, ‘Snowmageddon’, and ‘Bob Cox Lives In Ohio’

70/100

- Sergio Pereira

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Artist Name / Mixed By: Miss Nine
Album Name: Around The World
Year: 2011
Genre: Dance / Progressive House
Label: 925 Digital

Around The World, mixed by the beautiful Miss Nine, is a well-rounded album with a great progressive vibe. Ranging from easily-accessible light dance tunes with vocal emphasis; to more of a progressive house approach in tracks like ‘Rain Of Roses’ and ‘M-Theory’ – Around the World is a diverse album which reflects Miss Nine’s eclectic musical taste and ability to mix and match seemingly different tempos and vibes with great effect. As the title of the album suggests, Around The World transports the listener to Miss Nine’s world of 925 Digital and showcases some of the best dance tunes from around the world, on her very own label, from her very own perspective.

Musically, listeners can expect an interesting mix with enough energy to test out their best dance moves. Yet, conversely, the album holds just as well as a good chill out listen – an anomaly that only good DJs can produce. Perhaps best suited for sunny days and the ‘two-cocktails-in’ late summer-afternoon gatherings (somewhat surprising as the album is released right in the middle of the Northern Hemisphere winter), Around The World is good and cool enough to keep the trigger happy away from the skip button, for the most part at least. A well-rounded album indeed!

Around The World is a good, recommended listen for the club-going, young and trendy. Best served with a martini and decent sunset. Enjoy!

Best Tracks: ‘Proluctors – Rain Of Roses’, ‘M-Play – M-Theory’, ‘Eddie M – Midnight Blue’ and ‘David Puentez – Harmonia’

72/100

- Bret Dugmore
info@musicreview.co.za
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Artist Name: Van Coke Kartel
Album Name: Wie’s Bang
Year: 2011
Genre: Afrikaans Rock
Label: Electromode

Well, well, well. Van Coke Kartel have come out swinging on their fourth album, Wie’s Bang. If you’ve ever seen them live, you’ve either been sent into a frenzy or lost some blood in their wild pits – and their latest album is no different, as it gorgeously captures the balls-to-the- wall, dirty rock ‘n’ roll energy from the stage and transfers it straight to your CD player or iPod. Better wash those ears afterwards, kid!

Even if you’re one of those folks who complain that you don’t understand Afrikaans, you’ll find that the universal language of music will speak to you on Wie’s Bang. For example, the melancholy of ‘Dankie, Ek Is Veilig Hier’ and ‘Tot Die Son Uitkom’ tug on your heartstrings, whether you understand the lyrical content or not, as does the stop, drop and rock ‘n’ roll nature of ‘Moenie Dink Nie’ and ‘Wie’s Bang’. The clever split of ballads and harder tracks keeps you revisiting the album over and over, no matter which mood you’re in – in fact, the only song that you might consider skipping over is ‘Chaos’, which is butchered by Jack Parow’s nauseating raps (he might have been a humorous novelty a few years back, but his sell-by date has expired).

Other music publications have raved and ranted that Wie’s Bang is the best South African rock album and comparisons have been made to Led Zeppelin (!), which I find to be a bit presumptuous and overhyped. Don’t get me wrong; it’s a fantastic album, but I think this is the release before VCK drop their greatest work. Consider Wie’s Bang as the step before the top of the ladder.

Best Tracks: ‘Dankie, Ek Is Veilig Hier’, ‘Moenie Dink Nie’, and ‘Wie’s Bang’

83/100

- Jessica Rogers

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Artist Name: Elliot Brown
Album Name: Road to Destruction
Year: 2011
Genre: Alternative Country
Label: Independent

I really admire bands starting out; it’s not an easy road to take, especially with limited cash. It’s been a while since I have held such a crudely-made album in my hand, complete with homemade designs and possibly the worst printing job on the planet. If Mr Brown wants to get the point across that musicians live from hand-to-mouth, with free beer at the bar their only consolation, he certainly did a good job. The road for Elliot Brown is not paved in gold, it seems, but rather empty alcohol containers – the road to destruction.

There are a lot of talking points to this album. The album credits discuss how “busking” has taken fire from New Zealand authorities, which now requires a permit. Busking is how Elliot Brown began his musical journey and where he probably makes a little cash. Although, I have seen only a couple of buskers in Cape Town, some of my friends have stories about busking at the Grahamstown Festival, in order to make money for their ticket home. It’s a harmless and grandly romantic pastime for any muso, and I cannot begin to imagine a world without August Rush. For me, the discussion has a touch of protest about it, which harks back to the roots of folk and greatly legitimises the value of street musicians with nothing but a voice and a cause.

Elliot Brown relies quite heavily on the charity and handouts of others and this album shows it strongly. The recordings of the songs are as crude as the cover image, completely forgivable when you consider that this man is not seeking fame and glory, but is a storyteller who relies solely on the kindness of others for his bread and butter. What baffles me is that the music of Elliot Brown is not something which is about to change the world, yet people are still willing to back it completely, which is even more unbelievable when he openly admits to having the small issue of alcohol addiction. His addiction, and where it led him, is the “concept” behind the album, although Elliot Brown would prefer us not to focus on this.

Musically, Mr Brown describes his music as alternative-country, which I guess refers to the hillbilly and pop elements which take the cowboy out of the country. Which is only right, considering he is as far away from the Wild West as anyone can get. There is something incredibly fun about country music, although it tends to be pretty bizarre. Elliot Brown leans to the more conservative side and his most bizarre songs (‘Banjer Pickin’ Man’, ‘Soldier’s Joy’, and ‘Billy The Kid’) are actually tributes to his hero, Jimmie Driftwood. That said, he is difficult to pin down. I can’t help but think of the Juno soundtrack, the Beach Boys and Rodriguez whenever I listen to this album. There is a lot of the cutesie bits of Juno, combined with the aggressive folksiness of a man on a mission. This is one man I would definitely recommend looking out for when next you are in New Zealand. And make sure you contribute to the cause, if you know what I mean. Help a musician out, will you.

Best Tracks: ‘Gospel Plow’, ‘Please Mr Paramedic’, and ‘Shiloh’

60/100

 - Claire Martens

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Artist Name: Lamb of God
Album Name: Resolution
Year: 2012
Genre: Groove Metal
Label: Epic/Roadrunner Records

Lately, Lamb of God have been getting stick from the online community. The main criticism is that they haven’t changed their sound much. In a way, it is an accurate statement, because LOG aren’t exactly progressive giants, nor are they the kings of reinvention – but you also need to ask yourself this: do they really need to change their brand of no-frills, heart-pumping groove metal? I guess that it all boils down to a matter of preference.

All the same, despite probably not caring about the criticism, Resolution does feature tiny tweaks to LOG’s approach – most notably with Randy Blythe’s vocals. It isn’t like Randy has suddenly found his melodious singing voice, but his growls sound more powerful than ever and he has even introduced a clean approach on ‘Insurrection’. If you thought he sounded evil on Wrath, you’ll love the evolution of his hellish yelps on Resolution.

Musically, expect a combination of Ashes of the Wake (2004), Sacrament (2006), and Wrath (2009). In fact, excluding the doom-inspired, sludgy opening track, ‘Straight for the Sun’ and the instrumental interlude ‘Barbarosa’, the rest of Resolution is hardly surprising. Yet, like I said in my introduction, if you’ve embraced their previous albums, you’ll find more than a few neckbreakers in the form of ‘Desolation’, ‘Ghost Walking’, ‘The Number Six’, and ‘To the End’ (this song, in particular, could help Stella get her groove back).

Following suit with the rest of Lamb of God’s career, Resolution isn’t about fitting in with the scene or being popular with the mallcore crew – it’s about good, no-bulls**t metal. Keep the horns raised, because Lamb of God aren’t going anywhere.

Best Tracks: ‘Straight for the Sun’, ‘The Number Six’, and ‘Insurrection’

85/100

- Frankie Styxx

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Artist Name: Deafheaven
Album Name: Roads to Judah
Year: 2011
Genre: Black Metal
Label: Deathwish, Inc.

Heaven may be deaf, but these black metal musicians from the USA have turned hell into an emotionally charged concert hall; or not quite. Perhaps best described as melodic or atmospheric black metal, although the cynics may call it emo, this is an album which requires patience and an open heart…I mean, mind. There has been some love thrown their way by various metal reviewers, especially because they can make any blackened metal-fiend cry, but I don’t really see what all the fuss is about.

Roads to Judah is the debut album from Deafheaven and a masterful piece of background music, if you don’t mind the underlying black metal vocal style. It’s surprising that this album has only 4 songs; the opening track, ‘Violet’, is a “mere” 12 minutes long, with another two songs both just under 10 minutes. I admire them for this; the eclectic but snobbish metal lover will see this as the way that real musos make music – no mind must be paid to the plebeians who can’t appreciate any song over 2 minutes. Except that many more plebeians exist out there than snobs – making Deafheaven elitist and difficult.

Regarding the individual songs, admittedly I couldn’t distinguish one from the next and ‘Tunnel of Trees’ is a rather weak song-writing attempt. ‘Violet’, although the longest track, is my favourite, containing a richness of musical intensity which is just about as much as I can tolerate. ‘Language Games’ has enough variation that it should be the kind of song they aim for. In general, the energy and emotions of Roads to Judah are inspiring and the musicality of the musicians is as good as any metal band requires, but the overall effect is crude and simply fades into the background.

Best Track: ‘Violet’

55/100

- Claire Martens

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Artist Name: Nightwish
Album Name: Imaginaerum
Year: 2011
Genre: Symphonic Metal
Label: Nuclear Blast Records/Roadrunner Records

Now I understand why many music lovers have been proclaiming Imaginaerum as Nightwish’s greatest album. The record – a concept album about an old composer on his deathbed – is an epic adventure, which straps you down, right at the front of this gigantic, ambitious and masterful rollercoaster of composition, and leaves you breathless. For 75 minutes, an unmatched diversity is displayed, which never disjoints, yet always enchants, as Nightwish construct a vivid musical fairytale, bursting with colour and overpowering emotion.

Imaginaerum is much more than your run-of-the-mill symphonic power metal, as the band step out of their comfort zone to explore the realms of doom (‘Rest Calm’), jazz (‘Ghost River’), and even celtic (‘Turn Loose the Mermaids’) on this musical journey. It’s still distinctively Nightwish – however, it’s much more charismatic, grasping and engaging, seemingly leading you to believe that the Finnish band have finally discovered the last few puzzle pieces which would truly complete their sound.

It’s hard to find fault with Imaginaerum. Beautifully orchestrated and carefully pieced together, Nightwish have created an ageless masterpiece, which is an essential album for any avid music fan’s collection. This is music at its finest.

Best Tracks: ‘Storytime’, ‘Ghost River’, and ‘The Crow, the Owl and the Dove’

91/100

- Jessica Rogers

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