Review: Slaves // Take Control

After their debut album 'Are You Satisfied?' launched them to fame last year Slaves have taken off. Regular plays on BBC Radio 1, nominated for a Mercury Prize and winning the hearts of many fans with their budding bromance, you could have almost forgiven the duo for selling out on their second album.

However fans needn't have worried.

The album begins with the furious 'Spit It Out' and barely lets go of the frantic pace through 'Hypnotised' until the listener reaches the plodding 'Consume Or Be Consumed'. Featuring Mike D (of Beastie Boys) the song meanders safely along through the droning chorus between some excellent lyrical work from Mike D and Isaac. 'Consume Or Be Consumed', however, most encapsulates the lyrical theme of the album, a protest against everyday life.

'Rich Man' can be seen as a crude summary of modern distaste for the rich and the ongoing talk about the "1%". This is swiftly followed by 'Play Dead', chants of "Too Connected, Disconnected" and "Switch It On, Switch It Off" run through the song - a statement on the issues with social media and mobile phones. Not only something you hear on the record but also at their live shows, it is not uncommon to hear the duo tell fans to turn their phones off, stop filming the gig and enjoy whats in front of them, something applied in a wider sense in this song.

One of the main successes of the band is their ability to be not only a serious band but also a humorous one. In particular 'Where's Your Car Debbie', 'Feed The Mantaray' and 'Girl Fight' spring to mind from their back catalogue. This albums equivalent is 'Fuck The Hi-Hat' a homage to the bands early days on the touring circuit when punters would shout out "Where's your hi-hat' to the band that only have a snare and a bass drum in their arsenal. This frantically short track is one of the least important to the overall album but possibly one of the most enjoyed by fans at the bands live shows.

Slaves tour the UK this November

The second half of the album begins to highlight the duo's ability to play something that little bit slower. This is not the bands comfort zone and not necessarily the future of Slaves, however it showcases some of the bands other influences and makes the album seem that little bit more whole.

'Same Again' closes the show with the band returning to a style more familiar to them however grungier than before. This sound seems increasingly like it's going to be the future of Slaves and not many people will be upset with this.

However while this album's sound is almost complete - retaining the bands rawness while achieving a slightly mature sound - they are still a couple of (if very small) steps away from being pencilled in on the list of punks greats. They've released their distaste of wider society without getting particularly political or anarchist and for a band capturing the minds of so many disillusioned youths this is really the next step.

(8.5/10)

-Luke

Review: Cassels // You Us and They EP

"The you in this song is a real person..." Cassels second EP opens in a blunt and direct way. A style built to popularity by punk rock two-pieces like Drenge and Slaves over the last few years, the two brothers from Oxford now attack it with an apathetic yet youthful view on reality. It's refreshing to hear songs about the NHS and social media which don't dumb down or glamorise and Cassels achieve it without sounding unnecessarily crude.

'You Us and They' - the title track - attacks the political minefield of the NHS. "Why don't they gas the polling station as we line up to vote" lyricist Jim shouts at the climax to the track, a sentiment reflecting a large proportion of public opinion. At the end of the day that's what's going to make a band like Cassels, they're not easy on the ear - it's music for the angry but more importantly music with a meaning.

Once you take away the excellent lyrical part of the band you're left with something that is interesting and musically different. The jarring and jumpy punk riffs give Cassels a sound resonating with the new breed of 21st century punk that's slowly rearing it's head and yet retains an air of individuality.

In a time filled with the kind of discontent towards the establishment amongst young people not seen since the 70's, punk could be back and now that Slaves, Drenge and many more have opened the door to the wider audience, it could be Cassels time to burst right through it. Everywhere in this EP from the politics of 'You Us and Them' to the apathetic attitude of 'Ignoring All The Tunnels & Lights' and the frantic 'Well Fed Worms In A Graveyard' this EP screams potential.

(8.5/10)

-Luke

The EP is released on 12th August 2016 via Big Scary Monsters with two EP release shows before and after the date

Cassels also head out on a co-headline tour with itoldyouiwouldeatyou in September:

11th September - Green Door Store, Brighton
12th September - Whiskey Jar, Manchester
14th September - Santiagos, Leeds
15th September - The Cookie, Leicester
17th September - Birthdays, London

Artist Spotlight // Hacktivist

Members:
Tim Beazley, J Hurley, Ben Marvin, Josh Gurner, Richard Hawking

Location:
Milton Keynes, Buckinghamshire

Description:
Nu-metal or grime punk, whichever you prefer, but aggressive and in your face with a message that needs to be heard.

Songs To Get You Started:
N****s in Paris (2013), Elevate (2013), Hacktivist (2012), Taken (feat. Rou Reyenolds) (2016), Hate (2016)

Discography:
Studio Albums:

1. Outside The Box (2016)

EP's & Singles:

1. Hacktivist EP (2012)
2. Elevate (2013)
3. N****s In Paris (2013)
4. False Idols (2014)
5. Decieve and Defy (2014)

Social Media:

Hacktivist Twitter
Hacktivist Facebook

Find more articles on Hacktivist HERE

Find more artist spotlights HERE

Artist Spotlight // Slaves

Members:
Laurie Vincent, Isaac Holman

Location:
Royal Tunbridge Wells, Kent

Description:
Aggressive hard hitting catchy punk

Songs To Get You Started:
The Hunter (2014), White Knuckle Ride (2012), Where's Your Car Debbie (2014), Shutdown (2015), Cheer Up London (2015), Girl Fight (2012)

Discography:
Studio Albums:

1. Are You Satisfied? (2015) - Stereo Brain Rating: 10/10, Stereo Brain Album Of The Year 2015

EP's & Singles:

1. Sugar Coated Bitter Truth (2012)
2. Where's Your Car Debbie (2014)
3. Hey (2014)
4. The Hunter (2014)
5. Are You Satisfied (2015)
6. Cheer Up London (2015)

Social Media:
Slaves Twitter
Slaves Facebook

Find more articles on Slaves HERE

Find more artist spotlights HERE

Review: Max Raptor // Max Raptor

Quiet, thoughtful, delicate - all words you wouldn't use to describe Max Raptor's new album. This, the bands 3rd full length, is just as raucous and grumpy as the previous two.

'Max Raptor' opens with 'Keep The Peace' and from the start, aggressive drums and punk rock riffs kick in.  Tuneful is another word you wouldn't associate with Max Raptor with lead vocalists Wil Ray fluctuating between a football chant and post-hardcore growls through each song..

From the start to the album closer 'Last Words', this album is nothing but in your face and aggressive. Boisterous in the extreme, listening to the album at times feels as if you're being serenaded by an angry drunk man on a cold wet Midlands night. This certainly gives it its own unique charm but one that echoes some of the UK's best punk. Vocally it reflects that of the fast spitting style of Million Dead while musically it brings forward flashes of Drenge and glimpses of The Blackout.

The highlights of the album have to be the songs released before the album release - 'Old Romantics', 'Big Divide' and 'Damage Appreciation'. 'Damage Appreciation', especially, is the ear-worm of the album with a danceable bassline and a chanting chorus. This is surely Max Raptor's most complete sounding material so far, fitting nicely into the progression of their work by becoming more aggressive but musically more polished than previous outings.

'Max Raptor' is UK punk rock at its finest - loud, unapologetic and in your face.

7.5/10

-Luke

Review: Hacktivist // Outside The Box

Formed just over 4 years a go, Hacktivist have been slowly working their way into popularity in the metal scene. Their debut album seems like it couldnt be better timed for release for the rap-metal band from Milton Keynes. With punk and grime both in the public eye a band like Hacktivist is exactly what is needed to bring the two genres together.

That's exactly what they've done with the release of their debut LP. With tracks varying in style from post - hardcore to what could be a track from a grime album, it's hard to put a definitive stamp on it. However, there's no doubt that this is a quality album.

One of the best tracks on the record, released just before the album 'Taken', which features Rou Reynolds of Enter Shikari, covers the difficulty of letting someone into your life It is fantastic musically and lyrically with a classic Hacktivist and hard hitting lyrics.

The rest of the album has less emotional lyrics but musically is just as stunning while incorporating a more politic punk lyric. With parts which could be off an Architects record and other parts which could be from Stormy or Jme,  it's a mix which sounds odd, but works fantastically.

This is a great debut from the band from Milton Keynes, this coupled with a formidable live reputation could see them rocket up in 2016. A great modernisation of the nu-metal of previous decades but something better described as grime-punk.

8/10

-Luke

Enter Shikari // Motorpoint Arena, Cardiff // 23.02.16

It was a cold quiet February Tuesday night in Cardiff and the Motorpoint Arena opened it's doors at 6. Hoards of gig goers flocked in for a show many of them had been anticipating for months. The excitement building, a buzz in the air as 7pm ticked closer and closer.The lights dimmed bringing the 3 quarters filled hall to a standstill.

One of the huge appeals of this tour was not just the headline act Enter shikari who themselves are incredible, but the quality of the bands supporting them. Most excitingly The King Blues who were returning for the first time on tour after 'splitting up' 4 years ago. Itch and the band had been tearing up political punk rock since about 2004 with numerous LP's reflecting Itch's objection to politics and also his personal struggles. When the band split in 2012 it sent shock waves through the world of punk rock and a lot of people were sad to see them go.

King Blues @ The Motorpoint Arena (photo by Ben Cowper)

Understandably the crowd were excited to see them back. Having released an EP 'Off With Their Heads' not much longer than a week before not only was it a chance to see a band which everyone thought had run their course but to hear some of their new material for the first time. Itch and the gang did not dissapoint, getting the crowd going with a set of old favourites, a call to protest against Cardiff Arms Fair and a brilliant rendition of their new single 'Off With Their Heads'. They were everything that was expected of them and more, so good in fact that they had the room calling for an encore.

The King Blues @ The Motorpoint Arena

However The King Blues had to give way for another incredible support act. All the way from the US the next support band were The Wonder Years, bring their brand of sad pop punk to Cardiff. Opening with 'Cardinals' and '& Brothers'; two songs that start off their latest album in an anthemic and hair raising fashion, they then led into a set filled with songs from every album. Fan favourite 'Passing Through A Screen Door' went down a treat with fans and new comers a like. Those unaware of The Wonder Years before the night soon became familiar with their tried and tested pop punk formula  and as the set went on more and more people in the hall were getting into the music, with mosh pits opening up left, right and centre.

The Wonder Years @ The Motorpoint Arena

As support acts go, Enter Shikari or whoever manages their tours did a fantastic job. With the crowd thoroughly warmed up and already sweating, The Wonder Years ended their set and the crowd waited in anticipation as behind a huge black curtain you could see lights flashing through, drum kits testing, the crowd knew there was something big was to be revealed. As the clock ticked round to 9pm there was a countdown in a deep synthesised voice.
"3 minute"
"2 minutes until show time"
"1 minute to go"
The lights dimmed.

The impressive thing about Shikari is their creativity. The genre which they fit into is a combination of electronic, metal, post hardcore and the remnants of rap metal, something not unheard of, but something they achieve with brilliance on record and in a live environment.

Enter Shikari @ The Motorpoint Arena

As if that wasn't enough Rou and the boys extend their creativity to live shows. As the band has progressed up the musical ladder its become easier for them to express themselves with extravagant shows with stunning lighting rigs and incredible sound and boy where the crowd at The Motorpoint Arena treated to a show.

Enter Shikari @The Motorpoint Arena (photo by Ben Cowder)

The curtain dropped revealing drummer Rob Rolfe's elevated stand and the band's logo suspended in metal from the rafters. Launching into the set with old favourite 'Enter Shikari' it took very little time for the crowd to rile up and become raucous, chanting back at the band "and still we will be here, standing like statues". Shikari created an atmosphere that made hairs stand on end, smashing through a set covering their entire discography, from studio albums new and old and one of singles, no one was left disappointed.

Enter Shikari @ The Motorpoint Arena (photo by James Aylward)

However, the most impressive thing about Enter Shikari was their inventiveness. With easy transitions mixing one track into the other, Rou's improvised vocals at the end of 'Radiate' and a spontaneous rendition of 'Angels' by Robbie Williams they had the crowd captivated and in the palm of their hand throughout the show. As a band they do so much more than perform songs, they create a show, a spectacle. A tactic that is slowly propelling them away from being an act on their way to the top to one that is already there.

Enter Shikari @ The Motorpoint Arena (photo by Robert Harris)

-Luke

Review: The King Blues // Off With Their Heads - "Guess Who's Back and Pissed Off Again"

After disappearing for almost 4 years there's nothing quiet about The King Blues return. The album was initially blocked for release by iTunes and Facebook blocked them promoting their music video due to the political nature of the caption, the world has missed the kings of political punk. With an album titled 'Off With Their Heads' and with artwork appearing to depict a decapitated David Cameron, that gives you a good idea of the main theme of the record and it doesn't disappoint.

The first track, sharing it's name with the title of the album, opens with muffled sounds of someone talking before launching into "Guess who's back and pissed off again", and my goodness are they pissed off. After a politically raucous opening to the album the record proceeds to dip in and out of political messages in songs like 'Starting Fires' and 'Opposable Thumbs' but also flirts with personal issues in 'Words' and 'Pure Fucking Love'. This generally a theme in all The King Blues previous records and it just works on so many levels.

Despite these forays into personal relationships, the important message from this album is political. Messages expressing unhappiness with David Cameron's government are ever present. Also a deep dislike towards the attitude of people is clear in 'Opposable Thumbs': "Look how far we've come with our opposable thumbs" is an almost satirical or sarcastic lyric, reflecting on the fact we take everything we have now for granted and dont appreciate where we've come from.

The overall feel of this album is that they are back with a bang, sick and fed up of what's going on in the world, and particularly fed up with the government. For many people in the older generation it'll feel like a modern version of the punk generated in the early 70's and for the modern generation The King Blues offer a message and music to believe in.

Over the last few years I have witnessed a slow revival of punk rock, starting with bands like Slaves and Sleaford Mods contributing to bringing the style of music and the lyrical meanings to the public eye. The King Blues tie this together brilliantly and the new album is another step in the right direction.

A politically charged masterpiece, revival of punk is on it's way - 8.5/10

-Luke

i've seen this pig fucking government dropping bombs for peace, slashing benefits, turning venues and clubs into coffee...
Posted by The King Blues on Friday, 12 February 2016

Review: Slaves // Are You Satisfied

For many years my dad has plonked CD’s and Vinyls down on my desk of old punk bands. “You’ll like this” he’d say and I did. I’ve always enjoyed kicking back and listening to some Clash and the Sex Pistols.

You see my dad grew up with the punk movement, the politically motivated, hard hitting movement that dominated the rock sub culture in the 70′s. Something remembered by everyone, and loved by many,it brought rebellion and angst to the forefront of music and allowed people to protest in a new and popular way.

But as with many great era’s of music it died away long before I was born in 1996 and to me, and I’m sure to many others, modern popular music is drab, dreary and meaningless. With the exception of a few bands, angry meaningful music was dead.

FInally, however there may be hope.

Halfway through April, my sat me down and said “We need to see this band Slaves”, I didnt think too much about it, it was a cheap gig so I decided to go.

The night before the gig was the first time I listened to any of their music, I switched on soundcloud and listened to their song ‘The Hunter’. From the first note to the very last note I felt as if I had my brain smashed out with a punk rock sized brick. It was incredible. A fantastic riff, a brilliant tune and a thumping beat matched with brilliant lyrics that meant something. A protest song.

The next 24 hours went so slowly, I hadn’t been this excited for a gig in a long time. We trundled down to Portsmouth to a fantastic venue called The Wedgewood Rooms. The two support bands were brilliant and everyone was fired up and ready for the show. While we waited they had reggae music playing over the system, not the normal choice for a punk band, all of a sudden the lights dimmed.

An explosion of noise erupted around the venue, the first notes of ‘The Hunter’ twanged out and the whole crowd appeared to stop still before becoming a frenzied mass of bodies moshing and dancing to the rebirth of punk.

During the gig and after I had never felt such a buzz of an excitement, such an atmosphere around a band whose first album went unnoticed by most of the world. Within weeks they appeared on Radio 1′s live lounge. Bringing this brilliant sound to the country again.


They have received the first Kerrang Spirit of Punk award, and I’m sure many more are to follow after a magnificent first album. The very same album which I plonked down on my dads desk and said “You’ll like this”.

(10/10)

-Luke