Every once in a while, a great band you've never heard of crosses your path, or a great album from a previously lackluster band grabs you by the balls and gets your attention. Sadly this is neither of those.
Spence first got on our radar a little over a year ago when we realized they were personally out and about pounding the pavement and getting people excited about their music and brand. The band members were actively seeking out people in the biz and inviting them to listen and to come to a show. Now, that doesn't make them extraordinary. No. Many bands do that. What Spence had was charisma and charm…and persistence. They were good at making sure that people that were remotely close to their venues were aware of their tour and personally invited them to come out. They reminded us over and over again where they were, and made sure that we were there to hang with them and have a drink. Dedication and persistence.
After the cancelation of the American tour, many of our heads hung low. So much anticipation to see such an amazing band, and to have it ripped from us, like slap in the face! Here at RockRevolt we screamed out "Why?!" Personally, I hung my head and shed a few tears. In learning and researching about the Cradle, the more the disappointment clung to my chest like a noxious disease. During my bleakest moment of despair, little did I know that I would be speaking to Dani Filth less than two weeks later about that very same scandal.
Voices and Vessels waste no time in the three track EP "Those Who Deceive." It's structured to be one of those records that are good enough to be melodic and lure you into a sense of sweet security, before punching you in the face and telling you to wake up.
Post-Hardcore/Pop-Metal? That's the odd label that the six-piece Apparitions call themselves, but there's no real evident genre present in their latest album.
Madrid, Spain is not necessarily known as a hotbed for alternative rock groups, but that isn’t stopping a bunch of...
This album has EVERYTHING that you could ever want in a metal album: a great intro, a full and varied body, and a capstone that sums up the album as a whole. It's not exhaustingly long or overwrought with songs that were forced into it to meet a quota to make it an album vs. an EP, and it is interesting enough to keep listening to, allowing you to discover new features to savor as you plow through the tracks again and again.
Killswitch Engage are back with their original singer Jesse Leach, and this has caused a lot of controversy among fans. The first two albums released by the band cemented them as the founders of metalcore, and they gained much more popularity during the Howard Jones era, despite having a weak second self-titled album before he left. Now, Killswitch Engage have to win back fans with 'Disarm the Descent' – if it's good, then the fans will stay, but if it isn't, then the band might as well not stay together. After listening to the album, I'm going to conclude what it's like now: 'Disarm the Descent' practically shits on all of the band's discography: it's nothing short of amazing.
Stuck Mojo trail blazed the rap-rock genre by melding their heavy metal-bred Southern heritage with a frontman (Bonz) who bled hip-hop. Formed in 1989 by guitarist Rich Ward, Stuck Mojo set out to experiment with this genre-blending musical hybrid, inspired by bands such as the Red Hot Chili Peppers, Faith No More, Run DMC and Black Sabbath. When Stuck Mojo's first release, "Snappin' Necks," appeared in the mid-90's via Century Media, they were something of a phenomenon to some and a question mark to others. Daring to be different in a non-socially acceptable way, they challenged the system musically and broke down barriers.
I think most people would not think of a violin as being an instrument that rocks. That preconceived notion is...
I think it’s safe to say that if someone told you that a three year old was playing the piano,...
Per the notes included with my review copy of Davey Suicide’s self-titled debut album, Davey Suicide, he is “ready to set the world ablaze.” That is quite the introduction; however, does it actually accomplish this? Does it really set the world ablaze? Well, see the notes at the end of this review, and that will tell you whether or not Davey accomplished what he set out for. If you appreciate dirty, punky, “fuck you” type of music, then yes. You will love this album. People are wondering where metal went. Well, it went somewhere after the wake of grunge, but Davey might be bringing some of it back. With a myriad of themes, this album is definitely an interesting compilation of songs, moving through various styles, displayed through the Davey Suicide lens.