The frantic summer frenzy is abound, so naturally the Vans Warped Tour-esque pop-rock bands come out in their masses. Ya know, the type of music/bands we hear playing from the amps here in the U.K when we’re waiting for that American export to come on stage… cue in Paramore, All Time Low and so forth.

Fortunately, a Canadian quintet called Ten Second Epic aren’t afraid to visit the U.K, don’t slate our amazing choice of cuisine and hopefully won’t become a one hit wonder like fellow Canadian ‘rockers’ The Mission District.

Most importantly how does the album stand? On the whole, pretty good to be honest with you.

Initially first track ‘Welcome To Wherever You Are‘ had me pretty hyped up about the album. It contains catchy and addictive lyrics (“welcome to your life, welcome to goodbye”) immersed within a vibrant upbeat tone. (Think of a less punkier version of New Found Glory – ‘Hit Or Miss’ and you’ll be close.)

Tracks 2-9, however, just seem far too cliché – minus the catchiness. It’s listenable, but mediocre at best. After a few listens to the album you’ll most likely find yourself skipping right through these tracks to arrive at some of the more later hidden gems.

These diamonds in the rough such as  ‘First And Foremost‘, ‘Further Now‘ and  ‘Count Yourself In‘ save face to say the least. They open the latest rock rulebook and tick all the boxes; 2010′s rockers request energetic vivacious anthems that they can dance their skinny jeans off to, and these tracks certainly allow for that. Not to mention some of the epic breezy riffs consistently allocated throughout.

So are Ten Second Epic gonna break into the British rock sphere? Undoubtedly- some of the jewels on this album have earned their rightful place on that Kerrang playlist. Are you gonna be playing this 50 minute saga at your BBQ’s? If you’re a lover of sprightly bands such as ATL, Mayday Parade and You Me At Six then I sure hope so.

Rating: 7/10

Review by: Jamie

The Empire Shall Fall – Awaken

Release Date: June 21^st

It’s nice to see ex-Killswitch Engage vocalist Jesse Leach has been keeping himself busy, and he’s about to prove he’s ready to step back into the spotlight…

The Empire Shall Fall formed back in 2008, and they are now ready to showcase their debut album, ‘Awaken’. Those looking to compare with KSE, will be disappointed – as the band have been creating a sound more diverse, and dare I say more heavy, than that of Jesse’s previous outfit.

This much anticipated album certainly doesn’t disappoint, and this is apparent from the first note. The band doesn’t mess about with fancy intros, and the album kicks straight into the metalcore riff of the album’s title track. It’s immediately satisfying to hear the strength of Leach’s screamo vocals, proving he’s certainly still got it. This pounding track shows the band’s maturity compared to KSE – another low blow for those looking to criticize.

The album moves straight into ‘Lords of War’, a track worthy of anthemic status with its pounding drums, riffs and vocals pushed right to their limit. ‘Voices Forming Weapons’ is one of the albums standout tracks, full of bellowing screams and those chugging guitars that we all love to hear.

‘Choir of Angels’ is a thrashy belter of a tune, similar in comparison to metalcore greats Suicide Silence. This is seriously impressive – with screeching guitars and Leech pushing his vocals way further than you could ever have imagined before. It’s satisfying to see he’s found a group of accomplished musicians who can push him to these extreme levels – ‘cause it’s really bloody exciting.

‘Awaken’ provides us with hit after hit, each track giving us something different, something heavier. It has a distinct progressive feel about it, seen in abundance on ‘We The People’.

It’s nice to see the band haven’t taken the easy route, as they could have easily done an interpretation of ‘Rose of Sharon’ gaining themselves plenty of radio airplay. I’m glad they didn’t. The Empire Shall Fall have proven that taking chances work, and have provided us with a ballsy, pounding metal debut that I dare you not to fall in love with.

Review by: Carly Page

Twice Grammy Award nominated Katy Perry is back with a summer smash hit that she promises is enough to “melt your popsicle”.

“Califonia Gurls” bursts in with a vibrant tone that ever-so-slightly resembles the eccentric beat in Ke$ha’s intense hit “TiK ToK”. Even Perry’s ability to tailor her trademark recognizable vocals from boisterous exhilaration in the “Starstrukk” collaboration with 30H!3 to an halcyon hub of all things summer in “California Gurls” reveals the extensive levels 25 year old Perry can reach.

Yet, whilst it is much more relaxed then previous tracks such as nostalgia filled “Hot n Cold” and “I Kissed A Girl” it still contains all those vital hooks and influx of innuendo’s we’ve become accustomed to from hit album One Of The Boys.

Backed by Snoop Dogg himself who makes an impressive contribution midway through the track, Katy has insured she’s addressed a vast target audience ranging from rap-radicals to pop rock-enthusiasts and everything in between.

So nudge that radio and turn on the air-con ’cause this track’s gonna be hot.

Review by: Jamie

Lecarla have always undoubtedly had the rock star-esque image to platform themselves into a career laired with a persistent entourage of teen admirers’ destined to remain with the band for the ‘long haul’. Perhaps this is also the same uncanny similarity which entwines Lecarla’s zestful energy amongst the ‘early’ Paramore roots and the success of their arguably now classic ‘Misery Business’.

The quartet’s latest effort Silent City builds upon the success of their first EP Uncovered as well as introducing a new and competent Metal melody. Long gone are any signs of previous miniscule sound engineering faults to deliver an even more prismatic and lustrous CD than ever before.

Bursting in with an iridescent euphoria of churning guitar rhythms matched equally with frenzied drum blasts, “DILLIGAF” proves itself worthy of that heavily sought after EP opener; even lead vocalist Lizzy affirms her competence after initial ‘flat’ notes by producing a commendable u-turn midway through the track showcasing just how intensive her vocal range can be.

Cogent lyrics ‘this is a violation’ of “Violation” ultimately barge down the elusive barrier between band and fan interaction, allowing for mass lyric hymns at each and every U.K venue visited.  Couple this with the distinctive male Screamo vocals from drummer Stephen North alongside Lizzy’s tenacious, awe-inspiring lead and the most superlative track has just been unveiled.

Final three tracks “Cities In The Sky”, “Obstacles & Runways” and “This Is The Interval” equally do justice by tweaking niggles and evolving strengths from their previous EP – indulging in the same iconic pop-rock vocals with a fresh metal infused tone to please both new and old fans alike.

Rating: 8.5/10

Review by: Jamie

‘Anti Flag-esque energy entwined with epic formidable screams’ would be the briefest of brief synopsises to describe This Is Hell’s latest effort. Catapulting directly into first track ‘No One Leaves Unscathed’ a thrashing guitar intro echoes Machine Head 2.0 – even the scorching efforts of drummer Benny Mead hallow closely to Dave McClain’s. The way in which the band seems to conduct a thrash metal meets hardcore punk combo and pulls out a divine album catering towards a multitude of stereotypes within the rock genre is far beyond comprehension. Even track 4 ‘Bloodlines’ begins with a baseline parallel to Rise Against gradually able to transverse to Gallows style vocals that are sure to send surges and tremors down the spines of their doting fanbase.

It seems to be this unique fusion of bands and clash of genres which keep enticing fans for more; straying away from Metro Station style clichés that aim for mainstream and little else (aside from every isle, box, and worker of Hot Topic) this has provided This Is Hell the springboard to reach out for those ever longing dynamic music buffs who consider music from the soul far greater than typical mundane ‘my girlfriend left me’ scenarios that seem to crop up in every band and their fat pay check recently.

I was further surprised in regards to the ambient nature within ‘Eagle of Justice’ it was short lived, no denying (2 mins did seem rather short) yet the ability to have a lull and reflection during this mid-album interlude was heavily appreciated… would it be too ambitious to additionally compare the work to Slash’s latest solo work? Nah, I didn’t think you’d mind!

When Guitarist Rick Jimenez stated, “This album lyrically takes us to a place we have never really been before; it’s more fierce and aggressive as well as empowering and honest than ever before.” I couldn’t agree more. The basis of the ‘f*ck you we’ll do what we want’ punk outlook is unquestionably prominent throughout the 13 track mosh-gasm; so turn up that music, invite over some friends and mosh like your lives depended on it (just note I’m not liable for any injuries or noise injunctions against you!)

As the volume gradually lowered during the finale of last track ‘Snake Eyes’ I was impressed that a band for once have actually been able to finish a album appropriately and not leave their unsuspecting fans wondering where the track on the other side got off to. A sterling release from an admirable band, undoubtedly one to look out for!

This is Hell

“Weight Of The World”

In Stores June, 8th 2010

Rise Records

Recorded by: Tomas Costanza at Killingsworth Recording Company Studio (Los Angeles, CA)

With a divine combination of Korn infused riffs and Faith No More monumental melodies you can be assured that Fred Durst was right (for once) when he said “Ladies and Gentleman… Spirtytus! Remember that f**king name!”

Breaking away from mundane metal clichés that extend far further than your Grandfathers’ retrospective wartime stories, Spirytus provide songs under that dreaded six minute mark and still manage to include all the elements of an admirable album.

Tracks such as ‘Bullet Ride’ feature heavily prominent bass riffs that gradually transverse into a chorus fuelled with melodramatic screams. Furthermore a consistently upbeat tone – aided via the rapid double bass movements and extensive mind-blowing shreds help to form the foundations of the elevated quality to come.

‘T.V. clown’ however features its own spin on that instantly recognizable fun-fare tone extensively throughout the track blended with realms of normality; it’s actually quite bizarre, and I’m still undecided as to whether or not that’s a good thing.

‘Heaven Hates You‘s’ fast paced “fly like a butterfly, sting like a bee” ingenious lyrics combined with the forceful indenting impact of the drums elusively etches the subliminal ‘must mosh’ within the inner depths of each and every mind (just don’t blame us if you get grounded for starting a mosh pit at the dinner table).

Even if last track ‘Crucify’ does seem to miss a justifying breakdown, it doesn’t hamper the earlier areas of excellence. And whilst the band does wholeheartedly embrace metal and doesn’t cater as such for the skinny-jean clinching, eye-liner devoted ‘emo’s’; each and every one of us will be able to find some area of excellence within the album that we enjoy – whether you admit it to your Metro Station loving friends however is a different story.

Far from your average Radio 1 formation these guys aren’t mainstream but are devout Christians.

Therefore, whilst sexy ladies in skimpy outfits prancing around within the video are off the cards, don’t assume FF5 don’t know how to have fun.

Bursting on to the screen with more colour then a raver’s Friday night disco and instantly driving the song forth with a distinctive bass rhythm, an influx of kids obeying the titles command as if their lives really did depend on it is sure to be a regular sight this summer.

Nostalgia’s furthermore going to hit home for the majority with an epic clash of Telletubby tomfoolery and playful Poweranger influences constantly seen throughout the video. So go on, get out that Poweranger toy you told your workmates ‘you got rid of’ after they saw it last week, I dare you.

And sure lyrically it may not be the créme de la créme, but who cares? Its ‘windows down, volume up’ feel entwined within the catchy eccentric pop nous ensures that this track is one to purchase.

‘DANCE OR DIE’ is released on May 17^th 2010.

They’ve enhanced the perks within my job, they’ve given me a reason to soldier on, they’ve give me a new lease of life. How? Due to the educational morale they’ve managed to rally forth; strip and run!

It’s all regarding something every town centre/high street has at least one of… something hard, flexible, and even pleasurable. Yep you guessed it – A parking warden’s shift.

I do have to feel sorry for them though, hearing the excuses “I forgot my husband in the shop” and “sorry mate, I didn’t realise it was a double yellow line, I’m drunk” must get tiring after a while (if anyone’s ever used them please do get in touch!)

Anyway, without much further ado, it’s time to watch the band do what they do best – hire a sexy woman make an awesome promotional video.

It’s quirky and unique, things like this reassure me that the music industry is heading in the right direction; innovation as opposed to clichés.

“Stone In My Heart” their latest EP which was released on the 22nd March 2010 rejuvenates that feel good vintage soul sound, adds in a dash of Hendrix, and even embraces those hooking funk beats to form the foundations of that ‘windows down, volume up’ summer feel.

First track “Stone In My Heart” should be instantly recognisable to anyone who watched the video above. Without a doubt the highlight of the EP this track embodies everything a band should aim for when creating music – fun, heart-enrapturing melodies! The lyrics “With a stone in my heart I stood up and love was gone. Makes me stronger, makes me wiser” could apply to any age group from love-struck teen to an adult coping with a relationship breakdown. They seem to be all about ‘picking yourself up, and moving on’ somewhat similar to ‘that song on the radio’ which spoke of “plenty more fish in the sea“.

You know, the next track “Stop Mary” reminds me of those songs you see coupled with montages on movies; when a protagonist and his girlfriend go on a day trip to a theme park and end up laying on the grass together at the end – Aww. No matter how many times I listen I just can’t find any problems! The beats and vocals go together well, the track keeps the same content vibe the whole way through, there’s even some small guitar riffs in there that adds that little bit of depth we constantly seek for.

“Foxes” comes across as a slower version of “Stop Mary”, it’s a track to play when everyone’s sweaty and dehydrated. Even more so, I remember earlier during the week reading a review on Popped Music where the journalist wrote the track had a “Middle Eastern feel” and I couldn’t put it better… it sounds quite a peculiar way to describe a British act but trust me, boy does it work.

Last track “Starlight” follows a similar sort of pattern to the first two tracks and finishes the EP off perfectly. Admittedly I was a sceptic prior to listening; it’s outside the field of music I would typically listen to. However, if the band can even entice me into becoming a fan then God help them when their already doting fans take a listen…..

An outstanding EP that has no blemishes whatsoever…

5/5

Review by: Jamie

Fathom the distance between TYWI’S first release and their latest contemporary piece and you’ll rapidly begin to appreciate the leaps and bounds the band seem to have undertaken.

First track ‘A Bigger Breakdown Than Lad” features a similar guitar infrastructure to the previous E.P however guitar levels seem to have been refined into a much better flowing conformity; drums are no longer drowned out by a quick succession of riffs, and vocals alike seem to work in greater harmony. With the title being derived from a strange concoction of white vans, over-priced service stations, and monstrous motorway breakdowns the objective correlative of a major breakdown within the song is made all the more ironic and jocular.

Continuing with the unique yet quirky names “Mike Bush Is Not Dude!” remarkably resembles a Chiodos-esque title. However, the music genres couldn’t be any further apart even if they tried. A heavily pop-rock influenced track featuring the vastly addictive lyrics we constantly crave, this is a track destined for mainstream radio and ‘big-ass’ venues. The repetition of “four-leaf clovers” during the chorus really does leave you wondering if Mike Bush is some form of magical leprechaun – and hey, even if the rumours do prove to be true, let’s hope TYWI get their pot of gold.

“We’re Flying/they’re sinking” and I’m still listening! Whilst not too different to the previous tracks it’s awesome to notice the band have now reached a vocal style their happy with ( it also contains none of that Metro Station cheddar that still haunts me to this day “I’ll take you home if you don’t leave me at the front door” – shudders.)

“Smooth Talkers & Sleep Walkers” & this is different. The guitar riff at 1.32 is simple and immensely effective – the closest thing I could liken it to is that of ADTR – “Downfall of Us All”, even the joint band vocal breakdown at the end is similar to the one used during ADTR’s song opening; it’s a nice welcomed surprise!

Last track “Eleven” admittedly disappointed me on the initial few listens. The first half of the song’s vocals sound quite poor in comparison to its predecessors -everything just seems a little too ‘plain and simple’- however they do manage to redeem themselves, and with style. Chants during the latter portion of the song ended the E.P perfectly – something even mainstream bands struggle to do, and above all – it sounded great.

Will TYWI get their “big-ass venues” and “mainstream radio” opportunities? That I can’t predict. However, what I do know is how far the band has come since their previous release. A much nicer sounding E.P that has all the characteristics of today’s biggest pop-rock bands the only limit for this band is the sky!

Review by: Jamie

Sharing a synonymous name with the EP, first track “These Precious Things” breaks every convention going with an intricate barrage of heavy-handed cadence right from the first line ‘a familiar feeling of hopelessness’. Next track “So Where Do We Go From Here?” Features a much mellower opening that’s indubitably welcomed and  gradually allows the song to build up to an elementary but nevertheless momentous guitar riff that acutely sets the tone for what is one of the most superlative tracks on the EP. The chorus: ‘So here we are but where do we go from here?’ Has that addictive crowd encapsulating effect we’ve come to expect at live gigs, and is furthermore sure to get every individual within a venue on their feet; even if they were dragged to the gig by their girlfriend who has a doting affection for a member of the band.  “Loyal Until The End” on the surface emerges as a Glassjaw influenced anthem yet delve further within the melody and you’ll notice the spark of singularity that sets Kyra apart from other bands within a genre that contains all too many relentless clichés and arrogant personalities. “Somewhere In Between Dreams And Reality” however, finishes off the EP far too abruptly. Playing out to a premature climax it seems as if one more track is missing from the other side, and possibly vocals utilized until the last second could have been used productively. Nevertheless, this one minor issue doesn’t hinder the pure overall brilliance frequently found during the EP.

Overall: A dignified band that take pride in having an accomplished appearance; the review package they sent me contained 2 cd’s, a contact card, lyrics, and a individual letter which clearly showed their professionalism. Each instrument has its time to shine throughout the EP and does so to the uttermost extent. Thus for all the above reasons Kyra earn a smashing:

4.5/5

For fans of: Glassjaw, We Are The Ocean.

Review by: Jamie