If, like us, you were wondering where Cane Hill have been, they’ve finally given us the answer — and it’s probably not what you expected:
My Enemies & I are the type of band that want to freak you the fuck out. With Halloween creeping ever closer, we thought it would be fun to have the band that keeps a Ouija board at their merch table (attend a live show to get the details) tell us about their favorite horror movies of all time. Check out ME&I’s top 10 Halloween must-sees right here!
Here are some thoughts on,
A few exciting records,
And one not so much.
10 year anniversary tours are probably the best things to come out of us all getting older. The latest band who will be playing one of their old favorites in full is Atreyu, who will be playing all of A Death-Grip On Yesterday on their upcoming tour with Islander and Sworn In. Get your tickets here starting April 1st!
Both Cane Hill and The Plot In You dropped new albums in the past few weeks, and both hit the stage on the second day of Loud Fest in Freehold, NJ this past weekend. Photographer Justin LaMot was able to capture some of the magic, from The Plot In You’s “My Old Ways” to Cane Hill’s “Time Bomb.” Check it out!
Photos by Justin LaMot
Rise Records new addition, Cane Hill, finally released their self-titled EP after such a long wait. Their single “Sunday School” originally came out just over a year ago, although it’s only been in the past few months that the band released two other singles, “Ox Blood” and “Time Bomb.” Yet despite the time it took for the album to be released, it’s finally in our grasp and is worth checking out.
Only a 7 track album, Cane Hill’s self-titled EP is quite refreshing. It starts off with “Ox Blood”—fast, heavy and chaotic. The riffs and guitars of “Time Bomb” have some real weight behind them, giving the listener the fuel to thrash around and break shit. The vocals have some nice range as well, for Elijah Witt varies between low-toned spoken word sections followed by a mix between mid and low pitched screaming. For most of their songs, this kind of vocal variation gives a nice dark and twisted feel, especially with the lyrical content.
It’s the following songs that demonstrate their “Nü” side. Both “Screwtape” and “Gemini” have an extreme Korn vibe and the influence is easily noticeable. It works well in their favor and it’s not overused as they still maintain their own sound. These two songs also feature clean singing which is surprising since the three singles released showed no signs that actual singing would be involved in the album. Yet the revival of these old school metal vibes is refreshing and haunting. That being said, I wish there was more of it. Only having 7 tracks is disappointing, especially since there are some real quality songs on this album including “French 75.” This song actually features all cleans and Witt even has a similar sound to Chris Motionless of Motionless In White (which could also be compared to Marilyn Manson). “French 75” also has an unspecified guest female vocalist who not only has a beautiful voice, but is the star of the song and makes it worth replaying. The album concludes with two heavier songs, “The Fat of the Land” and “Sunday School,” which are both solid tracks to get the listener pumped. Ironically, when “Sunday School” comes to a conclusion with the lyrics “It never ends,” it actually does end the album.
Although the Cane Hill EP is short in length, it doesn’t take away from the quality of each song. Whether it’s the heavy bangers (“Time Bomb,” “The Fat of the Land”) or even Korn-esque songs (“Screwtape,” “Gemini”), Cane Hill has versatility and a fresh take while dipping into the past for inspiration. The EP is filled with surprises, and while I understand they want each song to have a sense of individuality, additional songs in similar styles of what was already shown could have made this album a more fulfilling and less jarring one. Cane Hill’s self-titled EP is not for everyone, especially since it’s a bit outside of the box, yet those who enjoy Nü-metal or just dark and twisted music will appreciate this new release.
by Justin LaMot
Atreyu‘s first full-length album in six years, Long Live, blends the band’s beloved signature sound with an almost classic metal vibe. While songs like “Start To Break” and “Heartbeats and Flatlines” echo the Atreyu of 2004’s The Curse, tracks like “Do You Know Who You Are?” offer a bigger break between then and now. The question is, is the change in sound worthwhile or a little too jarring?
The answer: a bit of both. Long Live definitely sounds like a more grown up Atreyu. Screaming is still a very present element on this record, but it’s clear the band give clean vocals and starker melodies a leg up. The soloing found on songs like “Live To Labor” and “Start To Break” are much needed moments of ornamentation on an album that sometimes becomes too bare, and “Revival” is a lovely palette cleanser in between all the heaviness. However, “Do You Know Who You Are,” though an intriguing deviation in song structure, is like “I Would Kill/Lie/Die (For You)” in that it gets somewhat boring after a while. As so often occurs with bands who have been around for years and aim to evolve, their maturity gets in the way of some of the more unrestrained elements that made releases like 2002’s Suicide Notes and Butterfly Kisses so exciting.
Where Atreyu is perhaps most successful is with the dark and enchanting “Moments Before Dawn.” It begins with a few twinkling and hypnotic notes taken from, as the bassist explains in the track commentary, Marc McKnight’s niece’s music box. The band builds off of these childish notes, using them as a guiding leitmotif that haunts the track. A beautiful example of how inspiration can come from the most unlikely sources, “Moments Before Dawn” gives Long Live a unique, albeit odd dimension that would otherwise be lacking on the record.
Atreyu may still have a bit of soul-searching to do, but Long Live absolutely has its merits.
Atreyu‘s long awaited return has been official for some months (WOOHOO!), and now it’s finally starting to feel real with the premiere of the music video for “Long Live,” the title track of their upcoming album. The video portrays a grim, yet somehow hopeful concept, and is the cinematic debut from the metal band’s own bassist, Porter McKnight. After five cloaked figures emerge from a lake dragging coffins behind them, we watch each band member become fearful for their life. However, as the words “Our bond is forever lasting” ring out, the end reveals a glimmer of optimism and a twist that convinces us not only of McKnight’s skills as a writer/director, but of Atreyu’s continued reign in the modern metal scene.
Long Live hits stores September 18. Preorder it HERE and get some exclusive Atreyu items: A bike, a surfboard, a skate deck, a Dan Jacobs guitar, a studio-used drumhead, canvas prints, or muay thai gloves. And if you haven’t yet, check out the band’s live video for their single “So Others May Live.”
Live to Labor
I Would Kill/Lie/Die (For You)
Cut Off the Head
A Bitter Broken Memory
Do You Know Who You Are
Heartbeats and Flatlines
Moments Before Dawn
Start to Break
HEADLINING TOUR DATES
9/18 | Pomona, Calif. | The Glasshouse
9/19 | Sacramento, Calif. | Ace of Spades
9/20 | Los Angeles, Calif. | Troubadour
10/2 | Detroit, Mich. | Crofoot Ballroom
10/3 | Louisville, Ky. | Louder Than Life Festival
10/5 | Toronto, ON | Opera House
10/6 |Montreal, QC | Corona Theater
10/7 | New York, N.Y. | Irving Plaza
10/9 | Boston, Mass. | Paradise Rock Club
10/10 | Philadelphia, Pa. | Rockhouse Philly Fest
10/11 |Baltimore, Md. |Baltimore Sound Stage
10/12 Norfolk, VA The Norva
We Came As Romans premiered their new single “Tear It Down” on Billboard yesterday, and it turns out there is a long and turbulent story behind it and the rest of the new album. In the accompanying interview, vocalist Dave Stephens recounts how the band’s producer for this record, David Bendeth (Breaking Benjamin, Paramore, Papa Roach), tore their initial ideas to pieces. The result is a sound that blends metalcore with nu metal and gives extra attention to Stephens’ melodic vocals; a role for which he spent a lot of time preparing. Of his new vocal coach, Stephens says:
She made me do things like get on my knees and sing with my entire back and butt and feet against the wall and show me all kinds of strange things to show me how to sing properly — not to mention practicing two to three hours a day. But it worked; my range improved, my tone improved.
WCAR have also switched up their writing style in terms of lyricism for their upcoming self-titled work. “Tear It Down” represents a new phase in which the band isn’t afraid to shy away from their stubbornly positive words of the past:
We used to think we had to write positively about change; on this record we realized that to point out something negative or that we don’t like or makes you angry doesn’t mean positive change can’t happen.
Check out the rest of the Billboard interview here and go ahead and put “Tear It Down” on repeat. Trust us.