review

Seethe Offers Another Glimpse Into Darkness With New EP, ‘Schisms & Pendulums’

May 12, 2024 — Leave a comment

Alternative/trap metal artist Seethe has never been one to shy away from the darker side of the human condition, and his forthcoming EP Schisms & Pendulums is yet another testament to this. Set to be released May 15th, the three-song record takes on the harrowing subjects of modern organized religion and the battle with cancer.

“I was listening to Deftones’ self-titled album and Nirvana’s In Utero quite a bit while writing this EP,” Seethe explains. “Not that it can necessarily be heard [musically], but I feel I caught the vibe and essence of both albums. Dirty, yet clean enough to not sound like garbage. This is also thanks to the production by Vixlence Beatz and Gus Wallner’s mixing and mastering.”

As with much of Seethe’s creations, Schisms & Pendulums is an EP meant to be felt as well as heard. The first track, “Coalesce,” is filled with disgust and rage, which colors every lyric, intonation, and the stylings of the accompanying music. “It’s a stab at modern day religion,” Seethe says. “Not that God and Jesus don’t exist, but more how modern religion is propagated toward political welfare and also the alarming number of cases of sexual abuse and misconduct from clergymen over the last 20-30 years.”

“Coalesce” is followed by “Cascade,” a heart-wrenching ode penned from the point of view of a person witnessing a loved one struggle with cancer. Seethe wrote the song about his mother’s second fight with the illness, and the raw pain bleeds through in the words and the way in which he screams out the emotion from within. “Lights gleaming with a sense of purpose, dimming out over the cascade/Burning out without a purpose, crashing down to one’s knees…” It is an unflinching dose of reality, the bitterness borne from watching somebody wither away while trying so hard to stay strong.

“Dreary” is the other side of the same coin, a story told from the patient’s point of view. Fraught with frustration and anger, the narrator looks back on life and wonders “Why me? I’m a good person.” The sentiment is echoed in a line that is repeated throughout: “Cure me, please, you owe me this.” 

Schisms & Pendulums will hit all major streaming platforms on May 15th! You can presave the EP here, and visit Seethe’s other socials to make sure you never miss an update!

Six Scars’ New EP Grants a Glimpse Into the Dark Side of Life and Love

March 3, 2024 — Leave a comment

Six Scars is a one-man metal project hailing from southwest Virginia. Heavily influenced by the many subgenres of rock and metal, Six Scars began his journey by exploring the more melodic and ethereal realms of shoegaze on his debut album, To Wilt and to Bloom. He has played with other subgenres, such as nu metal and alt-rock, in the intervening years, yet now, in 2024, he has returned to his roots.

The Silence and the Withering, the latest EP from Six Scars, was released on February 16, 2024. Driven by introspection, this record offers six hauntingly beautiful songs, written with self-reflection and painted in sounds.

The EP opens with “Another Scar,” a track lamenting wasted time and a life not lived. “Another scar, another excuse to not get off your ass and move/There’s a whole world waiting, but you already died,” the chorus erupts in frustration, and how often is this the case? How many times have we had plans, goals, dreams, that we were too afraid to pursue, and then suddenly, we’re looking back on the years that have passed with regret? “I wanna rewind, I wanna live my life,” our narrator says in conclusion, but that is an impossibility.

The next four songs – “Damaged From the Start,” “Dead Nothing,” “Dionysius,” and “Mausoleum” – are a tableau dedicated to the one thing none of us are immune from: love. Six Scars pendulums from the depths of heartbreak to a seemingly idyllic representation of that endlessly discussed emotion. For instance, in “Damaged From the Start,” he writes, “I owned you, you owned me, this orgasmic catastrophe,” hinting at a mutually toxic relationship. 

“Dead Nothing” ventures a step further, diving into the depths of manipulation and torment the narrator experiences – and the resulting desire for vengeance. “You played me like a puppet, dancing to your every whim/But not the tables have turned, and it’s your turn to face this sin.”

We are then taken back to when the love was new, pure, perfect, though there is still an acknowledgment that it was tainted from the start. In “Dionysius,” the narrator fondly reminisces on the past. “My Dionysius, my odyssey…we’d fly away into the ether, never knowing what we were leaving/And the cosmos united for us when we retreated…” However, he soon admits that he lost himself to his lover and their shared addictions, including what could be the most damaging one – each other.

The lovers’ tale ends with “Mausoleum,” and despite the title, it is not as dark as one would assume. “Holding onto each other’s energy to feel the grip of love, a burning desire to become one/Holding onto each other’s energy to feel the grip of love/A burning desire to fill this mausoleum.” In the throes of passion, perhaps our narrator finds himself so happy he could die? Their union is still referred to as “unholy,” the underlying awareness that they are not meant to be ever-present, yet it is easy to overlook when “I’m dreaming, I’m feeling alive for the first time/I’m holding onto you.”

The Silence and the Withering closes with “My Finale,” a song that seems to tie together the opening and the four-part tableau. He mentions wanting there to be “no regrets about the life that I have led,” then says “Leaving ever-after, I’ll see your face again one day.” This could be a reference to any number of people in his life, but I perceived it to be aimed at his lover. Interestingly, his final line is “I, the villain, close the curtain.” Was our narrator truly his own worst enemy? 

This EP is an unflinching study of the storyteller, and there are parts that will universally resonate with listeners. We have all wasted time, feared rejection, dragged our heels when we should have been chasing dreams. We have all fallen in love, romantically or otherwise, and been burned for our efforts. And we have all, by necessity, played the villain at some point in our own story.

The Silence and the Withering is available to stream everywhere now!

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Seethe Spontaneously Drops New EP, Cavalier Dualities

February 12, 2024 — Leave a comment

Alternative/trap metal artist Seethe surprised his followers by abruptly releasing an EP, entitled Cavalier Dualities, to Bandcamp on January 29th. (It has since gone live on all major streaming platforms.) Staying true to the glitchy, yet melodic, sound that I have come to associate with Seethe, this trilogy of tracks is an eight minute, thirty-four second emotional purge – for both artist and listener.

Cavalier Dualities is a brief glimpse into the repeating cycle of various mental health issues, depression prevalent among them. Seethe never backs down from addressing darker subject matter, and this is again apparent in all three songs.

“Medicate” is the beginning phase. Whatever the struggle is with – mental health, addiction, etc. – this track references the attempt to best it, to medicate and cope and hopefully ascend from the depths, maybe even defeat it one day. 

This is followed by “Smile.” In Seethe’s own words, “Smile” is about how, in life, sometimes all one can do is smile and move forward. Throughout the fight with one’s own personal demons is the occasional necessity to fake it ’til you make it, as they say.

The EP concludes with “In Two,” a heart-rending song in which our narrator realizes (s)he is back in the hole, that (s)he had a brief moment in the light but has yet again fallen into the rut. This brings us back to the start, the need to medicate, and the cycle continues.

The discordant music and vocal stylings seems to reflect the frustration and hopelessness that colors the whole sordid tale, a cry of “I’ve been here before and failed, but I have to keep trying.” And while Cavalier Dualities may be a story borne from the artist’s own battles, it is relatable to anyone who has ever persevered through a private, often unseen, war with oneself.

You can listen to Cavalier Dualities on your favorite streaming service! And once you’ve checked out the EP, ready yourself for Seethe’s next release: the new single, “Away,” which is dropping on Valentine’s Day!

Make sure you follow Seethe on his various socials so you never miss an update!

Seethe Gets Personal With New Album

August 22, 2023 — Leave a comment

Alternative/trap metal artist Seethe has released his latest album, Delenda: A Black Rose on the Epitaph. Carrying the listener through the subjects of mental health and a real-life hospital stay, Seethe has bared his soul to the world in these nine tracks.

Delenda: A Black Rose on the Epitaph is an interestingly composed record, musically. It is comprised of a style that is not only heavy, but purposefully harsh and glitchy, with anguished vocals that resonate with rage and frustration. This raw and unfiltered emotion is contrasted with the occasional catchy, more melodic break, featured mostly in the choruses. The play of an almost lighter offering amongst the darker standard grabs the attention, keeping the ear intrigued.

The atmosphere that Seethe has created is often jarring, sometimes uncomfortable, an echo of the true story of his struggles with his mental health and the decision to sign himself into a psych ward. However, the overall message of Delenda: A Black Rose on the Epitaph is one of hope. By sharing his own personal story and tackling a topic that most seem content to ignore, Seethe is breaking an invisible barrier. He is telling his listeners – and everyone else – that there is no shame in the struggle, that it does not mean you are weak, and that asking for help is the strongest action you can take. 

The two singles showcase the lowest and highest points of this autobiographical story. “Can’t Breathe,” the second track on the record, is the hopeless beginning, the bleakest moment, feeling overwhelmed and trapped, both by the four walls of the hospital and your own mind. However, by the time one reaches “Linear,” track eight of nine, a sense of balance is slowly being gained, a clearer headspace in which you are starting to take control of your life, having a better idea of what to do for your version of normal…because each of us is different, and what works for one doesn’t necessarily work for all. The songs in the middle are the journey between despair and the start of catharsis.

Delenda: A Black Rose on the Epitaph is a triumph. Seethe grants his listeners a glimpse into the shadows, a foray into territories not often explored, and he reveals a message of solidarity, support, hope, and victory, both big and small. He has expertly crafted his music, lyrics, and vocals in the shape of the story he is sharing. This is a 2023 must-hear album. 

You can listen to Delenda: A Black Rose on the Epitaph wherever you stream music!

Call of Sirens Gives Listeners a Catchy and Relatable Track With New Single “Never Enough” (Review)

July 7, 2023 — Leave a comment

UK-based alternative rock band Call of Sirens has penned a musically catchy, lyrically relatable masterpiece with their new track, “Never Enough.”

With a surface layer of synth-pop underscored by the heavier alternative sounds listeners have come to expect from the band, “Never Enough” offers a glimpse into another side of Call of Sirens. Vocalist Leilani shows off her exquisite singing, playing with a range that reflects the emotions expressed in both the lyrics and the instrumentation to create a song one can actually feel.

“Why am I here, just to tell you how amazing you think you are?/Just sitting there with your glasses, your papers, your lovers, and your haters/It was never enough, never enough for you…”

“Never Enough” tells a story with which we can all connect: the tale of someone who has power over us and who is never satisfied, no matter how we try to please them. A parent, a spouse, a friend, there is always that person we strive to make happy or proud, but (s)he will not be appeased. With the aforementioned mix of music, words, and powerhouse vocals, Call of Sirens captures the frustrated powerlessness and painful resignation of never being enough.

“Never Enough” is the start of something new for Call of Sirens. The band has expertly walked the fine line between crafting a style that appeals to a wider audience while maintaining the familiar elements that attracted their old fans in the first place. I have been a fan since first hearing “Kenopsia,” and I am excited for this upcoming chapter in the band’s career!

“Never Enough” will be available everywhere on July 14th! You can pre-save the track here.

Review: Azrael, From Ashes to New, Offbeat Hooligans, & Almost Kings @ Wild Bill’s

May 6, 2014 — Leave a comment

On Saturday, May 3rd, Atlanta natives Almost Kings played their hometown for the first time in roughly nine months. In celebration of this hometown event/Cinco de Mayo bash, the band gave away free tickets to all who requested them prior to the show. Three opening acts–Azrael, From Ashes to New, and Offbeat Hooligans–were booked, and anticipation built by the day.

Doors opened at 7:30 that night. Rockers Azrael were the first to hit the stage, going on around 8:30. The best way to describe them is a mix of Creed and Seether. Their originals were great, and their versions of Bush’s “Come Down” and Alex Clare’s “Too Close” really sparked the crowd’s enthusiasm. It was the perfect way to kick off the night. Before the energy could fade even one iota, it was time for From Ashes to New.

Hailing from Lancaster, PA, From Ashes to New is reminiscent of Hollywood Undead, only much heavier. They had Wild Bill’s jumping by the end of their first song. They were energetic and interactive, vocalist Matt Brandyberry hopped down into the cluster of people gathered in front of the stage more than once, singing and shaking hands and creating more of a sense of camaraderie between fans and band. The atmosphere was electric at the end of their set and it remained that way throughout the entirety of Offbeat Hooligans‘ performance.

The best way to describe Offbeat Hooligans is “funky.” The members are extremely talented. Bassist Ben Rickard, in particular, tore it up. Akin to 311 and Authority Zero, they left the room with a positive vibe. Finally, right after 11, it was the moment we’d all been waiting for–Almost Kings. Drummer Kevin Compton, guitarist Ryan Yunker, bassist Danny Helms, and front man Bryan Bozeman walked out to a packed house. A roar rose from the audience as the band ripped straight into “Shakin’ ‘Em Up.”

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I can’t even find the words to explain their performance. It was non-stop enthusiasm, the guys bouncing all over the expansive stage and Bozeman repeatedly encouraging the audience to help him out, something that every person in that building was more than willing to do. AK played all of their most popular tracks, including “Bounce,” “Five Foot Hurricane,” “Shadows,” and “Hold On Me,” while also breaking out a few songs that aren’t usual on their set lists, such as “Lose Control” and “Never Quite the Same.” A few covers were slipped in: the medley that includes a portion of Sir Mix-A-Lot’s “Baby Got Back,” Vanilla Ice’s “Ice Ice Baby,” and House of Pain’s “Jump Around,” as well as their always popular version of Eminem’s “Lose Yourself.” Throughout their set, Almost Kings was joined onstage by multiple guests, other musicians who they have collaborated with over the years.

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The night was truly an unforgettable one. Without a doubt, Almost Kings gave their all and made their hometown incredibly proud.

Review: Avenged Sevenfold’s Hail to the King

February 14, 2014 — Leave a comment
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Band: Avenged Sevenfold
Album: Hail to the King
Genre: Rock
Release Date: August 23, 2013
Standout Tracks: “Hail to the King,” “Heretic,” and “Acid Rain”
There is no way I can do a review of an Avenged Sevenfold album without letting my fan status come in. It’s just not possible. I have loved this band since 2005. Everything about them is amazing. However, despite being a bit biased, I still think I am able to be fair and honest about their latest release, Hail to the King.
The Orange County natives have earned new fans with each successive album, and this time is no different. Hail to the King is much more simple and straightforward than what they usually do, which a lot of people enjoy. It is undoubtedly a great rock album, but not Avenged’s best. I do not intend this to be an insult; I am simply partial to City of Evil.
I have never before heard Avenged sound so much like their influences. There have always been bits and pieces of Metallica, Guns N Roses, Led Zeppelin, etc. However, I have never been able to listen to a song and immediately say “This sounds just like [insert song title here] by [insert band name here].” On this album, I was able to do that on multiple tracks. Again, this is not an insult. I’m just not used to that on an Avenged Sevenfold record.
Front man Matt Sanders, aka M. Shadows, really rocked it this go-around. His vocals were better and stronger than ever, especially on the title track and “Acid Rain.” And while less complex than what the band normally comes out with, I really enjoyed the fun groove-oriented music the band created.
Lastly, I have to note that “Acid Rain” is literally one of the best songs Avenged has ever done. It’s so different from their other stuff, and we all know how the band is constantly changing. The song hints at a direction Avenged could head on the next album.
I see a lot of potential in this lineup. The loss of drummer Jimmy “The Rev” Sullivan in 2009 was a devastating one, but I believe that newcomer Arin Ilejay is not beyond his depth here. This album was his introduction to how the band does things and a chance for him to get settled in. I feel that he did not show all he has to offer…yet. But I am sure there is much more to Mr. Ilejay than we have seen.
As I said, the album is great overall, though it is easy to tell that they are having to learn how to play with a new member. There are specific tracks–“Heretic” and “Acid Rain,” for example–that make me very confident in Avenged Sevenfold’s future. The guys are going to be fine, and I couldn’t be happier about that.

Review: Lynam’s Halfway to Hell

February 8, 2014 — 1 Comment

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Band: Lynam

Album: Halfway to Hell

Genre: Rock

Release Date: December 17, 2013

Standout Tracks: “Dead Man’s Parade,” “Cold,” and “Store Bought Halo”

When I sat down to write this review of Lynam’s 2013 release entitled Halfway to Hell, I found it very difficult for two reasons. First, I’ve been a fan for nearly six years, so my natural inclination is to compare/contrast the EP with Lynam’s other albums, and that would tell absolutely nothing to anyone not familiar with the band. Second, I have established a friendship with Lynam over those six years…and that makes it harder to be objective. But here it is.

An all-encompassing “this record is great” doesn’t really begin to cover it. This album is darker (in its subject matter, at any rate) and heavier than anything Lynam has done before–and it is absolutely magnificent. With the addition of Lonny Paul, who was in Adler alongside vocalist/guitarist/main songwriter Jacob Bunton, the band has reached new levels. I personally believe that Lonny’s input was just what they needed; a fresh perspective that lit a spark in not only Jacob, but drummer David Lynam and bassist Mark Dzier as well. Their influences (all things 80’s) are still evident, but there’s a touch of something else, too. Something that I would call “purely Lynam.”

The EP opens with “Rise Up.” Have you ever heard someone say that certain songs make them want to drive fast? Well, this is that song. The instant it begins, the volume has to be cranked up. A call to anyone who is “so sick of it all,” the song is appropriately fast-paced and angry. The drums beg for listeners to pump their fists and stomp their feet. Plus, let’s be honest, how can you not love any song that encourages its audience to “get your fingers up”? This one will undoubtedly be a huge crowd pleaser at live shows.

“Halfway to Hell” is fun with a catchy chorus, but it is the third track on the album, “Dead Man’s Parade,” that immediately stood out to me. There is nothing I don’t like about this song. The entire 2:49 is a carnival ride complete with an attention-grabbing groove, low gritty vocals, and a short sweet guitar solo thrown in as icing on the cake.

Next is “Cold.” Slower and more melodic, this is definitely another high point on the album. The only words for Jacob’s crooning are “beautiful” and “shiver-inducing.” The music itself is rock-and-roll at its most straightforward, until the 2:50 mark, when the guitar solo is reached. This particular solo offers a taste of what Jacob can do and, luckily, the following track showcases even more of his talent.

“Store Bought Halo” is the shortest of the six songs, yet it quite possibly packs the biggest punch. From start to finish, this song seizes you by the balls and refuses to let go. It’s dirty, it’s sleazy, it’s everything great about glam rock/hair metal mixed with the relentlessness of punk. The simple chorus that you can chant along with, some seriously awesome shredding, the fast-paced beat, and the driving rhythm add up to make this one of the best songs on the album and another that will surely go over well when included on Lynam’s set list.

Finally, the album closes with “Wrong Side of the Grave.” As if the title didn’t give it away, this song has a darker feel to it. The unholy growl/scream in the intro serves to enhance this vibe. The guitar solo bleeds into a breakdown, complete with a chant of “Hey!” that gives this song an anthemic quality. Despite being the last track, “Wrong Side of the Grave” does not feel like an end and undoubtedly leaves the listener wanting more.

If this EP is a sign of things to come, I couldn’t be more excited.