This Wild Life have officially signed to Epitaph Records. Watch an announcement video below after the jump.
by Zac Lomas, edited by Erik van Rheenen
Metalcore has hit its saturation point. Hell, the genre has stretched so far past its saturation point that one might as well just call it Medio-Core. However, there are always a few bright spots in the metalcore genre, including Brighton, UK’s Architects, whose unique take on the youth’s obsession with “brutality” turns all the classic metalcore tropes on their head. Lost Forever // Lost Together may not be the most groundbreaking album in the genre since Poison the Well’s The Opposite of December turned metalcore into a mainstay, but it is the album that will finally transplant their UK success to the North American market, truly making them a force to be reckoned with.
Lost Forever // Lost Together is a lesson in the use of punctuated polyrhythms and all things heavy — this album is not for those kids who pipeline Hot Topic brand metalcore into their ears like it’s heroin. No, the latest effort by Brighton’s own Architects is an exciting amalgam of Djent, Progressive Metal, and the most blistering hardcore your ears have ever feasted upon. Vocalist Sam Carter’s raspy and guttural screams perpetuate the album, while the absence of whiny clean vocals (a metalcore mainstay) give the album a much more mature and solemn sound.
However, Carter does not simply scream at listeners for the entirety of the album, with tracks like “Youth Is Wasted On The Young” and “Castles In The Air” truly displaying his versatility as a vocalist. The song’s feature a mix between Carter’s clean vocals and his signature harsh screams; but as I mentioned earlier, the clean vocals aren’t whiny, drawn out, or disingenuous. Instead, Carter’s vocals are passionate and cathartic, feeling like the breath of exhaustion one exhales after a tumultuous period of physical exertion.
Plague Vendor have signed to Epitaph Records. The band will be releasing Free To Eat via the label on April 15th. Stream a new song called “Black Sap Scriptures” below after the jump.
Remember The Matches? The band has been tweeting and posting images in Instagram over the past day for the first time in four years. Check out tweets from the band below after the jump.
Veara released Growing Up Is Killing Me on September 24th via Epitaph Records. The band has since spent several weeks on the road and will continue supporting the record throughout the rest of 2013 and 2014. PropertyOfZack is happy to be premiering a new music video for “None Of The Above” from the album today. Watch the great new video below!
I Killed The Prom Queen have signed to Epitaph Records for the release of their new album. You can read a statement from the band on the signing below.
I Killed The Prom Queen Finish Recording Reunion Album
Epitaph Records’ newest band, Survive This!, have officially released their new album. You can stream it, including a song called “Pardon Me” that displays the band’s thoughts on being pro-sexism and abusive towards woman, below after the jump.
Noisey have published a new article written by Dan Ozzi that speaks to how Epitaph Records needs an intervention after signing bands like Bring Me The Horizon, Falling In Reverse, Skip The Foreplay, and others after creating a punk culture for over 20 years. Read the full article on Noisey and a snippet below after the jump.
There’s a breakout band every year on Warped Tour, and letlive. seemed to have already claimed that title as their own. PropertyOfZack filmed a brand new Live featuring the band on the second day of Warped Tour, and we have fantastic performances of ”Le Prologue,” “The Sick, Sick, 6.8 Billion," and "H. Ledger.” Watch the two new Lives below!
Metalcore has taken its fair share of blows over the last few years. New bands that all sound the same pour into the rosters of Fearless and Rise Records, play a few years on Warped Tour, grow stale, and before you even bat an eyelash, they’ve been replaced by a younger version of the same band. There’s very little progress made to push the boundaries of the genre. That is, of course, until bands like The Chariot and The Devil Wears Prada began to progress, laying the framework for how effective and powerful metalcore could be.
Then, in 2010, letlive. came out of nowhere with Fake History, an album that turned the band into one of the most interesting bands in the scene. Powered by blistering singles “The Sick, Sick, 6.8 Billion” and “Renegade ’86,” and featuring the heartfelt “Muther,” Fake History earned the band a spot on Epitaph Records, for whom the band recorded their second musical assault, The Blackest Beautiful.
The Blackest Beautiful has the dubious task of following up a near-cult classic, but letlive. appears ready for the pressure of being a band that people have high expectations for with each release. While Fake History was very peak-and-valley and driven by the aforementioned singles, The Blackest Beautiful feels like a more cohesive effort, thanks to a few well-placed outros throughout the album, most notably on “That Fear Fever,” “The Dope Beat,” and “The Priest and Used Cars.” This added flair to letlive’s already impressive arsenal adds depth to the band’s songs, while staying true to what made them such an intriguing band in the first place.
While Fake History’s opening track “Le Prologue” served as a warm up for what the album was set to offer, The Blackest Beautiful begins with lead single “Banshee (Ghost Fame),” which wastes no time as it quickly transitions from a recording of the band’s recording sessions to frontman Jason Aalon Butler yelling over screeching guitars provided by Jean Nascimento and Jeff Sahyoun.