Robyn Writes

Inherit The Stars – We Were Made To Walk The Skies

It seems not a week can go by without finding myself being introduced to a new metal band from Sheffield to listen to; it might even be getting to the point where it is worth my while to pack up and move there. This week’s chosen gem from the depths of Yorkshire is five-piece Inherit The Stars with their debut album, We Were Made To Walk The Skies. For a band who label themselves ‘metal’, it throws up a couple of surprises.

Although they’re happy to describe their sound as metal, the variation across the album makes it impossible to pigeon-hole them. You could opt for the safe bet of calling them post hardcore since there are some scattered screamed vocals; several of the instrumentals and breakdowns would have no injustice done to them by being labelled metalcore and yet, there are some more melodic sections that could comfortably be bopped along to by pop-punkers. Regardless of the ultimately meaningless task of slapping a genre them, what Inherit The Stars have here is a solid debut album which gives dominant role to melodies and each tracks overall rhythm, albeit with the inevitable combo of screaming and riffs as well. They do say that they are metal after all.

The album opens with standout tune ‘If We Fall, We’ll Fall Together’, showcasing a rumbling beat, sweet riffs and catchy, melodic vocals. From their ‘metal’ label, it isn’t quite what you’d expect as an introduction to their debut, but with the pacey riffs and heavy drumming it is possibly a more radio friendly release; transcending into something darker as the song comes to close. The heavier end lays the platform for the screamed vocals to break forward on second track (and first single) ‘Citizens Of Earth’. An unremitting assault of post hardcore music: the band begins to deliver on their promise of more metal with suspense building drums complimented by a melodic backing, again ending on a loud note with a metalcore instrumental.

Showing that there is more complexity to their music, Inherit The Stars slow things down as they get into the meat of the album. ‘Facing The Fire’ leads in with a silky synth line, but relies on the chorus to really hook listeners in with an electronic backdrop and violins to give it a slight symphonic edge. The orchestral element joined with distorted guitars show that it is no surprise the band lists Fightstar as an influence and it is probably one of the more commercial tracks on the album. Maintaining the calmer vibes, ‘Hold Your Breath’ carries on in the same vein supplying a catchy rhythm with blended backing vocal harmonies, topped off with a generous helping of punchy riffs.
‘Through The Fallout’ is the one truly different track on the album. Even amongst the bands’ transitioning sound, it stands in total contrast to all that has gone before or follows on after. It is a heartfelt, whispered and stark song; with heavy focus on the haunting vocals and a resonating sound created by the reintroduction of violins, it’s vaguely reminiscent of later Linkin Park.

As a first album, you could question whether Inherit The Stars try to do a bit too much. It is great to be able to show off the talents each member has and the band’s overall aptitude for changing their sound from an aggressive metal vibe to a bouncing pop-punk number is undoubtedly impressive. They may do better in their early days to really nail down a sound that works for them, variety is the spice of life and they clearly have an abundance, but sometimes it can help to pick out a target audience and say “Hey, you guys will LOVE this!”. Having said that, with elements of pop-punk, post hardcore and metal, there is a little bit of something for everyone in this album; while not reinventing music as we know it, the successful blend of genres makes this one well worth putting the speakers on for and turning the volume up to full!

3.5 out of 5 high fives!

Everything On Red – Satellites

This isn’t exactly Everything On Red’s first rodeo. They’ve been playing their brand of fast and furious punk rock for the past six years. However, this is their longest record yet, having previously released just (or should I say, predominately) EPs and mini-albums. (NOTE: It has come to my attention that this is incorrect, but all my hours of web trawling didn’t come up with tracklistings yesterday. I fail, but trust me, I’m about to make up for it.) It’s a big change in modus operandi, and arguably, with Satellites comes great change. The keyboards are gone. There’s no gimmicks to be found in Satellites, but instead, there’s a band with a message to deliver – and they are not to be ignored.

At first, I was a bit sceptical. I really like synths and ditching a signature element of your sound completely is a risky move. Opening track and lead single ‘Quoth The Raven’ certainly had me quite excited – a fast paced punk paralyser filled with rollicking good riffs and a chorus to die for – and it’s clear that Everything On Red haven’t lost their knack for killer harmonies either. By the time I got to ‘Tooth And Nail’, I had completely forgotten that they had used keyboards at all in their career. It’s extremely difficult to pick a standout track from the ten belters on offer, but ‘Tooth And Nail’ is potentially it; while Satellites isn’t an overtly political album, ‘Tooth And Nail’ perfectly sums up the discontent of 21st century Britain through frenetic, furious vocals and intelligent lyrics. ‘If I Had A Hi-Fi’ does much the same, with some groovy bass and a Zebrahead inspired chorus. Almost every song on Satellites has one fantastic bit that you want to cling onto and scrawl all over your notebooks/arms/face – in title track ‘Satellites’, it’s ‘Please comprehend that this love lives like violence’, in ‘We Belong This Way’, it’s the sudden burst into a desperately chanted ‘WE BELONG!’. And then there are the moments that you can’t write down, but the ones that inspire you to do a Judd Nelson fist pump there and then, like James Rathnell’s superb drumming on the aforementioned ‘We Belong This Way’. There’s too many gems to point out in one review, as much as I would love to just compile a list of every single little bit that I loved about this record. But this is an album that you want to explore every single facet of; on the surface, it’s great sounding music, but with every listen, you uncover something new and bold and thoroughly exciting.

Everything On Red have certainly grown as songwriters; everything is timed just right and each track fits into the album effortlessly. Satellites is far more polished than previous efforts and this new clarity just amplifies their brilliance even more. This is the essential British punk rock album of the year – miss it at your peril.

4.5 out of 5 high fives!

J-Pop Sunday – SEXY-SYNTHESIZER

I’m often (never) asked “Kaito, you delicious slice of apple pie, how on Earth do you decide on which of the many top class Japanese music acts to write about each week?” Well, sometimes it’s an act I’ve had in mind for a while. Sometimes it’s what I’ve happened to be listening to that week. However, this week I was drawing a blank so I entrusted myself to fate: I set my “brand name portable media player which isn’t getting any free advertising” on shuffle and told myself “The next Japanese artist to appear in the playlist shall be the topic of this week’s column!” Fate chose SEXY-SYNTHESIZER: An upbeat mix of 80’s video game sounds and electronic vocals.

Takeshi Nagai: Founder and frontman of SEXY-SYNTHESIZER

Quick Guide:
Act Name: SEXY-SYTHNESIZER
Line-up: Takeshi Nagai (+ various collaborators.)
Years Active: 2006 – Present
Genre: Electronica/Chiptune Groove
Kaito’s Choice Tracks: “Calling Me” (2008), “Fly” (2009), “Superstar” (Feat. Chihiro) (2013)

I’m glad fate chose SEXY-SYNTHESIZER. They might not be the biggest name on the Japanese chiptune circuit – that title would go to the much mellower ensemble “YMCK” – but SEXY-SYNTHESIZER is definitely my favourite. Founded in 2006 by Takeshi Nagai and working with various collaborators over the years SEXY-SYNTHESIZER’s output consists of original compositions, remixes of classic hits – including “You Can’t Hurry Love” by The Supremes and Marvin Gaye’s “Sexual Healing” – and producing and track-mixing for a number of hip-hop, R&B and electronic artists.

While SEXY-SYNTHESIZER’s remixes are fantastic it’s their original work that first caught my eye. “Calling Me” – from the primarily remix focused album “Funky-Bit” – is one of my favourites. After the initial burst of retro sounds during the introduction the tune simplifies itself, allowing you to focus on the song’s vocals which include some fantastic harmonies and – although it’s difficult to determine what’s actually being sang thanks to the vocal effects – it’s a song that makes you want to sing along.


Trippy 80’s video effects in the PV for “Calling Me”.

“Fly” – from SEXY-SYNTHESIZER’S follow up original content album “Rock” – gives a euphoric feeling of…Well, flight. Perhaps it’s just me, but closing my eyes and listening to “Fly” paints a picture of the beginning of a grand adventure that begins with a running leap that launches you into the air, soaring high above the ground on a crystal clear day! Soaring ever higher the adventure that starts with Fly continues throughout the album.

…Or something. Sorry. Weird fantasy over. But have a listen to “Fly”, you might understand where I’m coming from:


SEXY-SYNTHESIZER once again goes overboard with the 80’s nostalgia in the video for “Fly”

My final pick of SEXY-SYNTHESIZER’s back catalogue is from their most recent release “POP!”: A mini-album collaboration with vocalist Chihiro. Released earlier this month the pairing is a match made in heaven: Chihiro’s voice fits SEXY-SYNTHESIZER’s uplifting style perfectly, with the track “Superstar” being a prime example of this:


Superstar (Feat. Chihiro) from “POP!”

So those are my picks for SEXY-SYNTHESIZER. Of course there’s much more to explore! As I’ve mentioned previously their remixes are worth checking out – especially if you enjoy electronic and/or chiptune tracks – and there are dozens of remixes to check out, not to mention the rest of the original compositions from SEXY-SYNTHESIZER. Check out the (English-language!) links below for more:

More SEXY-SYNTHESIZER:
Official site: http://www.sexy-synthesizer.com/
Facebook: https://www.facebook.com/SEXYSYNTHESIZER.SPECIAL
Bandcamp: http://sexy-synthesizer.bandcamp.com
Soundcloud: https://soundcloud.com/sexy-synthesizer

Until next time!

People On Vacation – The Summer And The Fall

The words ‘side project’ are equally celebrated and feared by many fans of musicians today. While the chance to hear new, different music from a member of a band you love is exciting, there’s always the fear that it will be too different, too out-there, and perhaps even distract said artist’s attention away from their original band. In the duo of People On Vacation, this effect was doubled, as not one but two frontmen combine to create a new artist. Many will be familiar with Jaret Reddick’s vocal and songwriting styles as the man on the mic for pop-punk legends Bowling For Soup, while there is somewhat less familiarity around Ryan Hamilton, frontman of Smile Smile. (Note – since originally writing this review, Smile Smile have sadly parted ways, with Ryan now splitting his time between POV and a new solo career.) The project formed almost as an experiment by the two involved – their contrasting songwriting styles, Hamilton’s melancholy, adult-oriented indie clashing with Reddick’s bouncy, upbeat pop-punk, led them to wonder if they could combine and each have an effect on the other, creating something that sat somewhere between the two and perhaps leave a lasting effect on both men’s talents along the way.

From the moment one starts this album with stellar opening track “Because Of The Sun”, one thing is obvious: This goal has not only been achieved, they’ve passed it with flying colours. Said opener is one of the strongest tracks on the entire record and sets the path perfectly for what to expect ahead, with laid-back acoustics giving way to melodic soft rock underneath lyrics mourning the end of perfect nights together with people one loves. The pursuit of the fairer sex is, perhaps unsurprisingly, a key theme throughout the album, and although not all songs centre on the quest for love, those that do provide arguably the highlights of the record. And when fans discuss the highlights of The Summer And The Fall in the future, I really can only see one thing opening any conversation – the incredible “Prettiest Girl In The World”. Yes, it’s as hopelessly slushy, cloying and sickeningly filled with puppy-dog love as the title would lead you to expect, but it’s done absolutely perfectly. A true ode to a girl who takes normality and makes it feel like perfection, the song is well-balanced by some lyrics (which one feels were contributed by Reddick) which raise an unexpected laugh, and one of the most addictive choruses on the record. Make no mistake, this is an album full of fantastic songs, but if you want to choose one song to sum up what this project is all about, take this one; it’s simply perfect.

While “Prettiest Girl In The World” may be the stand-out track, by no means do the other songs on the record pale in comparison. Indeed, one can easily tell just how long has been spent working on this album when listening through, as each song brings it’s own thing to the table and you simply cannot pinpoint a single track you’d want to skip when listening through the album. Sure, some songs might stick in your head for longer or make you sing a little louder, but every album has highlights. The difference here is that there are no low points – every song is enjoyable, every track puts a bounce in your step and keeps you hooked until the album’s end. “Lonely Fish” is a great take on the old cliché of there being ‘more fish in the sea’, and features without a doubt the album’s best chorus, one you’ll be singing for weeks after hearing the song for the first time, while “I Get You” is a nice little follow-on from “Prettiest Girl…” discussing finding someone who you click with perfectly, and again puts a smile on the face whenever one listens.

Some songs on the album are brought forward from the band’s only previous release, “The Carry_On EP”, which was released as a split along with a solo EP from Bowling For Soup bassist Erik Chandler. While these songs have been around a little longer, they fit seamlessly into the album and unless one already owns the previous EP, you don’t even notice that they weren’t written specifically for this release. “Rainy Day” is an inspiringly positive song about, well, positivity, while “Where Do We Go”, which closes both the EP and “The Summer And The Fall”, provides a downcast but incredibly well-written ending, centring on the biggest question of all in life, as the chorus is simply a repeat of the line “Where do we go when we die?”.

Overall, fans of both artists will love this album. While the musical style is certainly closer to that of Hamilton’s previous efforts, Reddick’s unmistakeable positive attitude shines throughout and provides highlights across the album. However, the simple reason that this record will please all is simply this – it’s a masterpiece. Not one song feels badly written, rushed or an afterthought, and the result is possibly the best album released thus far this year. If this is Reddick and Hamilton simply taking a vacation, then I for one cannot wait for when they next fancy a little time off.

5 out of 5 high fives!

Go Deep – Counseling

With a line-up featuring past members of Undying and Outbreak, Brooklyn boys Go Deep have released their debut record and oh boy it’s packed with some classic punk jams. Unremitting and in your face, Counseling smashes out shouted vocals from Kris Kneale and a throbbing bassline, egged along by ripping guitars and solid drum work. In terms of the releases production, Counseling sails quite well between the rocks of too-clean-sounding for a hardcore record and that raw edgy bite that you come to expect from punk. Lyrically the band doesn’t try anything too complex, this is punk after all, but they get straight to the point and they don’t go holding any punches. In this sense it is everything that is good about punk.

With first track ‘Late Notice’ the album starts off with a pretty tired hardcore device: sound clips from 80’s movies (Point Break). But they also deliver an all-out punk assault until everything fades to black just before the 2 minute mark (yeah that’s right, a punk song over two minutes long!) before evolving into walloping chords forming a truly dark hardcore punk riff and a furiously creative breakdown. Second track ‘Glossectomy’ shows perfectly how every last line Kris shouts is targeted, he’s got someone in his sights and his words are loaded. “I’m a destructive person, and you’re the fucking reason.” Clocking in at 51 seconds of pure aggression, this is more like what you would have expected, bringing fast riffs and a bone-crushing bass. The song definitely harps back to the unadulterated punk of the 80’s – thumping from jazzy riffs to a devastating end, this song is all of the punk you can handle and more.

When fourth track ‘Leave’ hits in all hell breaks loose, it screeches into life like a rollercoaster that’s flipped off the tracks. Showcasing some of the heaviest hardcore punk riffs you will ever hear, the song also finds time to go back to the punk roots with a faster, jumping middle and end. “You’re so fucking critical, so tell me what I can’t do. I’ll shove this down your throat….” This is one of the most abrasive and coarse songs on the release. Then there is ‘Elders’. The most satisfyingly unexpected song on a hardcore punk album. This one is slow, it is heavy, and boy it’s angry: “Spoon fed poison ideas since birth.” Adding in the darkest lead riff on the album Kris ends with the demand: “Learn to accept.”

The final two tracks ‘Bundle of Joy’ and ‘Enthusiast’ form a bit of an uncharitable social commentary on the lives of today’s youths: teenage pregnancy and drug habits paid for by daddy, but slammed together with powerful riffs which make me forget about the unfair character assassinations of kids today and just enjoy one hell of a ride. Really trying to ‘Go Deep’ and end off the 7 track release on a dark note, the band tackle addiction: “I can’t imagine losing myself like that… You’re dying for one more.” Hitting out at the selfishness and self-apathy that feeds into addictions, like much of the 10 minutes that came before it, this comes out of the blue and hits home as a bit of a shock, but not in a bad way. Oh no, this is good shit.

All in all, Go Deep have furiously churned out a hard-hitting collection of songs that promise to unite any lost fans of punk out there by combing traditional punk with something a little bit different and a little bit heavier. In what has become, like so many, a genre with too many bands with too few ideas, Go Deep bring something exciting to the feast knowing exactly what they want to do and precisely how to deliver.

4 out of 5 high fives!