Andrew Danso

Lord of the Lost are another band which sound like ‘x’ band that’s popular. 'Type O Negative' is that ‘x’ band, as Lord of the Lost play with the same brand of metallic doom and gloom which characterised 'The Drab Four', and feature one of the best Peter Steele imitations heard in recent times. There is a fundamental problem with going down this road of straight imitation; you’re always playing catch up to what’s current in the first place.

Let’s not beat about the bush, 'Fears' is an excellent gothic rock album, with enough dirges, darkness and melodic hooks to satisfy any vamp infused rocker. But while the Steele impression is a brilliant one, there’s a lack of any character to 'Lord of the Lost' on their debut, enveloped in their hero’s vision and missing in their own. Tracks like 'Last Words' and 'Prologue' are great aggressors but lack an individual flavour. 'Never Forgive' is a Marilyn Manson inspired number, that has the strongest impact throughout the album, making their sound more widescreen than what was initially expected.

Ultimately, 'Fears' is wrapped in its title; scared to show its hand in a sea of other hopefuls, by way of being swept aside - and ironically, that’s precisely what will happen.

6/10 PowerPlay issue #125

The post-punk, post-hardcore group, Sometimenever, are off-the-leach on 'Father Hope' with their take on writing something far and away different, to prove to us and themselves that it could be done. This comes in the form of aggressive punk, chaotic progressions, and happily, at no expense of a brain. More importantly, what this lofty lot from Cambridge want to portray on 'Father Hope' is that all of the chaos played has a depth and meaning, that so many overlook for the sake of sounding hardcore. This is an attempt to create a less madcap punk, which still has the genres recklessness – and that’s no easy feat.

Refreshingly, the nine numbers which make up their second release don’t have vocalist Adam Powell screaming over each track for the sake of sounding crazy. Instead, melodies and spoken word are often used, which help give 'Sometimenever' an individual flavour. Things often fleet between the progressive, and manic as evidenced in tracks 'Terror (Terror, Terror, Terror)' and 'Narcissus', and in contrast their more punk-ish numbers, 'Two Words, Six Letters Get _____' and 'Wake Up' help mix the albums pacing, outside of its hardcore traits.

Unfortunately there’s nothing here to suggest a great album, or even a memorable one. But this is certainly an artistic achievement, shaken down to its bare bones.

7/10 PowerPlay issue #125

Rifftrospective is a compilation release from Bristol headbangers Left Side Brain celebrating ten years since their inception. They’ve released three albums prior to this one, and have chosen what they feel to be their best material, which make up the thirteen tracks. But whilst the sound of this quartet is barely blazing in originality, few imitate The Wildhearts and Therapy? so emphatically.

Initially, Left Side Brain emulate the discontent, noisy output of Therapy? on opener 'Exit Route'. However, as the numbers flick by, it’s only then that you realise how big the bands scope is for an alternative metal vision. 'Weaponise' thrills in ghostly vocoded vocals filling the background; 'Almost Had Me' has a fluid blend of crunching guitar riffs with pop-vocal harmonies slapped on top and 'Gifted' goes wild at heart with The Wildhearts. Further more, Left Side Brain claim that all they want to do is play big riffs to blow your socks off – but there’s something much more evergreen to this showcase of work; hints of experimentation and masterstrokes of song depth, which only few achieve.

Don’t be put off by the album title, or the whole celebrating ten years under a rock thing; Left Side Brain have pulled off superbly balanced and written alternative metal, as well as being able to flaunt their instrumental nous, that bubbles underneath.

7/10 PowerPlay issue #125

Slaves to Gravity are a bunch of brit-rock hopefuls, unannounced to the masses, but certainly are on the up. Since releasing their debut in 2008, Scatter the Crow, the band has spent the last two years touring the US and the UK, turning heads at the Download festival, and playing with the likes of The Butterfly Effect, Pitchshifter, and Bullet for My Valentine.

Honesty is the single from the up and coming 'UNDERWATEROUTERSPACE', and it strongly hints at a vast change of direction from the debut. Much was made of the 2008 release, pushing the boundaries of pop rock to post-grunge and alternative rock, but two years on, and Honesty is the exact opposite, opting instead for a slick, polished and poppy taster for what’s to come.

There is one and only track on this disc and it demonstrates a brilliantly put together pop-rock-out tune, with ‘chuggy’ guitar riffs, an uplifting chorus, and a powerful vocal knitting it all together. But Honesty’s lack of experimentation and willingness to do something more cutting edge makes Slaves to Gravity very difficult to distinguish amongst the other pop rock outfits, and further more, easy to ignore. There’s also a lack of flavour to the production, as this time around there is no self-produced aesthetic; instead the band have chosen a commercially carbon mix, alongside producer Bob Marlette (Black Sabbath, Slayer, Alice Copper), which by the sounds of things, has had very little influence.

While Slaves to Gravity have created a terrific piece of pop rock, it’s one all too forgettable.

6/10 PowerPlay issue #125