Who Knows What To Say?

Conduit - Funeral For A Friend

Following their 2011 release Welcome Home Armageddon, Funeral For A Friend’s latest effort sees them return to their musical roots with a sound that is reminiscent of their earlier post-hardcore sound. Whilst bearing a striking resemblance to their previous material, Conduit does contain elements that sees the band readily embrace their inner punk; a fresh and somewhat fun addition to their heavy hardcore sound.

     Opening track ‘Spine’ kicks off the album and with its inescapable aggressive energy and driving guitars it immediately sets the tone for the record. ‘The Distance’ maintains the vigour of the previous track, whilst displaying elements of pop-punk that offer some light relief in amongst the aggression. The lead single ‘Best Friends and Hospital Beds’ is certainly one of the most impressive tracks on the album, along with songs ‘Nails’ and ‘Travelled’ through their blend of powerful, hard-hitting melodic chorus lines. The vocals of singer Matthew Davies-Kreye are delivered with a forceful anger and aggressive grit which is undeniable captivating to listen to. Indeed, this album is certainly performed with true passion that makes you want to sit up and take note. Although the relentless fury displayed on Conduit is not exactly what you’d call ‘easy listening’; it’s an album that simply demands to be played loud thus lending itself perfectly for a live setting.

     With its fast-paced, unstoppable rhythm combined with its infection energy Conduit is certainly exciting and captivating to listen to. Indeed, the album doesn’t slow down from start to finish; it’s relentless and its raging drive promises it will deliver in a live setting. Although, despite its solid and consistent sound that are undeniable exciting to start with, the album’s lack of variation can cause it to feel a bit dull and repetitive. The distinct lack of slower, less aggressive songs would have provided the album with some much needed respite and would have perhaps given it a bit more depth. The melodic choruses are the only form of relief listeners are offered to temper the aggression. However, the unstoppable urgency does lend the record a certain charm, depicting a band who are charged with enthusiasm and youthful energy. Conduit is an album with true grit which certainly packs the punch – but be wary, it’s not for the faint hearted.

Forever, Instead

Forever, Instead EP - Dropout Dan

Following the release of his first official EP Do You Remember?, Dropout Dan has returned with his latest effort Forever, Instead, With its acoustic-folksy sound, the EP comes as a breath of fresh air from the general auto-tuned pop which forever dominates the charts. Indeed, the EP has a unique and quite distinctive sound that is something of a hybrid between acoustic folk and punk; a sound closely reminiscent to the likes of fellow British artist Frank Turner. The songs are very well-crafted, whilst singer Daniel O’Dell perfectly showcases his talent for emotive and heartfelt song writing, showcased particularly in the songs ‘Sentimental’ and ‘Like The Stars.’ Opening track ‘Oh, Little Red’ effectively displays the singer’s talent for lyrical storytelling and poetic prowess. The songs ‘Puppy Fat’ and ‘The Sound of Faking’ are arguably the stand out tracks due to their markedly upbeat feel and greatest musical experimentation, although there really isn’t a bad track on this EP.

     Musically Forever, Instead displays a very consistent sound; if you enjoyed one song you are more than likely to enjoy the rest of the EP. Although due to its lack of musical variation and experimentation with different sounds the songs can start to feel slightly repetitive after a couple of plays. However, there is an undeniable and inescapable charm to this EP which comes as a result of singer Daniel’s talent for storytelling through his emotive and heartfelt lyrics. Indeed, Forever, Instead certainly displays great musical potential.

**As seen in The Motion Online**

Dogs Eating Dogs

Dogs Eating Dogs EP - Blink-182

Following the release of their 2011 reunion album Neighbourhoods, Blink-182 are back with a new 5 track EP Dogs Eating Dogs. Much like their last release, the EP retains the same mature sound of the ‘new’ Blink; no frills, no spills and a distinct lack of their usual tongue-in-cheek humorous lyrics. Despite a promising start with opening track ‘When I Was Young’, which is arguably the most reminiscent of their classic pop-punk sound with its fast pace and energetic rhythm, the energy fails to be maintained, often tailing off towards the end of each song. The title track ‘Dogs Eating Dogs’ does offer some liveliness to the record, although the repetition of the chorus line “dogs, dogs eating dogs, dogs eating” does become rather irritating after a couple of plays. ‘Boxing Day’ is arguably the best and most stand-out track on the EP. It is the only acoustic number and so it brings a different tone and pace to the record, whilst it is certainly the most catchy and interesting to listen to, showing a different side to the usually rambunctious Blink. Closing song ‘Pretty Little Girl’ picks up the pace again with its particularly lively chorus, although sadly the track is ruined by the guest rap from Yelawolf (a particular low point of this EP) towards the songs end which couldn’t be more out of place. The inclusion of a rap just doesn’t seem to fit in with the rest of the song, leaving you wondering why it was included – suffice to say the song would be much stronger without it.

     On the whole, Dogs Eating Dogs is not a particularly bad record; it’s just not particularly great either. The weaving between fast and slow pace makes the record feel slightly disjointed and lacking in vibrancy, whilst the lyrics within a few of the tracks become irritatingly repetitive. Indeed the whole EP seems to become overly consumed with synthesisers and instrumental sections that, whilst they are melodic, fail to pack the punch. The guitars seem to be lost as a result leaving the EP distinctly lacking the vivacity of their exuberant glory days. Whilst Blink have produced a more mature record and are clearly experimenting with a new sound, the effect is less than satisfying resulting in an EP that is sadly more reminiscent of Angels & Airwaves album. Perhaps Blink are still trying to harness and fully establish their new sound, but this latest effort fails to stir excitement. It’s by no means terrible; it’s just a bit mediocre.

**As seen in The Motion Online**