Dying Habit is an alternative rock band from northern Wales, whose electrifying and melodic sound is influenced by such bands as Dead Letter Circus, Katatonia, Biffy Clyro, Therapy?, The Wildhearts and Karnivool. Hailing from Anglesey Island, they started off as a group of friends who bonded over a shared love of music. Eventually coming to realize they had a special musical chemistry between them, they officially became Dying Habit in 2016. Beginning as a four-piece, they now consist of brothers Nathan (vocals & bass) and Mark Jones (drums), and Alan Hart (guitar).
In August 2018, they released their first official single “Unrealities”, a magnificent and stunning rock song (you can read my review here). More recently, they’ve been writing and recording songs for their forthcoming debut album Until The Air Runs Out, due out later this year. In April they released the first single from the album “Out of My Hands”, and on May 6 they dropped the second single “Solutions“. The song has a moody, contemplative feel, with Alan’s superb, layered guitar work that forms the backbone of the track’s hauntingly beautiful melody. After the departure of the band’s previous bassist, Nathan took over duties on bass and does a fine job laying down a pulsating bass line that keeps the track on solid footing. Mark’s measured drumbeats strike the perfect balance of percussion, never overpowering the sometimes subtle instrumentals and intricate guitar notes.
Nathan has a low-key vocal style with a vulnerable, emotive quality that’s well-suited to the music and introspective lyrics that speak to feelings of regret over past mistakes and hurts inflicted toward others, and yearning to make things right but not fully knowing how.
I’m reading every word All the wires in my heart And the memories lay dead But not in the eyes of everyone This is what we’ve learnt Is that I feel My mind still hurts But yes I’m fine Yes I’m fine
Whatever my mistakes were Whichever lies I told The heat is overwhelming But my skin’s remaining cold This serenity engulfs me Yet the world keeps passing by I long to find solutions
I never get the use Of letting people in Of giving them your pain Don’t let them breathe you in Breathe you in
When we’re lost There is no right answers There is no cost There’s no cost
“Solutions” is a well-crafted and beautiful song. I like the direction that Dying Habit seems to be going with their latest music, and look forward to hearing their album when it’s completed.
This past February, I introduced British rock band Amongst Liars to my readers when I reviewed their spectacular debut single “Over and Over”. The song has been streamed over 51,000 times on Spotify, and has spent more than two months on my Weekly Top 30. Based in the Brighton/Eastbourne area along the southern English coast, the band formed in September 2019 from the ashes of the bands Saint Apache and Katalina Kicks, and consists of Ian George (lead vocal, guitar), Leo Burdett (guitar, backing vocals), Ross Towner (bass, backing vocals) and Adam Oarton (drums). Drawing upon alternative rock, grunge and punk, they play a melodic and fierce style of aggressive hard rock. Now they return with their second single “Wolf Machine“, and it’s an appropriately-titled beast of a track.
While Amongst Liars don’t consider themselves a ‘political band’, they certainly don’t shy away from expressing their opinions and anxieties about what’s happening in the world. Band vocalist Ian George explains. “We’re not preaching at anyone or trying to change the world. We’re just saying these are the things that affect and concern us.” With that in mind, “Wolf Machine” speaks of “challenging those in a position of authority and power, not accepting that the hand that we’ve been dealt should define who we are, and calling out inept governments run by power-hungry politicians. The line ‘Bring down the wolf machine’ chanted throughout the song resonates with so many of our world’s population, who are tired of the ‘same old’ mentality.”
True to their hard rock roots, the guys deliver a volley of furious riffs, crushing bass and smashing drums to create a thunderous wall of sound. All experienced musicians, Amongst Liars are adept at pushing their respective instruments to their limits to achieve the heaviest sound possible, without going overboard. The result is a relentless barrage of intense, chest-thumping grooves that are the very definition of rock. Then there’s Ian’s raw and powerful vocals that perfectly fit both the hard-hitting music and song message. He sounds downright feral as he snarls the searing lyrics.
Count your blessings watch the other run
No one to listen? learn your lesson?
Blame the government
Turn the summer, to the rain and cold
Keep it close to your heart
Cash your life in before it’s sold
Just you try and stop us Time to lock and load, now we’re letting go Don’t get me wrong, I never needed you Chase your shadow They bleed and die for you
In this desert, we are the trees
I’m waiting patiently, will you take me please
I’m alive, not sad to see you go
I hope we make it back
Before it’s overgrown
Just you try and stop us Time to lock and load, now we’re letting go Don’t get me wrong, I never needed you Chase your shadow They bleed and die for you
Yeah
Bring it down Bring it down Bring it down Bring it down Bring it down
Bring down the wolf machine Bring down the wolf machine Bring down the wolf machine Bring down the wolf
The fascinating and provocative artwork for the single was created by Pierre Engelbrecht.
Strangely Alright is a five-piece band from Seattle, Washington who refer to themselves as an “Eclectic Traveling Minstrel Magic Music Medicine Show”. They’ve built a huge following not only because of their entertaining and quirky style of punk-infused psychedelic rock, but also for the strong messages of humanity, love, kindness and acceptance in their songs. The band is fronted by Regan Lane, who does much of the songwriting and sings lead vocals, Sean Van Dommelen (lead guitar, vocals), Ken Schaff (bass), Raymond Hayden (keyboards, vocals) and Jason Bair (drums). They’ve released a number of recordings over the past several years, including their terrific album The Time Machine is Broken in 2013, as well as a compilation album All of Us Are Strange (The Singles) and an EP Stuff, both of which were released in 2018. You can read my review of Stuffhere.
On the heels of their epic and mesmerizing Pink Floyd-esque single “Inside a Place”, Strangely Alright are back with a fantastic new single “Psych Film“, which I’ve chosen as my New Song of the Week. The song is about connection, trust, and valuing someone for who they are, warts and all. About their creative process, the band explains: “Part of being in a band, or relationship for that matter, is trust. Regan and Sean’s songwriting chemistry and trust are based on mutual respect and similar journeys from that darkness into the light that work for them. ‘Psych Film’ is a perfect example of one of the ways they create. [It’s] like having two painters painting on the same canvas at different times in order to create one cohesive piece of art.”
The track is melodic and trippy, with a bit of a 70s era David Bowie vibe thanks to lush psychedelic guitars and wonderfully spooky synths. The drums and percussion are flawless, and I love the deep, throbbing bass and heavy, buzzing reverb that continues throughout the song. Regan’s pleasing vocals are comforting as he croons the optimistic lyrics:
In the best of us you’re gonna find a good thing In the worst of us you’re gonna find a bad thing A different job A different life A different God A different wife In the best of us you’re gonna find a good thing
I don’t have to be alone no more Connection I don’t have to change Who I am today I am here and that’s enough to make it all ok Connection In a movie where the hero isn’t handsome He got a job but he cannot afford the ransom A different skin A beating heart A different dream A tiny spark In a movie where the hero isn’t handsome I don’t have to be afraid of me Connection There’s a tiny thread That I cannot see But I feel it when I touch it with an open mind Connection
Ooooo A sinner today a saint tomorrow A sinner today
Bristol, England-based hard rock band Mallavora are making a big splash on the British music scene with their exciting and hard-hitting sound, with features on BBC Introducing and airplay on UK radio station Planet Rock. Hot on the heels of the late March release of their spectacular single “Ego” (you can read my review here), on April 26th they dropped their latest single “Deceiver“, and now follow up with an exciting new video of them performing the song. “Deceiver” is the second single from their forthcoming Paradise EP, due out later this year, and it another winning tune.
Strongly influenced by progressive rock, groove and doom metal elements from some of their favorite bands like KoЯn, Mastodon, Muse and Alter Bridge, Mallavora create melodic hard rock songs characterized by thunderous riffs, driving rhythms, intelligent lyrics and the incredible sparks that come from having both female and male vocalists with great singing voices. The current lineup consists of Larry Sobieraj (guitar), Ellis James (bass/vocals), Jessica Douek (vocals) and Jack Pedersen (drums).
“Deceiver”explores the theme of domestic abuse, with lyrics describing someone trapped in a toxic relationship. She yearns to break free, but his recurring promises of love, combined with her weakness and lack of self-esteem, prevent her from leaving him. Mallavora skillfully expresses the darkness of the subject matter with an aggressive barrage of Larry’s chugging gnarly riffs, Jack’s pummeling drums and Ellis’ heavy, grinding bass that together sound downright diabolical. Larry’s an amazing guitarist, and his wailing guitar solo in the bridge is a highlight for me. Then there’s Jessica’s powerful, soaring vocals, which beautifully convey the intense emotion and despair described in the lyrics.
Look in his eyes Love is a lie
She can’t hear anything Her heads still ringing The tears on her face The last result of his embrace
And she can hear him calling Feels her heart start stalling She lets her life stay falling down Without a sound
So wash away the truth Except the one he told you Give him your hand to hold And let the fear within take control Look in his eyes Love is a lie She can’t feel anything Her heart’s still beating The rings round her eyes Revealing how she spent last night
Goes to where she was lying To find her phone still dialing But no one’s replying how Is she gonna leave him now?
You’ve gotta tell the truth Accept the things he’s done to you Break free from his hold It’s your life babe, regain control
Morgendust are a talented and well-seasoned alt-rock band based in Zwolle, Netherlands. Formed in 2018, all are accomplished musicians with years of collective experience playing in other bands and as session musicians. Influenced by 80s acts like Talk Talk, Duran Duran, Pink Floyd, Tears for Fears and Peter Gabriel, as well as more current acts like Radiohead, Editors and Elbow, their music has a maturity and worldliness that comes from having lived on this earth for a while and experiencing the joys and pains of life, love and relationships. Through intelligent, thoughtful lyrics, they tell stories that everyone can relate to, and package them with exquisite dark-edged rock melodies and beautiful instrumentation.
The band consists of Marco de Haan (lead vocals, guitars), Ron van Kruistum (guitars, backing vocals), Iwan Blokzijl (keyboards, backing vocals), Dario Pozderski (bass, backing vocals) and Job Noordmans (drums & percussion). Last September (2019) they released their outstanding debut EP Storm Will Come (you can read my review here). Now they’re back with a powerful and timely new single “Alien“, which dropped today, May 1st. Inspired by the story of band member Dario Pozderski, who 25 years ago fled his war-torn homeland of Bosnia, the song is both a celebration of freedom and a denunciation of mankind’s stupidity, greed, and penchant for destructive wars that result in a never-ending cycle of refugee crises.
The band explains: “This year we celebrate 75 years living in freedom [The Netherlands was liberated from Nazi control at the end of World War II in 1945]. A perfect moment for Morgendust to release their new single Alien, a song about the long, hard road refugees still have to take to find a new but uncertain future. To live in freedom is something to care about and not to take for granted, something Dario can relate to. He arrives in Holland in 1995, because his identity suddenly matters, a lot! He tries to escape ‘the lunatics” as he calls them, but they grow in numbers and he has to run, because he refuses to fight his own people. With only a bass in two parts in a rucksack he reaches Holland and finds a place in an AZC, a shelter for refugees of war.”
Dario in 1995 and 2020
Dario elaborates: “Here I sit in an AZC with nothing to do, which I cannot stand! Around that time I visit the city library often to listen to music. I notice a note on the wall which says: “Band PTS needs bass player” (PTS was a 90s neo-progressive rock band that included Morgendust members Marco de Haan and Ron van Kruistum). “I audition and I’m in…. Now, 25 years later, with two of the former PTS members I still make music in Morgendust.”
“Aliens” was written by Marco de Haan and Iwan Blokzijl, who also mixed and mastered the track, and designed the artwork for the single. The track has an anthemic quality, with a grandiose melody and dramatic instrumentals befitting the expansive scope of the subject matter. The guys are all skilled musicians, and together they’ve created an exceptional song that’s truly stunning. The layered guitar work is fantastic, and I love the intricate, sweeping synths and piano keys that give the song such haunting beauty. Dario and Job keep the track grounded with their perfect rhythms, and Marco’s emotionally-charged vocals bring chills as he drives home the urgency and seriousness expressed in the powerful lyrics. The band has included a snippet from Jesse Jackson’s speech announcing the suspension of his 1988 run for the U.S. presidency.
All the things I had in life Now I see that they are Gone away for good Everything I once controlled When I find out that it’s Gone away for good
Came here By plastic As tame sheep The questions And the screaming The waiting in line
Alien Nations apart Maybe we’re Back to the start Back to the start
Just the scent of neighborhood Brings a tear to me it’s Gone away for good All the colors in the sky Are just pictures in my mind
Saw how The money Can blind you Seduce you Betray you And makes you insane
Alien Nations apart Maybe we’re Back to the start
Jesse Jackson’s speech:
If in my high moments, I have done some good, offered some service, shed some light, healed some wounds, rekindled some hope, or stirred someone from apathy and indifference, or in any way along the way helped somebody, then this campaign has not been in vain.
Beating Hearts Club is an indie folk-rock four-piece originally from the UK, and now based in Sydney, Australia. I learned about them when they reached out to me about their new single “Black & White Love“, and I’m glad they did, because I love their music. Comprising the band are Duncan Welsh (vocals/rhythm guitar), Ciaran Loughran (lead guitar/backing vocals), Peter Holt (drums) and Lukas Thurner (bass). Exactly one year ago, they released their beautiful debut single “Heroin”, an uplifting song about regaining hope through love. “Black & White Love”, which dropped today, April 24th, is the second single from their forthcoming album due out later this year, and I’ve chosen it as my New Song of the Week.
It starts off as a gentle ballad, with delicately strummed chiming guitars and somber but beautiful piano keys. The music gradually expands with the addition of subtle bass and just the right amount of drums, accompanied by some of the most achingly beautiful guitar work I’ve heard in a long while. Welsh’s plaintive vocals are lovely and heartfelt, and as the music builds to an anthemic crescendo in the final chorus, the guys’ soaring vocal harmonies are breathtaking, bringing chills to my body and a lump in my throat.
The moving lyrics continue to explore the theme expressed in “Heroin” – that finding true love in the right person can be a force for healing in our sometimes broken lives.
Bright eyes and pretty face Will you meet me in the morning? Since I have found my place I can’t look back I’m standing on the rocks where I’d once fallen I sleep and call your name Reach out, it’s you I’m holding Since I have found my place I’m on my feet I stare into your soul and I am home
Could you be the reason? You know I need you Seen my last chance die But I’m still breathing Do you feel what I’m feeling? You know I need you Shook me upside down And I saw meaning
Your black & white love My one adventurer Well, when temptation comes It’s clear to see that you’re the only one I’m thinking of
Could you be the reason? You know I need you Seen my last chance die But I’m still breathing Do you feel what I’m feeling? You know I need you Shook me upside down And I saw meaning
Bright eyes and pretty face Will you meet me in the morning?
“Black & White Love” is a real stunner of a track, and in my opinion one of the best songs of 2020 so far. It will surely make an appearance on my Weekly Top 30 soon!
Four Thousand Miles is a relatively new and interesting rock band with an international pedigree. Each of its four members are from a different country: England, France, Wales and the United States, hence their name ‘Four Thousand Miles’. They started out as a collaboration over the internet, and quickly grew to become a music project after finding that each of their own unique styles blended well together. The band members are Alex Fearn from Liverpool, England (and former front man of British rock group Diamond Days) on vocals and rhythm guitar, Lionel Pacreau from Bordeaux, France on lead guitar, Alex May from Atlanta Georgia, USA on drums, and Liam Sibbald from Prestatyn, Wales on bass.
The guys have gathered together a couple of times in Liverpool to record music and film videos, and released their excellent debut single “Lonely” this past Valentine’s Day. Now they’re back with their second single “Reflections“, which drops today. The song was mixed and mastered by Simon Jackman at Outhouse Studios in Reading, Berkshire, and is another hard-hitting banger!
The song is darker and heavier than “Lonely”, and more synth-driven. The song opens with eerie synths and a galloping percussive beat that set an ominous tone. Then a brief barrage of fiery riffs ensue, before calming down to a haunting melody as Fearn begins to sing. The EDM touches that arrive late in the first verse are terrific, and contrast nicely with the thunderous, driving riffs and explosive percussion in the choruses. They produce a great back and forth effect that imparts a strong sense of tension, making for a very exciting listen. Pacreau and Fearn are both fine guitarists, and I love the interplay between Pacreau’s blistering riffs and Fearn’s more melodic guitar notes. Sibbald and May keep the pummeling rhythms on firm footing throughout the proceedings. The guys’ collective musicianship is quite impressive!
Fearn has a powerful and emotive vocal style that’s perfectly suited to their dynamic sound. He transitions easily from a plaintive vulnerability to raw, almost feral screams that bring chills. He uses them to maximum effect as he passionately belts out the searing lyrics spoken to a former lover whose actions have stripped him of his sanity and sense of self-worth: “You stole the greatest part of me and now I’m struggling to breathe. Not gonna take much time before I lose my mind!”
The dark, beautifully-filmed and expertly-produced video nicely captures the drama and frenetic energy of the song.
Today’s Song of the Day Challenge is “A song by a band you wish was still together.” It’s always sad – or at least bittersweet – when a favorite band of ours calls it quits. Rather than choose a song from one of the great bands of the past, such as the Beatles, Doors, Led Zeppelin, Eagles, etc. – as the idea of any of them getting back together is either impossible or preposterous – I thought I would pick a song from a smaller, more-recent band. A handful of bands I’ve featured on this blog over the past 4 1/2 years have later parted ways for one reason or another, and one that hit me hardest was the dissolution in 2018 of Kansas City rock band Run With It.
The band consisted of Miguel Caraballo on lead vocals and guitar, Ben Byard on bass and backing vocals, and Daniel Cole on drums, and they were an engaging trio and excellent musicians who played as a tight unit. They were one of the first bands to follow me on Twitter in late 2015, and also one of the earliest bands I featured on this blog, first in February 2016, then again in April 2017, when I reviewed their excellent EP How to Start a Fire. One of the songs on that EP was “I Need a Light“, a gorgeous, uplifting song of hope. Thankfully, they’ve kept the video for the song on YouTube.
Also thankfully, Miguel is continuing as a solo artist under the name Just the Miguel. What band do you wish was still together, or would you like to see reunite?
My favorite song of the 1980s, and one of my top 10 favorite songs of all time, is “Every Breath You Take” by English rock band The Police. It was the lead single from their hugely popular and critically acclaimed masterpiece and fifth and final album Synchronicity. The song was a massive hit, spending 8 weeks at #1 on the Billboard Hot 100, 4 weeks at #1 on the UK singles charts, and also reaching #1 in Canada, Ireland, Israel and South Africa. It was the best-selling single and #1 song of 1983, and the fifth best-selling single of the 1980’s in the U.S. Rolling Stone named it the 84th best song on its list of 500 Greatest Songs of All Time, and it won Grammy Awards for Song of the Year and Best Pop Performance by a Duo or Group. In addition, Sting received the 1983 Ivor Norvello award for Best Song Musically and Lyrically from the British Academy of Songwriters, Composers and Authors.
It’s interesting to learn the back stories behind many of our favorite songs, and the one for “Every Breath You Take” was fraught with tension, both in terms of it’s creation and during its recording sessions. Sting wrote the song in 1982 after his split from his first wife Frances Tomelty and early in his relationship with Trudie Styler, with whom he began having an affair while still married to Frances. He and Frances had been next-door neighbors to Trudie, who also happened to be Frances’ best friend! The affair was widely condemned, and Sting retreated to the Caribbean to escape the tabloids.
He wrote the song while staying at Ian Fleming’s Goldeneye estate in Jamaica (Wikipedia), and the lyrics are essentially from Frances’ perspective; they’re the words of a possessive and jealous lover who’s watching “every breath you take; every move you make” of their partner. In a 1993 interview for The Independent, Sting recalled: “I woke up in the middle of the night with that line in my head, sat down at the piano and had written it in half an hour. The tune itself is generic, an aggregate of hundreds of others, but the words are interesting. It sounds like a comforting love song. I didn’t realise at the time how sinister it is. I think I was thinking of Big Brother, surveillance and control.” Ironically, many interpreted “Every Breath You Take” as a love song, which amused Sting to no end.
The recording process for the song was also fraught with difficulties, as personal tensions that had been simmering between the band members, especially Sting and drummer Stewart Copeland, came to a head. In a 2004 article written by Richard Buskin for Sound on Sound webzine, Synchronicity music producer Hugh Padgham claimed that by the time of the recording sessions, Sting and Copeland hated each other, and verbal and physical fights between them were a frequent occurrence. The tensions almost led to the recording sessions being cancelled, but fortunately for us, band manager Miles Copeland (Stewart’s brother) intervened and calmed tempers enough for them all to continue. You can read that fascinating Sound On Sound article here.
One of the amazing aspects of the song is how minimalist the instruments really are for such a magnificent track. Sting wanted fairly simple, straightforward instrumentals for the track that would basically consist of his bass, Andy Summers’ guitar parts and Copeland’s drums keeping a very straight rhythm with no fills. Tensions arose when Copeland wanted his drums to have a greater impact. Padgham recalled, “Stewart would say, ‘I want to fucking put my drum part on it!’ and Sting would say, ‘I don’t want you to put your fucking drum part on it! I want you to put what I want you to put on it!‘” Thankfully, Padgham convinced Sting to let Copeland add more drum parts, along with keyboard synthesizers and the single-note piano keys that give the song it’s signature hypnotic melody. Sting overdubbed his bass, as he often did, plus he added sounds from his Dutch upright electric double bass (which he nicknamed Brian) to achieve a fuller sound.
For his part, Stewart Copeland was never satisfied with the final product, and later commented: “In my humble opinion, this is Sting’s best song with the worst arrangement. I think Sting could have had any other group do this song and it would have been better than our version—except for Andy’s brilliant guitar part. Basically, there’s an utter lack of groove. It’s a totally wasted opportunity for our band, even though we made gazillions off of it, and it’s the biggest hit we ever had.”
Well, I strongly disagree, and so apparently did millions of others who loved the song enough make it a massive worldwide hit. I think it’s brilliant, and as close to perfect as a song could possibly be. I had it on repeat while I wrote this piece, and found it utterly captivating every single time. From the moment I hear that opening drum blast, the song thrills me as much today as it did in 1983.
Every breath you take and every move you make Every bond you break, every step you take, I’ll be watching you Every single day, every word you say Every game you play, every night you stay, I’ll be watching you
Oh can’t you see, you belong to me How my poor heart aches with every step you take
Every move you make and every vow you break Every smile you fake, every claim you stake, I’ll be watching you
Since you’ve gone I’ve been lost without a trace I dream at night I can only see your face I look around, but it’s you I can’t replace I feel so cold and I long for your embrace I keep crying baby, baby, please
Oh can’t you see, you belong to me How my poor heart aches with every step you take
Every move you make and every vow you break Every smile you fake, every claim you stake, I’ll be watching you Every move you make, every step you take, I’ll be watching you
The music video, filmed in black and white and directed by British rock band Godley & Creme, won the Best Cinematography award at the 1983 MTV Video Music Awards.
Iza Grau is a dark wave rock band based in Modena, Italy, who recently released their outstanding debut album, Vastness Hurts. (It dropped Friday, April 3rd, which seems to have been a big day for new music releases, as this is the fourth in a series of seven reviews I’m writing for music released that day.) It’s an astonishing work that I loved at first listen, and am pleased to now share it with my readers. The album contains nine stellar tracks, all of them dark, complex, melodic and thrilling, with influences that call to mind The Cure, Depeche Mode and Interpol, three bands I dearly love. In their own words, their music “draws its influences from the obscure imagery of the industrial / new wave movement of the last century, combined with visual inspirations such as Wim Wenders’ Berlin and the claustrophobic spaces of ‘Possession’ by Zulawski.”
Making this awesome music are Luca Amadessi (vocals), Sergio P. Cardinali (guitar), Alessandro Stefani (guitar), Roberto Fordiani (drums) and Giuseppe Longone (bass). Released via Cleopatra Records, Vastness Hurts was recorded by Simon Maccari at Peak Studio in Rubiera, Italy and mastered at by Giovanni Versari at La Maestà Mastering Studio in Forlì. The interesting cover art “You and whose army” for the album was created by Giacomo Vanetti.
The album kicks off with “Naiad“, and within seconds of hearing those haunting guitar notes, ominous synths and deep, buzzing bass, I’m hooked. Amadessi’s smoky vocals hover in a sweet zone between seductive and menacing as he croons “All your nightmares turned out to be your lovers, your lovers tonight.” His vocals rise to impassioned wails as the music explodes in the final chorus with screaming guitars and dramatic synths that leave me covered in goosebumps.
I’m barely able to catch my breath before “The Grace Within Nocturnal Animals” arrives on an exhilarating wave of driving beats and dazzling guitar riffs. With its retro 80s new wave grooves and descending guitar lines, the song has a brooding Depeche Mode/The Cure vibe, and I love it! The dual intricate layered guitar work by Cardinali and Stefani is spectacular, dancing over Longone’s smoldering bass line. It’s one of my favorite tracks on the album. And speaking of great bass lines, Longone’s driving bass on “Cage of Blessing” is a thing of wonder. Once again the guitar work here is breathtaking, with frantic riffs of resonant jangly guitars that seem to pay homage to The Cure. Fordiani smashes his drums like a raging beast, and Amadessi’s powerful vocals are spine-tingling.
As the album unfolds, the great tunes keep coming on strong. “Recoil” is a dark, melodically beautiful hard rock song with stunning guitar work. Amadessi’s sultry, passionate vocals sound better than ever as he fervently sings “Changing evermore / Till you destroy your lies / Till your pain becomes a cross, and you’re about to die.” The anthemic “Inviolate” delivers raging riffs of gnarly and chiming guitars, nimble bass grooves and a thunderous mix of crashing cymbals and pummeling drums. By now, I’m in absolute awe of Iza Grau’s jaw-dropping musicianship.
“Northern Lights” starts off with distant-sounding psychedelic synths, then watery riffs of jangly guitars wash over us, plunging us headlong into a mysterious and beautiful soundscape as Amadessi ominously croons “Your life remains forever in the frail form of whirling waves / Waiting for a slow dive / It’s a slow dive into your fleshy rage.” Many of Iza Grau’s dramatic lyrics are rather allegorial and enigmatic, in their words “influenced and shaped by the theme of ‘the double’ that governs the forces of nature and humanity.”
“Burn Everything” has an Interpol sound to my ears, and in fact, Amadessi’s moody, droning vocals remind me a bit of Paul Banks, but with an Italian accent. Another favorite of mine is “Endless Dance“, a dark and spooky track with ghostly synths, haunting riffs, buzzsaw bass and pummeling drumbeats, all accompanied by Amadessi’s menacing vocals that turn downright scary at the end.
The album closes with the title track “Vastness Hurts“, a melodically complex and gorgeous song that borders on symphonic rock. The intense, sweeping instrumentals and progressive metal elements create a breathtaking cinematic soundscape that’s truly spectacular. I’m sounding like a broken record and running out of superlatives, but yet again I have to reiterate that the powerful and intricate guitar work is fucking phenomenal. It’s a grand finish to a magnificent album that I happily label a musical masterpiece. Vastness Hurts is a remarkable work, and an impressive debut for this incredibly talented band.
ECLECTIC MUSIC LOVER 