When it comes to Thumbhole Records’ Tracks You Might Have Missed V3, the bottom line is, it’s 24 tracks long, so listener fatigue is going to exist. Granted, if you’re going to listen to a lengthy compilation record, Tracks You Might Have Missed V3 is a quality choice because these are all underground bands you’ve most likely never heard of, so this is a great opportunity to expand your sonic horizons.
From the female front hard alt-rock of Scotland’s Altered Sky (“Stupid In The Dark”) to the bouncy ska sounds of Victory Kid (“My World”), chances are Tracks You Might Have Missed V3 has a little bit of everything for everyone. Sorry Mom brings a polished punk-pop sound akin to Trophy Eyes and A Day To Remember, complete with some aggro vocals and a killer guitar solo on “Rupture,” Shark Bait brings all of the snarling punk intensity of Zebrahead on “Please Guy,” Carry the Crown deliver perhaps the most refined rock work of Tracks You Might Have Missed V3 (“Fire”), Shackleford channel a little Let It Enfold You-era Senses Fail on “Dopamine,” Bare Teeth gets offensively, and very necessarily, heavy on the thumping “Parted Ways,” strong female vocals returns on As Everything Unfold’s crushing “Centuries,” and Realms delivers one last dose of battering heaviness on “Painted Demons.”
Seriously though – metal, punk, pop, acoustic, emo, hardcore, pop-punk – Tracks You Might Have Missed V3 offers something for everyone. Who knows, your new favorite band might be on this record. It’s long but chances are you’ll find something to like here.
Go Download: Sorry Mom – “Rupture.”
Taking a page from the Swedish melodic death metal scene, Terminal Bloom, the first release from recently resurrected Light This City in nearly a decade, is a crushing return to form for the Bay City metal outfit. Led by an absolute barrage from guitar tandem Steve Hoffman and Ryan Hansen and a frenzied vocal beatdown from frontwoman Laura Nichol, Light This City wastes little time on opener “Reality In Disarray” getting back to doing what they know how to do best – fucking shred. From there it’s best to break out the thesaurus because Terminal Bloom is all the adjectives (“A Grotesque Reflection” and “Dormant Tide” are straight up juggernauts highlighted by galloping leads, the title track is old school stomping thrash, “Agents Of Fate” features all of the best things about Terminal Bloom rolled into one song, “The Wake Of My Will” houses arguably the albums strongest guitar work (don’t miss that solo, damn), “Wildheart” is a blitzing metal anthem, a perfect way to close Terminal Bloom). To surmise Terminal Bloom, let us go back to the well – IT FUCKING SHREDS – and that’s really all you need to know about it. Welcome back Light This City.
Go Download: “Terminal Bloom”
It has been a year since we all collectively (and tearfully, at least for myself) said goodbye to pop-punk powerhouse Yellowcard, and while the wound might still be fresh for some, singer William Ryan Key’s debut solo EP Thirteen should serve as a therapeutic way to cope with any and all lingering aches and pains. It’s simply best to consider this five song set a necessary catharsis for Key, and for all of us for that matter.
On Thirteen, Key plucks at your heartstrings as delicately as he plucks the strings of his acoustic guitar, going right for the emotional jugular on opener “Old Friends,” a nearly four minute plead for forgiveness of past sins (‘And all those birthdays when I just forgot to call, I’m sitting here on a mountain of guilt that I finally started chipping away, here hoping you can try to absolve all the years that I was playing the game, I think I’m turning homeward again and I’m praying you will open the gate, will you let me in? Will you let me stay?’ Key implores). Plucking gives way to a little more fervent strumming on lead single “Vultures,” an upbeat entry reminiscent of Key’s acoustic takes on Yellowcard classics like “Empty Apartment,” a formula that continues on into “Form and Figure,” where Key waxes poetic about a former flame, exposing a vulnerability in his voice we’ve never before heard (‘It’s not the little visits I mind, it’s trying to find a way for us both to move on, to pack the history up and get gone…how do I get right?). Key shows off his intrinsic aptitude for melody on the serene “Thirty Days,” and gets all sorts of reflective on drifting, nomadic closer “Great Unknown” (‘I am no statue, a monument to raise…funny how time doesn’t mind, who we keep and who we bear to leave behind, so into this great unknown, I will wander on my own…will I ever stop imagining, what if I had done things differently,’ Key inscribes).
Key clearly has a lot to say and a lot to get off of his chest, and perhaps even more to repent for, and if Thirteen is any evidence, this new start, this new direction, is the beginning of a beautiful new relationship.
Go Download: “Old Friends”
As we inch closer and closer to summer (it’s coming, we promise), it’s time to get those sunny day soundtracks in order – you know, those mixtapes that you crank to 11 while sitting by the pool, playing cornhole and/or Kan Jam (hopefully both), sitting by the fire or just cruising with the windows down. And if you’re anything like us, those playlists are often dominated by pop-punk and we’re now making room for Right On, Kid! thanks to their latest release, Forever Missing Out.
After the opening title track sets the table, “Clarity” amps things up with reverent guitar tones, hyperactive snare drum play and even some dissonant screams tossed in for good measure. “Bier Castle” hits like an early morning Starbucks Venti Caramel Macchiato straight to the veins – a potent, no nonsense injection of pop-punk that clocks in at just over a minute, the aptly titled “Consistent” is just that – a prototypical, and yes, consistent, pop-punk anthem and Right On, Kid! save the best for last on “Loci,” a familial blast of energy that sounds more like early Senses Fail than anything else. This track could have easily found a home Let It Enfold You.
Forever Missing Out’s five tracks and 15 minutes freaking fly by, so what are you waiting for?
Go Download: “Loci”
Infusing just the right amount of clean vocals into their potent mix of thrash and melodic death metal, Lexington, Kentucky’s Society’s Plague have delivered a memorable heavy record that’s more modern metal than metalcore with their second full length Call to the Void.
Society’s Plague’s entire arsenal is on display right off the bat on “Ashes For Air,” a pummeling affair full of razor ship riffs, thunderous drumming and truly dynamic vocals, a successful cacophonous recipe that bleeds over onto “Whispers,” an early highlight of Call to the Void. Soilwork’s Bjorn ‘Speed’ Strid lends his operatic vocals to “Distant Waves,” creating an absolutely stunning pairing with vocalist Matt Newton, combining sky-high soaring refrains with low-end guttural screams. “The Fall” succeeds despite the questionable inclusion of a bed of synth thanks in large part to video game quality leads (seriously though, couldn’t you imagine these guitars in the next Mega Man?), “Broken By Design” and “Paramnesia” are epic slices of modern metal and Nelson shows off some of his melodic chops on “Fear Is Failure.” One of the strengths of Call to the Void is that it doesn’t fade down the stretch, as closer “Rise Of The Eidolon” is one of the album’s best tracks.
Sophomore slump be damned – Call to the Void is pretty impressive to say the least.
Go Download: “Distant Waves”