It’s obvious from the outset that these tracks were designed to be played extremely loudly in some very big rooms. Huge, bombastic guitar riffs over vocalist Winston McCall’s wide vocal range seem to follow the classic recipe of the band’s previous two releases in the form of ‘Ire and ‘Reverence’, but this metal superpower has taken it further. They haven’t been afraid to let some of their more classic heavy metal influences seep through, with the big glam guitar solo in title track ‘Darker Still’ being a perfect example of this. There are some incredibly honest moments in this release and many of the more intense instalments come straight from the heart, with ‘Land Of The Lost’ and ‘Soul Bleach’ being particular examples (and highlights) of the band’s ability to dial it back up when the time is right. ‘Soul Bleach’ is almost nodding its head towards earlier releases from Slipknot, while ‘Land Of The Lost’ features that measured stomping beat that has made Rammstein so popular over their illustrious career. 

The imperfections of this record sit near the surface; there is something slightly wince-worthy about some of the vocal line delivery (specifically the introduction of ‘If A God Can Bleed’ was a shuddering moment) and it can be said that at times the record can take itself a little too seriously. One thing that Parkway Drive has always been is unapologetic in their output and the band can be credited with always throwing themselves in elbows first, however this record has lost a very slight touch of that ‘tongue-in-cheek’ finish that made you forgive some of the more outlandish and silly moments in their previous releases. Luckily it stops just short of crossing the line. 

The band’s creative output hasn’t withered in the four years they have been away, but it has diversified into new pastures. You can’t really label this as a metalcore act anymore because, as a force, they are offering so much more than that. Yes, there will be some moments that will make you cringe, smile or laugh, but you cannot ignore the palatability and reach that this juggernaut of an act have. Parkway Drive are already performing in some of the biggest rooms in the country and ‘Darker Still’ will be the soundtrack to some extremely raucous evenings. A quiet start to the 2020’s, sure, but the Byron Bay quintet have fired up the pressure cooker with ‘Darker Still’.

WILLIAM SCOTT

The recipe hasn’t had some kind of massive overhaul and there are trace roots right back to the ‘Rotten’ EP. ‘Bang Bang’ features that raw, relentless energy that Carter has laced his material with since Gallows’ ‘Orchestra of Wolves’ era. The sound is refined and the energy has been crafted to form this big main stage anthem, like some sort of targeted punch to the throat rather than an open brawl on the floor. The same is said for many tracks throughout the record. ‘My Town’ features a dark, driving instrumental line, while lyrically the mood remains gloomy. Carter’s delivery however makes this anthemic singalong somehow more menacing despite it’s immense chorus.

The crowd of features detracts nothing from the sole aim and purpose of this record and each are complementing of Carter’s own performance. It is hard to pick favourites when each track features this much individual quality and could easily be single material. It must be a hard job to sit down and pick which one to put forward for promotion as they aren’t short of options.

There are few times that this record takes it’s foot off the pedal and those are just opportunities for the pit to breathe out before crashing back in. ‘Original Sin’ and ‘Rat Race’ are the nearest things to a respite present on the record, but instrumentally the record expands and heads in a different direction. A smattering of brass and an almost psychedelic ending to this album was far from the script of what you would expect, but such is the artistry of the band.

In terms of rooms the band will fill off the back of this record, there certainly wont be any intimate venues to be found. Before long, we expect arenas with gaping chasms to fill. That won’t be a challenge for Frank Carter & The Rattlesnakes, but merely a blank canvas to orchestrate their strain of rock and roll chaos within. Who knows? The ceiling could be off, too, and with more albums like this, that doesn’t seem beyond the realms of possibility. We are done with looking back along this band’s (and Frank’s) career and the focus is firmly on what stages they will be headlining in the future, because it sure is coming.

WILLIAM SCOTT

A fair bit, in all honesty. ‘Lifeforms’ follows the recipe book of their already successful back catalogue which serves the band well on their 6th full album outing. Melodic electronics laced beneath the classic Tom DeLonge vocal line aren’t exactly an unexpected feature of the record, but still a charming combination.

More than this are the diversifications and small detours throughout the record. ‘No More Guns’ features a ‘My Generation’ akin intro (not the Limp Bizkit kind but The Who) before advancing into an almost boisterous, ruckus piece that will be sure to enchant crowds into a big singalong in the live arena. Elsewhere, ‘Automatic’ boasts a post punk introduction that is easily likened to The Cure and The Smiths, while the lyrical undertaking maintains that expansive space rock tinge that this band have cemented throughout their career.

Structure is an issue for this record, as previous outings have always felt like the narrative was the key driving force. Outside of the music, the universe that this band has fabricated in previous releases has always featured heavily in what the band has put out. Sometimes this record feels like a selection of tracks put together, which on their own all have their own individual quality and could easily make their setlist for years to come, but with no overarching story to pin it all together. It asks a lot of a band to do this and Angels & Airwaves have consistently added details to their presence outside of music that has made them a force that you almost want to research to unearth every slight nuance and detail.

This album features a great collection of high quality tracks that will give fans plenty to get stuck into. But it is just that – a collection – and what this does for the band going forward is hard to say. It is hard to see this record grabbing the attention outside of their immediate fanbase and elevate their presence on the global stage. However, take nothing away from DeLonge’s enchanting lyrical and vocal presence; the songwriting capability of this band are a force to be reckoned with and will be for many years to come. This is an album for the fans and overall a terrific outing. Fantastic production, well crafted and seamless songwriting, but just lacking that bigger picture that their previous albums have been famous for.

WILLIAM SCOTT

Not an alien concept to the band, with fan favourites ‘Swing Life Away’ and ‘Hero Of War’ keeping themselves on the band’s setlists and in fan’s ears since their release. This collection of tracks still carries the same ghostly aspect that Mcilrath’s voice echoes. With messages so relevant within beautifully orchestrated and brutally honest arrangements, there is another side to Rise Against’s songwriting that can be picked up on.

Undoubtedly one of their most popular singles, ‘Saviour’, receives a makeover that shows off the band’s Folk songwriting skills while keeping the same spirit and personality that the original brought with it. Elsewhere on this volume, the band have delved deep into their own back catalogue to make this record a much more interesting release than what a lot of other bands could do. It would’ve been very easy for them to pick their most popular tracks, give them the simple “full acoustic treatment” and release them into the world.

But Rise Against have done more than that. What Rise Against have done is give their fans songs that they have picked, their own favourites and arranged them in such a way that breathes freshness into their discography. It can be very easy for a band to sound tired with this kind of release but Rise Against have kept true to themselves and given us something that won’t just gather dust on the shelf. This is a reimagining, demonstrating the band’s ability to diversify and keep things varied throughout their career. If this is but Vol 1 of a series, then Vol 2 has a lot to live up to.

WILLIAM SCOTT

There anticipation is hot in the air as the lucky few who managed to grab tickets to this exclusive event, which sold out in under an hour, are kept entertained by Polar, the single support for this evening’s activities. Polar do a great job of warming up the crowd and are well received from this crowd. With power, energy and raw passion for doing what they love, they provide an excellent beginning for what lies ahead.

By the time the lights dim there isn’t room to move on the floor level of Underworld but no one cares, they’re here to scream their hearts out at Australia’s best export – Parkway Drive. Opening with new track ‘Wishing Well’ this isn’t a standing start, the band are energised and are quick to bring the positive vibes as they follow up with ‘Vice Grip’. The chant of “One Life, One Shot, Give It All You Got” must have been heard from miles around as it was deafening inside this packed out basement venue.

The last time Parkway Drive played Underworld it probably featured much of the same setlist as tonight as the band opt to celebrate ten years of ‘Horizons’ by playing a smattering of tracks from their breakthrough record. Other highlights include the monstrous sing-alongs of ‘Wild Eyes’ and other new single, ‘The Void’, which had only just been released for public consumption.

Stage diving a plenty in this room that has reached such a temperature the cool air bursting from the A/C is now visible to the naked eye. The band are tight musically and at times, it is almost some kind of joke that they’re doing this last minute show in Underworld, it is almost completely unbelievable. This band tearing apart a venue they used to frequent many years before.

Closing with ‘Bottom Feeder’ after 13 other tracks, they could have played all night. B-Sides, covers, anything from the back catalogue and no doubt everyone here would stick around for it, they really are just that good.  Catch Parkway Drive when you can next, rest assured that there isn’t a venue in Camden town that can hold them now, Wembley Arena or The Alexandra Palace beckons.

Taking place over four days between August 3rd to August 6th the annual Punk Rock gathering brings bigger and better lineups with every passing year. Here are 5 acts that you should be checking out over the weekend.

BOOZE & GLORY – Casbah Stage, Sunday 8.20pm

Do you like Punk Rock? Do you like songs about drinking? Booze & Glory are for you. Their new record, ‘Chapter IV’, perfectly encompasses an ideal mixture of singalong anthems and heartfelt lyrics. The ultimate festival band and they are sure to make beer, sweat and other bodily fluids drip from the ceiling (make of that what you will). You can catch them at the Casbah stage at 8.20pm, bring beer. London’s Punk legends are well worth spending your Sunday night having a boogie to.

FRANK CARTER & THE RATTLESNAKES – Empress Ballroom, Friday 9.20pm

It feels that with every show Carter & The Rattlesnakes plays their fanbase gets bigger and bigger. Having laid waste to festivals all over the world already this year, they make their way to the Empress Ballroom in Blackpool to blast their “Modern Ruin”. The legendary live show is not overstated and no amount of hype around this set can make it a let down, it really is a feast for the eyes. Stomping Punk Rock anthems that echo the early years of Carter’s musical career while bringing a delicate nature that can be found on the Pure Love record, this will be one of the highlights of the weekend. Do not miss it.

PEARS – Empress Ballroom, Thursday 4.35pm

The US Hardcore Punk 4 piece released ‘Green Star’ during 2016, their first release on Fat Wreck Records which has allowed them to travel back to the UK to follow up on their set at Rebellion in 2016. This year they grace the Empress Ballroom and with them they bring the might of quick, unrelentless Hardcore. There is something incredibly raw about their sound and the DIY ethic they take to writing records is admirable. They are sure to go down a storm, make sure you’re there to witness it.

SLAVES – Empress Ballroom, Friday 11.45pm

Despite their mainstream popularity there is something so raw about Slaves tinitus raising rhythms that makes them an ideal late night bedlam bringer at Rebellion Festival. Their latest record, ‘Take Control’ saw them grace bigger stages all over Europe, making a name for themselves wherever they step foot. Still early in their career trajectory it’s shows like this that will cement Slaves presence as more than a band that will fall into the abyss, they’re here for the long run.

RICHIE RAMONE – Empress Ballroom, Sunday, 10.00pm

Why not use your Sunday evening to check out a real life living legend? With his career spanning 35 years it will be hard to find a spot in the Empress Ballroom come 10.00pm that night. Releasing his second solo record last year, the former Ramones drummer will be bringing his band to Blackpool to play classic Ramones anthems as well as his own back catalogue. It promises to be a real festival closing party, don’t miss this. It’s shaping up to be a lot of fun.

Rebellion Festival takes place 3rd-6th August. Remaining tickets can be found here – http://www.rebellionfestivals.com/tickets

WILLIAM SCOTT