Back in 1999, a gentleman from Somerset by the name Bruce Soord had a vision, and it's here where THE PINEAPPLE THIEF was born. Purely as a means to release his music, the outlet he needed, TPT was predominantly a studio based thing, and it wasn't until album number three; "Variations On A Dream", that he formed an actual band and started doing shows...ever since, TPT have gathered a loyal but somewhat cult fan base, only once entering the album charts Top 75 (technically uncharted, outside the relevant Top 40) and merely continuing to release music for musics sake, not commercial gain. 2016 sees the band release their 11th recorded album..."Your Wilderness" through KSCOPE Records...lets get tropical

We begin with "In Exile" and what we're greeted with, is a hushed, indie inspired track and, the vocals are clean, almost sad in their delivery, adding poignancy to the title. It stays relatively steady throughout before reaching a brilliantly guitar-lead climax as the track comes to an end, there's a lot of emotion running through this and its a good intro. "No Mans Land" follows up with an even softer, acoustic opening. The minimalist use of piano gives the song an extra softness, but again as we get nearer the tail end of the song, the drums start picking up and all of a sudden we've got this, almost orchestral rock vibe and it sounds incredibly lavish, but ends far too abruptly. Disappointingly even...

"Take Your Shot" for the most part is a more up-tempo affair, it's got a decent, solid rhythm going here and despite still mainly being laid back, it's got more bite to it and showcases some superb guitar playing; the solo, short and sweet as it is flows effortlessly...speaking of short and sweet, "The Final Thing On Your Mind" is by far the polar opposite. Clocking in at nearly ten minutes long, it's more of an endurance test this one...given how restrained it is. Like tracks before it, it takes over three minutes to start getting anywhere but it pulls back, almost teasing the listener, not allowing that release. It does get going, eventually, but you get lost in the length of the track and by then, its easy to have lost focus, before we round things off with "Where We Stood". 

​"Your Wilderness" is a somewhat appropriate title for this album...the songs throughout whilst for the most part are pleasant, they also borderline annoying at times...they fleet between being intense and interesting...but also frustrating, almost wild themselves. Natural, not typically or, overly structured. Is it rock? Is it acoustic? Is it art? It's good...but where do we place it? Imagine the likes of JEFF BUCKLEY...brilliant, but it might take you years to realise. [8]​

It's sad to see really that, the relevance or should that be, importance, of bands has been decreasing at an increasingly steady pace...now before you lose your shit, hear me out. Yes in recent times, we've seen more alternative artists topping the album charts lately than we have in a long time, but the industry is a little bit broken right now, so that doesn't really say much, being Number 1 lost it's sparkle a good while ago...I'm talking about the point in bands. Scenes and trends keep coming and going all of the time, the political edge to punk rock became cliche, rock stars are practically an endangered species these days...rock lacks that....something...so let me introduce you to CANE HILL; formed in New Orleans but named after a British mental asylum, this flash-back 4-piece sound like they've been plucked straight out of the golden age of nu-metal in the early 2000's, and fresh like it sounded back then, they appear really quite pissed off at the world! Having just dropped their newest album; "Smile"...is this more grim than grin?

We get underway with "MGGDA" (My Good Goddamn America) and immediately we're hit with a barrage of brazen social commentary...vocalist Elijah Witt is fed up of being spoon fed the American Dream, being force fed a way of thinking, a view of the world around them to comply with the unjust visions of governments and corrupt policies...it's an incredibly angry introduction and sets the tone very early on for this record.

First single "(The New) Jesus" follows up and you can see why they gained notoriety with the controversial religious tones of this track, it may be tame to many but coming from America's bible belt, this was never going to go down all too well back home and quickly got them attention, while album highlight "St. Veronica" isn't as intense but carries an incredibly infectious "Untouchables" era KORN sound at it's core and its' really good, and another stab at the hopelessness of the very notion of god.

"Cream Pie" is every bit as blatantly intended to stick a middle finger up at their industry peers as it appears, yes, even down to the inclusion of sexual / pornographic sound bites, while the equally questionably titled "Screwtape" provides another album highlight with its crunching riffs and overall pummelling slightly MUDVAYNE inspired sound, before we finish up on "Strange Candy", an unexpected shift in gears, bringing the album to a slower, mellower climax.

Is this all just for the sake of a trip down memory lane? A dose of post-modern nostalgia to prove nu-metal never really went away? No...this isn't about gimmick...this is about Cane Hill using the best tools for the job, as they have a voice and want to be heard. We're not talking the tail end of the death of nu-metal, we're talking early SLIPKNOT, MANSON, ORGY etc when bands were angry...the political climate we find ourselves in, in 2016 is screaming for answers and Cane Hill are making all the right noises. Smile? This should break your jaw... [8]

I love a bold statement as much as the next guy...confidence is good, it's encouraging, it's positive, hell I'd go as far as saying it's sexy...but when you read in a bands bio that, they "launched themselves onto the scene" with a home made video...you can't help but think their PR team just maybe over-selling them...This is the potential issue with AS SIRENS FALL. Formed in Keighley (near the home of the literary legends that are the Brontë sisters) in 2014...this young band clearly have aspirations for greatness...so finally in 2016, we get their debut EP; "The Hospital Party". Recorded at Longwave Studios with one Mr Romesh Dodangoda, we already understand they are in very good hands...are we to believe the hype? Nurse...scalpel...

We open up with "Where You Are" and while not being a particularly high-impact intro, it's got an infectious melody and a simple chorus, vocally, Mikey Lord is really soft here...in places reminiscent of the likes of MARK OWEN and really this introduction swings towards the more, pop-based end of the spectrum, but that isn't a negative. "Lonely Tomorrows" follows straight on and it's picked up somewhat, generally having a little more bite to it brings this into a more pop-punk based territory, and with the success of the likes of NECK DEEP recently, the UK is in a good place for this market and now is a good time to capitalise.

One thing that's noticeable here is that, ASF have a knack for penning really good choruses...here again on "Smoke" you find yourself unable to help tapping your foot or bopping your head, it's really catchy and balances what is really another gentle, melodic pop-based track quite well, before we're hit with a sucker punch. "State Of The Artist" comes out of nowhere and while not being particularly heavy or abrasive in the grand scheme of things, it's tone is far cry from the EP's offerings so far and is a brilliant surprise, fans of REAPER IN SICILY will lap this up, this is great stuff, while "Last Goodbyes" returns to that, easy listening radio pop-rock vibe, pleasantly rounding off the EP.

So...were As Sirens Fall over-sold? Not entirely. Whereas it is clear to see, or hear rather, that they can churn out the charm with their hooks and melodies, and having Romesh in the studio has helped greatly as the production here is so clean, but you look at their influences...YOUNG GUNS..THE BLACKOUT...A DAY TO REMEMBER...and you can't help but think, you've got the inspiration, you've got the aspiration...really push for it. "State Of The Artist" proves they can do it, but the rest feels...safe. A good start but there is SO much more potential in these guys. "The Hospital Party" makes these guys ones to watch...keep them in for observation. Nurse...free up five beds in recovery. [7]

The cabin boy...also known, as the pocket ass of the sea. These young lads were basically on board ships to do whatever the Captain ordered, the lowest ranking if ranked at all, usually only in their early teens...an oceanic skivvy and occasional sex toy for sailors (they got lonely at sea for weeks and months at a time)...so generally not someone you wanted to be if you could help it. So, when a band names themselves CABIN BOY JUMPED SHIP, you get it. The Leicestershire based 5-piece are all about going against the chain of command, they have had enough of being told what to do, whats right and wrong; they have their own vision and their own path they wish to follow, and so, they've released the appropriately titled new EP "Pathways". Let's check it out...MAN OVERBOARD!!!!

We begin with "The Beginning" oddly enough and it's a simple, piano led minute long intro-track...the subtle addition of synths layered within gradually builds up a feeling of expectation and you feel as though CBJS are going to let rip any moment now...and they do via "Dead Ends". Straight away we feel the riff-heavy approach to their metalcore offerings and duel approach vocals...there's nothing particularly different about this, it's pretty straightforward stuff, swaying back and forth between clean, gang and aggressive vocals, it's got breakdowns...it's OK.

"The New World Order" is up next and it's a hard one to pin down quite frankly...the vocals are a bit mish-mash, even going as far as death metal growls in parts, the chorus sounds disjointed and the brief electronic / techno aspects just add even more confusion...like, did you ever watch WCW? Where at the end of every Nitro, the NWO would run down and cost a match and it would be one big clusterfuck? This is the soundtrack to that...followed directly by the first of two pointless interludes. This is an EP...you don't need interludes. Stop. 

"Pathways And Promises", the shortest track proper is a straight up brutal metalcore affair and stands out as an EP highlight here simply because of that reason alone, it's to the point and doesn't over complicate itself, while "Waste Away" and finally then "Replace The Hate" finish the EP, the latter probably utilising the electronica to its best potential in what is undeniably, at least a catchy chorus. 

When you look at CBJS you cant help but think they really want to be MOTIONLESS IN WHITE, and their sound hints at that...but their sound also incorporates elements of artists like ENTER SHIKARI and, really, I believe it's fair to say you can applaud them for throwing everything at this, experimenting is fine, dabbling is fine...but it needs structure. This sounds like they can't yet decide what suits them best...and when they do, they have potential. Until then...the cabin boy, with his new found, buggery-free life of freedom, is enjoying as much as he can with a sense of excitement. [4]

Ahh...Bridgwater; birthplace of iconic naval officer Admiral Robert Blake, home of the legendary Somerset Brick And Tile Museum...it's got a long standing tradition of being historically important in terms of trade industry and politics...so naturally you put all that together and get a post-hardcore pop band! No? Well CARDINAL BAY did! With influence taken from the likes of MALLORY KNOX and UNDEROATH their new EP, "Answers" is something to be interested in...they've given us some answers, so lets ask all the relevant questions...

We begin with the title track, like a statement of intent; "...this is Answers...", and while the intro is delicate, you know they are going to open up and when they do, it's simply soaked in melody. It's for the most part a very welcoming track, the brief inclusion of aggressive vocals is actually out of place here but it's a good start.

EP highlight "Out Of Sight" carries with it a little more substance, there's more edge to the track; the guitars are turned up, there's more justification in the heavier vocals and in parts it's not unlike ALEXISONFIRE and its a good listen. "#Shotgun" steps it up just a little more and as the shortest offering here relies on it's sharp dose of rock, resulting in a quick and catchy track, while "Masquerade" and "There Are No Flames In Hell" generally follow suit, the latter a strong closing track.

​I guess, the question was initially, can a town housing a museum dedicated to bricks ever produce anything of any interest, let alone good music? Well clearly yes...Cardinal Bay must have gone to that museum and thought "Fuck this!" and here they are...rocking hard. There may not be any flames in hell, but there are bands in Bridgwater...you have been warned. [6]

Sometimes, when you have an idea, a creative vision, it's best to work alone. It's not about being a control freak, but sometimes it's just easier when you know exactly what you want to achieve...like COMBICHRIST for example. Formed in 2003 by Andy LaPlegua, his studio work is his and his alone, only utilising a band for live shows (imagine CELLDWELLER but a bit heavier) and thus far it's been successful. Having toured with the likes of KMFDM and RAMMSTEIN, and even having a full video game soundtrack under their belts (DEVIL MAY CRY) 2016 see's them return with album number 8; "This Is Where Death Begins"...what kind of message is this? Let's find out...

We open up with "We Are The Plague" and really it's quite chilling, almost foreboding. With atmospheric tones plucked straight out of a horror movie, layered with some crunching guitar riffs, it's more standard heavy as opposed to the industrial we are accustomed to and it's a solid no nonsense introduction.

"My Life My Rules" gets things going with the Combichrist we all know and love, it's heavy, it's regimented and yet it carries with it a rough melody and for it's genre it's catchy, almost harking back to the likes of POWERMAN 5000 in places. Likewise, album highlight "SkullCrusher" stands out as a potentially huge rock-club floor filler, this is big on chorus and has a hell of a beat going on, this is good stuff right here!

Elsewhere slower tracks such as "Time Again" and "Blackened Heart" provide ample head bang-worthy filler but, not at all in a negative way, this is enjoyable let me tell you, while things are kept fresh with the addition of MOTIONLESS IN WHITE vocalist Chris Motionless on "Pay To Play". "Slakt" has an almost APOCALYPTICA style frenetic energy to it, if cello's sounded like angry Terminator's that is...before we finish up on "Homeward". A brooding, almost despairing track, giving not only this album but this chapter of Combichrist closure if you will...it's beautiful in it's own morbid way.

Following on from 2014's "We Love You", it appears as though Combichrist are on a run of good form, there's a momentum behind them. From start to finish this is a solid album; it retains the industrial tones expected of the genre but manages to avoid sounding pigeonholed or even niche. If this is where death begins, then thank (Combi) Christ for that, death could be much, much worse. [7]