Content Breakdown
After a much-deserved (and short) break (in my opinion), #NewMusicFriday makes it return with the usual round-up of notable releases.
For starters, Linkin Park delivers ‘Papercuts’, their singles collection. Sure it’s another way to celebrate the life of Chester Bennington and the band’s influence, but with only ‘Friendly Fire’, being the only previously unreleased (or in the case of ‘QWERTY’ – widely available) material on here, you have to ask is it really needed?
As for actual albums being released this week, Aaron West and The Roaring Twenties‘ third outing, ‘In Lieu of Flowers’, proves to be an exceptional example of compelling storytelling. Similarly, Imminence brings a dramatic flair on ‘The Black’.
On the EP front, Northlane proves to be as dexterous as ever on ‘Mirror’s Edge‘. While occasionally forgotten Kentucky post-hardcore group, Greyhaven, return with ‘Stereo Grief’.
Elsewhere, Belmont looks to stretch beyond their heavy pop-punk origins on ‘Liminal’ with an eclectic collection. Aussie instrumental specialists sleepmakeswaves deliver a musical whirlwind on ‘It’s Here, But I Have No Names For It’. Whereas ‘Eviscerate’ by Eidola aims to explore new heavier territory, and “Madchester Punk” band Aerial Salad leans into post-punk on their second album – ‘R.O.I’. For fans of hard rock, there are new releases from GUN, Kris Barras Band, and Danko Jones.
Finally, there are new releases from Letters Sent Home, BODEGA, and Smash Into Pieces, among others.
Aaron West and The Roaring Twenties – In Lieu Of Flowers
‘In Lieu Of Flowers’ is the third chapter in the trials and tribulations of Aaron West. Portrayed through The Wonder Years‘ Dan Campbell, Aaron West and The Roaring Twenties has allowed Campbell to carve out a unique narrative, delivered in meticulous detail. Embedded American folk rock, the story so far has seen the titular character go through a miscarriage and a divorce, the death of his father, and being homeless, before hitchhiking to Los Angeles where he forms The Roaring Twenties. Meanwhile, he begins to find purpose, becoming a father figure to his nephew.
‘In Lieu Of Flowers’ begins with West performing in an L.A. club. ‘Smoking Room’ seemingly receives no response from the uninterested crowd. Nevertheless, The Roaring Twenties‘ celebratory brass instrumentation counters the downbeat nature of West’s words.
Imminence – The Black
The wave of momentum Imminence has been riding on in recent years, it’s easy to suggest ‘The Black’ arrives with a weight of potential. Having carved out a following with their somewhat unique brand of metalcore, their fifth album aims to see them knock on the door of the genre’s upper echelons. From the outset of ‘Come Hell or High Water’, there’s a bold intent. Striking guitar chords complement the gradual build, shadowing the foreboding descent into darkness that erupts at its rapid conclusion.
Northlane – Mirror’s Edge
‘Mirror’s Edge’ is a fitting title for Northlane‘s return. Following 2022’s ‘Obsidian’, inner tensions grew between the quartet. Placed on the edge, a writing retreat in Victoria’s Yarra Valley allows them to reflect collectively, and personally. The result is this six-track offering (five if you exclude the titular instrumental introduction).
“Proper” opening track, ‘Aftermath’ radiantly bursts into life with Northlane‘s signature djent-y bounce, combing it with soaring synths. While Ian Kenny (Birds of Tokyo and Karnivool) is the first of three guest spots, adding to the track’s heavy bite. Next ‘Miasma’ leans into the electronic side of Northlane‘s evolving sonic arsenal. Aided by Parkway Drive’s Winston McCall’s guttural screams in the later stages, it demonstrates Northlane‘s arena-sized brand of progressive metalcore.
Likewise, ‘Kraft’ hints at another electronic-heavy number with jarring results. EDM elements pulsate as former bassist Brendon Padjasek makes a cameo, bouncing off vocalist Marcus Bridge’s smooth melodies with deathly screams. The tug-of-war between electronica and metal has a hypnotic quality, with the chugging guitars battling with atmospheric synths. Yet it’s the spiky heaviness that comes out on top.
‘Let Me Disappear’ allows Bridge’s vocal range to truly shine as Jon Deiley (guitarist, bassist, programmer) flourishes in experimenting with over-the-top electronica. However, it doesn’t take from Bridge’s melodic might. Finally, ‘Dante’ showcases Northlane‘s utilisation of groove, allowing it to thrive in its spacious chorus. Its near six-minute run time flies by as Northlane‘s layered execution allows them to easily mould their sound into different ways.
For the most part, ‘Mirror’s Edge’ is a snapshot reminder of Northlane‘s versatility, and their ability to embrace elements of various genres; prog metal, EDM, nu-metal, and metalcore. However, its mudded production hinders songs like ‘Let Me Disappear’ and ‘Aftermath’ from absolutely delivering. If you’re able to look (or listen) past this flaw, you’ll be satisfied with Northlane‘s return.
What is out on #NewMusicFriday?
Linkin Park – Papercuts (Singles Collection 2000–2023)
Northlane – Mirror’s Edge
Imminence – The Black
Aaron West and the Roaring Twenties – In Lieu Of Flowers
sleepmakeswaves – It’s Here, But I Have No Names For It
Belmont – Liminal
Eidola – Eviscerate
Letters Sent Home – Forever Undone
GUN – Hombres
Kris Barras Band – Halo Effect
Danko Jones – Electric Sounds (Deluxe Edition)
Heavy Temple – Garden of Heathens
Smash Into Pieces – Ghost Code
BODEGA – Our Brand Could Be Yr Life
Aerial Salad – R.O.I.
The Lunar Effect – Sounds of Green and Blue
Attempt To Somebody’s Life – Bridges/Latencies
Buzzard Buzzard Buzzard – Skinwalker
Lights & Motion – Wonder
Jakobs Castle – Enter: The Castle
Kharma – A World Of Our Own
Manic Eden – Manic Eden
If you think I’ve missed something or have a new album/EP/song to tell us about, tell us about it here.
If you’re looking for the latest tracks focusing on rock, punk, hardcore, metal, emo, and everything in between, then check out our ‘Newish Music’ playlist on Spotify or Apple Music.
