{"id":25132,"date":"2014-01-23T14:20:00","date_gmt":"2014-01-23T14:20:00","guid":{"rendered":"https:\/\/alreadyheard.com\/staging\/album-review-bastions-bedfellows-part-2-the\/"},"modified":"2018-03-17T15:33:19","modified_gmt":"2018-03-17T15:33:19","slug":"album-review-bastions-bedfellows-part-2-the","status":"publish","type":"post","link":"https:\/\/alreadyheard.com\/staging\/album-review-bastions-bedfellows-part-2-the\/","title":{"rendered":"Album Review: Bastions – Bedfellows Part 2: The Forgotten Daughter"},"content":{"rendered":"

\"\"For those unaware, Bastions<\/strong> are in the midst of releasing two thematically connected EPs in a series titled \u2018Bedfellows\u2019<\/em>. The EPs included are:\u00a0\u2018Part One: The Bastard Son\u2019<\/em> and \u2018Part Two: The Forgotten Daughter\u2019<\/em> (which I will be taking a look at in this review). The more observant among you will already be asking yourself what the difference between two thematically connected EPs (with a total of 9 songs spread over 29 minutes) and an album is. Well, in their explanation, Bastions<\/strong> claim that an album is a snapshot of time and that releasing two EPs over 12 months like this allows them to tell a story in a way that an album couldn\u2019t.<\/p>\n

Bastions<\/strong>’ brand of semi-melodic, overly distorted post hardcore has always been a sound that has eluded me. Not due to a lack of quality, but mostly to my utter exhaustion with the genre. I guess I was just introduced to them at the wrong time. It got to a point a few years back where there were far too many poorly executed bands of the same ilk, which despite positive reviews of this band in particular, was enough to steer me away from Bastions<\/strong>. Fast forward to 2014 though, and their name is one of the few from that scene and I still see people talking about, and I\u2019m currently seeing it more than ever in fact. Anyway, I just felt like it was important for you, the reader, to know of my previous lack of interest in this genre particularly, before reading what I have to think about Bastions<\/strong>’ new EP \u2018Part Two: The Forgotten Daughter\u2019<\/em>. I\u2019ll get on with the review now.<\/p>\n<\/p>\n

The EP kicks off with \u2018Empty Vessel\u2019<\/em>, which I really enjoyed. Everything about this track worked and the thing I loved most was the chorus. The way everything contrasts from the verse is perfect. While the first verse musically feels fairly empty, with a not-so-strained vocal style accompanying an almost-clean guitar. As soon as the chorus hits the distortion is slammed onto the guitars, the drums are pounding and we\u2019re introduced to the more screechy, distorted, almost Defeater-esque vocal style we were expecting from the get go. It just feels like during the verse everything is plain sailing, yet when the chorus comes along everything falls into chaos \u2013 in the most perfect way possible. I must say, given my previous distaste and disinterest in the genre, Bastions<\/strong> get off to a good start with \u2018Empty Vessel\u2019<\/em>.<\/p>\n

The next two tracks, \u2018Foreign Bodies\u2019<\/em> and \u2018Mother\u2019s Ruin\u2019<\/em>, are more to the point and quite frankly, what I was expecting. I must say, having just been dazzled by \u2018Empty Vessel\u2019<\/em> I almost felt let down by \u2018Foreign Bodies\u2019<\/em> – which is surprisingly the first track Holy Roar are deciding to release. It felt thrown together and rushed, though that may be down to the fast pace of the song. It picks up pace right from the off and doesn\u2019t let up until the end and I think that could be seen as a negative thing. It seems to me that Bastions<\/strong>, on this EP in particular, are at their best with a slow drumbeat and sludgy guitar riffs which, almost acting as a way to redeem my interest, which is exactly what \u2018Mother\u2019s Ruin\u2019<\/em> offers. \u2018The Water Tower\u2019<\/em> does little wrong. In fact, it\u2019s only crime is not captivating me as much as the previously mentioned \u2018Empty Vessel\u2019<\/em> and \u2018Mother\u2019s Ruin\u2019<\/em> do. It does however, act as a nice way to lead in to \u2018Murmuring\u2019<\/em>, our epic closer. It\u2019s drawn out guitar and vocal intro may put some listeners off, but if you stick with it, it makes for great listening and a fitting end to the \u2018Bedfellows\u2019<\/em> concept.<\/p>\n

In summary, \u2018Part Two: The Forgotten Daughter\u2019<\/i> has three really enjoyable tracks on it. They seem well thought out and really make for a captivating listen. I just feel like these three tracks are being bridged together by two fairly run-of-the-mill almost needless tracks that did nothing to benefit the listening experience of the release. I\u2019m sure they benefit the story that Bastions<\/b> are trying to tell with this concept, but to be honest, I\u2019m not too sure you\u2019ll find anyone enthralled by the concept quite as much as Bastions<\/b> seem to be themselves. Having also listened to \u2018Part One: The Bastard Son\u2019<\/i>, which \u2018Part Two: The Forgotten Daughter\u2019<\/i> is supposed to be accompanied with, I should point out that you shouldn\u2019t let the dips along the way during this particular EP stop you listening to the \u2019Bedfellows\u2019<\/i> series as a whole, as overall the good far outweighs the bad.<\/p>\n

3.5\/5<\/p>\n

\u2019Part Two: The Forgotten Daughter\u2019<\/em> by Bastions<\/strong> is released on 27th January on Holy Roar Records<\/strong><\/p>\n

Bastions<\/strong> links: Website<\/a>|Facebook<\/a>|Twitter<\/a><\/p>\n

Words by Joe Hart (@raisedbywoofs<\/a>)<\/p>\n","protected":false},"excerpt":{"rendered":"

For those unaware, Bastions are in the midst of releasing two thematically connected EPs in a series titled \u2018Bedfellows\u2019. The EPs included are:\u00a0\u2018Part One: The Bastard Son\u2019 and \u2018Part Two: The Forgotten Daughter\u2019 (which I will be taking a look at in this review). 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