The understated sounds of Here’s The Thing drift pococurantely into the room belieing the luxuriant energy underlaying the track, which becomes more punch over the two and three quarter minutes. The Goldhearts provide the ears with luscious tones of hazy guitar which stretch across a percussion, that gives the piece a bustling froth, as the vocal seals the melodious fretwork.
Here’s The Thing, due for official release on the 27th, is taken from their début LP set to be unveiled early next year.
The melodic-death-metal quintet Diminish The Gods are from Australia.
Diminish The Gods – eponymous LP – artwork
It isn’t often that a descriptor containing the words melodic, death and metal can be applied. My sympathy goes to the three guitarists who must have badly bleeding fingers every-time they step off stage as their digits hurtle up and down the fret-boards, not to forget the drummers blisters, nor vocalists scorching sore throat.
From their eponymous LP released earlier this year (available on bandcamp), the third of the seven tracks, Prionic Embrace, is a superbly delivered measure of the ability of Diminish The Gods have you trembling under cover, whilst simultaneously relishing the stunning control. I won’t hazard an attempt to guess the number of notes that reach the ears, or hits on the skins, but each are clearly placed and don’t slur, allowing the quartet to deliver a track with unanticipated nuances, whilst loosing none of pulverising pace of the genre.
Their latest release, which came out last month – Unsatisfied – is a satisfying three minutes of crunchy guitars with melting keys generating the underlying moody nature of the track. A well paced rhythm permits The Indians to allow the vocal to express a bitter-sweet commentary.
Matt Carson (Guitar), Clinton Bell (Vocals), Chris Dickinson (Guitar / Vocals), Brendan Coyle (Bass) and Owen Bradley (Drums) from Auckland in New Zealand is the rock band Tablefox.
Like skilled archers on battlefield flexing bows and shooting arrows Tablefox deliver music that plies its way into the heart in a volley that has the audience in paroxysms of ecstasy. The two guitars enable the quintet to deliver an intensity of fixation akin to satiating any long standing chocolate addict with the melting rush of body temperature melt.
The aural choreography minds of a Petipa ballet choreography as Tablefox syncopate rhythm and melody with bass, percussion and guitars floating effortlessly between each other with the vocal not seeking to become the spotlight, rather a fleeting shadow which the ears follow around the evolving landscape.
Tablefox is undoubtedly comprised of able musicians, what is of more import is that they have remained true to their direction of travel, which in the crowded market-place of melodious rock is an over-populated space, but to me they are well above shoulder high and it is only a sadness their undoubted abilities are not yet far more widely recognised. With fortune their début LP Objects, set for release on the 20th will allow them far wider space to be discovered.
There is a certain inevitability that when Princess Chelsea and Jonathan Bree, the New Zealand melancholia producer, get together, which they do from time to time, the music will be anything but straightforward.
We Are Strangers, the eighth of the ten tracks on The Great Cybernetic Depression, echoes around the room as the layers of sound float like slowly passing clouds. The two voices seem to appear from isolated and distant corners whilst the music shrouds the spaces between the two creating the feeling of separation and the listener is left with a sense of desperate loneliness.