fiends

Happy Holidays! Welcome to December, the last month of the year. Life opens up for time with friends, family, and just some general leisure. I’m looking forward to kicking up my feet more than usual and sleeping in some more before another year dawns upon us.

As New Year’s Eves approaches we take stock of the last twelve months and what’s ahead next year. So many new faces launched incredible debut albums and promising starts to their young careers.

Below are my favorite new bands I found this years. Some have a few years under their belts while others formed and emerged simultaneously this year. Hopefully some of these artists grab hold and find their way into your library.

From: Sarasota, FL | Album: Me Time

Dubbed a love child of Tool and Lamb of God, Fiends really impressed me with their first single “Keep Me in The Dark” at the beginning of the year. It’s rare for new bands to show technical and subtle song writing proficiency. Fiends display those traits from go. Much like Tool their songs don’t boast virtuoso playing but rather meticulous structuring and seamless knitting from one aura to another. Take the transformative turn in “700 Club” from cursing the gods type of metal to dark and mysterious. Very uncommon and as far as I know exclusive to them, and that’s what we want in new bands.

This Curse

From: Northern NJ | Album: From the Darkest of Places

I’m a sucker for New Jersey bands. Whether it’s Geoff Rickly’s basement or some dive in Asbury Park the state is fertile grounds for poetizing the every man struggle(s). This Curse continue that tradition with a bit of a twist. Lyrically they’re Jersey yet it’s hard to pin down one genre for them. “Waiting” blasts primarily post-hardcore parts and sneaks in a bouncy metalcore breakdown. They teeter on all these different styles picking the most satiating elements from each throwing in djenty progressions, emo choruses, and timely breakdowns. Their debut album also earns points with me for having only a few songs yet they’re all exceptional.

Muncie Girls

From: Exeter, UK | Album: Fixed Ideals

Muncie Girls almost made my top 10 list this year and get the honorable mention here. Women have established themselves in punk and underground music but in recent years they’ve really surged more than ever. Lande Hekt possesses nuanced understanding for clean and melodic with loud and grungy punk. Take the best of everything. “Locked Up” exemplifies the ideal mixture of unforgettable riffing and the verse/chorus/verse formula. Her singing and guitar playing maintain pop while ripping gigantic riffs. It’s great she’s a woman and bringing something new to me; however, she just fucking rocks. That’s really what matters most to me.

Jesus Piece

From: Philadelphia, PA | Album: Only Self

I didn’t discovered Jesus Piece but they stepped up to another level with their first full length. Classic hardcore band paying their duos playing any slummy concrete floor finally paid off with Only Self. They remind me of more straight ahead Code Orange trimming industrial and poppy elements. “Curse of the Serpent” wastes no time. Two minutes of ceaseless slaughter yet so digestible. A outsider can appreciate its energy. They can play “Punish” until the end of their careers and detonate every venue in its wake. The incredible album production allows a clear and coherent experience, very uncommon in this scene.

Frontside

From: Wilson, NC | Album: Essentially, Eventually

We Are Triumphant Records and I share similar tastes in bands. They’re known (and infamous) for signing diamonds in the rough like Neck Deep, Sworn In, and now Frontside. Walter Stanley sings like Patrick Stump and strums with an impressive repertoire of slick hooks and quietly intricate riffs. “Almost There” showcases palatable mathy guitar and insanely catchy sing along vocals. Infectious. This three piece got together almost ten years ago now and few are paying attention to them. I wouldn’t be shocked if that changes. Maybe Blue Swan records should snag them. I’d like to see them open for Dance Gavin Dance.

Puppy

From: London, UK | Album: The Goat

I don’t know if it’s just age or what but slower, throwback, metal really allures me now. Ghost were perhaps the first to draw me in. Puppy take that fascination to another level. Vocalist Jack Norton acknowledge his love for both metal and MTV’s 120 Minutes growing up. Someone else who also likes Hum! “World Stands Still” in its foundation has NWOBHM structure with a ton of modern day groove metal bridging between. Their best song to date “Black Hole” combines the majesty of Ghost and the stoner riffs of Kyuss. Undeniably bewitching. Mark the release of their debut album The Goat in your calendar.

I’m sad to say since starting my new job I don’t think about music as much as last year. At least not in the same way. I had more time on my hands before. Since transitioning to my new employer I spend most of my time working and the remaining hours planning how to use the rest of my time effectively.

Listing a top 10 right now would be difficult. I could rustle up a great list of singles. Beyonce and Jay Z’s “APESHIT” will remind me of this summer forever, reveling in my life accomplishments. Drake’s Scorpion had several memorable singles, most of which came out before its release. Nas and Kanye made a banger out of “Cop Shot The Kid” despite its timely subject.

Code Orange’s singles have feed off Forever’s continued success. Incredibly clever to give fans little bites of new music while they’re having their moment. They’ll face tall expectations on their follow-up.

Hundredth did the same thing with Ultrarare, a dark new wave remix album. I could get away with playing tracks off of it at Blonde Bar (SD reference). Oso Oso’s new single fits nicely on my summer playlist. I’d kind of forgotten about them, but a good single can serve as a great reminder.

Most of the albums I held expectations for entering this year I never got to or were just disappointing. Dance Gavin Dance’s Artificial Selection didn’t grab me like Mothership. I realize they have a style, constant throughout their discography, but this one didn’t stand part enough. Perhaps with time it’ll catch my fancy.

Parkway Drive’s Reverence alienates me further from the band. They still look incredibly energetic live and the audience still responds emphatically, but I feel nothing for their latest project. I could say the same for The Plot in You’s DISPOSE and Kurt Travis’s new band Royal Coda.

Still haven’t heard new albums from oOoOO, Turnstile, or Turbonegro, yet. Frankly I haven’t been in the mood to listen to those records.

Electrum Photography

I’m more excited for what’s to come this fall. Uniform’s third LP The Long Walk drops August 17th. “The Walk” smashes atoms like nuclear fission. Wake in Fright made my top ten last year and I expect similar quality this year. There’s more material for them to attack with everything that’s gone on in America. Gun violence is soooo last year.

In September, Fit for a King and Revocation embark on headlining tours to support their new albums.

Two years ago Deathgrip nearly topped my annual list. “The Price of Agony” and “Tower of Pain” singles offer both blackening brutality and uncompromising radio metal. These are the best elements FFAK offer: savage pit inspiring breakdowns and moments of festival level callbacks. I’m looking forward to working out when Dark Skies comes out September 14th.

In back to back years Revocation had two of the best albums of those years. David Davidson’s reputation as a generational guitarist keeps building with each release. For me, he’s emerging into James Hetfield/Dimebag level kick ass riffs.

I didn’t enjoy their last outing as much but my intuition says The Outer Ones contends for a spot on my list this year, which drops on September 27th.

Perhaps the release I’m anticipating most is Fiends’ debut album Me Time. I reached out to the band but there’s no set date yet. They’re probably waiting for their unannounced label. Check out their singles “Keep Me in The Dark” and “700 Club” on YouTube.

Metalsucks perfectly described Fiends as a Lamb of God and Tool hybrid. Bassist/singer James Hyde sings a bit like Maynard James Keenan and screamer Garrett Moore reminisces of Randy Blythe; however, in bridges and outros the band stylistically shifts to Rise Records post-hardcore. Those singles have a great mix of “pop” heavy music and universally accepted metal.

As I acclimate to my new job my mood should shift back into exploring new albums. I look forward to the rest of this year and hope you’ll enjoy some of these releases.

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Here Comes The Wave

Fiends