I love to follow my favourite bands on Twitter and Instagram, it’s such a convenient way for me to stay in the loop on new music, nearby concerts and other goings-on in the band members’ lives. However, I have also noticed a side effect to this: every time I follow a major band, I will get followed back by a couple other, smaller bands trying to make a name for themselves. It’s a pretty clever strategy I must say – it’s free advertising, it immediately gets them into your good graces and it lets you know that they’re making music similar to the stuff you already love, so why not check them out? As a show of good faith and because I like to support independent artists, I keep a list of all the bands who have followed me and check them out when I get a chance. I’ve gotten enough piled up now that I thought that I would do a list of the bands that have followed me, listed from my least favourite to favourite. This is, of course, super subjective so I would recommend checking out all of the bands here regardless rather than just taking my word as final for how good any of their music is. Oh, and if more bands follow me in the future then I’ll probably do a follow up article, so I hope that happens!
Honourable Mention: Brian “Head” Welch of Korn and Love & Death followed me at one point and even slid into my DMs with a message of encouragement (very much on-brand for him based on what I’ve read about the man). He has since unfollowed me, but that’s probably because I have a real potty-mouth on Twitter since that’s where I post my most passionate political opinions. Anyway, I don’t really count him since he followed me in response to me following him rather than because he was trying to market himself, but I thought that it was worth a mention at the very least.
Of all the bands that have followed me, September Sky have the biggest catalogue (2 EPs and 1 album) and longest history, having released their first EP back in 2011. They also have a pretty strong marketing push for the band, having followed me twice (!!) on Instagram in order to make sure I definitely noticed them and very promoter-friendly bios on their website and Spotify which make such claims as “In a sea of mediocre alternative metal, September Sky stands out not only with their magnetic twist of alternative grunge rock and thrash metal influences, but also their well-known empowering and inspiring vocals and refreshing guitar solos.” They also claim that fans describe their sound as “Disturbed meets Tool and Alice In Chains”. If that sounds like a strange mixture, well, September Sky doesn’t really live up to it. Their first EP, Bright Sides to Dark Days, sounds very much like Tool but without the same level of craft and refinement. Tracks like “Ted” sound very much like “Aenima” or “Eulogy”, to the point where it feels like their sound might be just a little too derivative. The only song which breaks out of the Tool mould is “Freakshow”, a non-conformity song which is probably their only track which reminded me of Disturbed… and not in a good way at all. I really disliked “Freakshow”, it felt like a black mark on an otherwise decent debut. Bright Sides to Dark Days might feel a little too familiar, but I was really digging tracks like “Disappearing Friend”. There was some promise here and with time and maturity September Sky could carve out their own niche.
Oddly enough though, their second EP, Letter to Fear, totally ditches the Tool influences and takes on a much more bog-standard metal sound. The heaviness of it all was constantly reminding me of Faceless-era Godsmack with maybe a hint of Breaking Benjamin on “My Ending”. I was also starting to hear the Alice in Chains influences (especially in the layered vocals and grungy instrumentation on the title track and “Fallacy”). All-in-all though, while Letter to Fear is much different than Bright Sides to Dark Days, it feels like September Sky were still trying to figure out what exactly their sound is. I was hoping that they would refine the Tool-inspired sound and make it their own, but instead Letter to Fear is another starting point, and not for the better in my opinion.
Then there’s The Dying Season, the only September Sky release classified as an “album”… although it’s only 31 minutes long, so basically just another EP. The Dying Season starting bringing in those guitar solos that they bragged about in their bio on tracks such as “Pieces”. However, they’re easily the best part of “Pieces”, because I could not stand the sluggish instrumentation and strange vocals on this track. It’s like vocalist Scott Bernhardt is going for an Eddie Vedder impersonation, but it doesn’t sound natural. He also does this weird, snivelling, echoey voice on “House of Shadows” which I couldn’t stand. Bernhardt’s voice is fine when he’s just in his natural range, but when he tries to shake it up like this, I really can’t stand it. Most of this album just didn’t stand out to me at all, but I will give some credit to “Eye of the Beast”, I thought that this track was legitimately good and interesting. Unfortunately, I just don’t really like September Sky’s music. Only a couple of tracks grab me in any way, but even those are a far cry away from something I would listen to on a regular basis. I’ve got no ill-will towards September Sky and I wish them the best, but they’re just not for me. Still, I have to give them props once again for their marketing, because holy crap am I ever awful at marketing myself. Even though I didn’t like their music, they still managed to get their opportunity to spread their band to the thousands of people who visit IC2S every month. I’ll give September Sky a tip of my hat and I sincerely hope that one day they release an album that I do like.
6) Awake At Last
Genre: Hard Rock
Followed Me Because I Liked: …Breaking Benjamin? Demon Hunter, maybe? I can’t even remember when or where they followed me because they aren’t following me on Instagram or Twitter anymore… thanks guys!
Favourite Track: “Constellations”
As of the time writing this, Awake at Last had one EP on Spotify: Life / Death / Rebirth, a pretty trippy-looking album that was making me think of Tool or Mastodon right out of the gate. The music I actually got was… well, I wasn’t really expecting theatrical hard rock. That’s not to say that it was bad, but it was much less interesting than what I was hoping for. The opening track, “Purgatorium”, very much reminds me of “Ladies and Gentlemen” by Saliva. Much of their music also makes me think of Shinedown, although with a less-distinct vocalist. And… uh… that’s basically all that I have to say about their music. It’s a pretty short EP, but it didn’t leave an impression on me at all. They do have a new album recorded and apparently it will be releasing in 2019, so I will probably be checking that out – expect to see it at the end of the year in the annual albums round-up.
Forfeit Thee Untrue had an unfortunate first impression with me because their band’s name was eerily similar to a douchey, joke band from Metalocalypse, Get Thee Hence. Hell, Nathan Explosion even says that the band’s name sounds like a bad Christian metal group, which just makes Forfeit Thee Untrue’s name sting more. Then I saw the title of their album, Cremationem Jesus Lacrimam, and the difficulty of just pronouncing their damn title had me annoyed with this band before I even listened to the first song.
The second that “The Mirror That Hates” starts I instantly was awash with this feeling of familiarity. I used to hear this same, screaming/growling, hyper-aggressive metalcore/deathcore sound every day from countless bands on Weathered Steel (a now-defunct Christian metal internet radio station; it’s what got me into Impending Doom and A Feast For Kings, among others, since they were the best and most distinct bands on there). Forfeit Thee Untrue’s music is fine, it just isn’t something I’d want to actively listen to. Vocalist Gideon Karsten screams and growls well enough, but I didn’t really care for the sung vocals most of the time. Karsten keeps trying to sing at a lower range than is natural for him and it just sounds unpleasant, especially on tracks like “Fractured God”. That said, it seems that Forfeit Thee Untrue has had a major member shakeup so maybe the new vocalist will have more range in their next release?
It’s also worth noting that, right from the sermon in the opening track, Forfeit Thee Untree is explicitly a “Christian band” rather than a “band of Christians” (such as Demon Hunter or P.O.D., where their music can be appreciated by anyone regardless of faith). This isn’t inherently an issue, but it did make me roll my eyes at the tracks of certain songs on this album. “The Burning of the Last Bible” also hints at the evangelical persecution complex and really makes me wish that the lyrics to this album were online so I could make certain that I’m not mischaracterizing this band (that said, the title also kind of ignores that we live in a world where the Bible can be found in its entirety online in seconds). Then there’s “Sermon of a Dying Atheist” which is… well, the title kind of speaks for itself and the old “no real atheists” myth that persists throughout evangelical culture. It belies the usual lack of imagination and empathy that evangelicals have when it comes to atheists, but this is also possibly the best put-together song on the album, even featuring clean vocals from Karsten that I actually liked. It’s pretty bad when the only song on this album I thought was actually pretty good is also conceptually troublesome.
All-in-all, I can tell that Forfeit Thee Untrue are not a bad band, but they just don’t stand out for me at all. It also doesn’t help that I feel like they’re struggle to carve out their own sound. If you’re into the Christian metalcore scene then you might enjoy their music, but it’s not my thing unfortunately.
Red Devil Vortex leave a really strong first impression: they have a great name and the artwork for their debut EP, Something Has to Die is awesome. Of all the bands on this list, Red Devil Vortex was by far the one I was most excited to check out.
And then you start their first track and realize that they’re Five Finger Death Punch.
…okay, I’m exaggerating greatly, but my first thought upon hearing the opening track, “Undaunted” was “oh God, they sound like Five Finger Death Punch, NOOOOOOO!!!” Thankfully, this fear ended up being mostly unrealized, since Red Devil Vortex are much better lyricists than Ivan Moody and company, managing to produce bro-metal without coming across like a bunch of douchebags. Not that their lyrics are all that deep (mostly standard, empowering metal), but the band fires on all cylinders and churns out some really solid music throughout. With a bit more musical maturity, I could easily see them becoming a commercially successful force in the metal scene.
…but still, I can’t shake that fear I had upon first listening to them. Red Devil Vortex had almost won me over, but at the very end of the last track on the EP they pull a colossal blunder by ending the song with a pointless declaration of “from villains to kings, BITCH!!!” It’s just… ugh, why? Just like that, they upend their non-douchey look and make me question their entire career trajectory. Maybe I’m just nitpicking this, but it seriously annoyed me that they’d put in such a pointless, tough-guy wannabe punctuation on the EP. It makes me seriously question whether Red Devil Vortex are going to evolve into a FFDP-lite, or if they’re going to seize the promise that they’ve shown here. I seriously hope they can follow the lead of Godsmack and shed the bro-metal bullshit in favour of something inspiring, because there’s some serious talent on display here.
Dark Moon Lilith gets some points for being the first band on this list to follow me (after Brian “Head” Welch anyway) and for having an amazing band name (which is apparently an astrology term for “a mathematical point that’s exactly in between the earth and the moon — essentially, empty space. It represents the cosmic void, that very energy this spirit embodies” and is related to eroticism). The band’s debut EP, Occultation, surprised me a bit because I was expecting alt metal similar to In This Moment. Instead, Dark Moon Lilith produces very moody, angsty, slow tempo alt rock. Any surprise I had was quickly washed away by “Kerosene”, a really well-made track which exemplifies Dark Moon Lilith’s style, Lilith’s vocal range and is easily the best track on the EP. In fact, “Kerosene” alone was enough to sell me on Occultation and buy the digital EP, but it’s far from the only good song on here. “Blind Side”, “Shores” and especially “Hiding Place” are all very well made, moody compositions which show off Lilith’s raw talent, although they also show that her range of songwriting topics is rather limited. That said, the songs themselves are pretty well put together, and the pervasive moodiness only really start to drag a bit in the second half of the album when the tempo slows to a crawl in songs such as “World Away”. It’s unfortunate that the EP struggles to keep my interest towards the end, but it doesn’t take away from the fact that “Kerosene” and “Hiding Place” alone more than made Occultation a must-buy for me. I really liked Dark Moon Lilith and will certainly be keeping an eye on them in the future and will certainly be relistening to Occultation many times in the future.
Forever Still are, relatively, one of the bigger bands that has followed me, as demonstrated by the fact that they’re signed to the major international metal label Nuclear Blast. Their debut album, Tied Down, did not disappoint as vocalist Maja Shining shows off her impressive vocal range, which can go from operatic heights to screams in the blink of an eye. Their music is also quite impressively diverse, going from heavy, energetic metal tracks to Sleeping Romance-esque symphonic metal. Sleeping Romance was probably the touch-point that I came back to the most while listening to Tied Down, but I was also reminded of plenty of other, smaller female-fronted bands that I like such as At Dawn’s Edge and Ilia. The album remains enjoyable throughout, but it’s not until the last three tracks that the band really finds their groove, with “Alone”, “Break the Glass” and “Tied Down” pushing the album’s energy into a new level and taking it from “good” to “I want to buy a copy of this album”.
All-in-all, Tied Down makes for a very solid, polished debut album. There’s clearly room for further refinement, but what Forever Still have crafted here is really good and worth checking out. The band also has a new album coming out in 2019 called Breathe in Colours, so you can be sure that that will be making its way on to the year-end music round-up. I’m really looking forward to seeing if Forever Still have managed to refine their sound further and put together a whole album as strong as the last few songs on their debut!
The Singularity EP opens solidly with “Fire Away”, which shows off a slightly more refined sound and even features a guitar solo near the end! It immediately leaves the impression that this is a very confident band who are hungry to make it into the big-time. Fight Like Sin really remind me of Breaking Benjamin here, especially on the track “Nightmare”, which could have easily been pried from a Dark Before Dawn recording session. Fight Like Sin tend to be lyrically angsty, such as on the track “In the Dark”, but they manage to find a balance between angst and empowerment which keeps them from ending up feeling too dour. All-in-all, Singularity is another solid EP from Fight Like Sin, which manages to make each of its five tracks feel distinct despite fitting comfortably into the angsty teen lyrical mold. Singularity easily gets another high recommendation from me.
Then we get to Identity, Fight Like Sin’s debut album… although, like The Dying Season, it’s another basically-EP at 31 minutes. Thankfully, the album feels longer than it actually is and opens with a moody instrumental before an explosive lead-in to “Chasing a Lie” that grabbed me immediately with its hard-hitting, energetic sound. Fight Like Sin seem to be really gunning for wide recognition on this album, as there are songs like “Demons” which just scream “hit radio single”, but the band also manages to give all of the songs their own distinct flavour. However, there was one clear issue that was nagging me throughout this entire album which hadn’t really been an issue in their EPs – the songwriting feels uninspired. I mean, I liked “Chasing a Lie” a lot, but lyrically it’s just another non-committal resistance song of the sort that I was making fun of so much in the 2018 album round-up. Songs like “Wasteland” are enjoyable but end up feeling lesser because the lyrics aren’t really pushing any boundaries. It’s the same sort of issue I had with XXI and their debut album, Inside Out – the songs are all good and the band is clearly very talented, but their lyrics are so bog standard that it makes the entire album feel kind of throw-away. Talent can still manage to carry a band (Breaking Benjamin have been making the same album since 2002 and I kind of love them for it regardless), but I’m not quite sure that Fight Like Sin have gotten to a point where they can rely on it to pull them through. Either way, when my only real complaint is that I wish that Identity was even better than it already is, you know that it’s worth checking out.
And that’s it for now! With any luck more bands will follow me in future and I will be sure to check them out. It was fun being exposed to new music, even if some of it wasn’t really my cup of tea.