Asking Alexandria
The second Asking Alexandria release, the follow up to 2009’s debut Stand Up And Scream, has been an album I have been waiting to get a hold of for some time. That debut was a big record, and with Reckless And Relentless dropping this week, it threatens to send AA into the big leagues of the rock world.
As expected, Reckless And Relentless delivers better than Dominoes Pizza, and is a huge statement from the Yorkshire mob, as they shout from the rooftops that they are indeed here to take over.
To say I had high expectations is an understatement, yet this has completely smashed through them with aplomb.
Opening with an atmospheric and haunting piano driven intro to Welcome, it bursts into life in a violent and emphatic fashion, before smashing its way into the first track on the album ‘proper’, Dear Insanity, which is a fast, furious, and unrelenting assault on the senses from the get go. Heavy and dramatic, with crunching riffs and thunderous beats, this acts as the focal point to the album, and it couldn’t open in a better fashion. Vicious screams, merged with soaring melodies which pierce through the chaos surrounding it; it is a clear statement that this band are heading straight to the skies, and nothing is going to stop them.
Their fierece electro tinged metalcore assault is brutal, their choruses soaked in melody, utlising the breakdowns and the electro moments in their tracks impressively, and making a frighteningly heavy beast in the process.
Closure is brutality at its finest, before its electro beats evoke feelings of Darren Styles tripping out in a rock club, which is just awesome. A Lesson Never Learned is brutal once again, but leads into one of the most anthemic choruses that AA have penned to date, and is likely to become a live favourite in the not too distant future. There is even a quality shout out of “fuckin ‘ell” in a broad Yorkshire accent, which adds a little humour to the proceeds.
The rest of the album continues on a similar path, but there are clear highlights throughout. To The Stage is massive, and Dedication is a moving spoken word intro (sounding like Enter Shikari) which leads into Someone Somewhere, where AA keep their foot firmly on the gas, removing the patented screams in favour of anthemic vocals. Breathless brings back the deathcore assault, along with The Match, which starts off in the same vain, before freaking out into an almost industrial electro metal stomp. Another Bottle Down showcases almost a symphonic sound, along with the title track, which has some real fist in the air moments, and gang vocal “woahs”, almost as if you are at a Bon Jovi concert. ‘Morte and Dabo’ ends the album on a wickedly sinister note, with church organ style sounds as the intro, and thunderous conclusion, which add a dark twist to the full on metalcore brutality. It is a nice mix, and that is something AA do throughout, mixing in different elements to their key sound to brilliant effect. The album closer is crushing, but fades out on an anthemic instrumental note, resembling something of a movie score. By the time it builds to its simmering crescendo, you know that you have just listened to something pretty special.
This is a huge record, and the artwork is pretty sweet too!
This albums genius lies in the fact it was hard to review without mentioning all the tracks, as they all add something of worth to the album, each one worthy of note in its own right, and nothing is out of place. Showcasing a variety of styles, but never sounding like anything but themselves, AA are the real deal, and you will be hearing a lot about them over the next few months.
They are here to take over, and you better believe the hype.
10/10
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