Casual State Audio

05/10/2026

Review: REALITY CHECK - ‘Sink or Swim’ single
(Link in comments)

‘When we last heard from Exeter hardcore outfit Reality Check it was to dissect their record ‘Suffering’, a ballsy beatdown heavy record that, even though it played by the hardcore playbook, it left a definite imprint that set the band apart from others. With their new release ‘Sink or Swim’, they have matured their sound, bringing in melodic emphasis to the instrumentation and a kind of honest dimension in the vocals that is both refreshing and nostalgic.

From the offset this is the most raw and powerful Reality Check have sounded, and that really is saying something considering how hard hitting that EP was - it just goes to show that musical heaviness can be effective in different ways. From a stripped back riff, the guitars swell to this massive wall of inescapable, feedback-laced emotion, something that crashes over the whole direction of the track and transforms it into this impactful three minutes. There’s no denying how solidly powerful this is too, there’s not just chords and riffs painting an image, it’s the kind of intensity that comes when playing your instruments loud and fast just isn’t enough anymore and giving it depth is the way. The drums do a superb job of continuing the high powered momentum all the way through, acting as the support structure for the track and setting the pace from section to section with ease. Coming into this expecting classic beatdown and getting heavy melodic hardcore is honestly the best surprise; this is the kind of cathartic listen that pulls people back to these kinds of bands time and time again.

The vocal performance is just as unrelenting, and despite the obvious emotional toil that it takes to make and deliver this kind of track, it’s a really well sung track too. With lyrics about holding on and not letting go (the ‘sink or swim’ aspect of the title) the tone of the instrumentation melds itself so well to encourage massive shout-alongs and most probably some listeners finding solace within it too on a more personal level. It’s also great to hear dimension and depth to the vocals that displays in a couple ways; the main guttural that holds the majority of the power, and the short spoken word section in the breakdown, which when matching with the super elongated chords, panic chords, and snare bombs really leaves us with a lasting reminder of the track long after the final note fades.

Reality Check really have taken a look at their sound with this new track, and seen where they want to go. They haven’t discarded their hardcore-centric sound entirely, but evolved it into something else - going from following the already well trodden beatdown path and taking a left into a more emotional and melodic output. I’m really glad to see heavy bands embracing these different subgenres and weaving them into their music, especially when the end result is something that hits this hard.’

Written by Evan @ Casual State Audio

04/10/2026

🚨REVIEW INCOMING🚨

Tune in tomorrow after 3pm for our thoughts on the single ‘Sink or Swim’ by Reality Check 💪🔥

26/09/2026

Review: FIONA’S PHOBIAS - ‘DEMOnS Vol 1’ EP
(link in comments)

‘Canadian band Fiona's Phobias really do deliver on the phrase ‘something for everyone’ with their newest release, ‘DEMOnS Vol 1’, covering multiple genres on their quest for imaginative and engaging storytelling. From punk to metal, and all the way to gothic and symphonic, this EP feels like as much a showcase of their ability as it is the soundtrack for a stage show, and it seems that regardless of whether you keep up with what’s going on, it’s an interesting listen all the same.

‘Euphoria is Tragic’ serves as a great opener, with high energy and boisterous punk-fuelled guitar work sending us somewhere closer to pop punk than anything else. What strikes me immediately is how strong the vocals are amongst the already quite impressive instrumentals, transforming the track regardless of genre direction and even remaining similar across tracks, like a narrator in a film. Here, there’s an alternative metal and rock vibe that manifests in the kind of early 2000s punk rock that is both anthemic and charming. It’s an upbeat start to the record, utilising a strong rhythm section and great melodies alongside a glimpse of what’s to come, though this would be the last time we would hear anything close to punk rock. ‘Play it Cool’ turns that opener on its head and sends us right into symphonic and theatrical metal territory, something that admittedly isn’t my bag, but in context of the rest of the record (as you will see) it actually makes more sense than the previous track. The more theatrical approach allows grandiose swells of a mixture of instruments to build the narrative, and tying it in with metal keeps up the pace too. Something that always sticks out in symphonic metal adjacent genres is that sense of eeriness that comes from the vocal melodies following the guitar lead, and especially here they feel like they’re almost like strange nursery rhymes. Regardless of my own taste though, it’s musically impressive and the blending of various interesting styles and additional elements adds a bold dimension to the track.

The leading track from the EP, ‘Imaginary Sins’, initially feels like it might lean into a more upbeat angle, but reverts back to the feel of ‘Play It Cool’, to the point where (being in the same key and with very similar guitar licks) I actually thought I had hit repeat. They do bring more of the metal side into play with a more distorted guitar tone ripping through, but the bounce of the rhythm is incredibly similar and fairly hard to distinguish without them side by side. One thing I would say is that the inclusion of the heavier guitars works way more effectively in contrast to the symphonic ambience than the ‘alternative rock’ approach, turning this from feeling like a kids song into something much more sinister and unpredictable. I even end up enjoying the softer parts where the piano takes centre stage - the dynamic contrast helps the heavier hit harder, and the vocal delivery plays the line between the two with ease, even if the lyrics twist us in circles. I understand what they’re saying, but as soon as I think they’re focusing on one thing (mental health) the focus shifts elsewhere (“romance is dead”), and I try to make sense of it again. I assume the intention after all is to make us feel swallowed up and lost within the hurricane of madness, and if so they have succeeded.

Next up is a cover of ‘Bang Bang (My Baby Shot Me Down)’, which is not the strangest cover I’ve seen included on an EP, and actually it is transformed pretty well to fit in with the general vibe of the record. My only complaint is that it’s actually over too quickly - I would have loved to see the band pull the sections apart a bit more and add some more anticipation and drama. On a record where the tracks are elaborate and intricate, I’m surprised that the same treatment was not extended as willingly here, but they perform it the way that fits their vision the best, and I cannot fault that. ‘She Loves To Kiss That Doll’ is a stark contrast back to the creepiness that suits the band better, and with the symphonic metal formula in full effect it all feels finally aligned. With pulsing drums and tremolo guitars there’s added intensity and anticipation building, and with the vocals soaring out over the top of the mix there’s a potential for this to be the centre-piece for the whole record. The stripped back moment of clarity around the refrain of the title is superbly paced, stopping the flow in its tracks but continuing the momentum cleverly, and still keeping the warped nursery rhyme quality that seeps into the foundation of the band’s sound. The vocals here really are epic too, and it’s a rare time in symphonic metal where I get a melody stuck in my head - excellent control and development of character, made even better the second time around.

Final track ‘Bittersweet Darling’ is a continuation of the theatrical and dramatic, with rumbling drums setting the steady pulse in this off kilter journey and keeping the audience hypnotised. The lyrics again settle somewhere between a metal opus and twisted lullaby, with even a little motif of ‘Drunken Sailor’ finding its way into the melody - intentional or not it’s quite jarring in quite a humorous way. Along with these details there’s a solid foundation of songwriting that the band work from, one that ultimately lends itself well to whichever genre takes their fancy. I will say, while there are moments of unpredictability, the tracks on the whole feel quite safe in their structure, only occasionally breaking out from standard time or into a different pace. That being said, there’s plenty to take in from each track that develops with multiple listens, but more than anything I find myself coming back to the vocal performance as a highlight each time. The character laced into the performance does a lot to bring each track to life and drive them onwards. In all, as I have felt throughout the record, these are tracks that deserve the theatre, not just physically - I can imagine that if Fiona’s Phobias decided to create visuals to support their music it would be as wild and immersive as the music.

As I mentioned earlier in the review, I’m not the biggest symphonic fan, so I went into this already with a slight bias against it, and even though I still hold that view I have definitely come out the other side appreciating the genre that little bit more. Sure, the lyrics at times felt like I was listening to the soundtrack to a stage show that I didn’t have the visual context for, but I will admit that the songwriting was intriguing and ambitious, and the performances were excellent. It was a strangely experimental listen that stood out as much as it played it safe at times, but the biggest takeaway is that Fiona’s Phobias are obviously unique in their sound, and that should always be embraced and celebrated.’

Written by Evan @ Casual State Audio

24/09/2026

🚨REVIEW INCOMING🚨

Tune in this Saturday evening for our review of the new Krisanna Marie EP! We’ve been graciously given a pre-release listen, but you’ll have to wait a few more days until October 2nd to hear it! 😉🤘

23/09/2026

20/09/2026

Review: HORIZONS DEMISE - ‘The World Deserves To Die’ single
(Link in comments)

‘UK masked metalcore band Horizons Demise return with their next slice of post-apocalyptic heaviness, single ‘The World Deserves To Die’. I’ll admit, I’ve not ever been the biggest fan of masked metal bands, but I can appreciate a well formulated and executed concept, and with the band’s attention to detail in both the visuals and the music there is potential for this to become even bigger.

The World Deserves To Die’ is in my opinion the best track the band have released thus far. It is as heavy hitting and furious in energy as you’d hope to expect from any modern metalcore of late, but is elevated with the soaring melodies - it becomes a more engaging and immersive track for having a few different elements working alongside each other. The solid weight of the guitars leading the charge signals to the listener from the start that this is going to be a heavy track, and we’re not waiting long to be exposed to the rest of that either. With a thudding pace and some snarling gutturals this thing takes shape and drags us along on for the ride - it’s impossible to avoid how hooky it is even in these early stages and that only continues throughout. This monolithic groove lends itself so effectively with the deep chord progressions that it’s only right that when the clean vocals come into the mix they end up being carried so smoothly, making for an incredibly anthemic chorus that is undeniably catchy.

In a track such as this it’s easy to get caught up in the instrumentation, but there’s also poignancy and meaning behind the words being delivered. They touch upon the relentless uncertainty and pain of existing in the world at the moment, perhaps in quite general lyrics but the understanding is evident all the same: “beneath the ash of a fractured sky/ where cities collapse and the innocent die / the earth is bleeding, its veins run dry/ a world forsaken, no tears to cry”. While there isn’t a definitive focus for their outrage, the feeling is very much deep rooted and is reflected in the passion and intensity of the instrumentation itself, and honestly it makes a difference seeing the band performing in the accompanying music video too. They bring in a sense of humanity and personality to the fray, and help us put (masked) faces to the music.

I found that by stepping into the world of Horizons Demise and immersing myself in even just a little of what they’re about I really have come to appreciate their music even more - after all they are holding a mirror up to our own humanity and that is intriguing to analyse. With this powerful release they have delivered a solid four minutes of metalcore that, while not breaking any new ground in the genre, does shine a light on their songwriting power, ultimately demanding to be put on repeat.’

Written by Evan @ Casual State Audio

18/09/2026

🎫 LIMITED TICKET WARNING 🎫

We are 5 weeks away from our return to the Hug & Pint and tickets are FLYING. Act now to avoid disappointment, let's make it a sell out troops. 🫡

Additionally, please welcome our friends in KINTSUGI to the bill. 🫶

Ticket link in bio/comments/stories.

17/09/2026

Review: RAINING MIDNIGHT - ‘She’s The One’ single
(link in comments)

Always delivering pop music with a surprising amount of depth is Florida project Raining Midnight and this most recent release ‘She’s The One’ continues on that same path. The ever solid combination of high energy instrumentals and heartfelt emotional lyrics continues here just as we’ve seen from their previous releases, proving that when you’ve got the penmanship, writing solid music comes fairly easily.

From the very start ‘She’s The One’ reminds us of how inherently anthemic the project has been in each release. Alongside the strong melodies that we’ve come to expect from the band, the pumping momentum that flows from section to section keeps the energy at an all time high, and again we’re wrapped up in that huge bubble of nostalgia that really takes us back, lyrical content and all. With the classically buoyant pop punk instrumentals cemented in place, Raining Midnight is not going to be drastically changing musical direction any time soon, but it is a real treat to hear some heavier elements introduced to their sound. The guitars themselves feel that little bit edgier here, drifting away from the all out poppiness of previous tracks and further into gritty, alternative stylings but still keeping the cornerstones of the genre as solid markers. The chorus is the highlight for the whole track for me: well paced, exceptionally catchy melody, and even some complimentary harmonies to elevate the final outro - but what turns the track on its head is the addition of those heavy vocals in the verses. It’s a fun move that adds a bit of unpredictability and definition to the track; not enough to unsettle the listener too much, but enough to give everything a sharper refresh. The growls of those more emotion-led lyrics give the verses a definite boost and almost help to add a bit of dimension to the track, something that helps to keep us immersed throughout.

While Raining Midnight might not regularly deviate from that tried and tested pop punk formula, it should boost their confidence to know that they have the ability to push boundaries if they really wanted to. Their ability to write not only a great pop punk song but also a really great hook will always be an incredibly important tool to have in their arsenal, and will be something that they will always be able to rely on regardless of genre. Another great slice of pop punk that makes me want to revert back to 2008 and rediscover the genre all over again.’

Written by Evan @ Casual State Audio