Hardcore quintet NO WAY OUT formed in Melbourne in 2006 with founding members and brothers Andrew and Jack Rieveley. After playing a series of local shows off their self-titled demo they recorded their first EP entitled ‘Contempt’ that was released in mid 2007 on Dogfight Records, which was followed in 2009 by their debut ‘Self Titled’ album with the new solidified line up. The hardcore quintet’s second full length album was recorded in Melbourne with Producer Sam Johnson at Three Phase Studios and mastered at West West Side Music, New York. “Dead Ends” is a record for fans of Bury Your Dead, Day Of Contempt, Most Precious Blood.
Pressing:
500 x CDs – SOLD OUT
REVIEWS:
Some Will Never Know [UK]
NO WAY OUT – Dead Ends
I gotta hand it to Pee Records, they know how to mix it up. I just finished listening to Hightime (review up soon) and The Decline, both of whom made me want to find an empty car park and skate the Summer away, and now I’m spinning the No Way Out CD and it makes me want to uppercut an articulated lorry. What we have here, ladies and gentlemen, is some utterly relentless and hard as hell Hatebreed style hardcore from Melbourne, Australia. Cripplingly heavy downstrokes, unforgiving mosh parts, an enormous attitude problem, and a vocalist that could shout down a building. But this is more layered than the average band playing this style. A few Shadows Fall style guitar parts here, some slow and bleak sounding track intros there, a perfectly placed sample from Law Abiding Citizen – it keeps it interesting and ensures each song stands out. There is no let up whatsoever, this CD pummels you mercilessly for nine tracks with its gloriously violent and unapologetic charm. Standout tracks are ‘Defiance’ which has a slight Integrity (circa ‘To Die For’) vibe, and title track ‘Dead Ends’ for its enormous chugging mid section and great guitar work. Fuck this album is good.
Rating: 85/100 – Review by: McKee
OX Fanzine #100 [Germany]
NO WAY OUT – Dead Ends
With each new release, which I must discuss in Ox by Pee Records, increases my feelings for the Australian label. Recent likeable figures are No Way Out, founded in 2006 in Melbourne. After a demo and EP Contempt, published in 2007 via Dogfight Records, the quintet took in 2009 self-titled debut album on the market. With “Dead Ends” is now the second album was released on Pee Records. And what is being burned, is a veritable mosh fireworks. Double bass, mosh parts and a thoroughly-dressed tempo make “Dead Ends,” a real treat for all on the DO OR DIE or BURY YOUR DEAD and stand. It does not indulge in the Australian plates Tough-Guy-phrases, but are characterized by personal lyrics and held a positive attitude without the macho posturing. Let us hope that we can soon see DEAD ENDS live in Germany.
Rating: 8/10 – Review by: Tobias Ernst
BLUNT Issue #105
NO WAY OUT – Dead Ends
It’s been a number of years since No Way Out first joined the ranks of the Melbourne hardcore scene. Early support slots with local titans such as Carpathian and 50 Lions got things off to a good start, while their 2007 EP release through Dogfight Records saw the young five-piece find a spot on the mosh mix tapes of kids up and down the east coast. Dead Ends is No Way Out’s second LP, and although many of their peers have either broken up or gone onto a greater level of success, these kids seem content in kicking out the same breakdown-friendly jams as when they first started up. Tracks like “Witness” are firmly rooted in the Bury Your Dead how-to manual; however, Jack Rieveley’s vocal delivery is reminiscent of former Day Of Contempt frontman Ben Coyte, which provides a notable point of difference.
Rating: 3/5 – Review by: Timothy Hawthorne
Chucking A Mosh
NO WAY OUT – Dead Ends
Most of you have probably seen the so-so quality (yeah, I said it) film 300, about a bunch of badass Spartan warriors taking on the monolithic might of the Persian army, push-kicking dudes into bottomless pits and generally getting about being a bunch of Terry Tough-See You Next Tuesday’s. The film, as entertainment, was fine. But the truth is always infinitely more amazing. What that film failed to cover was that particular battle (Thermopylae, for those playing along at home) was just a small part of a much broader assault that the Persian nation raided against the Ancient Greek city-states of Sparta and Athens. King Xerxes of Persia (the shining golden scissor-me-timbers looking one in 300) was about as mad as a cut snake. After a storm sank most of his fleet en-route to Greece, he ordered that the sea be lashed in retaliation. But as confident and cocksure as he was, he was short-sighted, and tactically terrible. One of the final battles (and most decisive of blows to Persia) came at sea, on the strait of Salamis. The Athenians knew that Persian ships were big, heavy, and hard to maneuver. So instead of fighting fire with fire, the Athenians got tricky. Headed by a crafty snake-in-the-grass called Themistocles, the Athenians developed a smaller, lighter, and much faster ship called a Trireme. From there, they lured the Persian fleet into the narrow and shallow strait of Salamis, where Persia’s big ships promptly got stuck, and the Athenians picked them off at will, presenting them a situation where they had, literally, no way out. And sliding in on the back of that nomination for “Anna Coren Segue of the Week” comes Melbourne mosh-lords NO WAY OUT and their brand new album “Dead Ends”. No Way Out’s “Dead Ends” treads an awkward sort of ground between EP and full-length album. At 9 tracks and just over 30 minutes long, it doesn’t really fit the prototypical definition of either formula. But, as with most things in life, if it’s a formula that’s been good enough for Slayer, then it’s a formula that’s good enough for everyone. Production-wise, it’s slick and highly polished; yet more evidence behind why Sam Johnson and 3 Phase Studios is the studio-of-choice for heavy or alternative music within Melbourne. The sound has tremendous depth to it, but this is never at the expense of clarity or balance. The guitars are crisp (the lead lines particularly so) and the drums sit right in the pocket without once overpowering everything. It’s a deftly crafted mix and it’s very impressive. For a band that sits within the genre that No Way Out does, there is a distinct risk of being swallowed by the middle of the road. This is merely a weight of numbers issue. With the market flooded by so many young or local bands vying for space within the same genre, inevitably this is going to breed a certain degree of similarity or mediocrity. For a band within this sound to stand out, there’s a plethora of little things that must be paid attention to in order to set themselves ahead of the pack. And it’s the little things that No Way Out pays attention to on Dead Ends that allows them to be ahead of the curve. There’s a certain degree of restraint evident throughout Dead Ends. Whereas some bands may fall into the trap of over-saturating the recording by over-using genre tropes like gang vocals or mosh breakdowns, Dead Ends pulls back on them, using them sparingly, and only when they make sense in the greater context of the song structure. This, in turn, makes them stand out more when they do appear. It’s clever songwriting, and a product of experience. Rather than being a sum of its’ parts, Dead Ends features cohesive, woven together songs that exist not just as a collation of a bunch of different riffs, but as whole, complete entities unto themselves. This is a mark of a band finding its stride after a solid amount of time together. Rating: 21/28 Days
World’s Appreciated Kitsch [Greece]
NO WAY OUT – Dead Ends
First of all, I have to admit that No Way Out is one of the most common band names out there… There was (is?) a Greek punk rock band with the same name, there was a heavy hardcore band in Sofia and I think there’s one more European band entitled No Way Out, just to name a few. Nevertheless, No Way Out come from Melbourne, Australia, and ‘Dead ends’ is their new (2nd) full length album that was just released by the well-known label Pee Records. Every time I get an envelope from Pete / Pee, I know that there’s quality stuff inside. So, even though, I’m not a big fan of the music style that No Way Out play, I can assure you that they are a great band. Having shared the stage with the likes of 50 Lions, Carpathian, The Warriors and The Red Shore and playing countless of local shows since their formation 5 years ago, No Way Out have managed to create a unique sound and strong fan base in Australia. Drawing influences by bands like Bury Your Dead, Day Of Contempt and Misery Signals, the Aussies deliver solid and well – played moshy metallic hardcore with a dark yet melancholic atmosphere floating in the air. To be honest, the first time I listened to ‘Dead ends’, I got a bit bored since the songs last a bit long, but the 2nd time was way better and the 3rd time was awesome. This record needs your 100% attention. If you are into modern heavy / brutal hardcore, give this a try.
BlackMunk
NO WAY OUT – Dead Ends
Melbourne hardcore group No Way Out recently released their second full length, ‘Dead Ends’ through Pee Records. Creating a sound similar to hardcore legends Day Of Contempt and Bury Your Dead, ‘Dead Ends’ could be the album that makes them a household name amongst Australian hardcore fans. One thing becomes clear straight away, and that is that No Way Out do not sound like a young band at the start of their career. The onslaught of ‘No Stone Unturned’, ‘Witness’ and the absolute brutality of ‘Fallen’ showcase the group’s maturity and skill at performing a Bury Your Dead style influenced hardcore. The album sounds very similar to Brisbane hardcore stars Wish For Wings debut full length. In a genre that can produce repetitive songs and whole albums sounding the same, No Way Out drop their track ‘Defiance’ into the mix just in time to save the album. The track includes 40 seconds that will catch many hardcore fans off guard. ‘Dead Ends’ is a very solid album, which will no doubt open up many more doors for this promising group. No Way Out have proven themselves to be a band not to be taken lightly. Full of youth and ambition No Way Out have a bright future of dark, sweaty, mosh filled shows. If clean melodies in hardcore is not your scene (i.e. Confession etc.) then this album is for you. Rating: 7/10
Kill Your Stereo
NO WAY OUT – Dead Ends
Melbourne hardcore quintet No Way Out have had a pretty good run since their formation in 2006, not only do they have an EP and a full length under their belt, but they have toured the country with acts such as 50 Lions, Carpathian and The Red Shore, amongst many others. The group have now released their second album, ‘Dead Ends,’ which is their first through Adelaide based punk label Pee Records. One of the most noticeable things in the opening track No Stone Unturned, is the band’s unique sound, which is leans towards an older metal style matched with a more modern format of song structures. The guitar tones sound like they have been pulled from a Sevendust record with everything else being more reminiscent of the standard Australian hardcore floating around these days. Second track Witness is a blistering drum and guitar assault with all instruments working together extremely well, an effective aspect of the group’s sound as these songs really do just batter your head in. The short instrumental track … is some weird little, stadium style epic which is strangely placed on the record, it is hard to comment on its purpose but it comes across as fairly awesome except for the fade out that leads to a weird fade in of the next track Machines, seeming like it may have missed the mark of its cool production intentions. Luckily the guitar riffs in Machines, which are some of the finest on the record, make up for it. The album finished off with Reason, which moves from its fast paced beginnings to a groove heavy jam driven by its vocal assault. The baton is then quickly passed to the closing and title track, which is essentially just more of the same that came before it. Summary: Some more hardcore yes, but some that is actually worth hearing. CONCLUSION: ‘Dead Ends’ has a strong sound from a band that have clearly worked hard to get to where they are currently, but I will say, nine tracks ranging from one to four minutes isn’t really a “full length” album. Come on guys, I know it’s expensive to make these things but would the extra track really have been that hard? That aside, this record is worth checking out and should help raise No Way Out’s presence in the hardcore scene exponentially. KYS Rating: 75
PEE #48
NO WAY OUT – Dead Ends
Melbourne’s No Way Out is in many ways becoming pioneers of the local hardcore scene with many other local bands calling it quits. ‘Dead Ends’ is the bands’ second full length and features a band showing no signs of calling it a day or in any way relenting in their vicious assault. Opening with ‘No Stone Unturned’, this track begins with brute force. The sound and ferocity of this track is huge and not long before some intricate subtle melodies showcase a heavy but layered sound as opposed to straight up, flat out hardcore. Track 2 ‘Witness’ begins hesitantly but soon places you back where the opening track left you. My only gripe at this point is that the vocals sound the same pitch almost consistently throughout the opening tracks. I can’t help but feel a little more emotion could be heard if some change in pitch or even contrasting backing vocals could be tossed into the mix. Then again, that may very well detract from the sheer aggressive sound No Way Out produce. This is cemented in heavy hardcore / metal core territory, drawing comparisons to Bury Your Dead, and Day Of Contempt. The breakdown in track 5 ‘Machines’ is testimony to those comparisons and this bands heaviness. No Way Out have taken an already intimidating and brutal hardcore style and wrung its neck of all possible intensity. Lyrically, ‘Dead Ends’ is as matured as it is musically. It is confronting and in-your-face. In all, this is a solid release and impressive package. With 9 tracks in total, it could be a little longer, though how much ferocity can one endure? It’s awesome to see Pee Records adopting something local on the heavier scale; a band intent on delivering the goods and chock-full-of intensity and integrity.
Rating: 95 – Review by: John MEANtime
RELEASE DATE:
28 Oct 2011
Also Available From:
CREDITS:
CAT #: PCD049
Recorded by: Sam Johnson @ Three Phase Studios
Mastered by: West West Side Music
Artwork by: Pete Pee
