Let's not beat around the bush, ELVIS may have been the king of rock 'n' roll and the blues may have originated out of the southern states of America, but it's the UK, the little island of Britain that invented everything that we love about hard rock and metal...so, so many legendary bands have come out of these Isles, going back to the beginning of BLACK SABBATH, all the way through the likes of IRON MAIDEN (arguably the greatest metal band on the planet), MOTORHEAD and many more...most of these bands have gone on to be huge festival headliners and have earned their legendary status, others however, have always floated mid-card so to speak, and simply remain part of the furniture. One such band is THUNDER. Formed in 1989 by front-man Danny Bowes and guitarist Luke Morley, Thunder have no doubt achieved success, with top 5 UK albums, but have struggled in ways to just reach that, next level. 2017 see's these veterans return with a brand new album by the name "Rip It Up"...let's rip into this one and see what new tricks these old dogs have learned...

We open up with "No One Get's Out Alive" and despite it's ominous title it really does sound like a jolly, up-beat classic-rock number. Bowes' vocals have mild gruff qualities that give the track a little bit of edge, and fans of old-school rock will feel very comfortable with this. The message here is really about the band understanding they are getting older, it's something they can't escape and it's them admirably doing their best to not simply go through the motions, they are passionate about what they do and will always give their all for as long as they can.

The title track itself doesn't fully live up to it's name in ways too...it plods along almost methodically, fully utilizing a strong blues-inspired sound which don't get me wrong, the band are more than capable of pulling off, but as a title track, especially given it's name, maybe should sound a bit more, well, intense. "She Likes The Cocaine" on paper sounds like something the guys in BUCKCHERRY might come out with but luckily for everyone, Thunder aren't Buckcherry (seriously, thank fuck for that) and again we've got a slow, moody track, the chorus is incredibly soulful mind you and it builds up really well. "Right From The Start" utilities more of a soft rock-ballad love song approach and is a perfect track for radio, and my god the solo is on point, this reeks of emotion and provides a clear album highlight. Brilliant stuff this.

Other highlights include "Heartbreak Hurricane" which doesn't deviate too far from the formula so far, the drums, simple yet assertive commanding attention with a fine blend of electric blues guitar and acoustic for depth, and let's not ignore stand-out track "The Chosen One"...this...this is what it's all about! The rhythm, the groove, the passion flowing this track is untouchable! Coupled with Bowes' vocals this track is just hypnotic and quite easily the best track on the record. There are some less impressive tracks mind you, as with 90% of albums nowadays..."In Another Life" has elements of THE DOORS and while that's not really a bad thing, it just made me want to listen to The Doors instead...while closing track "There's Always A Loser", another piano-led effort does the cliche attempt of ending on a soft, let's all hug note...despite this mind you, Thunder here, despite having had up's and downs over their career (hell, they broke up...twice...) have proven that, when you have a band, when there is history, when there is a connection, you will always deliver, and here they have done. It doesn't change the musical landscape we live in by any means, but it's proof that, don't ever write anyone off. [7]

Some people are lucky...and then some people are born ginger. Yes, yes I know it's a common cliche, we've all heard things like, gingers have no souls, they are the subject of awkward presumption (does the carpet match the drapes? I beg your fucking pardon?!) but one fiery red-head is above all of that...he was born in South Shields, not far from Newcastle by the name David Leslie Walls but you may recognize him as the original GINGER. One of the most prolific and consistent British artists over the the past three decades, THE WILDHEARTS front-man is never too far away from his guitar and is always working on something, so it's no surprise that 2017 see's the return of one his side-projects; MUTATION. Created in collaboration with EXIT_INTERNATIONAL vocalist Scott Lee Andrews, they return with the third installment dubbed "Dark Black"...they purposely set out to create the noisiest, messiest record they could physically make and my god did they succeed...

We open up with a very foreboding statement; "It is the grey cloud that comes over you, that obscures all positive thought" and clearly this signals where this record is going conceptually...it really is going to be very dark, very bleak and to a degree, painful, and that's immediately confirmed by first track proper "Authenticity"...it is an absolute clusterfuck of noise and distortion of the most aggressive nature...it's hard hitting, off-kilter and almost industrial in it's delivery...something that would appease to fans of MINISTRY in it's own way...before "Toxins" takes this even further and really amps up the intensity...this material is absolutely savage and credit to all parties involved this is balls to the wall, no fucks given complete insanity.

"Irritant" hammers home it's point with the repetition of "fuck up you cunt you are an irritant" and while it does slow things down somewhat the chorus is practically bestial, likewise, "Skint" is a frenetic flurry of frustration and anger and to be quite frank, uninitiated fans of The Wildhearts might very well be scared out of their pants for this...this is SO brutal. There are spots of controlled rhythm on tracks such as "Hate" where you  appreciate more of a sense of structure but ultimately this is a record not for the faint-hearted. The notion that this album came from a myriad of emotions and troubles is so blatantly obvious that it simply has to be respected. No matter what Ginger and co are going through, they make music true to themselves and from the heart and while it may not be "Eager To Leave 'er"  from 2004's "Coupled WIth"...it has it's place and quite frankly it's good to see such intense and insane versatility...never mind what TIM MINCHIN said....you can call Ginger whatever you want but by god, he deserves your respect. [6]

​Combien de groupes français pouvez-vous nommer? GOJIRA? DAFT PUNK? Exactement...but no, seriously, for a long time, Daft Punk have probably been France's biggest musical export, and while Gojira may very well be the darlings of heavy metal right now, especially on the live stage, unless you are already familiar with the French scene and have done your homework, then very few will name any established or notable artists, regardless of genre...but, having mentioned them already, Gojira's success has opened the doors for more French bands, giving us a glimpse into an untapped market of music. One band hoping to get noticed are TALVIENKELI (meaning Winters Angel, in Finnish, because of a collective love of Scandinavian culture)...formed in Lyon in 2012, this progressive, symphonic-metal outfit signed with WORMHOLE DEATH RECORDS (who, despite being based in Florence, have offices in Tokyo and Los Angeles too, so they are in good hands!) to release their up-coming brand new album; "Hybris"...Shall we check them out? Bon appetit as they say...

We open up with "Hybris Part II" and it's like stepping into a lullaby, a dreamscape...the simplistic tinkling of the piano and soft strings coupled with Camille Borrelly's delicate operatic vocals make for an almost icy, haunting introduction, appropriate given their name I suppose, before we're suddenly subject to a surging dose of symphonic almost orchestral metal...this whole thing; the way it's structured and delivered is VERY NIGHTWISH and it's apropos as they are one of the bands primary influences...imitation is the sincerest form of flattery as they say, right? At over seven minutes though, it's quite the introduction...

"Burning Flesh" follows up and it's got a much harder overall approach, with the initial power of the drumming, the guitars too having a more riff-heavy sound, the inclusion too of some spoken-word content adds a slightly dramatic feel to the track...the flurry of keyboards again pays homage to Tuomas Holopainen of NIghtwish, likewise with "Immortal", which is probably the meatiest track on offer, similarly too "Atlas" has more heavy elements, but, while it's perfectly fine to emulate your heroes, it also comes with it's downsides. For example, while she clearly has a decent range, Camille is no TARJA...and sometimes her notes sound erratic and to some extent, forced...there are moments on "Hybris Part I" where it's almost like she can't cope with the faster, heavier aspects of the  music, and given the length of the tracks, "Quill Of Dust" for example nearing the ten minute mark, you often find yourself simply waiting for a track to end, which, doesn't particularly instill any excitement or great expectation in the listener as the album progresses.

Musically though they are generally solid, they pull off the style well and do the genre no real injustice, as symphonic metal goes it's in no way poor, and as mentioned Camille does clearly have a voice on her, if she tightened up just slightly and maybe didn't over-do some of the high notes, and possibly sacrificed some song length for perhaps focusing on more of strong single or two to promote, they do show a lot of potential to establish themselves alongside the likes of the aforementioned Nightwish and LEAVES EYES...I guess all you could say for now is, it lacks a certain...je nais sais quoi. [5]

Well spank my ass and call me Charlie...I almost don't know what to say! If you're a regular reader of this here blog then you'll know that, over the course of the past three years, "GavTheGothicChav" as a gimmick, as a persona for a means in which to purvey my own thoughts and ramblings on new music, has literally started from the bottom and has reached, something maybe a few inches off the bottom... :p

Essentially I am a one-man team here, I work full time hours to pay the bills (it's not all rock 'n' roll lol) I paid for my own website (this little blog here) and thanks to the team over at WEEBLY, they supply a great service and without them, this blog wouldn't exist...(also my buddy Christopher Morris for the cool graphic work, he realized my vision very well) but my point is, I literally started with some opinions on some bands, nothing else.

Don't get me wrong, I've been allowed to spread my work elsewhere over these past couple of years...and I'm eternally grateful for opportunities that have come my way...be it a brief stint over at SOUNDSCAPE where I did my first work for proper editors...be it the team over at FIREBRAND who do excellent work and taught me a lot, they allowed me to achieve some incredible things such as my interviews with THE BIRTHDAY MASSACRE, DEATHSTARS and BOWLING FOR SOUP...and of course my more recent work in collaboration with Jac Holloway and the team at NOIZZE...but one thing that has remained consistent, is this blog. I have free reign here, to review whoever I so wish to, in my own style. I'm allowed to be me...and for some reason, it's done me well. I'm incredibly fortunate enough to have connections with some wonderful people, like RAGE PR who are such a pleasure to work alongside, they support some brilliant up and coming UK artists...AREASONICA RECORDS in Italy have been very kind to me, as have FULLBLAST PR and others....and it's all come to this...the CARDIFF MUSIC AWARDS...

For reasons unfathomable to myself...I; Gavin. J. Griffiths / GavTheGothicChav have been shortlisted for the CMA's 2017...nominated for "Best Music Publication"! I literally can't believe it! This blog will be up for the award alongside my good friends over at Noizze, I wish them all the best, there will be absolutely no hard feelings if they beat me as the deserve to do....plus independent music and culture zine GOD IS IN THE TV...there's ROATH ROCKS who do great work supporting charities around South Wales, and finally STEREOBOARD, who do work supporting live music. There is an actual award ceremony in Cardiff on March 30th and it would be so, SO incredible if this little blog here could pick up the award. If you support me and this blog, if you enjoy what you read, please, follow the link I've posted below, look for "Best Music Publication" and VOTE GAVTHEGOTHICCHAV! <3 I love you all (^_^)

Back in 2016, Sweden's JOHNOSSI (consisting of vocalist/guitarist John Englebert and drummer Oskar "Ossi" Bonde) released an EP by the name of "Air Is Free" and it got a lot of people's attention. Already successful in their home country, having won a multitude of awards, they found themselves expanding their audience further and further, across Europe and the rest of the world, with their bombastic, anthemic brand of acoustic driven indie rock. 2017 now see's them pick up where they left off with the release of their brand new full length album; "Blood Jungle"...roll the dice, let's play Jumanji...

We open up with title-track of sorts "Blood" and we're greeted with some, unusual, chanted yet warped vocals over some atmospheric sound sampling, before it transitions into this deep, bassy, slow burning rocker that, leads into a simple, sing-along chorus...it can feel a little lethargic but it's definitely a grower and a solid introduction, before THAT track, "Air Is Free" really get's this album underway. It may already be a couple of months old but it's lost absolutely none of it's charm, sounding as bold and positive as ever, releasing so many endorphin's and allowing the listener to feel like they can go ahead and accomplish anything they ever wanted; such a feel good track this one.

New track "Hands" follows up and it's a gentle little acoustic -driven number, but while it sounds sweet it does carry with it a serious message about police brutality, very apropos given the levels of media attention surrounding the issue in 2016...very politically charged but very focused on representing both sides, it stands out as a wonderfully written little song and an album highlight. Speaking of highlights, this album has plenty of them to offer! Other new tracks such as "Freeman" carries with it slightly similar vibes to the aforementioned "Air Is Free", the tone may differ slightly within the story John portrays here but at it's core it's about freedom to do as one pleases, be it spiritually or physically or even legally. "On A Roll" while utilizing some simple, classic almost western-inspired guitar also has a soulful chorus of sorts, backed by the soft choir-esque gang vocals in part and it's a very positive listen, before "Hey Kiddo" offers one of the most up-beat tracks of the record; with it's huge pop-driven chorus and the whistled segments really bring this track to life. 

There really isn't anything I can say that's at fault with this record...the duo have written some brilliant tracks here, the balance between styles is on point and it all flows incredibly well, right up until closing track "Got Your Gun", one of their grittier efforts, and really there is nothing you can really dislike here. A perfect album for genre neutrals, acoustic singer-songwriter types and rockers alike...if ANY criticism can be given, is that it really should have included "Alone In The Summer" from the EP, other than that? "Blood Jungle"....Bloody well done! [9]

It hasn't been long (October in fact) since we last heard from Mr. WILLIAM CONTROL...yes since the separation of AIDEN WiL Francis has been allowed complete freedom to work on his Control persona and it showed on the absolutely brilliant "The Pale EP"...a complete return to form; the four tracks hit all the right notes propelling WC all the way up the Billboard charts, garnering huge praise from fans and critics alike, but we knew that was merely part one of a four-EP concept for the collective "Revelations" album, inspired by the four horsemen of the apocalypse...so here, so relatively soon afterwards on February 17th he drops part two; "The Black EP"...let's saddle up...

We open up with lead single "Analog Flesh (In A Digital World)" and we're immediately met with more of the up-beat, pop-infused electronica that made the first EP such a pleasure to listen to. Not as gritty as "The Monster", this has a resolute 80's influence yet again and I know that,while with a lot of synth-pop that's an easy comparison to throw around, you simply can't deny the aura and vibe his recent works give off. The production is slick and modern yes but at it's heart this is right out of the neon big bang.

"All I Need" follows on with more soft, DEPECHE MODE inspired alternative electro and really if it wasn't for the subtle, darker tones of Francis' lyricism and story telling then this would be, so far at least, a legit pop record. It's so easy on the ears it sucks you in, it's no wonder the first EP charted so well...it's probably their most accessible collection of tracks to date. "Knife Play", while continuing with the theme musically; very cold, very synthetic yet completely addictive, does naturally have more of an adult concept thematically, however innocently the tickling of keyboards hides the general depth of the tracks ideology, before we completely change tune for closing track "Velvet Rose". A piano-led ballad of the most delicate nature...like the tenderness between two lovers embraced following a candle-lit evening of love making, it is the perfect come-down; it's warming, it's gentle and  rich in emotion, ending the EP beautifully.

Given the EP's title this is in all fairness a lot lighter musically than expected...while we all know WC's tendencies to subject the listener to tales of lust, longing and sexual suffering, this record as previously mentioned takes full advantage of being very aesthetically pleasing from a sonic view point, you would maybe expect something darker and more heavy and EDM inspired...nevertheless this yet again proves that WC is on tip-top form and is releasing some damn fine songs...with red and white still to come, this velvet rose shows no signs of wilting yet. [7]

Music and comedy maybe totally different animals to some extent, but like the tortoise and the hare if I may...they have the same goal; they are both performing arts and hypothetically cut from the same cloth. Take comedians and musicians; they're on stage in front of a live audience after writing and rehearsing original material, having the guts to go out there and face scrutiny from crowds up and down the country... no band wants to be bottled off stage and certainly no comedian want's to bomb (unless it's AZHAR USMAN...) and it takes a lot of courage...so when certain artists combine the two it can churn out some interesting results. TENACIOUS D for example perfectly blended rock music with their brand of slap-stick sketch comedy on their debut album, let's face it EVERYONE knows "Tribute", while BILL BAILEY utilizes some incredible musicianship during his unique stand up shows...but overall, it's rare. Cue NIGHTMARES FROM THE DISCOTHEQUE...originally known as MASSIVE HORSE, the Cardiff based duo of Canz Rickman and Rick Schalpe have slowly established themselves as one of the UK's finest alternative comedy acts and they have just dropped their debut album; "About Last Night"...let's get heckling...

​We open up with "Modern Man" and right away we get an idea of their sense of humour, ripe with tongue-in-cheek observational comedy and social-satire, in this instance having a dig at the current state of the average male in today's society, similarly in "I Am The Topman" too...overly groomed, trend following hipsters, self-emasculated and utterly, utterly annoying. Musically they combine rock with electronica for a genuinley catchy sound though vocally, they are a bit off but that's just part of the running joke really.

Somewhat ironically then, "Because We're Men" insists that as men they are automatically better than all boy bands by default of age and image and, here we get an idea of how incredibly random they are both creatively and lyrically. Lines like "physically stronger with bigger bulges" and..."we're not boys we're men, like a cock among hens, we wanna' fuck like a duck who fucks a female duck"...it's insane! It should be no surprise then that, low and behold, they've worked with Dick Valentine of ELECTRIC SIX. "The Shrinking Planet" features a little bit of Dick and their styles compliment each other wonderfully; it's no wonder they've been on tour together. A pop-culture track about an alien invasion, referencing many movies and ribbing Hollywood in general, it's an entertaining track and one of the albums highlights, alongside the Batman themed "Baneing" which has all the hallmarks of the next big gimmick song, such as "Gangnam Style" if given the right amount of exposure, and "Phantom Pregnancy" which while reminding me of Scary Movie 2 uses some inventive and amusing word play..."fuck her in the astral plane"...genius.

There are a couple of qualms however, for instance the previously mentioned "Baneing" and rap-comedy "You Just Got Kanye'd" while amusing are restricted to a level of relevance. They perfectly represent periods of time and old news from a few years ago but feel a little dated and out of place on the new album, taking away some of the impact the songs originally had. The inclusion too of two demo's to round off the album instead of brilliant tracks such as "She Only Comes Out At Night" and "Robot Girlfriend" seems like a wasted opportunity, despite how skull-fuckingly sporadic "This Is My Horse" is. Overall this is specialist listening...for many the lyrics will come across as childish in places, the comedy will come across as cringe-worthy but it's all meant to be light hearted, this is purely intended as entertainment and for the most part, their synth-pop inspired alternative rock works really well. If you fancy something different and feel like a chuckle, grab this album by the pussy. [6]

Following my review of LECTERN's recent album "Precept Of Delator", I caught up with their front-man Fabio Bava for a quick chat about the origins of the band, and what it's like being in a Satanic death metal band in Italy...here's what he had to say...

So, Lectern formed way back in 1999, fully intending to play brutal, Satanic death metal...coming from Rome, was there maybe a sense of irony or even rebellion in that? Given the cities deep roots in Catholicism?

Fabio "We look at religion as an enemy, Gavin! It's not a joke! If someone is Italian, he must not be a Christian
by force! It's not a platitude! We don't wanna be choked by religion anymore!".

You've stated that, the Tampa Bay area scene, with the likes of Deicide and Obituary were a huge influence on the band, but what was the scene like in Italy at that time? Was there much of an underground death metal following?

Fabio "The scene was full of bands, but there are more right now, than even before. The interest into the death metal
American scene was something I had only for myself, I don't care if other bands move towards Florida, Tampa, Sweden or
Gothenburg, or towards the English side. It's more easy to be a musician nowadays,
but I don't think you are a performer only for a bunch of Facebook likes in front a screen, isn't it?".

When you initially formed, you've mentioned you went through several members and line-up changes, plus record labels weren't overly keen on working with you, was there ever any pressure to change? How did you and Lectern cope with the difficulties in front of you?

Fabio "Stubbornness was the only ally! Labels were something which really took care about musicians' interests, but not in
every case. What have we now? Online labels or something like that!".

It hasn't been all doom and gloom mind you, as Lectern have over time released five albums, the most recent being 2016's "Precept Of Delator". For people new to Lectern; how would you describe the new album? Its message or,  concept?

Fabio "The songs are not binded one to the other, in term of a concept as we mean it. Songs born quickly, we had not so
many troubles for the arrangements, as maybe to the last choice of the sound we wanna gave to the mastering. You have
to test a song with different samples".

Are you happy with how far you've come thus far or are there things looking back, you wished you'd done differently?

Fabio "No because everything I choose to do, brought me and the band where we are now! I cannot change dickheads minds, ya know!?".

What's the live music scene like in Italy right now? How have things improved over the past twenty years? With social media for example allowing for a lot more promotional freedom and helping heavy, underground music spread further afield?

Fabio "Italian bands are full of talent! Hideous Divinity, Antropofagus, Deceptionist, Ade, Devangelic, Corpsefucking Art,
Dr. Gore, Blasphemer, Natron, Airlines Of Terror, Natron are monstrous and it is not enough!
Social side is synthetic, so it's real in part! You cannot stay onstage socially! I mean, there are things you have to
do in flesh and bones, a band cannot exist on Internet alone, I don't know if you can understand what I mean! ".

What's next for Lectern? What are you main goals and targets going forward?

Fabio "We have to accomplish all our live duties for this year, as to put to an end the rest of the promotion. My theory is:
the more you shoot in the heap, the more you have possibilities to hit someone, definitely!".

The album "Precept Of Delator" is out now.

Black metal is a funny old thing...for a genre so steeped in Satanic influence, dark, conceptual demonic imagery and unrelenting fury, it remains to be quite sacred, and however far it's come over the past 30 years or so, it's still predominantly underground and to a degree, it's still within the confines of a cult following of die-hard's and purists. That's not quite to say it's exclusive, not at all, but it is something you generally have to seek out. Another thing about black metal is it loves to pay homage to it's roots; there's a deep level of respect for the old-school, when things were raw and real. It's not always easy to achieve nowadays with the advances in technology and studio production but believe me when I say DAWN OF TYRANTS have come pretty fucking close! Their self-released debut EP "Breeding Ruin" dropped on January 11th...let's check it out.

We begin with the despairing yet aptly titled "Some Above, Most Below" given the state of humanity these days, and my god this sounds evil. The growls of vocalist / bassist W.T have been vomited up directly from the bile-filled cesspit of hell itself, while the guitar work of N.T is laced with rich, classic thrash metal inspired riff-age among it's sinister tones. The suggestion that the majority of people are hell-bound makes for an interesting opener and lays the model for this EP down early on.

"What Can Be Broken...Must Be Broken" utilises a more up-tempo, frenetic energy and showcases the bands influences clearly...ranging from Finnish black metal outfit BEHERIT to fellow Canadian thrash metal maestros SACRIFICE, mostly centred around the 80's heydays of extreme metal's conception, as I said, roots are important and respected, but there's also modern influence from the likes of Switzerland's BÖLZER too, blending together to make something truly mortifying. The title track itself is unrelenting and will appease two sets of fans in a black/thrash crossover of devilish intensity, before we finish up on something a little special, and a treat for old-school fans; a cover of "Dethroned Emperor" by CELTIC FROST from way back in 1984, breathing new life into a genre classic.

Canada may be known for it's passion for ice hockey, Bret "The Hitman" Hart and being the butt of the joke in South Park...but if this Toronto-trio keep breeding ruin then you can add black metal to that list too, the dawn of tyrants maybe upon us...we just hope it's musical and in no way related to Donald Trump. [6]