At just 20 years old, life couldn't be much better for one Taylor Momsen. The Missouri born performer found fame from an early age, appearing alongside JIM CAREY in the hit Christmas movie “The Grinch” back in 2000, before finding further fame in the teen show “Gossip Girl”. However, as it happens, the young actress had ambitions beyond being on screen. A lover of rock ‘n’ roll, she formed THE PRETTY RECKLESS, and in 2010, released their breakthrough album “Light Me Up”. It was well received, and singles such as “Make Me Wanna Die” achieved commercial success ensuring the band were hot property, but there was always the nagging thought that, maybe, just maybe, this was just a passing fancy. A project used to boost the fame of Momsen between acting roles, but, that wasn't to be the case. 2014 see’s TPR return with a new line-up for the release of album number two, “Going To Hell”.

The album starts off rather randomly, with sirens being heard over what’s clearly a young lady enjoying herself…which is all I'm going to say about that… before it all kicks off with some pleasant riff’s and assertive drumming in “Follow Me Down”. It’s not heavy but it’s got a classic feel to it, dirty leather and denim rock ‘n’ roll provide perfect backing to Momsen’s vocal drawl. It’s a decent track spoiled by an unnecessary and rather cringe-worthy intro.

The title track, “Going To Hell” keeps up with the same dirty rock vibe, the vocals a little grittier and the track as a whole packs a bit more punch, with more arrogance and bluster, while “Heaven Knows” in places sounds fitting for military training; you can easily imagine marching to this. It’s got a, certain simplicity to it, a slow, steady beat, gang vocals…minimalistic but effective.

“House On A Hill” is far more delicate, a primarily acoustic number backed with big string sections, Momsen, just like on the album cover itself, sounds naked and exposed, vulnerable even. It’s a powerful song full of emotion and an album highlight. The second half of the album has its highlights too, with tracks such as “Blame Me” and “Fucked Up World”, before closing on the country inspired “Waiting For A Friend”, less a parting shot, more of a peace offering.

On one hand it’s great to see The Pretty Reckless stick at it and that the band wasn’t just a half-hearted idea, they’ve recorded some strong tracks and have been on some impressive tours, including festival slots, and slowly but surely fans of rock and metal are seeing that Momsen is taking all of this seriously, and that the band are doing everything by the book. Granted, her fame boosted the popularity of the band from the start, and some people maybe unimpressed with that, but their songs are all original and they haven’t really taken any short-cuts. It’s not going to win any album of the year awards, but there is progression evident here; worth a listen. [7]


Download: "Going To Hell", "House On A Hill", "Sweet Things"
The album is available now on iTunes: https://itunes.apple.com/gb/album/going-to-hell-deluxe-version/id804096710

Since forming back in 1999, TAKING BACK SUNDAY haven’t necessarily been the most stable unit, so to speak... Whereas commercially, they've done very well finding chart success in America, having hit the Top 10 of the Billboard charts on multiple occasions, the inner structure of the band itself hasn't always been so solid. Numerous members have come and gone over the years, with creative differences often being the catalyst for change, but right now in 2014, the band have released their sixth studio album, “Happiness Is” with a line-up unchanged from their previous self-titled record and a new found sense of stability, so with that, let’s see what, according to TBS, happiness really is…

The album starts off rather melodramatically, “Preface”, full of layered strings and an intense orchestral feel rises in intensity over its brief length, before first track proper, “Flicker, Fade” gets the album under way. A sharp burst of drumming comes and goes all so suddenly, before the whole thing turns into a soft, mellow indie-rock track. Adam Lazzara’s vocals warm and, welcoming one minute, forceful and passionate the next.

“Stood A Chance” takes things in an altogether happier direction. It keeps the indie-rock vibe but sounds more pop driven, a great summer festival song, you can’t not enjoy listening to this track. “Beat Up Car” is slightly more stripped back, very much driven by drummer Mark O’Connell, and aside from the chorus, it’s a really easy going number. The longest track on the album, “It Takes More” strips things down further still, delivering this sweet, ambient rock ballad, providing ample relaxation mid album, before “They Don’t Have Any Friends” and “Like You Do” bring the album back to life.

“Happiness Is”, as it so happens, does a pretty good job of summarising what, well, happiness is after all (musically at least) combining elements of radio friendly pop melodies and clear vocals with light rock and acoustic guitar, this is a real feel-good album from start to end, and while it may not have any tracks that immediately jump out at you as instant hits, it’s all the better taken in slowly over a period of time, allowing opportunity to absorb and appreciate each track. A great album. Who needs Pharrell when you've got Taking Back Sunday to cheer you up? [7]


Download: "Stood A Chance" and "We Were Younger Then"
"Happiness Is" is available on iTunes: https://itunes.apple.com/gb/album/happiness-is/id786667823

Every now and again, a band pops up in a local scene that completely wipes the slate, that isn't afraid to start afresh and stand out of the crowd, and that’s exactly what Pontypridd’s CLEAR THE AUDITORIUM have done with the South Wales unsigned scene. With an obvious love for artists such as ENTER SHIKARI, this young Welsh group are separating themselves from the usual generic rock band set up and making some genuinely exciting music. Their début “2021 EP” is a fine blend of post-hard core rock with rich, layered electronic samples, and shows this cross-over band aren't short of ambition OR ability.

The EP kicks off with “2021”, a short and somewhat eerie instrumental piece, the synthesizers gradually building up to form what becomes the powerful intro to “Outbreak”. Some intense vocals from Dafydd Richards over a heavy dose of electronica, the Enter Shikari influence very much evident but it’s been done very well, the chorus being a damn catchy sing-along segment if ever there was                                                                    one, a brilliant start.
“Eye For An Eye” pulls no punches either, almost punk-like in nature, it’s full of angst and determination yet maintaining that key listener appeal, it’s managed to sound brutal without sacrificing any melody or hooks, again incorporating a killer chorus. In some ways it’s a really heavy dance song, borrowing influence from the likes of say, THE PRODIGY.

“Not Coming Home” returns to an early Enter Shikari vibe, lots of keys in use here and truly utilises the term “electronicore” in which CTA have labelled themselves. Some slightly pompous guitar work adding to the drama, it’s a decent track all round, before the twist in the story that is “Solitaire” ends proceedings with an unexpected ballad. It’s such a turn-around in style you really can’t help but feel the EP Is breaking up with you, it’s not a sad song, but it retains a subtle melancholy within it’s easy-on-the-ears soft rock appeal, it’s like something you’d expect from REGGIE AND THE FULL EFFECT. A real lighters in the air job all things considered.

Ultimately, Clear The Auditorium have successfully injected new life into the Welsh unsigned scene, while the sound may not be original, it’s a welcome change and this young band really do deserve your attention if not for their passion alone. They've made the effort to stand out, and credit where credit is due they've released a blinder of an EP here. With more new music coming this May in the form of “The Final Broadcast” EP, you can guarantee this band is going places. [8]


"2021 EP" is available on iTunes: https://itunes.apple.com/gb/album/2021-ep/id623356531

“Mathcore” or “Mathrock”…one of many ridiculously named sub-genres invented for the soul purpose of categorising and pigeon-holing bands to cater for target audiences. Terms such as this are thrown around all too frequently these days, and ICARUS THE OWL are one band to be labelled in such a way. There’s no real need for it, essentially the band are quite simply a progressive alternative indie-rock band, but their use of time signature changes, off-kilter melodies and poly-rhythms sets them apart from your run of the mill rockers. Having formed in 2009 in Portland, Oregon, ITO have been honing their craft and fine tuning their brand of catchy thinking man’s rock, and have recently released a brand new self-titled album.

Beginning with “Ignore Check Engine Lights”, we’re greeted immediately with the powerful vocals of Joey Rubenstein, delivering a strong melodic performance over some fine, intricate playing from guitarist A.J and drummer Rob, a great start.

“Dethroned” carries with it a more up-beat punk-pop feel. It still hints at the technical musicianship that the band are renowned for, but is an easier listen all round, more accessible for the casual rock fan, while “The Monster Within” starts with a flurry of intense drumming, before fleeting in and out of tempo’s and key changes.

“Flint And Steel” is quite a soft number in contrast to its name, lots or harmonious, lingering vocals, with the chorus only slightly picking up allowing for some fine pop-rock enjoyment. The drums driving this song forward yet feeling almost restrained at the same time, the occasional flurry breaking free from the subdued feel of the song, creating an interestingly layered listen.  Finally then, we’re greeted with the last track on offer; the 8 minute + monster of a song “The Pharmacist”. It’s a slow builder, highly dramatic and full of intensity, but that doesn't last too long, as we soon find ITO playing around with tempo and pitch, taking full advantage of the length of time the song gives them to indulge in their unique preferences for key changes, it’s epic and artistic in equal measure.

Whereas it’s a bit of a given that you won’t find Icarus The Owl being played by many (if any) mainstream music outlets, you can’t deny the bands ability to turn seemingly complicatedly structured songs into catchy, heavy pop melodies. This new album is right to be self-titled, as it perfectly captures what Icarus The Owl are all about. It’s an album this four piece should be proud of, and it’s also an album that you really should listen to. [7]


Download: "Dethroned", "Flint And Steel"

"Icarus The Owl" is available on iTunes: https://itunes.apple.com/gb/album/icarus-the-owl/id797827090 

Facebook: https://www.facebook.com/Icarustheowl

When the name BAM MARGERA is mentioned, it’s normally put hand-in-hand with skateboarding, stunts and chaos, but underneath all of that, if you strip back the anarchy and showmanship, you’ll find a very talented, determined and committed individual who, despite his well-partied rock ’n’ roll appearance, is a complete professional when it comes to projects he’s involved in.

You may already know he has a deep love of music and bands (he had SLAYER play in his back garden and had IGGY POP play his first wedding for fuck sake!), and does his bit to help wherever he can. The obvious one, would be the band HIM, whom he’s directed numerous music videos for, even making their iconic Heartagram logo as much his own as it is theirs, but he’s also directed video’s for the likes of THE 69 EYES and VIKING SKULL, even going as far as making a whole album’s worth of videos for CKY, and that’s without also opening his own venue in West Chester called “The Note”. It’s safe to say then, that Bam Margera is passionate about music, but, did you know he was now in a band of his own? They go by the name of FUCKFACE UNSTOPPABLE, and have just released their début self-titled double album. Recorded in Reykjavik, Iceland…what’s Bam come up with?

Disk one’s opening track dives straight into a cover of “Big News I & II” by CLUTCH. A big fan of the band, here he pays homage to their southern groove metal and blues style influence, it’s a great cover, giving the track a new lease of life with a dirtier, grittier performance. “Moonshine” is an FFU original and wears the influence of that southern style proudly on its sleeve. Waldie’s bass and Matty J’s guitar work capturing the feel of the music style effortlessly.

Next up we’re into cover territory again, this time its “Get It On” by Scandinavian death-punks TURBONEGRO, and once again we see FFU (aided by guest vocalist Nate Bergman of Lionize) breath fresh life into another classic track, although it’s not as good as their cover of “All My Friends Are Dead”, which was released as a stand-alone single back in 2013.

“Sleepless” takes a far gloomier path, with more guest vocals, this time from Dani Filth of CRADLE OF FILTH fame, and despite being a slow burner, still holds your attention with some more, slick guitar work and emphasis on piling on the gothic atmospherics. “Till The Wheels Fall Alf!” was originally included in the band’s first EP, but is more than welcome here, freshly recorded and sounding crunching as ever. Disk two primarily consists of live songs recorded at the Zombie Hut, Corby, during the bands 2013 UK tour; that is until you reach the final track, which is special inclusion of Bam’s ludicrously brilliant dub-step banger that is “Bend My Dick”, which is better listened to than explained in words.

All in all, FuckFace Unstoppable are a clearly a cohesive unit, they play well together live, they've written and recorded some good songs together and have a lot of potential as a band. If they can focus less on covers and live content next time round, they could very well turn out a quality hard rock album. Right now, Bam is in that awkward place where people still know him for stunts and crazy antics and, while that may very well be a big part of his career, if he’s to pursue music, people need to look past his days as a JACKASS and allow him the chance to express himself through his band. We’ll see what the future holds, until then, pass the moonshine; let’s rock ‘n’ ral! [7]


The album "FuckFace Unstoppable" is available exclusively via http://bammargera.bigcartel.com/ 

When you mentally piece together your standard band, you generally envisage four key members; vocalist, guitarist, bassist and drummer, but what if you decided to half that and take an unconventional route? Well that’s exactly what THE FIRE AND I have done and it hasn't hindered them in the slightest. Formed in Bathgate, Scotland, Gordon Love and Hooligan Sadikson, using just a bass guitar and a set of drums, deliver an intense onslaught of hard, raw indie rock, and show the world that yes, less can indeed mean more, and back that up with the brand new album; “Double Kamikaze”

Opening instrumental track “Devil Damned Thoughts” is a groove-laden, dark, bluesy piece, and like it’s title suggests, sounds like the inner turmoil of one’s fragile state of mind, full of frustration and is a great start to proceedings, while the following title track takes things up a gear with some almost punk/thrash drum playing before Gordon’s vocals finally make an appearance. Clearer than expected but by no means crystal, like a rough copy of DRENGE.

“Coming Loose” is a gentler affair, with its bass sounding like it owes a lot to artists such as THE CURE, it’s an altogether more stripped back effort with far smoother vocals, which is poles apart from “High Flyer Suicide” in every aspect. There’s a doggedness at its core, the duo not concerned with sounding polished or not wanting to take anything away from the sound, its rock ‘n’ roll as was intended.

“Still Under” is again stripped right back and acts as an interlude is some ways, despite the album having an actual interlude prior to this song. At less than two minutes long, it’s morose and almost gothic in its sense of melancholy, like a modern take on JOY DIVISION. “Full Effect Intake” and “Bitten” snap you back into consciousness with their lively displays, leading up to the final track; “Washing Over”.

“Double Kamikaze” is a fitting title really, in the sense that it’s highly unorthodox for a rock band to just utilize bass and percussion and play as a duo; it’s a risk that’s paid off however, and goes to show that if you’re serious about your art, in this case music, you can achieve what you want to achieve without having to conform to any rule books or templates. The sound may not be all too innovative, but it’s inspiring none the less. [6.5]


"Double Kamikaze" is available now on iTunes: https://itunes.apple.com/gb/album/double-kamikaze/id819306888 
Check out The Fire And I on Facebook: https://www.facebook.com/thefireandi

Wales is known as “the land of song”, with a rich history of hymns, poetry and music, thanks to choirs, the Eisteddfod , iconic performers such as SIR TOM JONES and DAME SHIRLEY BASSEY and of course, many a quality rock band. Names such as MANIC STREET PREACHERS, BULLET FOR MY VALENTINE, STEREOPHONICS, FEEDER (even LOSTPROPHETS, who are being mentioned on musical credit here alone) and more, have all emerged from this small yet passionate part of the UK, and have inspired many more in their wake. A lot of the time though, with the majority of Wales’ population being based in the south, around the capital and such, sometimes artists from further up the country find it harder to get noticed, however, MY FAVOURITE RUNNER UP, who come from Aberystwyth, slap bang in the middle of the west coast, stick out like a sore thumb with their easy on the ears pop punk hooks and melodies, and want all the attention they deserve. With their début album “Crossroads” recently released, are they on the path to success?

The album starts off with “Light A Fire”, an appropriate way to get the ball rolling, with an up-beat punk based feel, rich in pop infused melodic rock, It’s a fun energetic number and sets the bar high early on. “Never Again” has a slight GOOD CHARLOTTE vibe to it, oozing emotion from its every pore, despite being a light radio rock ballad, it carries with it a feeling of sadness, an ideal song for one of those American Rom-Com soundtracks, and I mean no disrespect in saying that.

“No More Fight” is quite the contradiction, being one of the albums edgier numbers from the word go. The song carrying more weight behind it, more focus on attitude and is quite the sucker punch. A great rock track and an album highlight. The title track itself returning to a soft rock ballad effort, vocalist Chris Evans telling a story as much as he’s singing a song, it’s from the heart here.

The rest of the album keeps up with the usual pop-punk box ticking, with songs such as “Storytelling”, “Scars” and closing track “Home” all a fine mixture of tuneful -happiness, like a Summers day on CD if you will, some genuinely lovely songs to listen to here. Crossroads as a title may suggest a hint of being unsure, or trepidation, but rest assured this is no dead end road, and whatever direction they choose is bound to lead this 5-piece to success in some way, shape or form. They won’t be turning back now that’s for sure. [7]


Download: "Light A Fire", "No More Fight", "Storytelling"
"Crossroads" is available on iTunes: https://itunes.apple.com/gb/album/crossroads/id799590368 
My Favourite Runner Up on Facebook: https://www.facebook.com/myfavouriterunnerup