For over a decade now, Los Angeles favourite fuck-tastic glam rockers STEEL PANTHER have spread their musical seed all around the world like an STD with a point to prove...over the course of three comical and often sexually explicit albums they've risen from mere nostalgic 80's throwback entertainers to arena headlining rock stars, relying on a mixture of old-school rock & roll and more crude material than an audience with Roy "Chubby" Brown...but in these recent years, while the shows have been getting bigger, their song writing has remained virtually unchanged...if it ain't broke don't fix it? Or are they riding a one-trick-pony harder than they rode your mum the last time they hit the UK? Let's find out on album number four; "Lower The Bar"...chuck a rubber on, let's go...

We immediately find ourselves getting down and dirty with "Goin' In The Backdoor" (I expected no less really, who said romance is dead?) and right from the word go this is Panther-by-numbers...Michael Starr hits all his usual notes on vocals and one thing that isn't to be denied is that Satchel is a reliable and consistent guitarist, the melody here is solid and as far as opening tracks go it's decent but all too familiar at the same time. "Poontang Boomerang" aside from it's brilliantly absurd name which I will give bonus points for, is rich in it's classic MOTLEY CRUE influence and glam-rock / hair metal style, with more than a touch of trademark Panther humour to boot, and as always, they've not held back on the music video...ridiculous as always, credit to them...this is exactly what Panther are all about...but...were we ever going to have it any other way?

"Wrong Side Of The Tracks" is generally upbeat and is catchy in it's own right, and it's got a great climax (oh behave) while "Now The Fun Starts" by contrast is an incredibly slow, brooding track but not like one of their alternative acoustic ballads, this is generally slow and methodical which contradicts the track title completely...the guitar work is again, on point, but really it begs to question maybe it would sound better if say, TENACIOUS D had did this one and really, there aren't many actual highlights here. "Wasted Too Much Time" and "That's When You Came In" reek of cringe-worthy cliche's and repetition that, the band themselves have inflicted upon themselves...before "She's Tight"...a CHEAP TRICK cover featuring original vocalist Robin Zander does thematically suit Panther but it sounds mediocre at best.

Back in 2013 when the band released "All You Can Eat", I stressed that, the joke may already be wearing thin and that they run the risk of becoming a parody of themselves, there is only so far a gimmick will take you in music (Look at LORDI, hit the big time winning Eurovision but the novelty wore off quicker than wearing that little hat you get in your Christmas cracker...seriously who wears that shit for longer then ten minutes?)...if you are already a fan of Steel Panther there's probably something you'll enjoy here as it hasn't strayed too far from familiar territory but if you've anticipated any sort of evolution, you're shit out of luck. Lower the bar? Lower your expectations...and while you're at it go get checked out. [4]

Kilwinning...aside from sounding like something Charlie Sheen would say after a 48 hour binge on cocaine and prostitutes, is actually a town in North Ayrshire, Scotland, and it's home to one of the UK's brightest breakthrough acts on the current rock scene. Let me introduce you to VUKOVI...named after the Croatian translation for "Wolves", this alternative pop-rock four-piece are hungry  and on the hunt for success. After a few well received singles and some promising coverage in the likes of KERRANG!, they have recently dropped their debut self-titled album via LAB Records...let's check it out...

We open up with "La Di Da" and while it wont win any awards for originality as a working title, it does offer us an upbeat introduction; an angst-ridden break-up track full of defiant attitude...vocalist Janine delivers a well balanced performance coming off as both bitter and resilient at the same time; a punk-inspired alt-rock track, it's a decent start. What you'll soon discover about this record is that it retains all of this swagger virtually all the way through, Vukovi haven't pulled any punches here whatsoever! "And He Lost His Mind" gets going with some frantic, gritty guitar work courtesy of Hamish (he really couldn't have a more Scottish name could he...) and it's off-kilter riffs give the track that extra bite, while "Weirdo" utilizes some fantastic pop hooks over it's chorus.

The album just get's better and better mind you...those pop hooks resurface time and time again on tracks such as "Target Practice", providing the listener with some real up-beat funk and rhythm, it's impossible not to want to bounce to this, this is incredibly infectious and offers us an early album highlight, likewise with "Bouncy Castle" (which is the least rock and roll name for a rock song I think that's ever existed) but it's just too catchy to ignore...it's vibrant, it's energetic...it's...appropriate...while "Animal" and "Boy George" both really take it up a gear in terms of all we've just talked about, the energy in these four Scot's is incredible, they've really given 110% for this record and it clearly shows.

Given the evidence in front of me right here I can safely say that these wolves need no sheep's clothing; they are passionate, determined and feisty to boot, a lot of people have already seen their potential...they are ripe with charisma and if they keep this up they can easily lead the next wave of successful breakthrough UK bands. This album is highly recommended and these are very much ones to watch...now...where can I hire a bouncy castle....[8]

Back in 2014, a little band from Southampton dropped a self-titled debut EP like so very many other bands do up and down the country...but what would happen from that moment on was utterly remarkable. The band in question is CREEPER, and in the few short years that have followed, they have snowballed into one of the greatest musical phenomenons the UK has bared witness to in a very long time. The hype surrounding these dark saints has been off the chart...with each EP their fan-base or, "cult" as they put it, has grown and grown, critically acclaimed too, Creeper are hot property right now, we're talking the best thing since sliced bread level of admiration, actually forget just sliced bread, make that a bacon sandwich with HP sauce, we're talking THAT level of admiration...2017 see's them finally deliver their first full length album; "Eternity, In Your Arms"...the saviors of British rock? Let's see what's gotten everyone so creeped out....

We begin with "Black Rain" and initially it's rather melodramatic; a spoken word introduction by conceptual character Madeline (who you'll have noticed over the course of several EP's and videos)..."At war with the world, yet worlds apart, to return is a promise I can't make...you see, we together have the callous heart, because callous hearts don't break"....it's very delicate and despairing at the same time...at first I initially thought OK, is it just me or can I pick up on the ALL SAINTS here? Surely not? But alas, I could, as confirmed by front man Will Gould...it's not overly pompous however, as so suddenly we are subject to a frenetic flurry of intense alternative punk rock, already this is on another level compared to ALL EP's prior and it's a fantastic introduction...we've literally just pressed play and we have an anthem...

The good thing about this record is that it's incredibly consistent...immediately afterwards, "Poison Pens" rips everyone one new one with some early AFI inspired chaotic goth-punk, Will channeling his inner Davey Havok while the band around him, so incredibly tight and ever more impressive, just as on "Suzanne"...you aren't given chance to catch your breath and it's SO refreshing! Creeper have stepped up here and the quality is a remarkable improvement in both song writing and overall quality; the choruses are catchy but the band doesn't sacrifice any attitude for accessibility. "Room 309" showcases this perfectly with it's sing-along gang vocal harmonies among a flurry of AIDEN-esque qualities, while ode to Johnny Depp "Winona Forever" provides yet another album highlight...yes there is a level of similarity or even recycling throughout songs in terms of rhythm and structure but its forgivable when quite frankly tracks are this infectious...

There are slower moments however..."Misery" makes a second appearance following it's popularity from "The Stranger" EP and despite being an older track, it breaks up the album nicely, while "Crickets" allows keyboardist Hannah Greenwood  to flex her vocal chords on the incredibly raw, campfire ballad...the acoustic driven track is very emotional and pained compared to the rest of the album adding a completely different dynamic, while closing track "I Choose To Live", piano-lead on this occasion, is so touching, it would ironically make a beautiful funeral song; it simply sucks the emotion out of you and closes the album wonderfully. As I stated previously, Creeper over the past couple of years have exploded on to the scene and their "cult" has quite frankly given them real cult like status...this album was always going to confirm or deny their position as one of the UK's brightest prospects for years and to be honest with you, I thought they were over-hyped...I wasn't fussed on any of their EP's, but this...this is on another level. Listening to "Eternity..." I will happily eat humble pie, this should silence all the doubters and, allow me to admit I was wrong here, but you should believe the hype. I am officially impressed...still a hater after this? "Darling just you shut your pretty mouth"...[8]

WORMHOLE DEATH Records; a name you may have noticed here once or twice recently...and that's because the lovely PR team for the French record label have been incredibly generous and forwarded me a parcel of promo material (actual physical CD's!) from their roster. Showcasing a variety of European metal from numerous alternative and sometimes underground sub-genre's, I aim to share these new artists with you, hoping you enjoy music you otherwise may not have heard, and shed some light on a generally untapped market, full of passionate and talented musicians. Today I'd like to share with you a band by the name of SELFMACHINE. Formed in Tilburg, Netherlands in 2011 and heavily influenced by the Scandinavian alternative scene, can these entrepreneurial rockers manufacture any quality metal in the nations wool capital? Let's ind out on new album "Societal Arcade"...

We open up with "Against The Flow" and rather appropriately, for a brief moment it's all 8bit like you've just powered up your old Super Nintendo for a session on Contra...but quickly it descends into a surging dose of riff-heavy melodic metal. Lead vocalist Steve Leijen has a good contrast between his softer, almost southern rock inspired singing and his heavier, aggressive metal growls, giving the track an appropriate level of light and dark, while lead guitarist John Brok goes a superb job with his own flowing melodies, a strong introduction this...

"Join The Hatetrain" is a mixed bag of treats, on one hand when it really get's going it in part reminds me of the likes of SPINESHANK in tone, musically, in places at least, but there are more underlying layers of prog-inspired metal akin to artists like PERIPHERY, who have been an influence on the band. Subtle key and tempo changes make for a dynamic listening experience and again, this is a band on point. Lead single "Giddy-Up" has some incredible pop-hooks allowing for a chorus that'll find itself stuck in your head or days, while the solo here is rich in emotion, you can feel a passion in their playing that can't be faked.

Tracks like "Universe" and "The Valeyard" bare resemblance to influences like SOILWORK for example the way they combine brutality with easy on the ears harmony, while at the other end of the spectrum, "No Cliche" is a wonderfully tongue-in-cheek ballad, showing the guys have a good sense of humour to boot, lyrically it's very amusing; "Life is no cheesy love song, so much should be clear, but if this were a cliche love song a guitar solo would come in right here", before we finish up on "Luminous Beings", a slow burner of a track, building up to a powerful crescendo, ending the album on a high note. Selfmachine may be in the wool capital of the Netherlands but they are far from sheep, mindlessly following the herd. Sure, their sound can be categorized by means of their influences but here they've got enough originality and quality to stand out, this is a strong album...Selfmachine are a well oiled unit and have passed this M.O.T. with flying colours...now...where's my copy of Contra...[8]

Way back in 1980, in the middle of Essex, England...a group of lads found themselves in the right place at the right time, coming together at the dawn of the era of "new wave", an undeniable landmark in the evolution of music, a great transitional period that would change the course of not only pop, but a multitude of genres that still owe it a level of gratitude even today. New wave was the birth of electronica, the 80's synth-pop explosion and these boys from Basildon would unknowingly go on to not only play a big part in it's stratospheric rise in popularity, but go on to become one of the biggest most revered bands of all time; DEPECHE MODE. For nearly 40 years now Depeche Mode (currently comprising of the steady line-up of Andy Fletcher, Martin Gore and Dave Gahan) have been at the forefront of electronic music; pioneers...copied, even covered but never bettered and in 2017 they release their 14th studio album..."Spirit". Do the veterans still have it in them, or should they give up the ghost? Let's find out...

The album get's going with "Going Backwards" and here we have vintage Depeche Mode from the word go...it's a deeply despairing piano lead, slow burner of a track. The beat is simplistic and methodical yet in it's own way has a heaviness, a seriousness to it that carries the lyrical tone of the song perfectly. Ripe with social commentary, we find Gahan singing about a reversal of humanity; our standards, morals, empathy, love for our fellow man and duty of decency as human beings is failing, terribly, and we all need to take a long hard look in the mirror, it's a powerful song and a brilliant introduction. Lead single "Where's The Revolution" follows on immediately and again here we find the trio taking on a responsibility, voicing a clear political message to the people of the world to stand up and be counted, to encourage us to use our OWN voices, to not accept corruption and oppression...they are on top form here.

"You Move" again sacrifices general tempo and momentum for a more overall darker tone...the core electronic sound is a deep, pulsing sensation, it's got a certain dirtiness to it and really speaking this wouldn't sound out of place in some seedy, underground strip-joint...the chorus is very fitting. As the band have matured and aged though, they have generally slowed down for the most part generally..."The Worst Crime" is absolutely haunting, less a song but more, morose poetry; bleak but beautiful, while "Fail" again opts for the cold, sinister, synthetic depths of electronica, reminding me instantly of WILD BEASTS, but it's not entirely doom and gloom, as album highlight "So Much Love" is an absolute tune. It's energetic, hypnotic and utterly addictive; absolutely superb and overall validating this album as one of the bands best in years.

While it's true Depeche Mode are never going to release another "Violator", they still have enough juice left in the tank to time after time show the world why they are the best at what they do. Using their position to speak out to the masses, especially amidst the turbulence and tyrannical threats of the 21st century, they couldn't be any more relevant...there's plenty of fighting spirit left in these three, where's the revolution you ask? It's right here...[9]

If I may cast aside any lingering grudges with those frog-eyed fiends across the channel after this weeks closing Six Nations game (20 mins extra time? In a game of rugby?! You've got to be joking mate! Wales had that win!!) we once again return to France via WORMHOLE DEATH records, to explore some more European extremities. Let me introduce you to ALTERED SHADE...formed in 2012, these brutes from Bordeaux offer-up a mixture of death-infused thrash, inspired by the likes of CARCASS and CANNIBAL CORPSE, with a touch of modern influence akin to heavyweights like LAMB OF GOD...and with that they've recently dropped their debut album; "The Path Of Souls"...let us follow.

We somewhat appropriately open the album with "The Dark Gift Of Life" and there's no messing around here...from the very first note we're crushed against a wall of sonic intensity and it simply refuses to let up, from Edwin's guttural vocals through Rudy and Romain's relentless riff-work...it's melodic but oh so equally menacing; we really have witnessed the birth of a demon...a solid introduction. "Frozen Griefs" picks up immediately afterwards and here even more so you can feel the strong influence that thrash has had on the band. It's tempo, it's structure and delivery, even down to the solo, this is a great throwback to that classic, defining era from which thrash blossomed like the thorniest of roses.

"The Engraved Path" begins suspiciously calm and really reinforces a sense of evil, the sinister intentions that filter through your sub-conscience, you know something wretched has crawled out of hell to deliver this track personally and it doesn't disappoint; combining an old-school metal vibe with darker, devilish undertones, you'll find this track engraved in your psyche, while both contrasting and complimentary, "Meanders" does exactly that as it initially flows gently through your speakers. Granted it picks up, but, it shows there's more musical depth in the five-piece than you'd assume. "Lord Vlad" hits you like a stake through the heart with it's brutal, blood thirsty, Dracula-inspired story telling, before we finish up on "The Shadow Of Forgotten"...a brief instrumental closing outro of sorts, rounding things off nicely.

Altered Shade have shown here on this debut that they are more than ready to step out of the shadows and make a name for themselves in an ever diverse world of metal, with not only an abundance of genre's to choose from, but fresh new scenes to tap into across the globe. Home is where the heart is, and if your heart belongs to all things heavy in music it doesn't matter what nationality you are; fuck the yellow brick road, follow the path of souls. [7]

It's been quite the ascension for CHARLI XCX over these past couple of years...the now 24 year old singer/songwriter grabbed a lot of people's attention back in 2013 with her debut; "True Romance" and ever since has gone on to take the pop-world by storm. Not afraid to mix it up, Charli (real name Charlotte Aitchison) easily fleets between soft, electronic synth-pop, darker EDM tones and grimy post-R'n'B and it's this versatility that's allowed her to make a name for herself, not afraid to gamble musically and really, from a marketing point of view, it's paid off. An impressive collection of stand-alone tracks too, sharing vocals with the likes of Simon LeBon from DURAN DURAN for example, have helped propel her to stardom, so now, full of confidence, she's back with album number three; "Number 1 Angel"...can this modern day Spice Girl back up such a claim? Let's find out...

We open up with "Dreamer" and it's quite appropriately very ambient and subdued. Musically, initially at least it's quite light in mood, soft and synthetic but the R'n'B vocals, especially those of guests STARRAH and RAYE, are soaked in auto-tune, adding to the tracks cold delivery, never getting out of second gear as such...really we have an elongated introduction, it really does just act as a glorified intro track, nothing more than a warm up...or so we thought, sadly there a couple of examples of this sprinkled throughout this record. "Blame It On You" utilizes more of the R'n'B inspired semi-rap, auto-tune fueled approach, it's got soft-dance elements towards the tracks climax giving it a little more life but, too little too late, while "Babygirl", despite a fresh-feeling 80's Summertime vibe, suffers greatly from UFFIE's guest vocals...they really are awful...and it's still no more than a slow jam, there's no life here.

Slow doesn't necessarily equate to negative mind you, "White Roses", with it's minimalist electronica, plus "Emotional"; a deep ballad capitalizing on Charli's raw vocals...it's really self-explanatory, rich in passion with a bold chorus arrangement, it's a throwback to her debut and is very welcome here, before we finish up on a much stronger note. "Lipgloss" is far more up-tempo and energetic and has all the hallmarks of a future floor-filler...the right remix could make this track HUGE...CUPCAKKE provides probably the records best rap content and really this is simply a lot better, but the best thing by far about this album, is "Drugs"...no, you don't NEED to take any in order to enjoy your listen (however I wont judge) but the song itself is superb. Deep, dark sultry electronica and featuring ABRA on more guest vocals, it's almost seductive, harking back to the likes of "Nuclear Seasons"...finishing the album on a much needed positive note.

I said previously that Charli likes to mix it up a bit and here she's proven that once again...while "Sucker" was an unashamedly colourful, bouncy pop record, and, really, the less said about the "Vroom Vroom" EP the better...this album here again shows an expansion of her character. It may not have massive tunes like "Break The Rules" and for whatever reason, doesn't include recent single "After The Afterparty", but her willingness to mix and match genre's has to be applauded. IS SHE number one angel? It might be a little too early to tell...but whatever you do, for fuck sake don't tell Corey Feldman! [5]

There's a saying...you wait ages for a bus and two come along at once...and while I could quite easily go into a rant about the inefficiency of public transportation (one of my favorite "hobbies" is standing in the cold waiting for buses I swear) we're not here to slander Stagecoach...we are however here to talk about bands. If you remember I recently covered a band by the name of TALVIENKELI, from Lyon in France...scratching the surface of a generally untapped music scene...well if you'd travel with me about 290 miles north to Paris we'll discover even more French fancies. Let me introduce you to FRCTRD. Pronounced Fractured, this modern deathcore five-piece have only recently released their debut self-titled "Fractured" EP via WE ARE TRIUMPHANT records but have already stirred up plenty of interest in la Ville Lumière...Allons!

We open up with "Act. Zero" and it's not a total shock to find an introductory instrumental track...it's a pretty by-numbers approach these days when it comes to most EP's, usually intended as an almost cinematic listening experience; to draw you in as you ponder what lays beyond, what is a shock however is that this one doesn't make you roll your eyes and think "Oh another intro"...it's chilling electronica filtered under a sheer onslaught of blunt-force metal riff-work, before going all Norman Bates on your ass with some shower-curtain piercing notes towards the tracks climax...consider my interest peaked...

First track proper; "Negative" is initially full-on metalcore....the break downs are properly heavy while the death metal vocals of one Vincent Hanulak are utterly ferocious...like a feral animal his squeals are almost torturous through the track...the combination of this viciousness and the touches of more electronica finds FRCTRD somewhere between the likes of MESHUGGAH and THE ALGORITHM. The following track "Crow" was written in response to the terrorist attacks at the Bataclan club which devastated not only the French capital but the rest of Europe too, a bludgeoning track with a message of solidarity, to not fear and it's a powerful piece of music. Elsewhere "Breathless" leaves you feeling exactly that, with it's driving, pummeling onslaught of riffs, before we finish up on "Cloud", and while they pull no punches, they utilize melodies that are genuinely emotional. FRCTRD may be new kids on the block in both their home country and in regards to any current musical scenes in general, but their clear relentless passion for this cannot be denied. Don't take their name literally, these lads have gotten their shit together and have an incredibly promising future in their respective genre. C'est lourd ... c'est une bonne merde [7]

Catch FRCTRD at TECHFEST, Newark Showground 6th-10th July 2017

Rock & roll, whisky, safety pins...ticking all the right boxes here, (I suddenly have an urge to listen to the SEX PISTOLS)...Popsicle's...wait, what? Long walks on the beach...hold up, where the actual fuck is this going? Did I mistakenly click on a link for Match.com? This is less a band bio and more of an application form to be on Blind Date with Cilla Black...yet...it is exactly how THE DOLLYROTS present themselves. They formed in L.A. back in 2001 (presumably in a sweet shop) quite literally consisting of a couple of pop-punks, (bassist/vocalist Kelly Ogden and guitarist Luis Cabezas are together with child) and in all fairness they have done themselves proud over the course of their career. Despite a very independent, DIY ethic they have still managed to find themselves in the Billboard charts and have a fairly consistent work rate despite being a touring family...which was summed up on last years "Family Vacation" live album...2017 see's them return with a brand new studio recording entitled "Whiplash Splash"...has BILLY IDOL taken up diving? Let's find out...

We begin with "I Do" and I do regret to inform you it's not necessarily the best start. It's got an incredibly up-beat, happy-go-lucky charm to it and, essentially it's a fun little track which musically finds itself slotted somewhere between THE DONNAS (who have been an influence on this pair) and CYNDI LAUPER in certain aspects...the chorus though. It is SO repetitive and unimaginative....I do I do I do I do I do I do I do I do I do....DON'T! The chorus honestly is absolutely horrific and spoils this opening track completely.

"Mermaid" provides an early album highlight musically and in parts does sound like it carries with a little more bite and a touch of attitude, the chorus here a vast improvement and fans of KILL HANNAH might gravitate towards this one, it's got a little more substance behind it overall and it benefits them greatly. Likewise with "Dance Like A Maniac", which again, utilizing more punk rock swagger and even referencing Idol here in the lyrics, provides a much better listen, but the real album highlight is quite frankly unexpected. "Jump Start This Heart" is a wonderfully sweet synth-lead pop ballad, leaning again to Kill Hannah-esque tones in places but it's softness really stands out, it's a superb pop record...speaking of which, the inclusion of KATRINA & THE WAVES cover "Walking On Sunshine" always brings a smile, it's such a positive song and here they pull it off well, giving the track a fresh lease of life with it's more modern sound production.

The trouble really though, is the bands overwhelmingly sickly diet pop-rock sound; "Saturday Morning" and "Pack Of Smokes", the latter in particular, really does sound like a weak version of BOWLING FOR SOUP, while "Just Because I'm Blonde" simply speaks for itself without even requiring a listen...however I did listen and proved myself right. It's meant to come across as empowering with a middle finger to stereotypes but, honestly, who cares? The spoken word content is just cringe-worthy too...all in all, while there are aspects of this that do work, ultimately The Dollyrots are the pop-punk equivalent of that family pack of Haribo's you just ate...bright, colourful with WAY too much sugar...only in this instance it's not your teeth that'll rot, just your eardrums. [4]