​Ah Kentucky, I may not be an American patriot but let me just say I damn well salute you, for you not only inebriate the world with your glorious bourbon whiskeys, but you also gave to us nomgasm’s by the literal bucket-load courtesy of your heavenly fried chicken…it’s finger lickin’ good y’all! Putting tonight’s dinner plans aside for a moment, Kentucky also has a rich musical heritage. Famously coined as the bluegrass state, it not only refers to its rich pastures, but also its blue-collar musical roots, notably blue’s based southern rock, gospel and jazz, and one of its biggest exports in recent times has been BLACK STONE CHERRY. Having formed in 2001, they’ve steadily grown into one of the most popular rock acts of a generation, regularly playing arena tours to thousands around the world thanks to tours supporting legends such as LYNYRD SKYNYRD and DEF LEPPARD, plus recently ALTER BRIDGE too…2018 sees them hope to continue their run with album number six; “Family Tree”…let’s do a little digging shall we?

The album kicks off with “Bad Habit” and we’re thrust straight into Cherry’s traditional groovy southern-rock style, there are some decent licks and a strong bass-line pushing the track, but honestly the chorus feels a little weak, and the key-change leading into the guitar solo ends up sounding just a little dull and half-arsed, resulting in a less than exciting start. First single “Burnin’” follows up and again it’s heavy on the groove and it balances being gritty while having ample melodic elements quite well, helped greatly by a much better display from vocalist Chris Robertson, this is considerably better it has to be said.

“Carry Me On Down The Road” is more or less more of the same, the instrumentation is pretty solid with some enjoyable guitar work throughout but it seems to just coast along leaving you a little uninspired…likewise with “Dancin’ In The Rain”. Featuring renowned session musician Warren Haynes, it’s pretty slick with its rich blues rock tones, especially during the chorus’ main hook and although it supplies the album’s first real highlight it still lacks a certain drive. Speaking of guest appearances, “You Got The Blues” features Chris’ 5-year-old son on backing vocals which I guess is fitting for the album’s title but, other than being quaint it’s another run of the mill offering. “I Need A Woman” continues to plod along with as much urgency as a brand new barrel of bourbon, honestly it’s in no rush, never mind a woman, pro-plus and a line of coke’ he needs, show a bit of energy! The album then closes on the title track and we’re given another strong chorus to end on a slightly more positive, encouraging note, but we’re not here to paper over any cracks sadly. The band went into the studio this time round with minimal rehearsal to capture a raw, honest vibe and in doing so this collection of songs on record at least is lacking a certain sheen. If “Family Tree” had been album number one you could say for sure that seeds have been planted and it’s just a matter of time before these blues rockers blossom, but six albums in, this hasn’t worked all too well. Bar one or two moments it’s a disappointingly boring listen. [4]

Everyone loves a comeback; the more ardent then the better the story, the greater the achievement…let’s take Jesus for example. The man was supposed to have been tortured, literally crucified and then thrown into a sealed cave on a Friday, DEAD, only for him to re-emerge 3 days later like an absolute lad, dabbing with his disciples…well now we’re going to talk about a different comeback; a virtual messiah of modern music, ANDREW WK. Back in 2001 he made an instant impact on alternative rock with his iconic debut “I Get Wet”, with undeniable anthems such as “Party Hard” and “Party Till’ You Puke”…he backed this up with the brilliant “We Want Fun” which was used for “Jackass: The Movie”…he was intense, on face value he was here for a good time, not a long time and as it turns out, it was true. He did release a couple more albums but the party had died down, and over time he petered out as tastes evolved and changed. Recently however, AWK has been going through a bit of a renaissance…and it’s all thanks to that partying.

To party, is to live; though it’s far more than a weekend session getting wasted, but an actual way of life itself, it’s a state of mind for there is party in everything around you, and he’s taken this philosophy around the world as a motivational speaker, encouraging young people to embrace themselves and love life. A regular magazine column writer, an author, he conducted seminars at universities on the positive power of partying and he garnered almost cult-like status, so it’s with a great sense of anticipation, that we allow Andrew back into our lives with his first new album in over ten years; “You’re Not Alone”…has this new sense of being reignited a fire within him, or will hype and expectation crash the party? Let’s find out…

The album opens up with “The Power Of Partying” and as with most albums these days it’s an intro track…with almost military inspired drum loop, coupled with a complete brass section and triumphant, almost cinematic tone, it sounds very much like a mission statement; Andrew is BACK and you better get ready, because this party is gonna’ start any time now! First track proper “Music Is Worth Living For” follows up immediately and it exudes all of the up-beat, positivity…all of it. The synth led alternative rock, backed with a huge bold chorus is virtually beaming…like a ray of sunlight slicing through the clouds on a rainy day, it’s just happy! Recent single “Ever Again” takes things up a notch or two then with its gang-vocals and anthemic bombardment. Bass-heavy and full of groove it’s incredibly infectious with some huge melodies, this is no doubt going to be a firm favourite with live crowds; such a pleasure this is!

The good times don’t stop there either, “Keep On Going” is full of encouragement and support for the listener, a message to not give up, to not allow life’s setbacks to stop you being you, Andrew is rooting for you, the party is for everyone and you’re welcome to join in just like everyone else. “Break The Curse” is a lot deeper in tone, sultry, pulsing electronica leading into a sweeping, grandiose piece, but the message is the same, rise above the negativity…lengthy, but enjoyable, while by contrast “I Don’t Know Anything” utilizes a shorter, retro-punk inspired tone to vibrant and enjoyable effect. There are a couple of questionable moments however over the course of this 16-track record, most notably the three interludes; “The Feeling Of Being Alive”, “In Your Darkest Moments” and “Confusion And Clarity”…while the thought behind them was and is lovely, reinforcing his motivational philosophies, he does come across as a touch preachy which would have been better suited to one of his seminars as opposed to album content. Luckily the title track closes the album on a triumphant note; a charismatic call to arms, to unite in the name of partying. Fans who have fond memories of head-banging like lunatics to his heavier early material may be disappointed with this but the message here transcends genre. It’s impossible to not be cheered up and motivated by this record, and long may Andrew inspire partying around the world…puking optional. [7]

As you know I’ve been taking a look at a selection of bands, forwarded to me by the team over at Stencil and it’s resulted in a fair amount of globe-trotting; a cornucopia of cultural cluster-fucks ranging from maritime grunge to prehistoric pop-punk…last time we found ourselves in Australia covering up-and-coming metalcore mob PATIENT SIXTY-SEVEN but now we’re swapping the surfing and sunshine, for snow and uh, Siberian temperatures? Yes we’re off to Finland today, a country famous for its impressive level of Gothic metal bands, but that’s where these guys stick out like a sore thumb; let me introduce you to JOENSUU RIIHIMÄKI. Having formed in Turku, the Americana-inspired outfit comprising of vocalist Sami Joensuu and guitarist Kari Riihimäki (Hence the name, they’ve done a Brangelina) and completed by drummer Moilu Moilanen, released their debut album “Greetings From The Edge Of The World” back in 2015 but now they’re back with a brand new album by the name of “Highwater”. The question is…voivatko suomalaiset todella maata ja länsimaita?

The album opens up with “Hillbilly Falls” and initially you can’t help but think that they’re going all “Tucker & Dale Vs. Evil” on us but while it may well in fact suit the film stylistically, there’s no level of parody here. It’s very stripped back and classical in its approach to old-school retro rock and roll; simple guitar tones, piano accompaniment…in ways it finds itself blending the likes of STATUS QUO with southern blues rock. There’s a certain gruff delivery to Sami’s vocals but in places he can’t help but come across as a tad flat and it’s his vocal tone that holds an otherwise decent track down. “21” follows up immediately and we’re met with a far mellower piece of music; it’s very light with a loose, flowing delivery and really it’s quite quaint, perfect for relaxing in the sunshine on your porch, sat in the swing-chair with a bottle of Miller High Life…you forget they’re Finnish!

Elsewhere “The Ballad Of James John Belcaire” hypnotizes the listener with the sweetest of acoustic campfire ballads…Sami’s husky delivery really works here benefiting the track, which itself has a wonderfully charming, semi-medieval aesthetic, if you can imagine the days of old; of minstrels…backed by some sweet flute work, it lulls you into a sense of total relaxation and it’s a definite album highlight. “I’ve Not Heard?” reverts to the classic blues rock tones heard previously but here incorporating a subtle, 70’s psychedelic influence and you can hear THE DOORS being channeled through your speakers. Some of the tracks fail to inspire mind you; “Keep On Marching” is an incredibly slow, lifeless track…honestly it’s just boring…It’s called the blues but this is just a variety of grey's, sans kinks…“Missing Zoe. B” throws in sound bites from TV news reports and it really doesn’t suit the genre, before closing track “The Garden Road” virtually kills the album with an incredibly annoying piano loop…it’s nearly as bad as the score from “Werewolf Rising” (I’m not even going to go into that) though the passionate guitar driven climax at least tries in vain to salvage the track. Ultimately what we have here is an interesting musical culture clash, at times the Finns deliver an enjoyable, easy-listening album, but it lacks in consistency in terms of quality to warrant many repeat listens. Highwater by name but, it’s just a bit stagnant really. [5]

Continuing on this current run of Stencil PR promotional reviews, we find ourselves being deported from North America by the Trump administration and being packed off down under, I’m assuming to be fed to the crocodiles or even worse, watch looping “Neighbours” reruns…but it just so happens our next band calls Perth, Australia home; let me introduce you to PATIENT SIXTY-SEVEN. With the name taken from psychological DiCaprio thriller “Shutter Island”, the Aussie outfit formed in 2015, inspired by artists such as IN HEARTS WAKE and ARCHITECTS, and have been lighting up Australia’s local metal scenes since their debut EP “Imbalance”, released that same year. Now, in 2018 we see them return with a follow up EP entitled “Four Walls”…will it see them break out of Australia into the wider world of metal? Or will it have you smashing your head against every one of them? Let’s find out…

The EP opens up with “Selfless” and the combination of orchestral strings with disjointed electronica gives this a somewhat ominous, even dramatic tone, it could easily find itself accompanying a movie trailer…in ways it’s like a modern take on a film score from Kaiju legend Akira Ifukube, or so it reminds me at least, before the vocals kick in and we’re pummeled with a visceral metal onslaught. The aggressive and clean vocals complement each other well, coupled with the use of breakdowns and we’re left with a solid dose of metalcore; it’s a decent opener. New single “Before You Go” follows up and again, there’s electronic elements at the top of the track, somewhat mechanical sounding but not as far as going fully industrial in genre. The track then descends into more of the same in terms of brutal metal entwined with bold vocal melody and it’s enjoyable, but the abrupt ending feels more like someone pulled a power cord as opposed to providing a climax and it sounds unfinished to a degree.

​“The Void” then, after such a delicate intro is slowly engulfed by more chugging, djent-inspired riff-work, with former ATTACK ATTACK! Vocalist Phil Druyer lending his lungs to proceedings and it really is a song of two halves; the underlying looping piano offers a sweetness to offset the unrelenting metal, while first single “Callous” follows a similar formula more or less just with more focus on the heavy vocals, while the title track and “Disclosure” practically follow a rinse and repeat formula. As far as metalcore goes P67 have delivered a solid EP here. The subtle synth elements that bind the aggressive qualities has worked over the six tracks but they may want to mix it up just a little bit more by the time that full length comes just to avoid the risk of repetition, with tracks facing being lost among themselves, but, all in all there’s nothing to suggest they can’t follow PARKWAY DRIVE out from down-under and on to a wider audience. Metalcore-blimey she's a lil' ripper! [6]