One of the main contributing factors to success, some would argue, would be stability...you know, a consistency from within a product or brand; professional football clubs for example, you'll often find that the best teams are those with a manager who has found his best squad and rarely shakes it up, finds a winning formula and sticks to it, just look at Chelsea this season (the gits)...well the same principle can, theoretically at least, be applied to bands. Let's look at PARAMORE...the band formed and released their debut "All We Know Is Falling" back in 2005 when vocalist Hayley Williams was just 16 years old! The bands penchant for penning huge radio-friendly pop-rock tunes has guided them this far, but behind the scenes life hasn't always been so peachy for Tennesse'emos...with members joining, departing, rejoining...there have been law suits filed from her own band mates, it's fucking head work and really those stresses are beginning to show on their newest album "After Laughter". An interesting title in itself, it's more of a thought, metaphorically, the idea of a frame of mind, what does come after laughter? Well let's find out...

We open up with lead single "Hard Times" and already we can hear a vast departure from previous releases...stripped back is the anthemic, powerful pop rock and instead we have a very restrained, almost retro, new wave pop sound...the guitar tone is incredibly tinny, the track as a whole very vibrant and fresh, very light yet despite this, clearly a song about depression and struggling...it's so up-beat, it's nothing but uplifting. "Rose-Coloured Boy" follows on immediately afterwards and it continues to use the same overall tone musically, additional synths add to the 80's feel and in ways this is very CYNDI LAUPER, which can also be said for follow-up single "Told You So"...the keyboards utilizing wood-block elements and again, a crisp, fresh sound, it's very quirky and again, a grower...this is an interesting start.

Thematically though it needs to be said that this album was born out of struggle, hardship and stress, I mentioned depression earlier and it's evident throughout...tracks such as "Fake Happy" starting so raw and sorrowful, the pretense of smiling on the outside but internally, really struggling, the reality of what people don't know when the camera's aren't rolling so to speak, when the music isn't playing, the silence is deafening and the music itself mirroring that guise of her state of mind, another bubbly pop song concealing deeper emotions... album highlight "Pool" using drowning as a metaphor for the overwhelming burdens brought on by love and heartache, yet it's so catchy! Who would have thought drowning could ever be so appealing?! "No Friend" is a shift in direction sans Hayley and instead borrows the voice of MEWITHOUTYOU vocalist Aaron Weiss, his frenetic spoken-word delivery perfectly suits the concept of mental instability and inability to function, it's quite a dark track, throwing the album a curve-ball, before we finish on "Tell Me How"...a piano-dominated ballad confirming Hayley's uncertainty of her own mental state, rounding off a very personal record.

This is a difficult album to gauge...while there are many who will be disappointed that it contains none of the traditional Paramore emo-pop swagger, there are no huge singles and the guitars are minimalistic in a typical rock sense, fans will know the deal here and understand the journey the band have been on and that this really makes perfect sense and will respect it as a result. A perfectly innocent album but rich in deeper sentiment that will surprise many...what comes after laughter may be silence, highs followed by lows, but it's those silences that can sometimes speak volumes and tell you so much more about a person, and that's what this album is about. Not Paramore as you know them but, Paramore-or-less...[6]

There's an old saying, and it goes along the lines of "Imitation is the sincerest form of flattery"...and to a degree that maybe true. What better way to show your respect and adoration for someone or something, than to be just like them? It shows that you hold something so highly in value, that the only way you can do it justice is to copy it. Cover bands are a different kettle of fish, they do what they do, as good as they are it's an easy way out...but to be "original" and yet completely derive your content from other artists takes a confusing amount of skill, it's incredibly rare and in this instance I am quite frankly dumbfounded. Let me introduce you to FLOVER...a band who have NEVER MET EACH OTHER...that's right...(voclist Fabio is from Italy, while the rest of the music comes from Kolya, from Russia, it's been done over the internet) and if you love your gothic rock, well you may very well be interested in a little Flover flavour...they've recently dropped a brand new album by the name "Dark & Sweet"...the next big thing in goth? Or your last Match.com search? Let's check it out...

We open up with "Cruel Romance" and some beautifully delicate piano playing, it's like a soft lullaby, lulling you into a sense of security before the guitars come crashing in with their morose yet melodic tone. For the most part chugging along, it's simple enough however the solo is well executed and breaks the track up nicely,  while vocally it's deep, not Pete Steele deep, but deep enough...it can be likened to artists such as LACRIMAS PROFUNDERE and ENTWINE who have clearly had some level of influence on Flover and essentially, it's a good start; a good gothic rock song. The Entwine influence can be heard through "She's Alone" too, the riffs here are simplistic but hypnotic and the tone is despairing, the vocal performance is lighter and it's a pleasant listen, though the inclusion of a brief pause mid song leading towards a fade-out is a strange one, it adds nothing to a mid-album track and would have benefited being a closing piece, although that's just me being picky...

The biggest influence on Flover though, it has to be said...are HIM. Some of you may appreciate this as, naturally, HIM have called it a day and there's a huge Heartagram shaped hole in each and every one of us now (I am not ashamed to say that I cried when it was announced they were splitting up)...but when you hear some of these songs, a lot of you are going to be like "Wait a minute, this isn't influenced by, this is practically stolen from!" and you'd be spot on in thinking so..."Lovekiller" for all it's bombastic intro not only parodies "Heartkiller" in name but some of the guitar is ripped directly out of the track, the chorus is even similarly paced and structured and it's almost on the verge of piracy..."Charms Of The Reaper" virtually copies the cigarette lighting intro from "Venus Doom" but instead of  a match I believe he's used a Zippo? The tone here isn't as heavy or intense but again it opens with a similar formula, leading into softer vocals, while "Crystal Love", despite its quaint piano qualities is a blatant not to "Funeral Of Hearts", it's completely unavoidable. Elsewhere tracks like "Serpent Poison" and "R.V.P.II (Kiss Your Lips)" are plucked right out of the "Razorblade Romance" era, while the remainder of the album while not unpleasant, plods along with a sense of candy-coated misery.

Now, depending on where you stand with the situation regarding HIM, you can take this record in one of two ways...you can either be incredibly offended by this, arguing that HIM haven't even actually said goodbye yet, there is still a tour to come, and for a band to be so blatant in the usage of their material in any capacity might make some bitter, I mean they even call it "Sweet Rock", akin to "Love Metal"... the corpse hasn't even gone cold yet! On the other hand, you can look at it like this; gothic rock is sparse enough as it is, you never get many artists or bands truly embracing this kind of music, and it reminds me of another saying; "If you steal from one, it's plagiarism, if you steal from many, it's research"...and while Flover are walking a fine line in that aspect...it's still a genuinely good gothic rock album. Fuck it, it's mostly HIM, it's bound to be! I wonder what Ville Valo would make of this...[8]

There's a quote by an 18th century Presbyterian minister Lyman Beecher...and he said that, "No great advance has been made in science, politics or religion without controversy"...and while that's true, had he only been born a couple of hundred years later, he could have added LINKIN PARK to that list...let me elaborate...over the years, music of all genres has had it's fair share of controversial moments that have become embedded in pop-culture folklore...OZZY OSBOURNE, the legendary BLACK SABBATH vocalist will always be remembered for biting the head off a bat on stage, much to the shock of many (like dude, eat a Snickers!)...when THE PRODIGY released "Smack My Bitch Up" the BBC would only play instrumental versions and not even say it's name, with the video too being banned because of it's adult content, but it was nothing compared to RAMMSTEIN and their comically explicit video for "Pussy"...however, all of these controversies fall under shock-tactics...they all make you go "Holy shit!" in their own memorable ways...but Linkin Park on the other hand...they've gone too far. The Californian alt-rock giants exploded onto the scene with debut "Hybrid Theory" nearly twenty years ago, their angst-ridden rap-meets-metal approach won them a legion of fans and they quickly became a household name, and while follow up "Meteora" was just as good...everything that came afterwards has gradually raised more questions than satisfied fans. Be it remixes or even A Capella recordings, they've never been afraid to shake it up, but this time, I believe they've not crossed the line, but leap-frogged it...they've just released the brand new album "One More Light"...brace yourself...this is about to get ugly.

We open up with "Nobody Can Save Me" and if you're with me this far in then sadly, it's all too true and we're only one song in...there's no going back now...starting off with some ultimately strange auto-tune type, noise basically, its very soft and it's generally synthesized tone is very hushed. Chester Bennington's vocals are clean, and this isn't new, he does have a wonderful voice it has to be said, he always has, but here it's just incredibly generic radio pop with subtle dub elements...it's like something you can imagine COLDPLAY releasing...alarm bells are ringing. "Good Goodbye" introduces Mike Shinoda to the fray and his rapping, if you can call it that, monotone as it is, hasn't changed in virtually twenty years, but it's recognizable and you welcome it. There are more hooks to this one and extra vocals courtesy of rappers PUSHA T and STORMZY, giving the track an extra dynamic but again, it's worryingly generic...it's all far too...beige...

"Talking To Myself" offers us the first glimpse of any sort of semblance of quality here...there is a distinct guitar tone that really you've been longing for and even Chester find's himself delivering vocals that ALMOST sound passionate...it builds up, or tries to at least and has some genuine catchy elements, but it's still so very far off the mark...just like "Battle Symphony"...it's got relatively unimaginative R'n'B elements musically but again it's so fucking soft! This isn't a battle, this is a fucking pillow fight restricted by EU health and safety regulations, with the fight being called off because feathers are a choking hazard...honestly it's depressing! Lead single "Heavy" is almost taking the piss quite frankly...like, is it meant to be a rib? Are Linkin Park mocking their fans? Credit to guest vocalist KIIARA who carries this track, giving it a level of credibility so it can rub shoulders with an ensemble of artists dominating the charts with outstanding mediocrity...Heavy? Pass the lead boots, I fancy a swim...

The title track "One More Light" goes for some form of ballad approach but again you can't help but feel that, this is more like a Coldplay record, no...worse...this will sooner appeal to fans of ONE DIRECTION than it will to fans of Linkin Park, that's the sad reality here, across the whole album...it's...I want to say insulting? Please...NO more light...before we really quite ironically finish up on "Sharp Edges"...rich in soft country acoustic elements and more pop qualities, it's got a decent beat and rhythm and reluctantly this again, is a highlight but, sharp? It's about as sharp as prison soap...and dropping the soap and listening to this incite the same level of appeal...what Linkin Park have done here is almost beyond comprehension. You've got the biggest band of a generation, peddling this "genreless" radio friendly tripe yet still having the audacity to call themselves Linkin Park? I'm sorry but, am I in an alternate universe? On face value, this is a decent Summer pop record, at only just over half an hour long (thank fuck) you can pop this in your CD player and chill in the garden in the Sun with a cold one, and it's over before you need to top up your Soltan...the sad truth is, this is the same band that released "Crawling"..."One Step Closer"..."Faint"..."From The Inside"...and they have reduced themselves to this. There's artistic merit and shaking things up to diversify your output, but there's also shitting on your fans from a great height. You have a problem with it? Chester will happily punch you in the mouth...and the fucking queue starts here. [2]

2017's festival season is very nearly upon us and while many of you have already planned your Summer's camping shenanigans, be it DOWNLOAD, BLOODSTOCK or READING & LEEDS, you can't deny there's always room for more...well, you lucky buggers...if you were to visit the Quarrydowns, in the Gloucestershire countryside on the weekend of July 21st, you'll find yourself in the middle of the UK's newest rock and metal festival; AMPLIFIED.

Yes, brand new to the UK festival season for 2017, Amplified brings to you another three days of rock and metal with more bands than you can shake a Taylor Swift at! Seriously, shake that shit off...I digress...with multiple stages showcasing a variety of bands; from headliners REEF...PUDDLE OF MUDD and the recently announced MOTORHEAD legend PHIL CAMPBELL & THE BASTARD SONS...it also features established artists like DIAMOND HEAD, RAGING SPEEDHORN and EVIL SCARECROW....while also celebrating great up and coming talent like AS LIONS...HOLDING ABSENCE...PRESS TO MECO...IN SEARCH OF SUN and loads more!

If that wasn't exciting enough, to celebrate Amplified's inaugural year, one lucky attendee will have the opportunity to win themselves a brand new HARLEY-DAVIDSON motorbike! That's right...the 100% custom build, a 883cc Sportster XL833N worth £10,000 has been given an exclusive IRON MAN themed paint job (light up chest piece included) among other customization's worth an additional £2,000 and it can be all yours simply by buying an adult weekend camping ticket to the festival. (Entrants must be 18+) It's a totally unique prize and a must have for bike lovers and Marvel fan's alike! Full weekend camping tickets cost just £80, which includes camping and free parking, or you can purchase a VIP ticket for £125, which includes backstage access...terms and conditions apply, see the website for information and full details by clicking the link below.

All that's left to say, is best of luck and get ready to be Amplified! \m/ 

Despite the popularity and commercial success of rock music as a whole being steadily on the rise again, it can't be denied that in recent years, the airwaves have been primarily dominated by R'n'B / rap / hip-hop artists...most of which are DRAKE...even more of which are utterly awful...especially Drake...fucking Drake...but it's been a while now since any rock or metal artists used any decent hip-hop influence to any real effect. Nu metal, for all the bashing it gets today was HUGE! Just look at LIMP BIZKIT...hell...even SLIPKNOT's debut had certain rap elements, but, these crossover mash-ups are few and far between nowadays. Cue LAST HOUNDS; formed in Birmingham, this feisty five-piece hope to fill that gap with the slightly appropriately throw-back titled new EP "Old Dreams"...let's check it out (without Drake if you'd be so kind)...

We open up with "Listen (To Me)" and it's not an instantly commanding opening  to say the least...we've got some simple percussion with drawn out, down tuned almost grunge-inspired guitar, underlining some rather grimy, rather raw, methodically rapped lyrics...it's overall feel is a dark one, a serious one, and while the track gradually does pick up, it hasn't the time to really get anywhere as at under two minutes long, this is really just a glorified intro. It's cold, urban tone, the bleakness of it all fitting of it's Brummie origin, quite sinister really, but it does grow and it's an interesting start.

First track proper "Lay Me Down" is far more upbeat and lively, this is far more energetic and it's quite the contrast in style. The rough, garage punk elements that the band have incorporated into their playing, coupled with a more ballsy rock 'n' roll swagger, guided by a typically British self depreciating negativity finds itself slotted somewhere between the likes of FRANK CARTER and VIOLENT DELIGHT, there's a faint rebellious charm to it all and how it comes across, no fucks given so to speak. "Murder, Murder" is a song of ilk to the aforementioned...not entirely in musical tone, as it's slower, steadier, the riffs; straight forward but effective and bass driven and to some degree houses shades of RAGE AGAINST THE MACHINE, it's got a sense of social commentary, before we end on lead single "DOA", not too different, it's got the grimy rap elements, the mild aggression, the angst, think a more rugged SONIC BOOM SIX perhaps...

Essentially what we have here is a clearly enthusiastic young band with a passion for life, for getting things off their chest in a positive, creative manner, making points, offering food for thought, sharing ideals...and while the quality of this rock / hip-hop crossover may not be very polished, it's fair to say neither is our country right now. Their sound and message very in tune with the current climate, they are a glimpse into where in fact many people are right now in very unsettled times, new rock bands have reasons to be angry again, hip-hop is real again, it's gritty...it's relatable, look at KANO for example...and really, being true to themselves, it's really hard to find fault. Old dreams they may be, but today they are just as if not more relevant than ever. [6]

Fancy a cocktail anyone? A Bloody Mavis? Or, maybe a Jar Of Green Shit? No no...I know, how about a Nice Slow Comfortable Fist Up The Arse? (I know what you're thinking, Gav's gotten the Disaronno mixed up with the Dettol again) but no...I'm trying to make an advertising point...while two of the above are from slap-stick comedy's finest skid-mark BOTTOM (RIP Rik Mayall) the jar of green is an actual cocktail, found in THE FULL MOON, Cardiff (and bloody nice it is too) but what makes it special is it's name; the appeal of going up to the bar, browsing and seeing this, beautiful chalk board display, promoting a jar of, well, green shit! You think, you know what...I'll try that...just because of it's name, it's different! Now transfer that thought process to music...when a band is described as a melodic fist-to-the-face, your first thought is (even though it shouldn't be) is "That sounds fun!" so...allow me to introduce you to SAREA. Formed in 2008 in Norrkoping, Sweden the six-piece, influenced by the famous Gothenburg scene have found themselves joining the WORMHOLE DEATH roster and are about to release their newest album; "Black At Heart" on May 26th...let's check it out...

We begin with "Lights" and like the seductive appeal of a city's back-street neon glow, it's a slow, enticing electronic intro, pulsing and building up to some chunky riff-work and the transition between electronica and more metal elements works very well. It's a solid combination, sounding bold but bright and Chris Forsberg has some good clean vocals, however fully able to get aggressive for the chorus without taking away from the clearly smooth production quality; while not breathtaking it's a strong start. The title track then by contrast bursts in very much in a more agitated fashion...it's fast paced, in your face and quite frankly pissed off...and it's great! The key changes going from hardcore to melodic contribute to a multi-layered song that in ways would appeal to fans of say, KILLSWITCH ENGAGE and DEVIN TOWNSEND in equal measure, slotted somewhere between the two but not lost as a sound.

Following up immediately after that is "Perception" and son of a fuck me this just gets better by the track! A flurry of drums and riffs kick-start this absolute banger and it's got everything you could need to make this an album highlight; it's got great hooks, it's up-beat with a solid, consistent rhythm, the guttural vocals don't detract anything from the pop qualities of the track and the chorus is massive, this is an absolute tune! This is superb! Continuing with the pop aesthetics we have "Let Us Fall" and in ways this doesn't even sound like the same band...it's got such a rich, melodic and accessible quality to it, it's got radio-rock anthem written all over this one and while not as exciting, it's really quite mainstream; this could be a potentially big single...while again, creating ample contrast, "The Dormant National" is a more sluggish, heavy, hard-hitting number really adding weight to the album.

The tunes keep coming mind you, with "Monotone" again, channeling influences like SOILWORK and IN FLAMES, combining ferocity with a superb, harmonious chorus, you really get the best of both worlds with these Swede's, while "Control", despite it's slower pace is no less impassioned; a far mellower offering, somewhat dramatic but genuinely great...before we finish up on "All For None" which utilizes another fine blend of electronica and metal, but also an interesting inclusion of samples from 1933 Universal Movies classic "The Invisible Man"...with a focus on alienation, inner torment and frustration, finding your place in the world, it's another brilliantly thought-out track and another album highlight, before we finally end on "Circles" which essentially caps off an honestly strong album with more of the same, not faltering and ending proceedings on a high note. Sarea to many, may simply be another in a long line of Scandinavian bands following a formula or style, but the quality of this album alone should set them apart...for fans of the genre this is a must have and for neutrals, it's definitely worth checking out. Black at heart? Pass the defibrillator, let's get these guys going! [8]

The concept; basically an abstract idea, plan or thought-out intention...music; sounds formed predominantly by instruments in an arranged pattern to create harmony or to express emotion...but what happens when you put them together? You get often wonderful story-telling and ground-breaking albums...every generation has them, whether you built walls with PINK FLOYD or played pinball with THE WHO back in the day, or whether you were part of the black parade lead by MY CHEMICAL ROMANCE, these albums changed music, but it's not often you hear of a concept album based on the same bands own work. Cue ANATHEMA...formed in Liverpool way back in 1990, these scouser's started out as a doom-metal band signed to the PEACEVILLE roster but over the years they have mellowed out considerably, but are no less exploratory in their approach to music. If you are familiar with their work you'll remember an album by the name "A Fine Day To Exit"...the cover being a car dashboard over-looking the sea, a family photo, clothes strewn...it was very suggestive but little was touched upon. With new album "The Optimist", guitarist/vocalist Daniel Cavanagh reveals that they needed a starting point for a narrative; the guy from that album cover, what happened to him? The songs here delve back into it all in a semi-autobiographical sense, did he start a new life or did he pull a Richie James Edwards? Let's dive in...

We open up with "32.63N 117.14W" which, before you try and read that as a word (I know some of you will) is a set of coordinates leading you directly to Silver Strand beach, the location of the car from the aforementioned old album cover...at just over a minute long it's merely an introduction; you can hear the sea on the shore, heavy breathing, and the car starting up with the radio tuning in (He's alive after all!) and it leads into first track proper "Leaving It Behind"...it's got some light tapping percussion over some simple, overlapped and looped electric guitar, almost on edge, as if uncertainty had a sound of it's own...while vocally Vincent Cavanagh draws his notes out with a certain drone, sounding lost, balancing the growing vigor of the music brilliantly...this is a superb start.

The tender vocals of Lee Douglas drape themselves over a sweet piano lead opening and she sings of hope (maybe the woman from the photo) as the track builds in intensity, rising and rising toward a powerful crescendo soaked in longing and musically this will easily appeal to fans of say, THE JOY FORMIDABLE, while the title track, quite contrary to it's very meaning sounds incredibly sullen...it's despairing as our character speaks of needing to run away. Again, utilizing the slow-build, it's an incredibly dramatic song, transcending beyond mere album content, this is lavish, this is art and it's simply wonderful. "San Francisco" continues on our characters journey as an instrumental piece and does a good job of capturing an essence of hustle and bustle of the big city; pacey, frenetic but still structured, like society itself, ending with the sound of trains, suggesting long-distance travel (He really is on the run isn't he!) before lead single "Springfield" takes us to our characters destination. Tortured and emotional, a powerful track asking "How did I get here?!" (By train? It took you three days...leaving San Francisco Civic Center, heading to the Richmond Transit Station, from there, all the way to Chicago Union Station, before the final leg of the journey to Springfield, Massachusetts...THREE DAYS!)

The story continues through further tracks such as the up-beat "Can't Let Go" and then finally closing on the 11 min+ epic "Back To The Start" but, I won't delve into them so much, this IS a story at the end of the day and, well you don't want spoilers do you? I'll let you discover that for yourself...all you need to know is that this album, despite being based on something so incredibly vague and simple has flourished and really, blossomed into an outstanding collective piece of music. It's always a gamble writing a concept album, especially on an idea so seemingly meaningless, but when the music is this good, no one dare complain. Just like the character here, you need, no, you HAVE to be an optimist ahead of this release, I promise you this, you won't be disappointed. On a side note, for those wondering...his train journey cost him upwards of $400...[8] 

Geographically, some places are associated with a certain stigma...for example, I'm situated in the valley's of south Wales (proud of that I am too boy bach) and more often than not, we're labelled as commoners...literal working class (or lower) nobodies with little to no aspiration (Which I completely disagree with, one day, I will sign-on and I WILL find a zero hour contract...I have dreams dammit!) but then at the opposite end of the spectrum, you have the stigma associated with the likes of Oxford and Cambridge for example...supposedly the elite in terms of higher education, snobbery and essentially the epitome of "I am rich, behold my silver spoon, for I was born with it firmly embedded in my ass"...well personally I say bugger the stereotypes and listen up...formed in 2014...in Cambridge...are a melodic-metal/hardcore band called BURY THE LIGHT and they care not for pomp and circumstance. No...instead they want to rock the fuck out with their recent EP "SunStroker"....college drop out's or heading towards a Masters Degree in life? Let's find out...

The EP begins with "Closure Eyes" and we're met with a light, melodic intro courtesy of guitarist Sam, it rolls along in such a relaxed manner and the resulting burst of energy when the track comes to life is all the more effective. It chugs along with vocalist Luigi's broken delivery almost bullet pointing the song...(Imagine William Shatner doing screamo) but the emotion is clear for all to hear; it's quite meaty this but the smooth underlying guitar tone balances the track out well and at under three minutes, it's a decent introduction. "Numb" picks things back up immediately and this one is ferocious from the word go...it rarely let's up and even though there is harmony within the chorus it's still a bombardment of riffs and viciousness, the breakdown is expected but it switches straight into a delicately soft ending providing a contradistinction via unexpected reprieve...

EP highlight "Solitude" has a really catchy intro, there's a great hook to this one and you can just feel the quality and the influence of artists such as ARCHITECTS is very clear here, but I'm picking up just a touch of ALEXISONFIRE too and despite the obvious heaviness to their sound, it's always mixed with an open, airy accessibility. The title track again, utilizing influences which also include PARKWAY DRIVE, applies more of the same qualities and more clean vocals this time around and opting for the gradual fade-out, it adds more character to the EP instead of being straightforward in a start/stop sense, retaining interest, before we're thrown a complete curve ball..."Grief"...for all it's relaxed, ambient beauty feels a little out of place mid-EP...there's absolutely nothing wrong with the delicacy of this instrumental, but it should be at the end of the EP, ideally acting as a come-down, before we officially end proceedings with lead single "Deadweight" and while it's decent metalcore, housing slight FUNERAL FOR A FRIEND elements during the chorus, it's lost something because of the previous track; you've endured the noise and your heart-rate has already been caressed back to a safe level thanks to the instrumental, this jolt back just seems a little...off.

It's obvious that these lads have a passion for their preferred style, they haven't just banded together and said let's make a fucking racket, there's good song structure here musically and for a relatively green band there's a good level of depth. There's 100% a market for this, with recent successes by WHILE SHE SLEEPS for example and they definitely have the capability to make a name for themselves. As Theresa May would say; "Strong and stable". [7]

Despite primarily being a rock music reviewer, I do dabble and you'll have noticed that every year I offer some level of coverage / give a nod to the EUROVISION SONG CONTEST...be it like last year when I reviewed new music by Swedish winner MANS ZELMERLOW (legit, one of my new favorite pop stars)...or like, just last night I posted a full live review of what happened at this years contest from Kyiv (please feel free to check out my disappointment in the article below this one)...well in my ever increasing work load, I totally forgot about why it was being held in Ukraine this year! Back in 2016, a lady by the name JAMALA, or Джамала in her native tongue, represented Ukraine with a questionable track called "1944"...why was it questionable you ask? Well ESC rules do clearly state that, no songs are to be presented, or be lyrically purveying any sort of political message or gesturing any sort of political cause (it's a family friendly song contest about coming together, you can't bring the contest into disrepute)...so when Jamala came through with a song about Russian soldiers invading her grandmother's home, with relatives dying, it raised a few eyebrows! Nevertheless she won the listeners over and won the contest for Ukraine...this year she released her newest album, also titled "1944"...let's get on border patrol...

We open up with THAT winning song and it's good to see that she get's it out of the way early on...while clearly it's message is strong and it's a very passionate song not only for her, but it represents the issues that so very many of her people went through all those years ago, it's not something the majority can really relate to so on face value at least, it's no more than a slow, sultry number...her combination of lightly whispered, almost husky vocals, combined with more powerful notes in her pitch (lyrically she fleets between English and Crimean Tatar) over simple percussion and some traditional wood-music courtesy of the Duduk, an old Armenian flute made of apricot wood, it's very cultural. "I'm Like A Bird" retains similarly subdued percussion and her voice is generally very harmonious, it's a very sweet song, almost chirpy, which is appropriate, the chorus, soaring high...and the inclusion of subtle techno elements bring the track up to date.

The album as a whole is very much set in a certain style, which becomes clear as we work our way through each track, the whole thing is generally very ambient, very mellow..."Perfect Man" for example combines very minimal jazz-lounge elements, notably via the piano segments but it's also really quite soulful too, with hints of R'n'B layered throughout the track, while "My Lover" is pretty up-beat for the mot part...again utilizing jazz influences but also having a very funk-driven core sound, with brass elements and its' overall rhythm giving it an almost Latino vibe, very interesting. "You've Got Me", one of the album highlights is a really lively inclusion to say the least, with it's rich 70's disco vibe, you can't help but want to boogie to this one...(I'm fully aware I'm a 28 year old man, using the term boogie in 2017, don't judge me, just put your flares on and dance) while "Thank You" is again, incredibly soulful, with it's clap-along, organ-driven gospel qualities, before the album ends on a newly recorded symphonic version of the title track...which really, you can take or leave really.

While the ESC always has been and always will be a mixed bag of treats (this years competition championed the tag line "Celebrate Diversity" after all) it's always the weird and outlandish entries that get remembered more often...in recent times CONCHITA springs to mind, or going back further, LORDI...you know, acts that provide main talking points...so sadly straight-forward singers and performers are often lost in the shuffle, resigned to ESC history books and little else...Jamala is clearly a passionate song-writer and has a quality vocal range, and being more serious in tone she has potential far beyond quick gimmicks...the non-English parts may be off-putting for some but, she really is worth a listen. It's a good job Japan don't participate...a 1940's politically charged song about the war could be so much worse (O_O)... [6]

Once every year the cries of millions of British people can be heard, cringing at the knowledge that the month of May means it's time for the EUROVISION SONG CONTEST...it's seen by 200 million people annually and for all it's pomp and ridiculousness, it's a fucking huge televised event! But, why do we cringe? Well let's be honest, for several years now, not only are we all fully aware that the majority of voting is semi-political, with countries opting to vote for their neighbors other than strictly for musical merit which, doesn't aid us because, nobody likes the British :') and secondly...we've got a tendency to submit entries that, let's face it...suck. ELECTRO VELVET anyone? Nevertheless, really we have had little to no chance...well nowadays it's changed a little, with two separate votes...one Jury vote from each country...and THEN the public vote divided into popularity points...they tried this format last year where Ukrainian vocalist JAMALA won with her track "1944" which was really quite political itself...May 13th 2017, Ukraine hosted the 62nd contest in Kyiv and I've just finished watching it live, here is my review of the ESC2017...let's celebrate diversity...

Without wanting to go overly in depth I'll let it be known now; this year I went into the ESC totally blind, I'd done zero research this year so knew absolutely nothing regarding who made it to the final etc, so this was all totally fresh to me...and I don't want to waste too much time going over this years presenters...Oleksandr Skichko, Volodymyr Ostapchuk and Timur Miroshnychenko...aside from being difficult to pronounce, their struggle to be entertaining was clear and they were a bit naff...so straight onto the contest we go and it's ISRAEL who drew number 1 (I say it like it's a Royal Rumble PPV) with they're entry "I Feel Alive" by an artist called IMRI...on record this is a really strong song, it's a solid dance-pop track and he hit's some decent high notes, it's got a great beat, it's got a good melody, to kick things off it should have been brilliant...but live? No...I'm sorry his vocals just fell flat and it was a shame to be honest. 3rd out (I won't be going over all 26 countries I haven't got all day) was BELARUS and their song was equally up-beat but totally different. NAVIBAND were the performers with the song "Historyja Majho Zyccia" and it's a quaint little folk song, very jolly, very jovial but again, flawed by some slightly flat singing...this hampers a couple of songs tonight...

OG3NE are up on in 6th for the NETHERLANDS with a track called "Lights And Shadows" and it's a pleasant but straightforward girl-group number, in ways it's got soulful characteristics akin to DESTINY'S CHILD...it's OK but, easily forgotten...unlike MOLDOVA however, who come out 7th represented by SUNSTROKE PROJECT and the song "Hey Mamma"...this is the first real highlight of the night...it's a funky brass-driven pop banger...the saxophone is just infectious and this could be huge this Summertime, a real grower this one and THAT dance...this is my favorite so far, however simple it is! In at number 9 we had ITALY...the bookies favorite according to some, FRANCESCO GABBANI sang in half English, half Italian on "Occidentali's Karma"...which was a nice enough song, up-beat, again, sounding very positive...but here's the first weird one (there's always a weird one)...some dude in a Gorilla suit comes out and starts break-dancing on stage...like...OK...Harambe lives! Bizarre...

We're subject to an impressively miserable piece of music next, as PORTUGAL's entry, some soulless young lad by the name of SALVADOR SOBRAL bores the absolute shit out of me with his lackluster ballad "Amar Pelos Dois"...honestly this is depressing, like, forget putting people to sleep, this could put healthy dogs down! Luckily the mood is quickly saved by AZERBAIJAN and they're entry "Skeletons" by DIHAJ...this is incredible. The track is a super sultry 80's dark-wave throwback, with despairing synths and it's super catchy...imagine WITHIN TEMPTATION meets CHRISTINE AND THE QUEENS...it's brilliant...best track of the night, ignore the horse man on the step ladder...there were other big pop numbers that stood out too...NORWAY's entry JOWST delivered a great, light dance-pop effort with "Grab The Moment", while SWEDEN tried sticking to the JUSTIN TIMBERLAKE wannabe formula for their track "I Can't Go On" but, ROBIN BENGTSSON is no MANS ZELMERLOW...

Believe it or not, with no amount of bias, the UNITED KINGDOM had a genuinely strong entry this year...our young Welsh lass LUCIE JONES nailed her track "Never Give Up On You" with a powerful performance, it was honestly impressive, she's got a good voice on her...but you know who's got a great voice? CROATIA's JACQUES HOUDEK...on the CD, it's true, it sounds like a duet but no, it's just him! One dude! And once you get over the initial shock, "My Friend" becomes a brilliant track, he has an incredible vocal range, he's like, Pavorotti but Bi-polar...speaking of switches hosts UKRAINE entered the only rock act of the night tonight via O.TORVALD and the track "Time"...it's got a solid rhythm and finds itself mixed between 90's grunge and mid 2000's emo, vocally weaker live but the final climatic flurry was highly enjoyable. BELGIUM too have an enjoyable entry this year in "City Lights" by BLANCHE....but by god the 17yr old is so nervous, she's overwhelmed here and you can tell, her vocal is wavering and she barely moves but the song is a legit highlight...while elsewhere the Australians who are back again (I'm not explaining it again) have sent over their best HARRY STYLES wannabe...and the Romanian's combine yodeling with rap and fuck me it's surprisingly catchy...who would have thought that would ever be a thing? The majority of other finalists are ballads or just boring...so yes...26 countries entered, but, only one can win...if you don't want spoilers in case you've not watched it yet look away...now...

I was surprised for two main reasons....first and foremost, the UK actually did well! For the first half of the voting process we remained in the top 10 for the majority of the time, the points kept ticking along and we stayed within what looked like a decent chance for a strong finish at the end of it all! Thank you to Australia for their 12pts too! The independent juries scoring us well...however...the public vote was a different story...in the end we finished on 111pts which we can't really grumble, best tally in a long time that, well done Lucie...the BIGGEST surprise however, was that both the juries AND the public voted pretty much unanimously for one country in what was a landslide win...fucking Portugal (-_-) REALLY!?!?!?! Practically the most lifeless song here tonight...Salvador has zero stage presence, he's dull...it was just, such a boring song! How?!?!?! He had like 758pts!!! What a joke...regardless, the 2018 final will now likely be held in Lisbon...I'm tempted to go...but no amount of port will get the bitter taste from my mouth...what a disappointing night. Feels like the European Championship semi-final all over again...

O Canada!!! Oh Canada...Oh good god...as beautiful as you are with your Poutine and maple syrup, you let yourself down with some of your musical exports. For one country alone to have produced not only CELINE DION and NICKELBACK but JUSTIN BIEBER too? There must be something in the water up there...like, as in a power plant leak or something, I mean come on that's an above average level of nope isn't it? Well, hoping to evade such stigma are SUMO CYCO...hailing from Hamilton/Toronto, the four-piece recently released a brand new album by the name "Opus Mar" which to be honest is a worrying sign before we even start. It essentially means a composition of impaired quality...marvelous...let's see what these energetic, ballsy rockers have to offer...enter Maezumo...

The album opens up with "Anti-Anthem" which part of me believes is a play on itself, in line with the album's title...it's got an incredibly bold sound and the chorus here is catchy enough, it's got punk elements, it's frenetic and in ways would appeal to fans of say, MINDLESS SELF INDULGENCE with it's quirky structure, vocalist Sever (real name Skye) has quite a raspy, aggressive vocal giving the sound an extra air of attitude and overall it's not terrible. "Free Yourself" retains the up-beat feel here but utilizes more of a pop-influence, it's got more melody and cleaner vocals and enough hooks in the chorus to cast similarities with the likes of ICON FOR HIRE, generally sounding a bit better...

Lead single "Move Mountains" featuring reggae-rocker Benji Webbe of SKINDRED fame is naturally quite hefty and his inclusion does benefit the group, his trademark gruff vocal giving the track an extra sense of substance, aided also by key and tempo changes, nu-metal elements, it's got some life in it...if only the chorus wasn't so damn repetitive, and I couldn't help looking at the video and thinking Benji does his clothes shopping at the same outlet as former WWE tag team Legion Of Doom...dem' spikes! #LegionOfDred The reggae influence is ripe throughout "Brave II" too but it's a far softer offering, the smooth verses can't help but feel like it's something JESSIE J would have released in ways...elsewhere too influences can be heard in tracks such as "Kids Of Calamity", with gang-vocals akin to those of fellow Canadian's BILLY TALENT, while "Rivalry" is infused with shades of NO DOUBT, before the rest of the album generally just skips along with little or no differentiation.

All in all "Opus Mar" isn't necessarily a bad record but it's not a typically memorable one either, while some of the content here is decent; some strong riffs with promising crossover genre-mashing, there aren't enough clear highlights here to really propel the album further...however as it's only their second album it's still too early to dismiss them outright...Jonokuchi, as the Sumo would say...[5]

It's weird to think really, that, I've been reviewing for at least four years now and, I've covered a fair range of artists for not only this blog but, I've whore'd myself out to other publications as well! That sounds bad...but no, over these past few years I've been allowed to develop as a writer, contributing to several amazing teams which has taught me a lot and allowed me to grow into the bitter, sarcastic bastard you follow today...one such publication would be FIREBRAND. A very well organised e-zine, Firebrand was split into two publications; Firebrand Magazine (which dealt generally with straight-forward rock 'n' roll, blues, AOR type releases) and Firebrand After Dark (which I primarily wrote for, featuring heavier, darker releases). In issue 11, going way back to May 2014, I wrote a review on an album called "Grave Party" by a Greek gothic-rock band by the name of SADDOLLS...it was refreshing to see and hear a band keep the genre alive with a genuinely quality album (gothic rock has always been a niche market)...now...three years later, they have released a follow-up record by the name "Blood Of A Kind" and there's absolutely no way I wouldn't keep you up to date...get your goth on...let's go...

We open up with a track called "Dunkelstein" and immediately I'm forced to imagine Boris Karloff tea-bagging Mae Clarke in a director's cut of "Frankenstein" from 1931...that literally never happened but I really wish it did...nevertheless, it opens up with some chilling organ-esque synth notes and thematically it's very Transylvanian in a horror movie sense. The guitars chug along while the deep vocals of George Downloved offer the listener a dose of familiarity, with this style already working well for the likes of DEATHSTARS and LACRIMAS PROFUNDERE for example, fans of those will appreciate this and as an introduction it works. "Creep It Into You" however takes things up a notch following immediately afterwards and offers us an early album highlight...more melodic and up-beat, it's got a hell of a hook in the chorus and the softer female vocals provided by Ioanna Zach give the track extra texture, the guitar solo is brief but sleek; there are rich pop elements to the track and the finished result is catchy as hell.

Lead single "Cold Blood Inside" is a slower, far more morose track for the most part, the video portraying a simple message, hope springs eternal so to speak, metaphorically no matter what, the outlook for humanity has to be optimistic, you can't kill hope...musically it'll appeal to fans of "Blessed Be" era THE 69 EYES in ways, it's quite simplistic and to a degree repetitive, there are better choices for a lead single really. "Kiss You In Hell" for example opens with it's moody bass, layered under tickled keys and more guest vocals provided by Georgia Dm, it's generally got more life to it, as is the same with "Die Better"...an absolute scorcher of a track; there's great rhythm here, it's solid and consistent, again, it's got really catchy hooks, key changes, I've said it about tracks in the past but this is the sort of thing that would do great in alternative nightclubs.

There are lesser tracks here too however, with "Pale White Dracula" sounding like they are going through the motions so to speak, plodding along, no real life in the riffs as such, and lyrically "Dracula, Dracula, kiss my lips...Dracula, Dracula, give me that kiss..." sounding just a little bit cheesy, but not as much so as "Sex In Church"...yes that is the actual name of track five. As aesthetically pleasing as the track may be musically, you can't help but cringe here...I hope this is a track that doesn't get a music video...anal beads for a rosary anyone? Were you really a virgin Mary? Were you? Were you really? Ave Maria...I bet he did...all jokes aside, while laughable it doesn't spoil the album too much and overall, the nine tracks on offer here again deliver us a solid goth-rock record, as I said before, goth is rarely "in" as such, but it's good to see bands still catering for miserable buggers such as myself. These dolls might be sad but, they are still worth playing with. [7]

Sometimes music reviewing can be a little bit like gardening; (I know what your thinking, Gav ate the wrong mushrooms again, but bare with me) in some ways, it's a little bit like planting tomatoes, but instead of watering you're writing and at the end of it all, the finished article is the fruit, the best ones are then used to generate sales (though instead of a greengrocer's it's through iTunes). It's that process of nurturing and this really only comes into play when you're faced with a new artist releasing a debut...you might not say outright that you've contributed to success, that's just arrogant, but you've seen it grow from day one and you can appreciate when it all blossoms. Just like the fruit, if the farmer grows a good crop, they sell well, people come back for more...the same can be said for musicians...if they like a write up and trust a publisher, they will come back for another write-up next time round....and you repeat. This is an incredibly long winded analogy to get to my initial point and I apologize, truthfully it sounded better in my head but I digress...back in September of last year I reviewed the debut EP "You" by a gentleman called ALBERT BEVIA who hails from Segorbe, Spain. His love of dark 80's new-romantic pop was a surprise as it's not something the Spanish are typically renowned for, however, he did the era plenty of justice. He's been in touch again recently and he's been kind enough to forward me his follow up EP; "Strange As You"...my tomatoes are good...

We start the EP like we would start a beautiful Summer's day...with opening track "Like A Sunrise" and it has that aura about it, you've woken up on a Saturday morning, the sun is shining, you haven't got work, life is good...it's got such a light, positive vibe to it, it really insists on making you smile with it's jovial tone, but there's a slightly contrasting depth to Albert's vocal that, coupled with the style of music here really would appeal to fans of say, THE CURE or DIIV; that rich 80's influence still very much a part of his sound. Referring back to his previous EP, one thing that was clear was his love of infusing melancholia within the quirkiness of his music and this continues here on "The One I'll Never Have"...while clearly a song about longing, in it's own ways is upbeat and pays homage to the likes of THE SMITHS. You can almost hear MORRISSEY echoed through Albert's vocals.

The throwback's never stop either...the title track "Strange As You" is again, up-beat with an incredibly funky bass-driven sound, Albert delivers some delicate soft notes among his usual, typically colder, morose vocals and overall musically, this one will suit fans of say, DURAN DURAN, while elsewhere, tracks such as "I Lied To You" and "A Sign Of Life" close-off the EP with a generally more subdued, restrained feel to them...melodic, yes, easy on the ears as always but, if you compare the two EP's this one lacks a certain something...Older tracks such as "Dear Dad..." had a little more bite to them than anything produced here and while that's not to say these songs aren't as good, another track like that wouldn't go a miss. If you look at the covers for each EP though the intention is that it was clearly the plan anyway...although incredibly simplistic, (One is white, one is black) it shows the separation between light and dark, it's that classic Saturday night / Sunday morning effect...this second EP is clearly the morning after the night before as they say, designed to be more delicate. Strange as you? I guess that depends, softer though? Yes, definitely softer...just like my tomatoes...[6]

Sometimes the best things in life are born out of hardship and when you're growing up, you may not have the gift of hindsight to help you through difficult or challenging periods, in this instance, before the age of just 11, PETE LYNCH (who was born in Maryland, USA) had not only upped and moved home but moved to an entirely different continent, with his parents opting to travel to Europe only to divorce shortly afterwards (that's a lot to take in for a young child)...luckily for Pete however he did have an escape; music. From the tender age of 6 Pete had picked up a guitar after hearing his first ever record, a live recording of THE WHO and it would ultimately shape his life forever. Growing up torn between different sides of the world, with a relatively unsettled childhood he had plenty to draw inspiration from, from a creative viewpoint, coupled with an appreciation for artists such as THE DOORS and LEONARD COHEN he developed over time, he honed his craft and it didn't matter if he was playing on stage or playing subways, he just wanted to play. After a couple of initial releases at the turn of the decade, Pete Lynch, now based in Colorado, is back with his brand new album "Kill The Monster"...let's check it out.

We open up with a creepy little snigger, Pete sounding quite maniacal to say the least before some MUSE-esque percussion gets the track underway...really it's up-beat power-pop with dark undertones; it's bold with elements of indie-rock and Pete's slightly sand-paper vocals give extra substance to the track, coupled with a brief but enjoyable guitar-driven bridge at the 01:45 mark, and a simple chorus that while repetitive, will still have you tapping your feet, it's a decent introduction. Early album highlight "Come Down" oozes "Playing The Angel" era DEPECHE MODE in it's cold, slow-burn delivery, gradually rising in intensity towards an incredibly passionate chorus...before gently descending towards a mellow climax, we really are off to a strong start.

"Where Are You" benefits from having producer Tim Palmer at the helm, as this soothing little number has elements of U2 at it's core sound, with the chorus again, soaring indie-rock, it's a well balanced listen, similarly to "4010"...soft and welcoming until bursting into life intermittently over it's six-minute run time and, the initial soulful qualities of "Make No Mistake" followed by more of Pete's impassioned vocals; there are a lot of positives throughout this record. There are naturally lesser tracks on offer too, "Scars" is a delicate acoustic ballad for the most part, quite morose and melancholic, so too is closing track "Home" while lead single "Till' The Rivers Run Dry", with it's ambient melodies holding together some sweet, lightly romantic poetry, the chorus having an unashamed boy-band vibe, it's very TAKE THAT...

​Given the relaxed tone for the majority of this album the title is a little misleading, despite being, for the most part at least, a pop record, you still expect a little more grit...that's not to say it's a disappointing listen however, there are very enjoyable melodies throughout and plenty of catchy cross-over moments to keep the listener interested. If this was an energy drink, it would be the can of Monster with the blue logo...zero calorie and sugar free, but enough caffeine to pull you through [6]