Whether you're reading the quirky works of A. A. MILNE, about the children's adventures of Winnie The Pooh in the 100 Acre Wood...or whether you immerse yourself in the otherworldly, psychosomatic fantasies of H. P. LOVECRAFT..."Ia! Ia! Cthulu Fhtagn!"...*cough*...what you share despite the obvious contrast in content, is a love of story telling, the art of capturing the imagination...words are powerful (the pen as they say is mightier than the sword...so why has no one invented a pen sword? Why?!) But, in all seriousness, as well as authors, a good lyricist will always elevate a band in the same manner, giving their songs much deeper meaning, enriching the listening experience and one such writer can be found in Chicago-based punk icons RISE AGAINST. Vocalist Tim McIlrath has always had his finger on the pulse; the teller of truths, the voice of disgruntled American generations since their inception and never afraid to voice his opinions, we find him leading the pack once again on their latest album "Wolves"...either that or he has rubbish taste in English football...let's find out...

We open up with the title track and musically it's really a bit of a jerky start...it's rife with key-changes and it fluctuates almost excitedly throughout the course of the track...it's almost agitated and to be honest, it perfectly accompanies the theme here...they are the wolves, we are all the wolves and it's a very anti-establishment in message...the people have had enough...we have a voice, and our message is simple, shit needs to change...a serious start here. "House Of Fire" follows up and it's incredibly melodic, the pop-hooks are on point here and it's incredibly jovial but there's always a twist, for all it's catchy qualities it's lyrically so contradictory; a failing relationship and defiance in the face of it all...it's actually quite sad...wonderfully done.

"The Violence" gives us our first real taste of classic Rise Against...it's got all of the rhythm of rock 'n' roll with the quirky punk riffs and thematically it's back to business; a strong socio-political out-pouring; questioning yourself, questioning humanity as you know it...it's falling apart, god what have we done? Where did we go so wrong? This is McIlrath doing what he does best and this is a definite album highlight...elsewhere highlight's include "Welcome To The Breakdown", with it's frantic, raw up-tempo punk rock flurry of spit and attitude, but by damn does it have a catchy chorus...and the incredibly infectious, almost R.E.M. inspired guitar tones of "Politics Of Love"...a song on face value of wasted love but conceptually deeper, wanting a second chance...his passionate views on climate change and his love of people and the world make the references to ice breaking seem far more poignant..."I should have said something" he cries...a call to arms to voters and again, wanting to use his voice for good...this is McIlrath at his best.

The rest of the album rolls along not so much with a biddable nature but with a sense of regularity, all Rise Against songs are good songs, don't get me wrong, but they've shown a lot more grit in the past...for example the albums original title "Mourning In America"; while pleasant enough was too weak and swapped as a result...McIlrath himself said "Fuck that, fuck grieving"...there are cheeky satirical tracks too like "How Many Walls" (The answer is one...one big beautiful wall) and closing track "Miracle" which ends things on an up-beat, positive note. In a world where humanity is crying out for justice and equality, where governments use fear and propaganda to convince their citizens to vote against their best interests with smear campaigns and greed...we need bands like Rise Against, and we need voices like McIlrath's...he's right...we are the wolves and we've locked onto a scent of government corruption and oppression and we will bring them down. Rise against the establishment, the revolution starts now. [7]

Back in February, I reviewed an album called "Dark Black" by a group by the name of MUTATION...the third installment of a side-project formed by THE WILDHEARTS front-man GINGER...an absolutely scorching album; a thirty minute onslaught of pure audible torture it took a lot of people by surprise...following it's official release, Ginger was kind enough to take time for a chat about how Mutation was created and what went into writing such a psychotic record...here's what he had to say...

As an incredibly prolific musician, anyone who's anyone in rock knows Ginger and The Wildhearts but, Mutation is a little more, underground shall we say...for those newly discovering this project, what caused the mutation so to speak?

"Mutation is simply feelings made audible. In this instance, the feelings are that of frustration, alienation, deep mental problems and the desire to kill..." 

Mutation finds you collaborating with Exit International vocalist Scott Lee Andrews; how did this partnership come to life? Were you specific in wanting to work with him with Mutation in mind or did it happen organically? 

"Scott and I have known each other for many years. He 'sang' the very first Mutation single, 'Gruntwhore', from the 1st album 'The Frankenstein Effect'...We share both an intense work ethic and a fractured psyche..Our dark sides are very dark..."

The new album, "Dark Black", is the third installment under this moniker...this project; it's an absolutely savage listen, what's the story behind Dark Black? Where did you find such ferocity?

"We wanted to record the sound of how we feel within the storm of a mental breakdown; the sense of relentless oppression and helplessness. We wanted the listener to feel these emotions through the music, leaving them either satisfied that they don't struggle alone, or give them an insight into the workings of a disturbed mind."

I understand that, thematically it's a very appropriately titled record, you went to some dark places during the writing process?

"We went through dark places, we continue to go through dark places, and the only thing that alleviates the pressure is knowing that you do not suffer alone..."

General fans of The Wildhearts might have a bit of a shock, such is the shift in tone, it''s almost a mixture of industrial, hardcore, crust punk...what or who influenced you when you began working on this record?

"I was influenced by my feelings...the continuing drag of life and the tired but endless spirit of carrying on through adversity."

Would you say that, in it's own artistic way, Mutation is therapeutic?

"Music is simply medicine...It possesses medicinal qualities that you can only find through meditation or simply allowing your body fix itself without medical assistance. Music provides a comfort, a security and an outlet, which can only be a good thing for society."

Are you happy with the response you've had for the record so far? Or is it more of an internal album per se? More of a release for you personally?

"We are shocked and delighted by the response! We went in not knowing if anyone would like this material, although, obviously, this didn't put us off our intention to make music that demands a response...we knew there would be a strong reaction to this, even if it was one of disgust. The fact that Dark Black has found a welcoming home is a very satisfying payoff!" 

This October Mutation heads out on a UK tour spanning seven nights, what can we expect from these live shows given the brutality of the new album?

"We haven't played live before, so we don't know what to expect! Honestly! Maybe we'll hate it and leave the stage after 10 minutes or maybe it will create a cathartic vacuum that services the band and crowd in the same way. All we know is that it's going to be intense...and loud!"

Do you find the heavier material puts off the general Wildhearts fans? Have you found this catering for a different demographic?

"Some Wildhearts fans are supportive of new musical adventures, some just want it to be 1995 again. I can't make music with those kind of concerns, I just do what I do, and advise people to keep the receipt..." 

I think it's fair to say that you are a bit of a workaholic...even though you've not hit the road yet, what's the next item on the list for Ginger? 

"All I want to do is promote Mutation, and my solo album, 'Ghost In The Tanglewood', which comes out Feb 2018. I'm not really interested in anything else, to be honest. These both represent very honest sides to my personality and, in my quest for honesty, this serves me perfectly." 

The New Album "Dark Black" Is Out Now.

For many, childhood and growing up brings the sweetest of memories; playing with friends in the park, bike rides, a game of football...for this idiot however, oh fuck no...I was going down hills in trolleys (shopping karts if you aren't British)...diving through glass windows, playing with staple guns, jumping off balconies...yes I'm not ashamed to say that I was a Jackass kid, part of a generation fueled by dares and stupidity...Bam Margera will forever be my hero and as it happens, his brothers band, CKY (his brother Jess is the drummer) was part of a soundtrack to that generation. Forever associated with the cult that was Jackass, they were a major part in our up-bringing, supplying the songs to our self harm...and while it was understandable with the ties they had, it sort of held them back...over the course of their career, CKY released some of THE greatest rock albums ever crafted, but they were beyond under-appreciated...and then a few years ago, well, things went tits up. Vocalist Deron fell out with the band and things have been less than civil ever since...BUT...CKY stands for Camp Kill Yourself and they'll be damned if they don't go out on their own terms...after a several year hiatus and sans Deron, the remaining members return with the new album "The Phoenix"...will they rise again or will they shrivel like a ruined balloon? 

The album opens up with "Replaceable" and already we're greeted with a message...a fuck you...it's a statement from a band not afraid to cut ties...the slowly built riff into some brilliantly catchy southern driven alt. rock is the perfect opening; it's like the band have crafted this intro to sound like they are finding their feet again, getting to grips with CKY again after so many years but there are certainly no signs of rust...the guitar work harks right back to the "An Answer Can Be Found" era...the moogs are back, the groove is there and in terms of riffs CKY always pull it out of the bag...for a band hitting the refresh button this is a great start. First single "Days Of Self Destruction" follows up and we're hit with some classic CKY riff-driven hard rock, Jess Margera ever improvisational on the drums completing a free-flowing sound...even MASTODON guitarist Brent Hinds lends his hand to this one (which speaks volumes) but to honest it does become a fret wank-off and detracts from the song a little too much...

"Unknown Enemy" goes full gimmick and utilizes an almost spooky guitar tone appropriate to it's theme, in ways I guess continuing in tradition of Deron's love of horror movies but in this instance tongue-in-cheek, acting as more of a parody than a tribute, before first album highlight "Head For A Breakdown" hypnotizes you completely. A slow burning track with simple hooks but rich in infectious melody...it's incredibly catchy and harbors a solo that's properly structured, this is much better, in fact this is fucking awesome! The acoustic and string elements only add to the depth of this track and the result is something truly beautiful. The albums closing track "Better Than Get Even" further adds to this with some properly catchy hard-rock, the level of groove CKY provide can be unreal and this further proves why they are one of rocks hidden gems, despite their veteran status.

Over the short-course of this eight-track album though sadly it can't be perfect...tracks like "Wiping Off The Dead" and "The Other Ones" can't help but sound like they are stuck in second gear and while they are fantastic guitar driven pieces of music, this is a guitar players album without a shadow of a doubt, there's something lacking here and sadly what that is...is Deron Miller....for all the band have been through and not wanting to sound like a bitter fan boy, you can't deny that while musically CKY are superb, there was a distinction to Deron's vocals that Chad simply can't, not so much emulate but, fill in for here...Chad is great, hell I'd piss on GG ALLIN's grave with him, he fucked up in 93! But it's just not quite the same...After so long, by damn it's beautiful to have CKY back but, I just wish they would patch up their differences...the 96 quite bitter beings are a man short...[7]

When it comes to heavy music in the UK you've got two types of bands...those who dream of playing Download...and those who dream of playing Bloodstock. Now, while they are both respectable festivals, they do have their differences...for example, at Download you may see BOWLING FOR SOUP play the main stage with giant inflatable sheep...while at Bloodstock, you are more likely to have both BFS and an actual sheep sacrificed on stage at the hands of people covered primarily in spikes and corpse paint...(I jest, health and safety wouldn't allow it) but you get the idea...Bloodstock has always been the home of all things truly metal, without a doubt the heavier of the two festivals, it champions everything we love about alternative underground culture, so much so that it has a stage named after the late Sophie Lancaster, who has become a true symbol of individuality and acceptance since her tragic passing in 2007. Every year the stage is home to a myriad of talented up and coming metal musicians that just want that opportunity to shine and in 2017, ten years on, it's no different. Let me introduce you to GRAVIL...formed in London around 2005, the metal-as-fuck five-piece are ready to unleash their brand new album "No More Forgiveness"...hollow threat? Let's find out...

The album explodes into life with "Detonate"...incredibly fast paced with intense drum fills and frantic, thrash metal inspired riffs, this is no nonsense metal with absolutely zero fucks given. Vocalist Grant Stacey has a hell of a snarl  that pitches him somewhere between the likes of Mark Hunter of CHIMAIRA and Alexi Laiho of CHILDREN OF BODOM; absolutely feral. "Are We Alive" follows up losing absolutely no momentum whatsoever but it utilizes a lot more groove, well crafted around the gravel tones of Grant's voice...this is wonderful melodic death metal and the guitar solo courtesy of Tony Dando is sleek, adding extra texture to an already accessible metal track, a great start this.

Over the course of the album the band aren't afraid to wear their hearts on their sleeves either in terms of influence, as you can hear pockets of inspiration from metals heavy hitters dotted throughout; "Choke In Silence" for example has more than a slight similarity to LAMB OF GOD in it's design, while "I Am The Blood" offers the steady yet commanding tones of MACHINE HEAD, especially during the chorus and interestingly midway during "Locate The Traitor" we're greeted with some unexpectedly haunting atmospherics, coupled with the tone of Grant's vocals you'd be forgiven for getting hints of CRADLE OF FILTH here, if only briefly. Far from a tribute act however, they come into a life of their own for the song "Fractured, Divided"...a soaring melodic power metal full of great hooks, classic in it's approach musically and featuring METAPRISM vocalist Theresa Smith; this is as catchy as old-school metal can get and it's a wonderful album highlight.

The album's low-points are if anything trivial and really don't detract from the overall quality of the record; "Plagues, Thieves And Murderers", despite carrying a strong message targeting a shapeless music industry is let down by it's spoken-word content, but it will appease fans of djent, while closing track "One Eyed King" suffers from probably the albums weakest vocal recording despite it's surging TRIVIUM-eque guitar work. Luckily though these points are minor and as I stated, the album as a whole really isn't effected or more importantly let down as such as a result...Gravil by name but they hit harder than fucking granite, overlook this lot and you will not be forgiven...[7]

I'm a simple human being, I like simple things...like...I don't like butter in my sandwiches...I don't like getting 1p, 2p or 5p coins in my change...I don't like the way this current Conservative government's insistence for austerity has weakened the British economy, with more and more people struggling because of cuts parallel to a falling £1 but, I digress...musically I'm the same, y'know I enjoy my rock and metal...but there are currently more sub-genres of music than there are variations of subs at fucking Subway...ranging from easy-core to sludge-metal to bloody Nintendocore...well today, we're going to ignore the VILLAGE PEOPLE as we go east...far east; to Japan...via London, to listen to some J-Rock. J-Rock is a term used mainly for the crossover electronic rock that comes out of Japan and you've likely heard of artists such as DIR EN GREY and VAMPS (JPN), selling out the Nippon Budokan to huge audiences but London based trio ESPRIT D'AIR are channeling these influences right out of the UK on their debut album "Constellations"...need a little Asian persuasion? 行こう！

We open up with the appropriately titled "Ignition" and after a brief power-up, we're subject to some hard-rocking riffs, off-kilter breakdowns and flowing, crazed electronica...it's a tried and tested formula that a lot of bands utilize these days but it's been done well here, very true to form, coupled with Kai's vocals, soaring in Japanese and with an impressive little solo thrown in for good measure, its' a bold start indeed. "Rebirth" follows up and again we're hit with some pummeling riffs and in ways there's a heavy industrial quality to them, leaning more towards artists like FEAR FACTORY...musically it's an angrier track for the most part but the chorus is again, rather dramatic thanks to Kai's vocals, the language an art form in itself but used in harmony with the guitar driven vision of Esprit, it's incredible.

It does have it's lulls mind, "The Hunter", at over 6mins in length and recycled from 2012, does feel a little bit like filler content and "Reminisce", despite it's chirpy synths, it does carry a sense of repetition and in places just comes across as lethargic as oppose to alluring, but when this trio want to go, oh hell do they go..."The Awakening" picks up the pace with a greater sense of urgency and intensity, more up-tempo catchy rock, there's nothing to not enjoy here; another impressive solo, more delicate piano, this would make a good single...but..."Starstorm" would make a GREAT single. Easily the highlight of this record, the EDM / techno qualities coupled with a passionate, bold rhythm, up-beat chorus, pop hooks...it's got everything you could want in a hit, radio-friendly rock song, forget the language barrier this is simply infectious. I'd be surprised if this wasn't snapped up for an anime series...not that I'd watch it but, I can imagine it fitting well...

All things considered, the future looks very promising for these Londoner's...having had a successful Camden Rocks experience this year, despite a three-year hiatus and original singer Yosh departing, they've managed to pull everything back together with a strong DIY ethic that's clearly allowing them to flourish. The Japanese vocals aren't for everyone, it's not something you can casually sing along with but it shouldn't put you off what is essentially a great selection of songs. The album comes out June 30th, I D'air you to ignore these...they are a long way off the Tokyo Dome but they wont be playing The Underworld forever. [7]

As you probably know, I've subject myself to my fair share of challenges over my time as a reviewer...but it has to be said that, primarily, it's been my own fault. Whether a band has emailed me personally and I've regretted accepting, or, I'll browse and pick a release from an number of PR companies that forward me music...I've always been fully responsible for those...this however, puts me out of my comfort zone. I mean, Theresa May talking to ACTUAL people level of discomfort...In my Facebook group poll, you voted for "Witness", the brand new album by KATY PERRY, to get a spot on this blog (-_-) Initially I thought, it can't be that bad? She's usually got a fair amount of quirky pop songs tucked away, this should be at least enjoyable on that front? Oh no...oh how pop music has changed since I last dipped my toes...Witness? I'm going to need a fucking alibi...

We open up with the title track and we're greeted with a very delicate piano-led piece of music...then an awkward silence, like, was that an out-take? Or a pointless fifteen second intro slapped on to track one instead of being separate? When the track does restart Katy's vocals are soft, they sound personal, there's a soulful soft-jazz feel to this one that's layered under subtle electronica, and while she does sound a touch more passionate for the chorus here, it's still a very laid back track, a restrained start here..."Hey Hey Hey" has a similar vibe with it's slow-burn techno, in ways if you like GWEN STEFANI you'll enjoy this but thematically it's quite powerful; a nod to Katy's life in the media...no matter what people perceive of her personal life, you wont break her, it's a middle-finger song in some sense.

"Roulette" offers us our first proper album highlight with it's rich 80's infused brand of synth-pop, akin to the likes of HUMAN LEAGUE, coupled with Katy's harmonic vocals, it's a pleasant listen...fans of MIKA may appreciate elements of this track too but, stand-out moments on this album over all are few and far between..."Chained To The Rhythm" is genuinely catchy with it's soft Caribbean vibe, simple beat, the chorus is knowingly infectious with a wonderfully written attack on false freedom, acceptance and normality in American culture, it's a powerful message and the inclusion of guest vocalist SKIP MARLEY (grandson of reggae legend BOB MARLEY) only adds to the flavour of the song, perfect or your Summer soundtrack this, while elsewhere NICKI MINAJ does her bit to inject life in to "Swish Swish" and its says a lot when you need Jynx from Pokemon to help you out...the rest of the album is annoyingly lackluster.

"Power" misleads the listener with an intense drum fill, allowing for the expectation of a bombastic, high-octane pop banger but, it quickly descends into a plodding, generally uninteresting number, it's too sporadic in tone. "Tsunami" again gives you false hope, this time in it's title...you expect to be washed away by a  hard-hitting pop anthem but, you just find yourself sinking into boredom, "Miss You More" does fit appropriately in theme but, again, it's a depressing ballad in place of some much needed energy, before Katy goes all Yoda for closing track; "Into Me You See"...sadly, more of the same which, while emotional it fails to draw any empathy from the listener...only yawns. Katy Perry is a capable vocalist and has proven in the past she's got the tunes in her but, here it's like she's done a LADY GAGA and toned it all down for a more personal and serious album. The result? 57 mins of nap time...there are brief points worth noting here but to be honest, she's done a lot better, trust me I'm a witness. [3]

"Nostalgia often lights the pathway to the future"...this is a quote taken from the current biography of Maryland pop-rock stars ALL TIME LOW, and it perfectly encapsulates the creative mindset the band find themselves in at this moment in time...having recently signed to Fueled By Ramen, front-man Alex Gaskarth stated that in order to move forward, they needed to look back, to rediscover themselves and the result was their brand new album; "Last Young Renegade"...Gaskarth says that, the deaths of music icons such as DAVID BOWIE and GEORGE MICHAEL, plus the throwback tones of hit TV shows such as STRANGER THINGS made him look back at his childhood, his time growing up, the last young renegade being used as both a metaphor  and a vessel for channeling his memories, his  thoughts...he would use an outside perspective though character to face his own demons and use it creatively and the result was the ten tracks on offer here...a darker but palatable record he claims...let's find out...

We open up with the title track and really it's an interesting choice...the renegade in question is an old flame, a past love...the betrayal of emotions courtesy of a fleeting romance, it's a bright, melodic introduction to the album, building up through the verse onward to a bold, pop-rock chorus that would appeal to fans of maybe 5 SECONDS OF SUMMER or WALK THE MOON...tailor made for radio this, a glossy start. The same too can be said for follow up track "Drugs & Candy" which truth be told, sounds a little creepy...on face value I'd say Gaskarth has some questionable interests...(I jest)...but again, he sings of the addiction to a sweetheart long gone, not wanting to give up his vice so to speak; young love...and it's fitting, it's an addictive little track, rich in pop hooks, very melodic and easy on the ears but some may say too much so, it's really rather tame...

The album has it's livelier moments too however, the annoyingly titled "Nice2KnoU" (Aside from infuriating my inner grammar Nazi) is a much more up-tempo energetic number, to suggest it's heavier wouldn't be totally accurate, but it's far more rock orientated than previous tracks here, the guitar is much more prominent and it does have a little more kick to it with shades of LOSTPROPHETS sprinkled throughout in some aspects, while "Life Of The Party" has certain crossover R'n'B elements layered within a truly catchy track, such a good chorus here honestly. Elsewhere, "Ground Control" features guest vocals courtesy of twins TEGAN & SARA, the Vancouver based singer-songwriters adding depth to the track with the extra vocal dynamic; it's a perfectly good pop song.

The general feel of this new album is overwhelmingly driven by it's tamer qualities however, and for the most part, it's not only a mellower record, we've got a mellower band. Tracks like "Afterglow" and "Good Times" showcasing a tenderness in their approach to writing this album, their youthful exuberance non-essential this time around, and without sounding derogatory, it's a more mature approach musically. All Time Low will always be pigeonholed into that alt. pop / pop-punk category in the grand scheme of things but here they've opted for something a little more relaxed. Already poster boys, this slightly pop driven approach can realistically only help them achieve further commercial success but there will always be those who don't like to see bands watered down. On face value this is a decent pop record as a whole and I'm sure it's chart success will ensure they can afford plenty of drugs and candy for some time to come...[5]

Usually, when you imagine Summer time from a musical perspective, you'll either think of outdoor festivals such as Download, tens of thousands of people rocking out at Donnington getting equal parts drunk and sunburned, or you'll think of the typical "Sun's out guns out" lad, shirt off, shades on, flip flops taking over all of the beer gardens listening to dance classics that for all intents and purposes, could be the same song looped over a million fucking times because they all sound the same...but what you generally don't think of, is literally anything associated with goths. Good god us Sun-fearing folk don't like the daylight as it is, black-clad and paler than an albino bathing in double cream, the Sun is our enemy! So it's surprising that one of the genre's most consistent outfits THE BIRTHDAY MASSACRE drop their newest album in June! The twenty year veterans have never failed to deliver with their super accessible macabre yet mainstream goth-pop, and they hope to continue that impressive trend with "Under Your Spell"...slap on the factor 50...let's get massacred.

The album opens up with track one..."One"...and immediately we're greeted with trademark TBM atmospherics; the tickled keyboards and soft, ambient synths provided by Owen have always perfectly accompanied Chibi's delicately hushed, sweet vocals and here it's no different whatsoever, she has an almost childlike innocence in her voice and you can't help but be mesmerized, this is such a relaxing track it's genuinely lovely. The title track follows and it's a slower, colder effort...a beautifully layered anti-ballad if you will, the guitars carrying emotion and it's rich in it's sorrow; classic Birthday Massacre. They have a formula and tend to stick to it like glue but when it's this good there's no need to mix it up too much, but on tracks such as "All Of Nothing", when they add subtle dub-step elements to balance out a grittier, sinister guitar tone it only emphasizes a sound that they've quite frankly perfected, this just ticks all of the boxes.

Speaking of boxes ticked, it wouldn't be a TBM album without some solid tunes and this is no exception..."Without You" has a simplistic, nostalgic 80's pop vibe, it's a great throwback track, this is how electronica is meant to sound..."Counterpane" by contrast is a lot heavier...the guitars have crunch to them, there's an intensity here and the chorus is incredibly catchy, fans of PVRIS may gravitate towards this one, while "Hex" could be befitting of any of the bands back catalog, TBM by numbers but in a good way, it's what you expect and they don't disappoint, before "Endless" closes the album on a high note with it's electronic pop hooks, it's very up-beat, very much a case of they've saved the best until last, rounding off the album perfectly, a definite album highlight. Despite not really having any bad tracks per se, there are still weaker offerings in the shape of "Games" which harbors a sultry electronic tone that reminds me of early CHARLI XCX and "The Lowest Low" which is a very fitting title, given the tracks somber tone, a despairing almost depressing ballad. Overall however, TBM have once again delivered on all fronts...this is an instant classic and slots into an already impressive lineage of albums that the Canadian's have produced over the years...some say they are a one-trick pony but let me tell you, it's pedigree...under your spell? Very much so...very much so indeed, a superb album, fuck the Queen, I've had two birthday's this year too! [9]

Some situations in life are difficult...you know like, tackling GCSE level algebra (Seriously who the fuck needs algebra? I mean think about it, maths is depressing enough as it is with a literal infinite amount of numbers, who the fuck decided it would be fun to include the alphabet?! I want to stab you in the face with a compass!) but when it comes to a music review, it's tricky to do your homework on a band when their only main story/selling point on social media is a quote taken from a separate review they had, from a publisher you yourself used to write for, completely contradicting your opinion on said band...well that ladies and gentleman is the predicament I find myself in right now. The band in question is Cardiff based quartet ARCADIAN HEART and, Noizze spoke of their self-titled EP in high regard..praising their commanding presence and unique sound...well recently the band got in touch with me personally through Twitter...I promised them a listen and a write-up...I may or may not have disagreed with Noizze...

We open up with "Elephant" and the title suggests something big, something authoritative but really in a way it's calling your bluff, the elephant in the room some might even say...while it's undeniably a riff-heavy hard-rock number...very 90's grunge-era in tone, like the elephant itself it's annoyingly grey. Yes it's got blues elements, yes it is a solid guitar driven track full of grit, it all falls flat because of what are essentially weak vocals, compared to the climatic instrumental work, vocally you'd say this song was....bored. "Frozen Blood" follows up with a hushed, delicate intro before slowly building towards a THRICE-inspired, soft, alt-rock number and while that's not entirely a bad thing, not at all, it's the vocals again that drag it down, gang-vocals aside, annoyingly sub-par...

"Where Are We Now" again utilises a soft intro but here sounding more based in indie-rock, albeit heavier, naturally...imagine a band somewhere between THE KOOKS and ASH to some aspects...but it soon becomes very much riff orientated and to some degree it's very much akin to early emo, when bands were raw not rambunctious in a soppy or theatrical sense, before we finish up on "Breaking Bones" and again we have a solid riff-heavy offering. Initially we have elements of ROYAL BLOOD throughout but there are deeper tones layered within this track that would maybe appeal to fans of say, TOOL (listen for it, honestly)...this is much better really and the guitar solo is a superb surprise, honestly the highlight of the whole EP, adding some much needed life, however it ends all too abruptly just as it was getting interesting.

While musically I can't deny that this EP is heading in the right direction, with plenty of positives; be it structure, tone...a riff-laden dose of hard-rock you simply have to appreciate, the EP here is massively let down vocally...it misses the mark, weakening the EP. Arcadian Heart? Follow it, please, go live in the trees for a bit, take a deep breath of country air then try again...[4]

Ah Finland...a country known for it's beautiful lakes, the solace of it's snowy picturesque countryside...it's cute Moomin people...Santa Clause...oh, and it fucking loves heavy metal! Yes the Finn's love a bit of noise...so much so in fact that they officially have the worlds largest amount of metal bands per capita according to population density, with nearly an average of over 53 bands per 1000 people! I don't know whether to be scared or impressed! They just can't get enough of it! (I fucking love Finland)...One of the many, many bands to choose from and a perfect example of their cultural contrast, is KING SATAN. Hailing from Tampere, this dark and devilish EDM inspired metal monster has recently released their brand new album "King Fucking Satan"...affirming or arrogant? Let's find out...

We open up with "Dance With The Devil" and it act's as a wonderfully themed introduction; an invitation of the most demonic order courtesy of vocalist King Aleister Satan to come join his debauched troop of followers for an intense, electronic industrial metal fusion...it's equal parts evil and enjoyable in it's extremities, the aggressiveness of his course, growled vocals with some genuinely catchy techno-beats fueling the track, it's a positive start. "As Above So Below" begins rather regimented, imagine an almost EDM fueled military march, but, it soon comes to life as an intense trance-nation flurry of riffs and synths, attacking the senses from numerous angles...there are hints of early WILLIAM CONTROL meets HATEBREED and it's weirdly enjoyable...

"Enter Black Fire" is a really dark EDM number and to be perfectly honest when it initially get's going I can't help but think of Mortal Kombat...musically going all Liu Kang on your ass (fuck BPM, measure this in KTTFPM; kicks to the face per minute)...but jokes aside, the video for this track is deeply disturbing, scenes of war, destruction and neo-nazi imagery coupled with random naked burlesque performers, it's thematically very alluring, gravitating to the idea of submitting to the darkest reaches of your mind; very MIDNIGHT CONFIGURATION, an album highlight. "Sex Magick" is again, disturbing for other reasons...keyboardist Kate Boss supplies vocals here and very often she sounds almost, childlike, there's a high-pitched quirk to her voice, there's a dirty, faux-innocence to her delivery and coupled with the tracks title it's concerning as she squeaks of sex and death...

There is a mid-album lull with tracks like "Satanized (Praise Hail Satan)" and "Of Infernal, Eternal & Spiritual War" sounding more sluggish, slowly plodding along and are relatively generic, before we pick things back up again with "Destroy The World Or How To Combine Love And Misanthropy"...despite it's annoyingly long title, it does house a bleak, MARILYN MANSON inspired piano-lead anti-ballad...the drawl of his vocal, the sentiment in the tracks tone; it's painfully beautiful and contains some really accessible pop-hooks, this is a brilliant track, before we finish up on "Kali Yuga Algorithm"...inspired by the Hindu belief in the fourth stage of humanity, basically we are on our last legs and we have nurtured our own demise; powerful stuff. King Satan may be new demons on the block but they aren't short of confidence...with a real bullet point of an album, they've well and truly established themselves within a generally inner-circle genre...having already played alongside the likes of PAIN and VELVET ACID CHRIST they've had a strong start and I can't imagine them going back underground anytime soon...sorry Liz...long live the King! [7]

 On the week of possibly the most important and almost revolutionary British general election for decades, (As a Labour voter, I'm incredibly disappointed and dumbfounded by the sheer audacity shown by Theresa May and her hypocritical notion of a DUP coalition...shame on you, you baggy-eyed, spineless sack of upper-class twattery! Do yourself and everyone in this country a favour, do another u-turn but this time, fuck off out of No.10!) it's ironic that we find ourselves heading to St Ives, Cambridge...the home of historical political figurehead Oliver Cromwell...for our next band; HOLLOWSTAR. Formed in 2015, the four-piece (consisting of bassist/vocalist Joe Bonson, drummer Jack Bonson and guitarists Phil Haines and Tom Collett) have just released their debut EP entitled "Some Things Matter"...vague indeed...let's check their musical manifesto...

We begin with "Lay Down" and they've opted for a feel of authenticity from the word go...you can hear the guitars being plugged in, the feedback brief but clear, offering the impression of "we're a live band, we're a bands band" and while some would be torn between cliche and cringe-worthy, it's actually a refreshing change...too many bands want the studio mix to sound perfect instead of having any level of character and sometimes you just can't polish a turd y'know? The song itself is quite slow in a southern blues rock sense; the riffs are solid and it rumbles along as standard, coupled with the semi-gritty vocals and a pleasant solo, it's a good opening track. "Holding It Together" follows up immediately and the brief drum-lead intro carries into more of the same as above really...the riffs are again, decent, there's an old-school honesty to their playing, it's rich in that classic style; no nonsense and down to business but a little samey...

"Feel The Burn" has a distinctively mellower feel to it, from it's stripped down intro to the drawn out, soulful notes of Joe's vocals...it's a deeper song and would easily appeal to fans of say, THUNDER or early BON JOVI in it's own way and despite it's tone is far from a mid-EP lull, before EP highlight "New Age Lullaby" ironically takes it up a few gears...it's back to their beloved brand of bluesy hard-rock but this time they've brought along a lot more swagger; it's more up-beat and is brilliantly passionate, they really found their stride here...sadly however, "Future City" falls back into an almost by-numbers approach to this genre and it doesn't incite a great deal of enthusiasm, and closing track "Guilty" really just, fails to inspire for more or less the same reasons...    

If you're a fan of the likes of BLACK STONE CHERRY, HEAVEN'S BASEMENT and SILVERTIDE for example, odds on you'll love this, it ticks all of those boxes but over the six songs provided it really does little more than slot itself into that pigeonhole...the playing is good, the band are good, there are passionate moments yes, but there isn't really enough to make them stand out other than they are a good band...and as arse-backwards as that sounds, it's true. For all the talent they have, they really have nailed this genre I wont deny that but, their sound comes across as, well, boring. According to the exit polls, this EP's election only got a 50% turnout...[5]

Being British, when I think of Spain, I think of budget beach holidays with cheap flight packages (Or if like my Nan you don't like flying, a Ferris coach holiday) and even cheaper sangria...I think of Sun, I think of Pedalo's...I think of idiots on scooters that sound like hair dryers seemingly constantly lapping your hotel...what I certainly don't think about, is Gothic metal...however...if we venture onto the continent and visit the city of Murcia we'll discover more to music than maracas! Let me introduce you to DEMISED...formed back in 1996 and originating as a death metal outfit, the four-piece (consisting of vocalist Andrés Pestana, guitarist Alex Yustre, drummer Adrián Hidalgo and bassist Paco Porcel) have mellowed, altering their sound and, are this year releasing the brand new album "A Warm Place To Stay"...metaphoric of love and belonging in one's arms, or quite literally the most basic description of Murcia you'll find on Trivago? Let's find out...

We rather originally begin with "Intro" and it quite simply does exactly what it says on the tin; at less than two minutes you're introduced to the album via the haunting melodies of a children's choir, accompanied by church bells and rain fall, it's incredibly dramatic and sombre, allowing for a cold and foreboding initiation, before we delve into first track proper "Fractures & Ashes". Here we truly set the tone for the album and it's a surprisingly judicious interpretation of what is a traditionally very non-Spanish genre...the guitar chugs along with some slow but steady riffs and it owes more than a fair amount of credit to PARADISE LOST, the addition of the synths towards the tracks climax add extra depth and add more creative flare but even without them, it's a strong, traditional Gothic metal track and done very well too. That influence can also be heard on "From The Storm", very reminiscent of mid 90's transitional era Paradise Lost this, with a dramatic style harbouring nods to TIAMAT, the lengthy piano segment leading on to a fade out closing the track with a feeling of opulence...

Elsewhere too, tracks such as "Vastness" with it's melodic guitars and organ-esque synths take the listener on a dreary, almost despairing journey, while "Where We All Belong" channels early THE 69 EYES in it's own low key misery, fueled by some exceptionally deep vocals providing some true Gothic beauty, before "The Mournful Flight" ends things with more up-tempo characteristics; hints of AVANTASIA benefit this blend of melodic metal, closing the album on a pleasant note. The album as a whole isn't entirely on point however, with tracks such as "Top Of The Path" and the title track generally being slow and sluggish (although the latter does retain interest with the addition of Loly Mateo, airing the track with her hushed clean vocals)...sometimes resulting in more gloom than doom. Murcia ain't Whitby to say the very least but here, Demised put the 'pain' in Spain...they clearly have a respect for the genre paying homage to some of it's heavyweights and doing so with a level of class, however unexpected it may be...I mean let's be honest...The Addams Family wasn't filmed in Benidorm now, was it...[6]

Sex, drugs and rock & roll...typically and, adhering to cliche, the rock star is cool, HE gets the hot chicks...he's everything you want to be...but where are the ladies? When you think of true, bona fide rock stars...who do you immediately conjure up in your mind? It's mostly male dominated...from ELVIS PRESLEY and his hip-thrusting lady luring charm...all the way through to say, (and an extreme example to say the least) GG ALLIN...bollock naked, literally shitting on stage, rock & roll and all it's umbrella terms has always been a cock-fest...the girls get an unfair deal here...apart from one Debbie Harry...if ever there was a woman who took rock and roll by the balls, it was the BLONDIE front-woman. Sure there are ladies who rock harder, but this isn't about genre, this is about legacy and Debbie Harry has been a punk rock queen since the 70's and do you know what? She's still going strong to this day! Yes Blondie have always been iconic and their contribution to pop culture can only be admired, but can they still retain a level of relevance so many years down the line? With new album "Pollinator" they hope to spread their seed to a new generation...will they germinate?

It has to be said, punk rock as a movement was intuitive, free, and despite it's brash nature it was and always has been a sensible genre, speaking out against political corruption etc...and while musically in age Blondie have calmed down a bit, they remain sharp...and this album brings together a multitude of collaborative artists showcasing Blondie's willingness to evolve and stay fresh creatively after so many years, and what better way to kick off than with a song with JOAN JETT? "Doom Or Destiny" gets us underway with that classic, old-school new-wave punk  vibe...it's incredibly nostalgic and the production has captured the vibe of the era perfectly; there's a simplicity to it that takes you back and the mere fact Jett is involved automatically doubles all credibility...it's a hell of a throwback and a good start to the record...

The album does continue to play well too, with "Long Time" being generally up-beat, again utilizing that classic Blondie sound; it's melodic and vibrant with a decent hook throughout resulting in some genuinely pleasant music, but it does feel like it drags towards the end, sometimes a songs only downfall is not knowing when to cut off, this is one of those songs, repetition not helping...but this album has more to offer; lead single "Fun" is a fantastically catchy disco-funk inspired track with infectious dance-along beats and it's incredibly, well, fun...this is more like it! Likewise with "Gravity" which was co-written by current pop-queen CHARLI XCX, experimenting with auto-tune and coupled with the soft-synth style it's a nod to today's production values but with a classic twist, while "Too Much" keeps the infectious synth-infused disco pop coming strong, and "My Monster" calls on the support of THE SMITHS guitarist Johnny Marr, bolstering the indie-rock qualities of the track.

No one is immune to duds however, as "Best Day Ever" couldn't be more contradictory in sound; mediocre at best and hampered by a poor vocal display, plus "When I Gave Up On You" with it's mellow acoustic country elements almost sounding out of place here, while "Already Naked" simply sounds like generic album filler...going by the evidence here it's clear Blondie can still deliver a tune or two but given the fact that they've relied on outside influence is disconcerting...yes it's good to see what's popular these days but at the same time it gives off the impression of lack of confidence creatively...there are some decent moments here but overall you can't help but feel there's not much gas left in the tank. Blondie might be pollinating but this could very well be their last good crop...harvest now while you can. [6]