It’s been a couple of years since we’ve heard from THIRTY SECONDS TO MARS…not since 2013’s head-turning, art-rock concept album “Love Lust Faith + Dreams” in fact, which, while at least critically praised for its experimental qualities, was a drastic switch from their established grandiose emo-rock…so why the gap? Well aside from a Guinness World Record holding tour of over 300+ dates, front-man Jared Leto returned to acting for a string of successful supporting roles, (If you exclude his attempt at The Joker in “Suicide Squad”) most notably his appearance in “Dallas Buyers Club” for which he won ALL of the awards! Seriously, he won fucking everything! Now, after their five year absence, 30STM return with yet another concept via album number five entitled “America”.

Before we delve into the music here I have to point out the concept begins with the album cover itself and the band have seemingly opted to appeal to fans of Pokemon, honestly, collectors beware Jared wants your money! Despite being arguably the worst album art of the year, aesthetically anyway, the idea was that there would be lists comprising of what makes America “America”…and along with creative director Willo Perren, 200 were made…TWO HUNDRED! Luckily that was whittled down to six, but still, do we even want ONE copy of this album let alone six? That’s what we’re about to find out…

We get underway with lead single “Walk On Water” and we’re immediately met with anthemic gang vocal harmonies, backed by a rhythmic, sultry dose of electronica…the production here is so clean and it really sounds big, it’s like Jared has been listening to a lot of IMAGINE DRAGONS for example, and if that wasn’t enough in its own right it’s a very socially-politically charged song, with the video lost somewhere between being on the tourist board and having a random stab at propaganda…but it’s a decent start to be fair. “One Track Mind” features the first of two collaborations, with A$AP ROCKY lending his lungs to this one…an incredibly smooth, low-bap style of contemporary hip-hop, it’s layered with ambient percussion and a cold autotune-rich vocal delivery, with Rocky’s contribution itself being rather minor, though the restrained rapping does add texture before the very 80’s guitar solo ends the track on a high point. An instrumental piece “Monolith” then gradually builds up with some tribal drumming and snarling electronica, before it’s intense, dramatic, almost cinematic climax…leading into the utterly anti-climactic “Love Is Madness” featuring second collaborator HALSEY. Despite its powerful, emotive chorus, it’s quite a dull, stripped back electro-pop track, it really is a disappointment, and you’d swear they were doing this on purpose…

The rest of the album…? Well…just like several of the countries amendments, there’s plenty on this record that could do with a rethink. “Rescue Me” has elements of THE POLICE and the best thing going for it is its title because it really does need rescuing…”Dawn Will Rise”…if I’m to be frank even the Sun itself would struggle to get up for this one, it’s so lacklustre, “Remedy” while at least being a half-decent little acoustic piece is a far cry from the bombastic, passionate displays we know Jared can deliver which by now we sorely miss, before “Rider” ends the album quicker than you can find the word ‘abrupt’ in the dictionary…seriously, it’s like someone put the album out of its OWN misery. OK, yes, you can’t keep a band pigeonholed and 30STM have once again tried something a little different, but in essence they’ve gone and done a LINKIN PARK. As accessibly mainstream this record is in the modern climate, it’s as though they’re OK with losing chunks of their original fan base for another chart position. Jared is lucky he’s a handsome man and he’s got young girls getting all 30 seconds to moist queuing for their records, but musically this is just lazy. Make America great again? Start small…make “America” decent first is it lads… [3]

As you’re likely to be well aware by now if you’re a long-time reader of this blog, I have bit of a soft spot for Finnish bands; there’s just something unique about their blend of Gothic, melancholia infused music, with their penchant for all things doom and gloom…and whether it’s the dark pop hooks of HIM, the symphonic bombardment of NIGHTWISH or the riff-heavy pummeling of POISONBLACK, there’s always been something personally alluring about Suomalainen vaihtoehtoinen musiikki. Today however we’re doing the old switcheroo and sampling some of Finland’s ironically less popular pop music, and a lady by the name of SAARA AALTO. If you’ve paid attention at all to my posts over the past couple of months you’ll already have picked up on the fact that Saara was this year’s Finnish entry at the Eurovision Song Contest (And was my personal favourite) but doing a little digging through the snow, we learn she’s far from a new kid on the block of ice…

Saara was born in Oulunsalo in 1987 and prior to this year’s Eurovision she was already a recognised name in some aspects as a voice actor, having done Finnish voice-overs for Disney’s “Frozen” and “Alice In Wonderland”…however singing has always been her passion and she’s actually been releasing music since 2011, having several independent albums under her belt, as well as multiple attempts at talent shows including “Talent Suomi” and “The Voice Of Finland”…even “The X Factor” here in the UK! Her trouble though was a case of that classic saying; always the bridesmaid, never the bride…coming in at 2nd place every single time. 2018 sees her try to rectify that with her first ever major label release through Warner Music; “Wild Wild Wonderland”…let’s check it out.

The album opens up with that Eurovision entry “Monsters” and honestly it’s still as fun as ever, despite being originally released in February. There isn’t really much I can add to this one from my preview of Lisbon truth be told; with the subtle electronica and temple block inspired synths, coupled with Saara’s bold, melodic vocals, with a soaring chorus this is a wonderful dance-pop tune and it still sounds fresh, a faultless start here really. “HӒN” follows up and we’ve got a really rhythmic, funk-inspired piece with brass elements, coupled with Saara’s assertive vocal presence, its brief but it is enjoyable. “Dance Like Nobody Is Watching” on face value would logically be a big, bright, colourful piece of music, focused on letting your hair down and partying but in reality it’s a sombre piano ballad, actually making it that much more powerful; a very emotive track and rich in reflection and self-confidence, resulting in an incredibly sweet listen, absolutely lovely stuff.

“My Touch” continues to pump out the dance-inspired soft pop but does incorporate subtle R’n’B influences throughout the pre-chorus, while elsewhere Saara dabbles in other cultural samples with “Walking On Nails” having a slight Spanish guitar tone to its acoustics, and bonus track “No Fear” utilises low-key classic Indian instrumentation to add character to an already up-beat, positive track. The rest of the album is pretty much consistent really…Saara’s had a decent writing team working with her for the record and all things considered this is a pretty congenial, albeit straightforward pop album. It’s got its highlights, though it does peak far too early with THAT song getting the album underway, but there’s nothing overtly negative to be said about the record in all fairness, it’s worth the listen. [7]

Over the past decade or so the UK has properly stepped up in terms of the whole culture surrounding underground urban music, ranging from hip-hop to rap, grime and alternative R’n’B with everyone from THE STREETS to LETHAL BIZZLE and recently STORMZY, all contributing to what is now a flourishing scene up and down the country. You may be wondering why I’m talking about this as I rarely if ever touch rap and it’s many umbrella terms, but, it didn’t put today’s artists off getting in touch with me via email…and being the open minded fellow that I am I decided to swap the breakdowns for the beats and broaden my musical horizons; allow me to introduce to you TOO MANY T’S. The London-based duo (Consisting of Ross Standaloft and Leon Rhymes) have been described as the UK’s answer to THE BEASTIE BOYS and have had several high-profile endorsements from the likes of ROB DA BANK and WU-TANG already, and not too long ago they released their hotly anticipated debut album “South City”…the lads asked me to check it out so the question is, how many T’s is too many? Let’s find out…

We open up with “South City Court” and it’s not long before we’re taking a nostalgic trip down memory lane (If memory lane was a dark city side-street in the wrong part of town)…this is very much drawn from old-school hip-hop with its swagger, tinny percussion and overall tone, it’s so easy to understand where the Beastie Boys comparisons come in to play it has to be said. With its crisp production yet simplistic approach it starts the album off really well. Follow up track “Sixty’s Ford” again opts for a less-is-more mind-set with a primarily percussion lead piece, with subtle electronic elements filtered through sparingly…the vocals are slick and stylistically here they’ve gone for a more jungle-infused grime track, coming off as slightly deeper, slightly darker.

There are several strong cuts spaced out over the course of the album in all fairness showcasing a variety of influences, highlighting the level of quality the UK has been churning out in recent times, “Diamond’s Gold (Ice, White & Black)” for example utilises a strong melodic hook during the pre-chorus that channels artists such as GORILLAZ while the rapping quality has an attitude to it that would appeal to fans of say, KANO or PROFESSOR GREEN…elsewhere then trilogy completing “1992 pt.3” (Which you may recognise from Camden Hell’s lager adverts) is an upbeat, brass infused piece that has a strong DIZZEE RASCAL vibe layered throughout. New single “Tearing Us Apart” is a much softer, rich, R’n’B ballad type piece that has a genuinely infectious groove, showing further diversity, before closing track “Start The Fire” rounds things up with a bold, brassy, pulsing, techno-heavy number, gradually coming down to an almost TWENTY ONE PILOTS inspired piece of alternative pop.

It’s not all bloodclart  quality though yeah you understand me fam? The ‘skits’ here are utterly pointless and serve the album no merit whatsoever, even on an artistic standpoint; “Sira’s Biscuits” and “FM Mangal” respectively as mundane as each other, if anything just highlighting the down-to-Earth mentality of the two but that’s scraping the barrel, other than that it’s a well delivered, diverse hip-hop album. Not my usual cup of ‘T’ (I’m sorry that really is one too many T’s) but definitely a recommended listen. [7]

Back in 1999, in the city of Wilkes-Barre, Pennsylvania, a young man by the name of Benjamin Burnley would lay the foundations for what would become one of America’s most popular alternative rock bands; BREAKING BENJAMIN. As the sole remaining original/founding member, Ben has overseen virtually all of the song-writing and composition amidst a series of line-up changes (And lawsuits) but has seen the band attain multi-platinum status in the States with a string of successful albums…however…due to a serious case of aviophobia, as well as hypochondria, it wasn’t until 2016 that Ben and the rest of the current band finally left the comfort of their home country to play their first shows overseas. 2018 sees them return with album number six; “Ember”…have they found new inspirations on their international travels? Let’s find out…

The album opens up with a brief intro piece called “Lyra” and it’s a delicate sounding, sombre piano-led instrumental; based in Greek mythology it represents the Lyre Of Orpheus and is said to produce music so charming that it could affect inanimate objects, and conceptually here that works for this 30 second piece of music, but as we lead into first track proper “Feed The Wolf”, all of that charm goes out the window. We’re met with a thick wall of chugging riffs as Ben delivers his duel vocal onslaught; fleeting between deathly growls and harmonic melodies as he sings of fighting temptation, and giving into the urge of man’s animalistic nature and it’s emotive despite its lag. The albums lead single “Red Cold River” follows up next and really speaking we have more of the same…the combination of his smooth, clean vocals with his intimidating metal growls showcase Ben’s admittedly impressive range, but structurally the track is quite generic and honestly quite bland, despite the ferocity of that pre-chorus…

The album isn’t without it’s highlights however…”Blood” utilises solid groove and rhythm over some well delivered hooks that make up the chorus, using Ben’s growls sparingly and it’s a lot more effective here; it’s balanced incredibly well and allows the chorus to have that much more impact and intensity, and the track stands out all the more for it, while “The Dark Of You” takes a different approach altogether, opting for a chilling power-ballad of sorts, the change of tone no less emotive but it does provide an extra level of depth and variety…though that there is the albums primary flaw; variety…or, lack thereof. Yes, as I’ve previously stated Benjamin’s vocals ARE impressive as he’s able to sing and snarl with the best of them, but here the writing behind it is far too monotonous or two-dimensional. While there are peaks and troughs of specific talking points scattered throughout the 12 tracks on offer, the idea of repeat listens is more than a touch laborious, with the album as a whole coming off as disappointingly boring and repetitive in places. Ember is quite fitting as a title really, for on this evidence, the fire’s gone out and we’re left with just a smouldering lump of used up carbon. [4]

Having formed in Blackwood back in 1986, over the past 30+ years the MANIC STREET PREACHERS have become not only Welsh national treasures, but one of the biggest bands to ever come out of the UK. Despite the departure of guitarist Richie Edwards back in 1995 (I say departure, he LITERALLY disappeared off the face of the Earth) the now trio have continued to grow and cement their legacy around the world, however in recent years their style has mellowed to accommodate middle-aged life, and their musical output has been increasingly laid-back. 2018 see’s the valley’s veteran’s return for the first time since 2014’s “Futurology” with the brand new album “Resistance Is Futile”…recorded at their brand new Newport studio, let’s see what’s so hard to resist…

We open up with the track “People Give In” and it’s a quaint little track essentially highlighting the fact that we’re all human at the end of the day…there’s a chirpiness to the track; a light, airy feel, backed but the Vulcan String Quartet and some sweeping string sections, while vocalist James Dean Bradfield sings of the up’s and down’s we endure in life and the tone here gives you a sense of ‘It’s OK…just try again’ and it’s an encouraging, positive listen. One of this album’s traits however according to bassist/lyricist Nicky Wire was that it was to capture the essence of both “Generation Terrorists” and “Everything Must Go”, with the sound designed to reflect upon that era of the band, and follow up track “International Blue” does a decent job of this…with Bradfield’s distinct vocals and wailing guitar sequences, coupled with a simplistic melody it’s trademark MSP and an enjoyable listen.

This ideology is proven further by the likes of “Broken Algorithms” which harbors a subtle sense of early punk-rock which made the band famous in their formative years; the guitars having more attitude, with Sean Moore on drums then having more of an assertive presence…the overall tone being more youthful and in typical Manic’s manner they tackle society and its flaws, while “Sequels Of Forgotten Wars” utilizes more gritty guitar and the message of never-ending conflict; “There will be no parades for the likes of us” because the war is never over, the ‘blue screen’ a possible metaphor for the government and how they conduct themselves etc, they can manipulate what they want you to see and know, keeping the war machine going.

Elsewhere “Hold Me Like A Heaven” uses everything from acoustic melodies to lulling synths and gang vocal harmonies to create a truly relaxing sonic experience, wonderfully easy listening, while “Dylan & Caitlyn” mirrors this with an orchestral-led collaboration with THE ANCHORESS, (Welsh singer Catherine Davies) her vocals adding extra character to the albums overall presentation. The rest of the album pretty much captures exactly what Wire set out to do; it’s a modern take on a sound that made the band what they are today and it’s a nice little trip down memory lane for long-time fans. Lyrically astute and instrumentally crisp as always, song writing has always been a strength of these Welshmen and here they prove that yet again, in terms of story-telling through song, they’ve always been among the best. However, despite spawning an impressive five singles, none of them are entirely memorable as instant hits when compared to the level of quality in their back catalog. Still though…13 albums in and they’re still preaching, credit to them. [6]

If you’ve at all followed the UK’s alternative scene over the past say, ten years or so, then no doubt you will have at some point stumbled upon the work of Scott Lee Andrews. The wild Welshman originally found minor fame with mid-2000’s post-hardcore rhythm thieves MIDASUNO, before forming Cardiff-based chainsaw loving noise cartel EXIT_INTERNATIONAL, but, more recently, and arguably most notably, his collaboration with GINGER WILDHEART for the third installment of the darkly psychotic project MUTATION. Very prolific and reliable in underground UK music circles, Scott has always been about the intensity, the invigorating sense of finding pleasure in noise and chaos and here we find him working on yet another project to quench his own thirst for the unorthodox. Allow me to introduce to you JAWS OF DEAF and the EP “Delicious Discomfort”…6 tracks hand picked out of around 50 that Scott’s been working on, as he prepares to drop a full length album. Now settle down and get uncomfortable as we check it out…

We open up with “Bait & Switch” which at little over 2-minutes long is the shortest track on offer here and Scott wastes no time delving into his frantic, raucous, thrashy punk roots with an absolute bombardment of messy riffs and demented screeching’s. In his own words; “I really haven’t got a clue what it means”…and that’s partly the fun of it, sometimes noise for noise’ sake is therapeutic. We follow this up with the wonderfully titled “Porno Without The Fucking” and as ridiculous as the statement is, it’s no surprise to learn it came from a YouTube comment that Scott read…intended as a derogatory slur, it’s full of oxymoronic similes, riddled with daft humour, but also a deeper meaning of how the very medication that’s meant to help you can strip you of your identity, resulting in a creative catch-22…another interesting and ultimately fun track.

“Cupid Stunts” is another brilliantly titled self-depreciating effort, with Scott using bleak humour and a wry smile as he sings with a jolly despair about his questionable decisions in life; full of melody and some surprising vocal harmonies it channels the likes of WEEZER in its overall tone and delivery, even down to the climatic key change and its possibly as accessible as you’re likely to find him on any record. Having said that, there’s also “Californian Frown” to take into account which I’ll be honest, initially reminded me of the credits sequence from “Bottom” but that’s something for another time. A bass-driven affair with wacky vocal delivery (Featuring guest vocalist Givvi Flynn), finding itself stuck between being musically designed for Exit_International but lyrically leaning towards Mutation, resulting in a quirky little, edgy indie-rock number. The final two tracks; “An Alone Wolf” is ripped straight out of “Ash Vs. The Evil Dead”; an animalistic take on grunge, before closing track “The World Looks Better From Behind” is an intentionally misogynistic play on words, but also utilises hidden depth with the idea of hindsight and nostalgia. Musically exploratory, dabbling in brass instrumentation for extra character, the drawl of Scott’s vocal harbors elements of Matt Bellamy from MUSE; elongating each note as the track is stretched towards its dying moments.

All in all despite being just six tracks in length, it more or less caters for everyone if you’re familiar with any of Scott’s previous work; it’s got the tumultuous punk-inspired tones of old, it’s got groove-heavy song writing at its core but it also retains a level of darkness brought on by his collaborations with Ginger…it’s not polished, it’s not fucking meant to be; it’s just raw, and rowdy and fun…he meant delicious discomfort quite literally. [7]

The beautiful island of Trinidad; the southernmost island of the Caribbean just a few miles off the coast of Venezuela…a colourful and vibrant place with a rich, diverse culture of exotic carnivals, and also the inspiration behind classic stories such as “Treasure Island”, to many it really is a tropical paradise, however, the steel-drums aren’t the only source of ‘metal’ you’ll hear whilst you sip your cocktails in Las Cuevas Bay, for even the Trinidadian’s know how to rock out; let me introduce you to HAIL THE HATTER. Having formed in 2015, the metal outfit started off when vocalist Jonathan Boos and guitarist Dax Carter decided that the world of rock music was lacking a sense of fun, and thus HTH (Now completed by drummer Nickolai Assam and bassist Aaron Lowchewtung) was born. Having recently released their debut mini-album “Discovering Light”, let’s see just how mad these hatters really are…

We open up with a little intro entitled “The Coming Of The Hatter” and frankly I hope he brought tissues…I kid…incredibly foreboding; it’s a spoken word piece foretelling the hatters arrival as an omen among the thunder and rain, bringing with him the imminent doom for the people of the island, before we get chants of “Hail The Hatter!”, likening him to the devil himself. It sets up an interesting concept and we’re a far cry from Wonderland here let me tell you. First track proper then is “Bone Grin” and aside from the incredibly random Arnold Schwarzenegger opening, we have a brief build towards some slick, blues-inspired hard rock. Initially up-tempo it channels influences such as GUNS ‘N’ ROSES which you can pick up in the tone of Boos’ vocals and definitely the solo towards the end; it’s a decent start…aside from more Schwarzenegger rounding it off…you’re NOT AUSTRIAN DEATH MACHINE…stop it.

Next up we have “God Bless The Beast” and we’re pretty quickly head-banging to some classic riffs and solid percussion; it’s quite nostalgic in sound for the most part, acting like a throwback to vintage NWOBHM acts such as SAXON and JUDAS PRIEST given it’s tone and even lyrically, you can hear them praise the likes of BLACK SABBATH, they’re definitely tipping their hat to their influences here. “White Walls” initially slows things down dramatically, reduced down to no more than a sluggish drawl with tired riffs mixed with brief guitar licks and gang vocals; so incredibly lethargic, that is until a brief up-tempo fill click-baits you into thinking the song is waking up, but alas it’s short lived. “Akasha”, given its name has a sense and feeling of both vacuity and freedom, with Carter’s guitars flowing through your conscious like they would through space and time itself, before we end proceedings then on the title track, and the longest track on offer here. After a long winding string-section leading into the track, we’re met with more vintage metal at nearly three minutes in, backed with some emotive, soaring vocals from Boos. It’s a dramatic number, especially with the delicate tones of the piano wrapping things up, ending the record on a high.

It’s an interesting listen all in all really and musically they’ve delivered, there’s ample to be enjoyed here for fans of hard rock, classic metal and maybe even a little prog too if you will.  The band wanted to incorporate a little ‘fun and menace’ into their sound and style but sadly they’ve not really delivered on the fun bit to be honest; given their name and such a statement, I was expecting something more off-kilter and essentially bonkers but sadly didn’t so much as smirk once, and coming from the West Indies, well…it’s just not cricket. [6]

At the risk of stating the obvious, I’m quite partial to a review…yes I spend a fair amount of my time writing up these blog entries and contributing to the team over at All About The Rock, but a lot of my free time is spent watching YouTube reviewers too; guys like Anthony Fantano, AVGN, Brandon Tenold and more recently I’ve stumbled upon a guy named Decker Shado; the internet personality with the best hair. He, like most internet movie reviewers has gone through the “Alien” franchise and having watched these particular videos over the last day or so, it’s only ironic that this next review has ties to the movie itself…thematically at least, let me explain…

​Allow me to introduce to you a band by the name of SICK N’ BEAUTIFUL and to utilise some professional wrestling terminology here, they’re ALL about the kayfabe. Hailing from Acheron LV-426, a moon orbiting Calpamos, 39 Light Years from Earth, from which the USCSS Nostromo picked up a distress signal, before its crew got face-hugged the fuck out of in the aforementioned movie “Alien”. Or, if you prefer…Rome, they’re from Rome, Italy. The intergalactic 5-piece (Consisting of vocalist Herma, bassist Big Daddy Ray, drummer Evey plus guitarists Lobo and Rev C2) apparently “crash landed” in the Italian capital after their spaceship; the BFS9000 suffered engine failure on their travels and they’re a bit stuck, but as luck would have it they’re a space-age musical circus freak-show and request your generosity in funding the repair costs by checking out their brand new album “Element Of Sex”. Clearly not endorsed in any way by the Weyland-Yuntani group, let’s see if they deserve our hard earned dollar…

We open up with “Fire True” and immediately we’re met with a dramatic, string-inspired synth sequence, verging on symphonic really, before we’re thrust right into the crunch of some thick, throwback nu-metal riffs. The heavy intensity and subtle electronic elements musically places this somewhere in deep space between KORN and CANE HILL, add to that then a slick guitar solo and overall we’ve got a decent opener here. Recent single “Megalomaniacal” is up next and it brings the tempo with it too, mixing raw, punk qualities via Herma’s cacophonous vocals, with a classic hard rocking rhythm…also the “Mortal Kombat” inspired arcade game video that accompanies it is a bit bonkers to boot; all in all a fun track. “All Wanna Go To Heaven” then reaches an entirely different echelon as the albums clear stand-out track…the gradual build of seductive keys and simple percussion leading into cleaner vocals, capitalising on influences such as GARBAGE and NO DOUBT resulting in a perfectly catchy piece of pop music; the hooks and overall groove here will have you hitting repeat with no doubt ironically, this is superb.

The trouble with that is, the rest of the album can only go downhill, but it doesn’t go too far down it has to be said; “Hellawake” is another brilliant example of synth-pop combined with hard riffs and hushed ambiance for a solid, almost anthemic listen; layered incredibly well…”HeXxX (The Element Of Sex)” has a certain retro feel to it, partly channelling the likes of THE B52’S in tone giving it a fun, up-beat feel, while “Cryptid” utilises a pacey guitar driven approach, rich with gang vocals, melodies and subtle breakdowns for a well delivered ear-bashing, before closing track “C*mmunion” ends on a high note with more hooks and accessible pop-rock enjoyment. It’s not quite a perfect album over its ten tracks though sadly; “Slam!” despite being heavier and grittier musically plods along a touch too methodically, while “New Witch 666” undergoes a remix following its initial release in 2015…not the best of tracks to begin with, the revised cut gives it new life but it’s still weaker compared to what else is on offer. All in all however we have an undeniably strong album here and from start to finish these xenomorphs entertain on a number of levels. If we could just get Ash to sabotage the fuck out of their repair operation given his previous, maybe they’ll stick around a bit longer…because whilst sick they are indeed beautiful. [8]