When I posted my 2nd “Unlucky Dip” collective singles review, I joked that it was weird for me to not have roasted any of them, and that I had in fact enjoyed each of the seven tracks to varying degrees. This was of course eventually proven too good to be true, when I recently reviewed the debut album by London pop-duo BEFORE SUNDAY, on the back of their inclusion in the feature. Let’s be honest they essentially catfished me with their GHOST cover! Well anyway, this next review also happens to be taken from that singles collection, but this is actually intended to be a way to make up for a passive aggressive write up I gave the band in question…

I know what you’re thinking…Gav? Apologising for comments made in a review? How much have they paid him!? Well fret not, I don’t do bribes (I’d accept the money, but write an even WORSE review then deny any transactions! #RickySpanish) but I will hold my hands up for being a dick. The band in question are JULIPER SKY and the Manchester based outfit (Consisting of lead vocalist Jamie Lambert, guitarists Dan Parker and Liam Grindell, bassist Roger Damen and drummer Ben Pursehouse) have a new track due out called “Afterglow”, which I featured in my round-up. It was a decent enough track, akin to the likes of BLOSSOMS, but I had no track to share, to music video to share, not even the artwork for the single, so I was a bit bitchy. This, believe it or not, made me feel a tad guilty, so I thought I’d revisit their newest EP, which also came out this year, and do a proper review. With that said, let’s check out “Visions Of A New Age”…what could go wrong?

The EP greets us rather appropriately with “Waves” and immediately we’re thrust into a blissfully light, delicate dreamscape of sounds and sensations. The percussion is subtle and unimposing, allowing the tinny guitars and gentle synth effects to accompany Lambert’s lulling vocals wonderfully, and it’s a sweet little start, almost KEANE-like. “Reflections Of The Winter Sun” then follows up and while not poles apart in terms of sound in the slightest, for the approach is ultimately the same, the suggestive nature of the title itself allows the instrumentation to take on an icy, crystalized tone, and while slightly lower in tempo, the musical narrative manages to set quite a scene.

Next up we have EP highlight “Magnetise” and here we get more of the soft indie aspects that appealed to me the first time I heard them…again here appealing to fans of the more soothing output of the newest BLOSSOMS record but they retain a certain pop influence that you may find in the style of say, MARK OWEN for example, before we finish up on “Heaven” and we return to the by now cemented preference for dreamy, shoegaze fuelled indie-pop, as the EP continues to meander peacefully through your speakers as it draws to a close. Overall it’s a lovely little selection of tracks, for sure, instantly accessible and tailor made for mainstream radio play given the opportunities, that I won’t and can’t deny…what I CAN do however, is say with personal preference that it doesn’t necessarily tick all of my boxes. An indie ballad can work incredibly well, look at “Yellow” by COLDPLAY, or “Caroline, Yes” by KAISER CHIEFS, hell even “Wonderwall” if you want to go there, but they’ve got a bit more bite, a bit more drive; a bit more passion. These four tracks, as lovely as they are, just lack that certain edge that could elevate them further. These visions of a new age, while promising, are a little bit blurry at this moment in time. [5]

The other day, when I shared my newest “Unlucky Dip” collection, despite my clear favourites, there was one new artist in particular that peaked my interest; I’m just yet to determine if it was for all the right or wrong reasons. Yes you may remember me including a London-based duo by the name of BEFORE SUNDAY, who alongside some selected peers through Angels PR, covered “Square Hammer” by GHOST. Now I like this song a lot and you may recall I regarded the move as nothing short of bold, but the track was covered fairly traditionally without any needless bells and whistles, and credit to them they did it justice. Here is where the curiosity often kills the cat…

Given the band and track they covered, and having known nothing about the band prior to hearing said cover, I had to ask myself, was this a potentially new, up-and-coming alternative goth pop band? Can I look forward to some modern post-punk? Hell I’d settle for some retro dark-pop! In this instance…we sadly do not get any of those things. Yes the duo who make up Before Sunday; Nick Basis and Stella Panteloudi are a straight up pop act that just happen to appreciate a little rock ‘n’ roll influence here and there, and quite frankly I’m feeling catfished. But seeing as we’re here, they released their debut album recently entitled “Anticipation”…let me just tell you that mine has gone through the floor as opposed to the roof.

The album opens up with “Living In London” which to be fair is quite a catchy little piece of social commentary; highlighting the living conditions of living in the British capital, with the general ignorance of society leaving you feel alone in a population of millions…the generally overpriced day-to-day living and the often shitty weather. They paint a pretty bleak picture but I’m sure very many can relate. The track itself is a guitar driven piece of soft rock with ample swagger and a certain vocal drawl that in some ways finds itself between JOAN JETT and MILEY CYRUS…it’s a decent opener. “Big House” then follows up and the direction changes somewhat to say the least. The rockier guitars are replaced with more of a light, soulful funk aesthetic which coupled with the core pop delivery could pass for some, KYLIE MINOGUE or ALPHABEAT.

Even though the album is only ten tracks in length, it still manages to find itself book-ended with the better tracks at the beginning and the end, with the middle sort of just, existing. “Obsessions” for example is a wonderfully heartfelt, sombre piano/synth led pop ballad with a soaring vocal chorus. “Goddess” combines those gentle ballad qualities but brings back the funk-rich guitars and marries them with some innocently sweet vocal notes, before “Devil” rounds the album off on another guitar driven, rockier high note. It’s got a certain surging urgency to its delivery when it’s in full flow and the up-tempo intensity is welcome…they left it late but we actually get some of the slightest hints at more metallic instrumentation here that could be tied in to that Ghost cover.

As I said the middle of the album is generally generic pop music…the vocals on “Unconditional” are well produced and fine, “Gone” gives off Eurovision power ballad vibes and “Closed Doors” adapts more of a random country-pop aesthetic. While there’s nothing necessarily bad here, it’s a fine pop album with some good quality clean production, I can’t get that Ghost cover out of my head and can’t help but be somewhat disappointed by this album, which is a shame because there’s nothing wrong with it for what it is. It’s got its charm and does highlight a variety of genre influences all streamlined into one collection of quirky pop, but I was hoping for something more. I don’t even know what…maybe even like, OF MONSTERS & MEN or a SHINY TOY GUNS or something along those lines, which, sadly these are not. Before Sunday? More like never in a month of Sunday’s. [5]

Remember the phenomenon that was ‘Chuck Norris Facts’? The man / minor deity can do so many astonishing yet equally absurd things, like, being able to make fire by rubbing ice cubes, or, being the only person able to kick you in the back of the face, or even being able to speak French…in Russian. I could go on (Literally I can read them for hours and laugh to myself quite contently) but it’s that last one that tediously links me to today’s band because I am unable to just, review things normally. Yes, allow me to introduce you to today’s band; L’HOMME ABSURDE.

Hailing from Moscow, Russia, yet with a French name that translates as ‘The Absurd Human’, L’Homme Absurde are a progressive post-hardcore five-piece, consisting of vocalist Alexey Slavin, guitarists Alexandr Safronov & Roman Savenkov, bassist Pavel Gorshkov and drummer Evgeny Loboda, and they’ve been gradually building their reputation since their formation in 2016. With their fusion of metalcore and melodic black metal, they hope to continue to spread their absurdity across Europe with their newest album “Belong”…but do they belong in my ears? Noob Heavy PR asked me to check it out…

The album opens up with “0” which is pretty appropriate given the way this album kicks off…it’s all about momentum, all is still as we get nothing but relaxed percussion and some semi-dreamscape acoustic instrumentation while the record comes to life, as it’s pulse strengthens,  but we suddenly find ourselves enveloped in a blanket of brutally tortured vocals and a more metallic approach in tone, despite its melodic retention. It gives us a sense of artistic drive and direction early on, for sure. First track proper then “Rot” capitalises on the surging blackened metal tendencies the band have by pummelling the listener with a barrage of semi-psychotic instrumentation. Equally melodic yet mauling; it summarises the bands sounds wonderfully.

This can be said of album highlight “Separation” too which takes an almost early post-punk direction with the initial guitars, before we break into more snarled vocals and post-hardcore riff work; this is arguably as catchy as things get over the course of these eight tracks, finding it’s home between the likes of KVELERTAK and MAN THE MACHETES. It’s up-beat and rocking, all the while groove rich and melodic, and a superb piece of modern metal. Elsewhere “Burn” and “Forsaken” continue this approach of searing blackened melodies while incorporating subtle doom atmospherics into the more traditional metal guitar work, before we eventually finish up on ”Sanctuary”. The semi-acoustic opening and soft vocals allowing for a sense of closure and finality to wind the mood down somewhat…or so we thought, as this too erupts into a visceral barrage of pained vocals at the tracks midway point, peaking with a final flurry, before the low-key instrumentation transitions right back into “0” and we appropriately come full circle, as the album essentially loops, which is cleverly done.

Overall, while Russia isn’t exactly prominent in the world metal scene in terms of household names, L’Homme Absurde are clearly equipped to throw down with some of their more established Scandinavian neighbours. Blackened metalcore may sound a touch niche on paper but there’s enough here in terms of subtle variety to at least warrant checking this out for most fans of alternative heavy music. It’s a solid album and one that could potentially find them larger audiences across Europe, and to suggest otherwise would be, well, absurd. [6]

You know when I say that I’m hopeless at keeping on top of my emails and submissions? Well ladies and gentlemen, this review is about to absolutely confirm that. Back in motherfucking JANUARY I was sent an email by the team over at Noob Heavy PR, and they brought to my attention a Canadian group called PURVEYORS OF SONIC DOOM. Now the name is pretty self-explanatory, but the email in question was to inform me that they were dropping a new double EP set; “Eyeless Void” and “Entombed Black Earth” respectively…

Given some of the artists and releases I’ve seen over the past year or so, I made an educated guess and thought to myself…I COULD cover the EP’s now, BUT, odds on the tracks will be bundled into a full length album of some sort somewhere down the line, so I’ll save myself the hassle and wait for the album. This…was a mistake. Having checked up on the duo (Consisting of guitarist/vocalist Ted Gloom and drummer/vocalist Nick Tooms) I find that no…they have not bundled things into one album…oh no…they have in fact now got fucking FOUR EP’s on the go. They keep this up and I’m going to be taken over by some sort of sludge metal mitosis…so let’s get this out of the way.

We’ll start off with “Eyeless Void” and its title track, and it’s got about as much momentum as a set of church bells before a minute’s silence. I actually thought the track was stuck on a loop, until it eventually shifts up a gear…though by that I mean it just, does the same with a couple more BPM. This is such a monotonous, deep chugging affair; it’s actually more of a pointless void. If you manage to sit through it mind at the five and half minute mark it does actually come to life a bit, but by then, really, who cares? “Rot Covered Gold” if anything is inaccurate because gold doesn't rot in the conventional sense, so there’s that…and the song itself is more of the same, thought at least we have vocals this time. Sparse, but they are there; echoed and torn in anguish like they too are lost in this void. “Flayed One” seems to showcase more urgency with the more continuous riff work and suspenseful key changes, though it ultimately slows down to more of the same, before we round off with a cover of HELL HAMMER’s “Third Of Storms” from 1983’s “Satanic Rites”. Naturally, nearly four decades on, the production will sound better…but the fuzzy, distorted barrage of sludge detracts from the rawness of the early black metal, and the slower tempo does nothing for it…

Next up we have the “Entombed Black Earth” EP and we kick off with “Sea Farers Lament” and while the intro suggests we’re going to have some cleaner, or smoother production quality, we’re soon back to normal with the same sludge-thick riffs and more of the almost vacuous vocals that sound, again, lost…or maybe appropriately entombed. It sounds like he’s singing into one of those old children’s toy microphones that make your voice all warbly and echoed for a while. “Mongrel Dog”, has certain atmospheric elements, giving off a cold, icy tone, while the title track, “Astral Witch”  and “Titan Blood” all share similar tropes and qualities, and very little differentiates either from the other. Here is where I realise, after fifty minutes of music, I should have run the review back when I was first aware of these two EP’s…now I have two more…please improve.

The third EP is “Mankind Is Unkind” and given the current state of the world with the events that are unfolding, that statement couldn’t possibly be any truer. “Old Lore” gets us underway here and there’s a brief spoken word segment about flipping over to side B, so maybe I was meant to listen to this last? I don’t know…but it doesn’t take long for those sluggish, chugging, doom-inspired riffs to take command of the track. They have perked up a LITTLE bit however, as proven towards the climax of “Bachanalian”, where they up the ante in terms of the thrashier aspects of their metal, and it’s here a pattern is clearer. Slow, lethargic sludge thick metal, quick bursts of blackened thrash and then back to the dolorous doom rich riffs. It’s practically copy and paste…speaking of which, we have the “Sonic Colossus” EP. It’s essentially just the “Entombed…” EP remastered, but they’ve replaced “Mongrel…” with a new title track…that’s all it is. That track itself has another lengthy, drawn out intro, before we randomly have a sound bite from the famous “Daddy Chill” video, where the old dude demands “What the hell is even that?!”…and that right there perfectly summarises this series of EP’s for me.

​While there are glimmers of hope and interest scattered across these four EP’s, like the switches in tonality here and there that allow some of the riffs to sound more varied, and where the blackened thrash aspects work best despite being underutilised, the vast majority of the recordings here follow too much of the same formula, let alone the recycled tracks. Yes I know that, any doom-inspired audio is going to run the risk of being slow, labouring and monotonous, but this level of rinse and repeat is the sludge metal equivalent of ED SHEERAN…now if you’ll excuse me, I’m off to have my ears syringed with a use heroin needle. [3]

OK so, back in May I debuted a new blog feature which I dubbed the "Unlucky Dip", where I take a break from reviewing full length albums and EP's, to give the singles a chance. It not only allows me to cover a wider variety of artists and genres in one swoop, but it reminds me of albums that will be coming out, and helps me clear more of my never ending barrage of emails. Last time around I was a little mean to one or two of the artists, but as I did point out, this feature IS a sort of cross between speed dating and a comedy roast. Luckily for these seven new artists I generally like all of the tracks I'm about to talk about, which is rare...unluckily for you however this may not be as much of an enjoyable read as the last one! Anyway, with that said, let's get into some music.

I'd like to kick things off with some genuine positivity and excitement. THE SOUNDS are one of the bands I can thank Bam Margera for getting me into way back in the day, and while I was happy to have them back with their EP "The Tales That We Tell" in 2017, we haven't had a full album from Maja and co in seven years!

"Safe And Sound" is the latest single, taken from the highly anticipated new album "Things We Do For Love", which drops June 12th. Originally planned for a May release but put back due to Covid-19, their blend of lightly electronic tinged indie rock 'n' roll sounds as distinct and fresh as ever here...I guess you could say they haven't missed a Tony the beat! I'm very much looking forward to this album and you can expect to find it in my end of year lists for sure.

This one was a submission from the people over at Pop Rush Music and as far as I can tell, this is a stand alone single, as there's been no mention to me of any releases to follow this up. The single in question; "Hunters & Wolves" is by an artist by the name of JORDAN LAKE. Not to be confused with the reservoir, Jordan was born in North Carolina and found his love for singing very early on.

At the age of 4 he became a church singer at his local parish and has had a passion for performing ever since. Now older and having relocated to the West coast, Jordan is writing mature, soulful and emotive pop music that in it's own ways bridges the likes of ADAM LAMBERT with RAG 'N' BONE MAN. Listen below and let me know what you think!

Well..this escalated quickly! GAEREA are a self-confessed cathartic black metal outfit from Portugal, and they were brought to my attention by the folk over at Season Of Mist. 

"Null" is the first track to be taken off their up-coming third album "Limbo" which is released on July 24th and if this track is anything to go by, the six-track 50-minute album is going to be one hell of a journey. There are European tour plans in place for the beginning of 2021, though they are scheduled to play a UK exclusive show in London on October 31st at the Nabucca, which you may want to keep an eye on if you're a fan of black and death metal, as it's part of the Subterranean Manifestation II line-up. Hopefully it goes ahead, and I'll say it again...fuck Covid-19.

This one is arguably the weakest of the seven tracks I'm going through today but that's purely on account the other 6 tracks, as this is still a fun little single and I'm actually not trying to be mean for once. 360 PHOENIX FLIP is the new (Albeit convoluted) moniker by which Mark Lovett now goes by.

Combining his love of skate-punk and artists such as NOFX and RUFIO, with his already experienced background in song production and EDM, he brings us his debut single "Pyromaniac" and the best way to describe it I believe would be, somewhere between OWL CITY and REGGIE & THE FULL EFFECT. Make of that what you will, but I like this and I look forward to what else he has in store. Maybe you'll find him in the new Tony Hawk remastered game soundtrack? At this time of writing I have no links to share with you, as the SoundCloud link was private...sorry.

Now this...this one is fucking bold. GHOST, who you may be familiar with as arguably the biggest rising metal / alternative rock band on the planet, helped cement their status with the song "Square Hammer" from the "Popestar" EP. BEFORE SUNDAY, are a London based duo who have only recently released their debut EP, yet here we find them covering Ghost...and the track isn't even a part of their EP!

Yes thanks to Angels PR, the duo have been in touch with label-mate Marianna from PROJECT RENEGADE and other talented musician friends, to collaborate on this lock-down cover. To be fair, instrumentally at least, they've done the song justice as it barely strays from the original in tone, it's quite a by numbers cover, but naturally they aren't replacing Tobias on vocals, so that's where they differ, although they've stayed true to the original video too in their own ways, taking limitations into account. It's a brave cover, but no real complaints for execution. 

In case you're wondering why there is no art work for this single, it's because the band didn't supply any jpeg files of the artwork. Plenty of photo's of the band, sure, but none of the artwork. The image included in their press kit isn't usable sadly as I was unable to separate and save it to file. Could I message them and ask for a jpeg of the image? I could, of course I could...but it's really not worth the effort.

Anyway, JULIPER SKY are an up-and-coming indie-pop outfit based out of Manchester, UK, and having already released their debut EP this year entitled "Visions Of A New Age", they continue to release separate singles. Opinions vary as to how effective and efficient this is from a marketing stand point...on one hand you can keep fresh content coming and keep up the exposure and relevance...on the other hand, and this is something I believe personally, is that it's annoying and I'd rather you just keep the material for the 2nd EP...let's be honest most of the tracks are going to end up on the debut album anyway, so many artists do it, and I just find it all pointless myself. I digress..."Afterglow" is the kind of light pop-based indie that might appeal to fans of BLOSSOMS for example. You'll have to take my word for it though as again, it comes out on June 26th, and I have no Bandcamp, Spotify or Youtube links to share with you. I might review the EP, give you a better idea.

Today then we finish up on this absolute gem, and another genuine bit of excitement. MUSHROOMHEAD have been going damn near thirty years now and having gone through a couple of line-up changes, they still have an incredibly prolific yet criminally underrated back catalog of albums. 

Having always faced criticism for being SLIPKNOT knock-offs, they never hit the heights they deserved to, but hopefully that will change on their upcoming new album "A Wonderful Life"; their first since 2014! The latest single promoting the album; "The Heresy" see's the real debut of new full time vocalist Ms. Jackie, as well a returning J Mann to bring some welcome nostalgia and heritage to their sound. The clean female vocals add a new dynamic which works really with their heavy, dystopian, underground progressive grunge metal style, and the political message of the single simply adds relevance. I cannot wait for this album, which comes out June 19th via Napalm Records.

So this review was not on my schedule…it wasn’t submitted to me as a request, nor was it generally even on my radar. Quite frankly I had absolutely no idea who the fuck these were, however, a good friend of mine Rob De Boer lovingly forwarded them to me. I’ve known Rob a few years now through mutual friends and a mutual love of HIM, and all things Jackass related, and the last time I saw him properly was when we saw CKY at Manchester. Fun night…Matt Deis got lost in the venue he was playing, and I think there was a stabbing…good gig though.

I digress…Rob has recently started up his own podcast called SETTING THE TONE, where he takes a moment to go over his thoughts and opinions of various new singles from up and coming artists, and generally discuss relevant topics in the music industry; openly sharing his views and is worthy of your support. He was sent this EP to check out and do a piece on, and wanted to know what I thought of them myself.  Now I don’t know Rob’s final thoughts on the artist, we’re a little different in our approach…but those of you who are regular readers can probably guess where this is going…

The band in question, are FIGHT THE TORNADO and I immediately hope their influences include Matt Hardy 1.0. Consisting of members Jonny Young on vocals and multi-instrumentation, and Lindzi North on vocals and…sanity maintenance? Both of whom were former members of the symphonic metal band CURSE OF DAWN (Part of me wonders if they were fired…harsh you say? Patience you must have my young Padawan) though we find them gearing up for the release of their debut EP “Maelstrom Of Thought” on June 26th. With that tornado in mind, are they going to blow us away or simply just suck? Let’s find out…

The EP begins with “Mercurial Inventions” and truth be told, the intro is actually promising…it’s got a light, bubbly electronic aura and sounds like it’s about to delve into some nostalgic synth pop…but without the slightest hint of transition we’re thrust into a barrage of progressive nu metal riffage and it’s like, where the actual fuck did this come from? You know that meme with the dog sat in a room on fire, stating that this is fine? This is the soundtrack to that image. It’s so off-kilter and jarring you can’t help but wonder if this really was intentional, and that’s before we even get to the vocals. Fleeting between snarling and angelic, though neither of them hit the mark; it’s like, I would have PERSONALLY paid for the use of autotune for you to save myself the grief of hearing this.

We follow this with EP highlight “Comfort Zone” and yes I actually said highlight there…we start off in a similar fashion combining pulsing electronica with metallic riffs but here it’s all blended noticeably better, as in, it’s actually blended. Vocally then, I want to point out that the snarls in ways remind me of NEW PROJECT and the aggressive aspects of this work, but when we get to the cleaner, melodic vocals it’s an actual dumpster fire. The chorus manages to hold a note, an albeit incredibly flat and lifeless one, but that is an achievement, trust me. The same issues arise during “Sensory Deprivation” and the title is more than fitting as I would sooner be deprived of my own sense of hearing than deal with this. How bad can this unconventionally tuned singing be I hear you ask? Well…here are just SOME ways to categorise this; a mute yodeller with a sore throat,  a wok full of spoons falling down the up-escalator like some painfully cacophonous slinky, the shared harmony of two stray cats shagging in the back lane. Not convinced? How about Wes Scantlin covering NIRVANA?

Sadly my friends, we aren’t done…the title track is an instrumental that to its credit, delivers conceptually, I’ll give it that. It goes from progressive rock and metal riffs, including a decent solo with more subtle synth work…before we introduce PAN PIPES out of nowhere, only to be followed up with alternating death metal blast beats and ambient reggaeton. I honestly can’t say ‘what the ever loving fuck’, with the adequate level of conviction here…seriously that was like a non-invasive lobotomy. If that wasn’t enough, “Atlas” kicks in with some goddamn BTEC “Tubular Bells” and I’m like, nope. I’m done. I’m out. Fight The Tornado? I would sooner gamble my genitals in a Dyson V10 Cyclone…and I can guarantee my cries of pain would hold better notes.  [2]

​So back in April, I reviewed an album for All About The Rock called “Italians Die Better”, by B-Movie punks SUPERHORROR. It was somewhat controversial given its title, as it was released during the height of the Covid-19 pandemic (One which we’re actually still in, despite the countries neither here nor there approach to public safety). Their background is plucked straight out of a low-budget zombie slasher, and while I did refer to them as a BTEC MURDERDOLLS, they are at least keeping the horror-punk scene alive. However, diving into my email submissions, I find an album forwarded to me by Stencil PR that predates the Italian’s…

Formed in Budapest, Hungary, THE HELLFREAKS are another seemingly horror-punk inspired outfit, consisting of vocalist Shakey Sue, guitarist Jozzy, bassist Domján Gabi and drummer Budai Béla, though they aren’t quite as tongue-in-cheek or gimmicky. Their own background simply stating that hell was “full” so they came back, but their original sound somewhat contradicts this at least in principle. Sure there were horror elements entwined within their lyricism, but as a generally psychobilly based band, I can’t so much as see them being denied entry to hell because HELL was too full, it’s more likely they were denied entry to an alternative club night for not having ID and exaggerated the story; embarrassed they couldn’t get served WKD. I mean there’s always room in hell for psychobilly!

I digress…over the years however they have adapted their sound to be more befitting of their name and claim, as 2020 finds them releasing their latest album “God On The Run”. With an angrier, seemingly more metallic approach to their writing, let’s see what the almighty father is fleeing…and does it explain the events of 2020 thus far? The album opens up with “Men In Grey” and you can immediately sense the increase in aggression compared to their debut…Sue’s vocals are coarse but retain a level of clarity and melody that drives the chorus hook home, all the while complimenting the more frenetic riff-work wonderfully. This is some enjoyable, up-tempo melodic alternative punk, and a solid start.

Recent single “Red Sky” then follows up and after a brief build we’re thrust into another dose of pacey, melodic alt. rock, combining pop sensibilities with a more vitriolic punk aesthetic…not too dissimilar to our opener but with ever so slightly less attitude; it’s cleaner with more harmony allowing for a generally smoother, easier listen without losing any bite. The rest of the album then  in all fairness sticks to this formula pretty vehemently, fleeting between those same duel aggressive and arresting aspects of their song writing style. “Doldrum Dynasty” is another great example of a simplistic yet really effective chorus hook amidst edgier guitar elements, while “Adrenalized” uses soaring gang vocals and almost pop-punk riffs to great effect, before we eventually finish up on “Tabby”. The odd one out as the slowest paced piece here; it’s got a deeper, darker,pulsing synth underlying some predominantly grunge-influenced hard rock, but this change of pacing is a pleasant one. It’s nice to know that they CAN shake things up a little more at least.

Ultimately while “God On The Run” doesn’t explain the complete shit storm 2020 is turning out to be, what it has done is turned a psychobilly horror-rock band into a more straight up, alternative punk rock monster with a more sleek, serious tone and less of a niche appeal…which is saying something. The only thing going against it is its lack of real overall diversity; as it’s pretty much all systems go until track ten, and while the melodies are tight, it CAN sound a little samey. If you’re a fan of SUMO CYCO and NEW YEARS DAY…check out The Hellfreaks…if they let you in that is. [8]