When it comes to bands succeeding from day one, there are few in recent times who can honestly say they have hit the ground running as hard as FLORENCE + THE MACHINE…the London-born group fronted by Florence Welch dropped their debut “Lungs” back in 2009 and really haven’t looked back since. Multi-platinum sales, Brit Awards, Mercury Prize nominations…and that was just the debut! This form continued as both follow-up records “Ceremonials” and “How Big, How Blue, How Beautiful” each respectively gave Florence a hat-trick of Number 1 albums and the accolades kept coming…however the style was slowly but surely changing and they were in time becoming more refined…and this leads us to 2018 where Florence released album number four; “High As Hope”. Self-produced by the band themselves, let’s see how the machine is operating these days…

The album opens up with, (Or at least tries to) “June” and I say that because there’s at least a 14 second delay between the start of the track and you being able to actually hear anything, and I honestly don’t know what this aims to achieve, coming across as more of a production error rather than having any beneficial point within the song. When the song IS flowing however we get a piano led, restrained little track, gently accompanying Florence’s instantly recognisable husky, sometimes warbled vocals. It does have a slight, climactic flurry but it’s abrupt ending spoils that completely. Were the spare 14 seconds meant to be this side of the song, instead of being empty? Here it just sounds incomplete; a poor start.

Lead single “Hunger” then follows and admittedly this is much better; with a more up-beat rhythm its sounding far more positive, with encouraging lyrics and a gospel-inspired clap-along accompaniment, coupled with soulful backing gang-vocals, this is Florence as we know her and she’s so easily capable of writing songs that simply ooze with joyousness; this being one of them. This is reinforced by the track “Patricia” which again has all of the classic F+TM traits, wonderfully blending soulful pop with energetic indie…the string sections and bold chorus allowing for a dynamic listen and again it allows for an enjoyable song. Florence has always had subtle gothic tendencies mind you and here it’s showcased by the ultra-moody “Big God”…the almost haunted, deeper tempo with its sultry tones and slow-build gives the album extra character overall and is a definite highlight.

This albums primary flaw however, is in fact how stripped back it actually is…as despite only being ten tracks long, it feels a lot longer because of the level of restriction, with an almost shoegaze appraoch utilised. “Grace” whilst on paper is an appropriately titled graceful little piano ballad, it feels incredibly drawn out, and as assertive as Florence is vocally the track fails to hold attention, so too do the albums closing tracks suffer similarly, with “The End Of Love” and “No Choir” rounding things off in lacklustre fashion. Yes the point of this album was a more personal, raw recording and that does indeed resonate through Flo’s vocals throughout, her ability as a performer can’t be questioned, but taking this direction has denied us the proper banger's we all know the band are capable of…there’s no rush and excitement of “Howl”…there’s no drama and climax of “What The Water Gave Me” and there’s no feisty attitude of “Kiss With A Fist”…instead, while we have a well matured album, it’s pretty much just Florence…the machine seems to be on standby. [5]

​I’m going to share something with you right now…I love sloths. I happen to have a weakness for three-toed sloths as I find them absolutely adorable and If I could afford it I’d happily fund their conservation in Costa Rica etc…hell if it was legal in the UK I’d buy one myself and let him hang around my garden, I want a pet sloth somebody make that happen! However, while I aren’t lucky enough to get to cuddle one of these moss-covered fuzzy bastards I can in fact LISTEN to some sloths from the comfort of my own home; let me introduce you to THE SLOTHS. Formed in Los Angeles WAY back in 1964, these pioneering rockers may not have been around for long initially, but their calibre of rock ‘n’ roll has had people digging through the archives and old record collections, subsequently re-discovering The Sloths, embracing all of the nostalgia and classic charm. Very much like the animals their named after, it’s a case of better late than never I guess as slowly they’ve garnered credibility…let’s see if they can cling on over 50 years later with the vinyl re-release of “Back From The Grave”…

We open up with the track “Never Enough Girls” and immediately my mind goes in the direction of sloth ‘rape memes’ but I have to compose myself amidst images of dragons and pudding…a tinny-sounding little track, very much of its time; blues inspired rock ‘n’ roll with a slight proto-punk edge. With influences ranging from THE ROLLING STONES and CHUCK BERRY it’s very easy to see where they’re coming from, but also you can see where bands like THE RAMONES took inspiration from too. “End Of My Rope” follows up and again here we’re given more of that original blues heritage with some rich harmonica licks (Even going as far as a solo) and you can easily picture yourself sipping whiskey at a bar in Tennessee while this plays…so far so good. Speaking of solo’s we’re further treated on the tracks “Lust” which utilises an up-tempo, surfer-rock vibe allowing for a fun little piece, and also “Gotta Get Fired”, which by contrast is a slower, bass-driven, groove-heavy number which takes extra influence from the likes of THE DOORS.

The rest of the album, while subtle in its variety, does mostly retain a consistency and level of quality throughout which truth be told results in an all-around enjoyable listen…”Haunted” is thematically self-explanatory in its pained ballad approach; which somehow bridges a gap between the tenderness of ROY ORBISON and the spooky tones of THE MISFITS…”Before I Die” returns to the bands blues roots but here we’re given a slight, country / rockabilly twist, before the initial album rounds off with their most infamous track “Makin’ Love”, which during its initial release over 50 years ago was deemed too controversial for airplay on many US radio stations but is incredibly tame by today’s standards. If I’m to pick at anything really it’s the main single “One Way Out” which has a primarily spoken-word approach that reminds me of “Monster Mash” for the most part in its structure and delivery but it has a pretty weak chorus sadly. The European release does have a bonus track by the name of “I Survived” but it’s really nothing to rave about, actually the weakest sounding vocal quality on the album, sounding more like a demo than anything. Ultimately, for a band that only had an initial run of 2 years, it’s impressive to see their legacy not only living on but how much excitement a little nostalgia can provide! Granted this may be helped by the fact that original vinyl’s have gone for as much as $6000 online but that’s beside the point…whether they are back from the grave or, being the sloths they are they’ve literally just taken this long to get here, it doesn’t matter, rock ‘n’ roll never truly gets old. Roll on the year 2066 for the new album! [7]

Going back decades, arguably since its inception truth be told, ‘rock’ music was always viewed upon as bad thing; a rebellious genre that started in the early days of rock ‘n’ roll a la ELVIS' controversial hip-swinging, leading young ladies astray…punk rock was always a primary instigator of rebellion when that came about, the musical equivalent of streaking through a convent with your middle fingers proudly pointing skyward…and then there’s metal. We’re not going to be delving into all of the deep, dark sub-genres, but metal itself has always been associated with the devil and darkness, and of course bands like BLACK SABBATH and IRON MAIDEN only fueled that…but sometimes a band just feels the need to speak up; make a statement and be as brutally honest or opinionated as they can be. Here; special guest writer PETE HARRIS ([email protected]) showcases his personal picks on “5 Metal Bands That Made Their Name Attacking The Establishment”

"There are many ways to speak to the powers above. But sometimes, the best and only way to unleash truth is to do it as loudly and as aggressively as possible. Here are five of our favourite artists who knew just that — and have used the inherent aggression of metal to express rage, dissent, and criticism against the unyielding sociopolitical establishment."

Godfathers of 90’s and 00’s thrash metal; MACHINE HEAD first made a name in Europe before getting famous back home in the US. One of the pioneers in the ‘New Wave Of American Heavy Metal’ which began in the mid 1990’s and peaked later in the millennium. Machine Head dabbles with thrash and groove metal, which they’ve perfected in songs like “Aesthetics Of Hate” and “Clenching The Fists Of Dissent”. From criticising the critics who act like the gatekeepers of rock, to taking an anti-war stance in the midst of the American government’s oil-hoarding in the Middle East, Machine Head’s fans know that they mean business.

"Being able to loudly and aggressively speak truth to power is just one of the many uses of anti-establishmentarian music. As many metal-heads can attest to, listening to some quality rock and metal can prompt emotional, mental and even physical benefits as well; revelling in the violent themes of metal in in many ways, an act of anti-violence and therapeutic self-love. In fact, academically-backed research published in an article on LOTTOLAND reveals that people who regularly go to live rock music gigs are more satisfied with their lives than those who don’t. The same source also reveals that powerful music can give a 26% boost to your overall blood-flow. Keep these things in mind the next time you’re debating whether or not it’s worth it to go out and see what the newest bands have to offer…"

What are your thoughts on metal bands speaking truth to power? Were there any bands or artists you feel deserve to be in this list? Let us know what you think in the comments!

I’m going to be perfectly honest with you right now; I am officially useless when it comes to time-keeping and scheduling when it comes to this blog! Seriously, I can sit here and make notes, plan some specific reviews and posts then think, right, my free time is here, here and here, so I’ll sort out some content…what ACTUALLY happens instead however is I just find myself opening emails and forgetting about them while I’m lost, procrastinating in the annals of YouTube. Well I’m rectifying one such instance today! Allow me to introduce to you AMERICAN STANDARDS.

I was sent an email by their front-man Brandon Kellum, in which he forwarded his bands (Completed by guitarist Corey Skowronski, bassist Steven Mandell and drummer Mitch Hosier) latest album “Anti-Melody”…asking if I would be so kind to check it out! Better late than never Brandon, though I do apologise! Anyway, formed in 2011 in Phoenix, Arizona, the 4-piece share a love of all things hardcore and post-punk, inspired by big-hitters such as CONVERGE and POISON THE WELL and channelled those influences through this; their 4th album. It wasn’t without its setbacks mind you, as prior to recording, original founding guitarist Cody Conrad committed suicide, which was followed shortly after by the death of Brandon’s own father to cancer…these events, coupled with the state of the world around them pushed them towards writing the most personal album of their career, so let’s see what standards these American’s have…

We open up with “Writers Block Party” and they waste no time getting all up in your face with their blend of punk-infused hardcore rock…with their combination of intense thrashing, full of piss and vinegar, plus the weighty riffs layered over Brandon’s snarling vocal delivery, leading up to a climactic flurry, the album starts as it means to go on; with absolutely no nonsense whatsoever. “Carpe Diem, Tomorrow” follows up and it’s a touch slower in tempo with some off-kilter, almost prog-infused guitar work, bordering on djent in places, before we’re treated to an impromptu and legitimately enjoyable guitar solo which itself takes the track up a level.

Further highlights include “Broken Culture”, which at under two-minutes long may only provide a short, sharp piece of music but it still manages to include some great, groove-heavy guitar work, blunt as it is brief; their punk roots shine through here. By contrast, “Bartenders Without Wings” slows things down completely with a raw, melancholy soaked sense of vulnerability plucked straight out of the MEWITHOUTYOU playbook, while closing track “Chicago Overcoat” plunges itself deep within sludge-metal territory…methodical and with more than a touch of EYEHATEGOD and MELVINS at its core, it ends proceedings on an altogether more sluggish note. For a band that’s gone completely DIY, despite only being 8 tracks and less than half an hour in length this album shows plenty of potential. While firmly rooted in that post-punk / hardcore genre bracket they’re clearly not afraid to dabble to give some of these tracks that extra flavour (Regardless of how off-putting sludge sounds) and it’s this that will likely carry them forward, as they CAN become a little samey when they’re just rip-roaring their way through a bitter, angry track-list, though to its credit the album title doesn’t lie; you won’t find much in terms of easy listening here. [5]

As disappointing as it is, it’s not just day-to-day society that’s still behind in terms of equality between men and women in the work place…the world of rock and metal is still very much a male dominated genre of music and despite the best efforts of several high profile bands, it’s still dragging it’s knuckles to a degree…for example; Download festival (Arguably the most mainstream and high profile of the alternative rock and metal festivals) is yet to have a ‘female-fronted’ headline act on its main stage. Women in rock and metal just don’t seem to be getting a legitimate fair shot…but one young lady is hoping to change all of that; let me introduce you to DIAMANTE.

The Los Angeles-based singer found herself listening to the likes of AVRIL LAVIGNE and KELLY CLARKSON at a young age but through that soon discovered and developed a passion for classic rock, and artists such as JOAN JETT and PAT BETANAR. After dropping her debut single “Bite Your Kiss” back in 2014 she’s generated millions of streams on YouTube etc. and has recently dropped her debut full length album; “Coming In Hot”. Produced by Howard Benson (MY CHEMICAL ROMANCE, MOTORHEAD) he’s proclaimed himself that the 21-year-old is the rightful heir to the throne of Joan Jett; while Diamante herself intends to make a statement…incredibly bold, let’s see if she can back it up.

The album opens up with the title track and lead single “Coming In Hot” and within seconds you can hear the influence that Joan Jett has had on the young artist…from the gritty, attitude-riddled vocal delivery and the simple, old-school style of the guitars, this will easily appeal to fans of all that is classic rock. Do you remember when BRITNEY SPEARS covered (And I use that term loosely) “I Love Rock ‘N’ Roll”? Well this is better, considerably better…follow up track “Sound Of Us” for the most part is more of the same though the pre-chorus has some additional melody, while the chorus itself has gone big, bordering on anthemic. The guitar solo here too is a pretty decent effort and ultimately we’ve got a straightforward yet enjoyable track here. Recent single “Had Enough” directly addresses the issue of women’s rights by supporting the #MeToo movement…with a video inspired by “Thelma & Louise” and a production staff consisting entirely of women, it’s more of a statement than a hit single as musically again it’s relatively straight forward, but the message is more important than the track itself here really.

Elsewhere the record does have further highlights including “Kind Of Love” which combines bold melodies and soaring gang vocals over some catchy pop-rock hooks for a solid, enjoyable track…”War Cry” takes things up a notch with a deeper, darker core sound, almost rooted in industrial given the lyricism and instrumentation; the riffs are heavier and the overall tone of the track is a little more sinister, while “Fight Like A Girl” is predominantly more groove-heavy with another strong chorus. The album isn’t without it’s lesser points however; “Definitely Not In Love” is a completely cringe-worthy track driven by spoken-word verses, I’m definitely not in love with THIS one, while “Black Heart” harks back to those early Kelly Clarkson influences, negating the whole classic rock vibe of the album, before closing track “Lo Siento” is just a Spanish version of earlier track “I’m Sorry” and serves little to no point, adding nothing to the album in terms of quality…it would have served better as a B-Side. Ultimately the album as a whole is a decent selection of rock ‘n’ roll track’s and despite her young age she’s done well, channeling the genre’s heritage through to a new generation of listeners, bridging the gap between pop and rock well, but there’s nothing truly iconic or memorable about the record. Diamante here coming in lukewarm if anything, but there’s no reason to suggest she can’t turn up the temperature next time around. [6]

With the odd couple of exceptions, generally you’ll find that bands who have been together for a lengthy period of time usually start to mellow out at some stage in their career. Only recently I was saying this about the MANIC STREET PREACHERS who have lost some of their original punk-rock attitude in middle age…and this can be said too for artists such as ANATHEMA for example; originally a Gothic / doom metal outfit, over the years they evolved into the ambient, progressive band they are today (Check out “The Optimist” if you haven’t already). Well this can also be said about today’s band; let me introduce you to MANES. Formed in Trondheim, Norway back in 1992, they were originally part of the 90’s black metal scene alongside the likes of SATYRICON and IMMORTAL but over the years they’ve toned down into what’s been described as a bastardisation of rock, electronica and progressive jazz. The last time we heard from them was back in 2011 with what WAS to be their final album; “Be All End All”…but 2018 sees them return with the brand new album “Slow Motion Death Sequence”. Available through Debemur Morti Productions from August 24th…lets check it out…

We open up with “Endetidstegn” which more or less translates as ‘end-time signs’ and thematically kicks off the start of this death sequence on a dark, apocalyptic note. It’s slow and dramatic with minimal electronica and percussion, with vocals soaked in melancholy, though it picks up with some intense, dramatic, looming power chords and double kick drums, and the track develops a serious sense of foreboding…this album isn’t going to be a walk in the park let me tell you…and if it were, it would be at night in the middle of The Purge whilst you’re stalked by sociopaths. “Scion” follows up and it’s more of the slow, cold synths, with vocalist Asgeir Hatlen here giving it an 80’s alternative indie vibe; however its slow tempo makes the track feel like it lasts an eternity, with the repetition not helping one iota.

The album overall is fairly consistent in tone and approach, rarely veering from its path but it does have its few interesting points; “Therapism” utilises a moody, almost darkwave inspired tone…the creeping electronica occasionally pierced by assertive guitars, the use of single chords is simple yet effective and though while it does have a feeling of gradual build it never really puts it’s foot down, while “Building The Ship Of Theseus” returns to that almost post-punk, alternative 80’s vibe, aesthetically in ways slotting in between the likes of  BAUHAUS and NICK CAVE…but sadly the rest of the record struggles to capture much attention. At seven and a half minutes, “Last Resort” sums itself up nicely, as a long-winded dreary acoustic-led piece and I really would only consider listening to this as a last resort…oh how I wished this was a PAPA ROACH cover...wouldn't that be fun...“Ater” then closes the album on what is essentially an avant-garde instrumental bar some minimal lyricism, and it’s a despairingly slow one at that, the last breath of this album escaping into the ether. Conceptually, as a listener I have to agree with the album’s title here because this truly is a slow motion death sequence…for generally it’s such a dull, miserable album…imagine yourself or, someone, anyone, in a time-lapse montage, just sat there, motionless, going from young adult, to being frail and elderly, before just succumbing to time and death itself; that’s what this album sounds like and it would perfectly accompany that montage in tone, for both conceptually are as equally sad and boring as the other. [3]

For those of you living under a rock, we’re at the business end of the 2018 FIFA World Cup right now and all the talk over the past weekend was about England beating Sweden to reach the semi-finals (I must say I love a raging semi)…but while I’m not here to celebrate England’s victory (The tabloids have done enough of that) I will share my commiserations with Sweden by highlighting one of their new up-and-coming bands. From the capital of Stockholm, home to a famous lineage of artists ranging from ABBA to OPETH, comes SET BEFORE US. The five-piece (Consisting of vocalist Erik Tropp, guitarists Niklas Edstrom and Jesper Nilsson, bassist Hampus Andersson and drummer Emanuel Borgefors) formed back in 2012 and their influences are rooted in a lot of modern metalcore…on August 31st they unleash their brand new album “Vitae” via Eclipse Records…let’s check it out…

The album wastes virtually no time at all getting underway with “Untainted” and immediately we’re met with the guttural growls of Edstrom and Tropp, while by stark contrast the guitars here meander through your ears with melody and grace…the combination of beauty and breakdowns a staple of Scandinavian melodic death metal and that’s utilised well here, however abrupt it may be. “Avalanche” follows up and keeps momentum going but does introduce subtle clean vocals (Albeit sparsely) alongside a few well-placed hooks and some catchy chord progression to give the track more of a feeling of accessibility. Speaking of accessibility, both “Identity” and “Harbor” take us down increasingly more mainstream directions…the former has an instant early 00’s post-hardcore feel, like we’re listening to a band from the old Victory Records roster (Think BAYSIDE or HAWTHORNE HEIGHTS) before the latter then surprises everyone with a feisty little acoustic ballad, leading into a classic, 80’s influenced guitar driven crescendo; it really is a wonderful little track.

Elsewhere “Oblivion” capitalises on the use of gang-vocals and a hook-laden chorus to further push for a more accessible sound amidst the mauling, before closing track “Charon” opts for an emotive piano ballad to round things off, tip-toeing around the risk of becoming completely emo…had it not been for the deathly growls seemingly possessing the track halfway through…do they save the track or spoil it? You be the judge. Such ferocity does work however on the brief but brutal “Fountain Of Youth” and the groove heavy “The Eternal Fight”, but lead single “Ignite” is a touch generic and disappointing, with its fade-out serving little to no benefit. Ultimately despite some huge promise, this sounds like a band who despite the quality and confidence to deliver a decent album, haven’t 100% decided what album they actually want to deliver, or at the very least are unsure of their preferred market. There’s stuff here taken from a fair selection of alternative influences…and while an enjoyable listen, sometimes it feels they’re unsure which way to go in terms of committing to a sound, not to suggest a band must stick to one style, more so to provide consistency but, on this evidence, wherever it is they’re heading, they’ll get there...and they probably wont take long. [6]