WiL Francis...a man who's name you should certainly be familiar with if you listen to alternative music. A very prolific man indeed; over the past decade or so he's formed and fronted goth-punks AIDEN, he's created an alter ego in the form of WILLIAM CONTROL, releasing darker, more seductive electronica, he's found himself making music for the UNDERWORLD movie franchise, he's been a producer for new artists like ASHESTOANGELS, he's even recorded readings of works by EDGAR ALLAN POE...and the touring in between?! He's a busy, busy bloke...but as of late, he's found solid focus. Aiden called it a day earlier this year, allowing him full freedom to play William Control at his pleasure (in every sense of the word). In many ways his kink, he uses WC as a means of release, a fetish that over time has grown more prominent in character; utilising themes of submission, domination, lust and an almost lurid longing...he is fully immersed in this persona and as is such, he's got new music in the works. "Revelations" is to be released as a 4-part series of EP's...the first? "The Pale EP"...lets see what toys Sir has brought this time...

We start of with lead single "The Monster" and it's nothing short of glorious. A fine combination of BDSM fuelled EDM and throwback synth-pop, it's easily one of WC's catchiest pieces to date, up there with established tracks like "Beautiful Loser" and "Dorian Grey". It lyrically encapsulates the split personalities of Francis and Control as mindsets and it has all the hall marks, or, should that be spank marks of a top tune. Very much in character, WC teases the listener with follow-up track "Confess". Much slower in tempo, it halts the excitement ever so slightly as if he's using his music to play a game of master and servant...he builds you up then brings everything down, not allowing the release...the track itself is for the most part methodical, but it harks back to the style of electronic legends DEPECHE MODE and it's by no means an inferior song.

​"When The Love Is Pain" keeps that rhythmic, 80's sound at it's core fully utilising the synthesizers and in true self-depreciation WC style, it's a very up-beat track fuelled by inner torment and wanting, before we come down again with closing track "Mother Superior". The longest and probably the weakest track on offer here, it's got a very soothing feeling overall, it's quite a soft song, thematically it appears to be centred on the downward spiral of ones mental state through submission, it takes over your life and it oozes melancholy, bringing the EP to a gentle and sensuous climax. So, what can be made of this EP? The first of four, and the first of WC's new neuromantic vision? Well he's clearly focusing on quality, not quantity...and four separate EP's allows him to dabble in styles, try new things, explore new erogenous zones musically...if this is anything to go by, "Revelations" could be his best work to date. Now if you'll excuse me *handcuffed to the bed*...what's the safe word? [8]

Without trying to sound negative, progressive rock and metal, or, simply "Prog" as it's more easily categorised, is and always has been an acquired taste. With the majority of bands utilising vast conceptual soundscapes, poly-rhythmic song structures incorporated into often incredibly lengthy songs...it's not for everyone. Some would go as far as saying it's music for nerds, other than "mathcore" of course...(seriously, what is that?)...but what you simply cannot deny, is that prog houses some of the most talented and technically gifted musicians to ever pick up an instrument and play. Artists like RUSH and DREAM THEATRE paved the way with their exuberant song writing, inspiring many a band to go that one step further...bands like MEMOREVE. The Leeds based sextet, who were completed by Irish vocalist Colin Callanan are preparing to unleash their new EP "Insignia"...a symbol of greatness? Or do they just have a thing for Vauxhall motors? Let's find out...

To say we kick off with the title track could have me done for false advertising...it's ambient, and almost dreamlike the way it delicately flows through your speakers, it's a very calming instrumental piece initially, and only then at the two and half minute mark, do we begin to feel more of an actual song emerging, the drums and vocals enter the fold and give this opening piece a little more substance. The tempo barely changes for the most part, a brief spell of chugging guitar adds weight but really it's an underwhelming intro. The slow, enticing intro technique works but, at this length you can't help but feel impatient.

Thankfully then, "These Reflections" really does bring this EP to life immediately afterword. It's got the heavy riffs coupled with layers of electronica courtesy of keyboardist Adele Pease and it's got a sense of SCAR SYMMETRY about it. Colin's voice is powerful and emotive, he holds his notes with consistency and as a whole this is much, much better; the combination of the musical heaviness, the haunting backdrop of the synth elements and the harmonious vocal tones take you on a journey through the song, restoring faith in this EP.

​The "Descendant" then takes that one step further...having followed through directly from the previous track as a continuation of sorts, not breaking any stride, you're hit with some truly pummelling almost, GOJIRA inspired drumming. There are tempo changes throughout this seven-minute-plus monster of a song and musically you cannot fault them; the structure, the production quality...it's all been done very well, before we once again blend tracks into EP closer "Alleviate" and generally, there's little in the means of difference, or at least not enough to make either stand out in any way. Again, musically it's solid, but by now you can't help but feel Colin warbles on a bit...a lot of drawn out notes, he's emotive yes but also manages to, over time, sound repetitive and boring at the same time, which is a shame because the band are great. With artists like TESSERACT and PERIPHERY finding success of late, Memoreve have all the potential to tap into that audience and grow. They aren't quite on that level, but that's the thing with prog metal...the orthodox option is never an option. "Insignia" isn't quite the mark of brilliance just yet, but they will make PROGress...get it? PROG-ress? Ahh never mind...[5]

If you can look past it's shortcomings (NICKELBACK *COUGH*) Canada produces some top quality artists and bands, aside form the usual familiar names you've more than likely heard of, like SUM 41, BILLY TALENT or, ALEXISONFIRE for example, there are bands emerging or finally reaping the rewards from their hard work and dedication; writing, recording and touring solidly and consistently. One such band that would like to make your acquaintance right about now is JULY TALK. The Toronto based quintet released their debut album in 2012 and have been making all the right noises on the live stage ever since, so now, with their new album "Touch" they hope to make contact with a whole new bunch of fans...let's get a feel for this...

We open up with "Picturing Love" and we get a steady, basic drum beat, leading into some pretty simplistic keyboard fingering...there's a subtle nod to the likes of NICK CAVE in this, it's got quite a methodical, plodding rhythm generally, nothing special but the songs life lies within the dual vocals of Leah Fay Goldstein and Peter Dreimanis...the former, sweeter than maple syrup in places, contrasting with his almost tortured gravel-throated tones; it makes for an interesting combination and garners the listeners attention.

"Beck + Call" takes things up just a notch, there's more tempo but again it's rhythmic and generally simple, with emphasis placed mainly on Leah's performing and really the track is quite hypnotic, it's certainly one you can't help tapping your foot to. It does end with a bit of a flurry and the harder approach of the climax adds weight to the track, they continue to utilise this on tracks like "Johnny + Mary"; it's grittier and has a great, no nonsense rock 'n' roll character to it, channelling influences such as PJ HARVEY with an extra, punk-rock twist resulting in a great listen. "Push + Pull" again blends together the melody and aggression of both vocalists and really the title perfectly sums up this bands approach musically, there's a continual tug of war between styles but it's beneficial as oppose to being a hindrance, it's this stark contrast that gives them their edge, which ultimately comes together perfectly on "So Sorry"...its an absolute scorcher of a track; full of anguish and longing, an easy album highlight.

There are a few points of less interest however, the title track closing the album does feel somewhat drawn out compared to the songs before it, it drags a little, while tracks like "Strange Habit" lack a real spark, a mid-listen lull if anything, hampering the overall momentum of the album. These points aside, can July Talk maintain this conversation? The answer is a resounding yes...their rough around the edges indie rock with the brilliantly balanced yet asymmetrical vocal delivery is refreshing and puts them above being merely another band. Touch? Oh no...have a bloody good grope, they wont mind one bit. [7]

The term nostalgia get's thrown around a fair amount these days, be it in music or film...a great one is modern-nostalgia. It sounds ridiculous but it can somewhat appropriately sum-up a trend that happened not too long ago, nu-metal for instance is the perfect example...early 2000's, but, what is considered nostalgic? Well...anything from the 80's seems to do the trick lately, everything from sound to image...generally the 80's seems cool enough to be nostalgic, or retro, that's another one...go back further than that and you're evaluating vinyl on the Antiques Roadshow, entering classic territory...but there's something missing here...the 90's. What's wrong with the 90's? You had THE SPICE GIRLS! Girl power! Ok that's a bad example...how about grunge? The whole grunge movement housed some of the most influential artists in modern rock and metal...from SOUNDGARDEN to PEARL JAM...they changed the way we listened to alternative music...and that influence still affects bands today but for some reason, it's not nostalgic enough? Let me introduce CHASE THE DAY. The London based quartet have been around since 2012 and have just dropped their debut album; "TABULA RASA" hoping to change all of that....let them remind us all about the decade we apparently forgot...

We kick off with "Pariah" and it's a ballsy, riff-heavy affair, there are dark blues  tones to it's overall sound, musically finding itself somewhere between the aforementioned Soundgarden, plus offering elements of STONE TEMPLE PILOTS here too, especially within the vocal performance, you can hear Scott Weiland throughout the chorus as if he is being channelled posthumously through the track. This can also be said for "Chase The Day"...which has a very VELVET REVOLVER chorus; it's a strong start with the point clearly made.

"Forget Your Name" is more of a toned down offering, it's more of a straight up rock 'n' roll song but, with an almost jovial feel to it. There's a slight hint of punk sprinkled here and there and really it's quite far from any sort of connection to grunge, it's short but it's a decent track. Speaking of short; "Rats In My Cellar"...48 seconds of...what exactly? As interludes go, it's equal parts trippy and pointless, doing the album no favours whatsoever being there. LUCKILY, "Seed" saves face with it's soft yet, pained delivery. The typically true to heart ballad you'd expect to really feel from a JEFF BUCKLEY record and it restores more than enough credibility here. "Just The Same" is another soft song funnily enough but, purely acoustic and doesn't grab you like the previous track

We then finish the album on a rather strong note, with "Honey Trap", an album highlight, being full of life and rocking energy, this is all about the guitars and it really lifts the spirits of the album, while "Spider Jerusalem"  and "Dig" round everything up nicely. So...what can be said about CTD? Well first of all, Tabula Rasa is from a Latin term, meaning clean slate...and I guess it's appropriate as, very few if any artists are tapping into this era of music right now, so in essence they are free to play around with these influences without being part of a scene or jumping on some bandwagon. Is it enough to kick start a grunge revival? No. Sure they dabble in some of the influences mentioned above, but there's no "Interstate Love Song" here...it's a solid album but how they grow from here is what's exciting. That's the day I'll chase... [6]

"Goth" music...what is it exactly?  If you disregard your local chav who declares you a "goth" or..."goffic" (in most cases it's the latter because lets be honest, they can barely spell IQ let alone insult anyone who has one) for wearing an All Time Low t-shirt...what IS it? Really, it's one of those subjective genre's...almost beyond genre definition. It can vary between alt. rock, horror punk, dark-wave, industrial, goth-metal...dare I say it...some emo? A lot of it is in image and not just sound and, the UK market isn't buying into that right now, nor has it done for a good while...aside from a period where EVANESCENCE, THE RASMUS and HIM (who were JUST about remotely gothic) were bothering the Top 10, the gothic music scene is mainly found in places like Germany or Scandinavia, or the states...which is a shame because the gothic movement came OUT of the UK back in the 80's. That doesn't mean there aren't bands still flying the flag however...let me introduce to you AMONG THE ECHOES. Formed in Birmingham back in 2012, this 5-piece dark, synth-rock outfit aim to show the world just why goth's spiritual home is the UK with their most recent album "Fracture"...let's crack this open shall we?

We begin with "Heartbeat" and really it's your typical intro track, just under two minutes long it's brooding and somewhat ominous; it sets you up for something bleak, something cold...with it's atmospheric, almost whispered synthetic tones, it's got that whole "machines will take over the world" vibe to it...before we kick into gear with the title track; "Fracture". The drumming is solid and steady but it's the keys provided by Steve Turrell that drive the song forward. Kept simple, they offer depth and a chilling back drop to what is otherwise methodical metal and it's that element that brings this genre to life, that crossover, it works very well. Again on tracks like "Sin", a somewhat slower track for the most part, it's the synth element that keeps things going.

Momentum isn't an issue entirely however, with tracks such as "Freak" (which has been freshly recorded for this album without the vocals of Rachael O'Hara) chugging along with a sense of purpose and passion. Ian Wall's own vocals are ever so slightly husky adding weight to the track, countering the electronic elements quite well and for the most part this would easily please fans of THE CRUXSHADOWS and the like, it's a strong offering, but it's "Hate" where this album comes together. With it's vibrant electronica and simple but hypnotic chorus...it combines subtle influences from artists such as NINE INCH NAILS and GARY NUMAN and really stands out as an anthem for an entire subculture.

With every high there must be a low however and the album does hit one or two bum notes..."Medusa" is already over the five-minute-mark but feels so much longer than it is because it's SLOW...it's her eyes that are meant to turn you to stone, not the song about her...but I guess that's fitting, so it works...technically or at least, thematically, while "Heart Of A Machine" retains this same trait. It's really quite despondent, void of all hope or at least it induces such a feeling in the listener, before we finish up on "13", which is actually track 12 and I personally find that annoying...but that's just me.

So, what have Among The Echoes achieved ultimately? They've pieced together fragments of early British post-punk, that first wave of alternative artists that inspired this entire genre...with the emotionless tones of European industrial, sans pummelling metal and created a very unapologetic, underground album. It's got all the core elements, all the cogs are in the right place...if you oil up "Fracture" and do a bit of fine tuning...I'm sure they can make Britain black again...Whitby can't have ALL the fun... [6]

Can we just take a moment to appreciate the classics? With no specific genre, the term classic in it's true embodiment can mean anyone from ELVIS to THE ROLLING STONES, from BLACK SABBATH to ABBA...you know, the legends, the icons. They've been around for years, decades even and are well and truly embedded in the history books as pioneers and some of the all time greats, be it in legacy and longevity or headlining festivals today...well there are bands that have been doing it for just as long, who are just as good if not better but for some reason or another, simply aren't mentioned a great deal. One such band; is KANSAS. Formed in Topeka, Kansas (no really, they did that) they released their debut album in 1974 and became one of the biggest garage rock bands of all time...they've sold over 30 million records worldwide, multiple gold and platinum selling albums; they were HUGE. Everyone knows "Carry On Wayward Son", and you're probably familiar with them if you watch TV's "Supernatural" thanks to Dean Winchester's cassette collection...but what happened to them? Well...after a quiet spell of 16 years, they are BACK! Yes 2016 see's Kansas return with new album "The Prelude Implicit"...but prelude to what? Let's find out!

We open up with the debut single and first song in nearly two decades; "With This Heart" and it's got this cheery little piano lead intro that flows into this, quaint little rock ballad, beaming with positive energy. The message is clear; don't give up, hold on and stay strong, it's incredibly warming, welcoming even...you can sense the band are glad to be back releasing music, and it shows here clearly. We then follow this up with "Visibility Zero" and a quick change of overall direction; the guitars are cranked up and we return to that familiar, old-school riffage, taking you right back to those 70's hay-days and also, retaining that soft rock style throughout, resulting in a song that's equally nostalgic and fresh.

One of the themes running throughout is hope, there's a strong emphasis on belief...faith even, and if ever there was an example of this, it would be "Refugee". Again, touching on ballad territory, we've got the gently plucked acoustic elements, some beautifully soft string arrangements and lyrically it's on the verge of despairing; Ronnie Platt's story telling within the song is incredibly poignant given so many recent events around the world, especially around the middle east and Eastern Europe. It's a brilliant track and an album highlight. Speaking of faith, the 8 min+ "The Voyage Of Eight Eighteen" is simply majestic. At such a length, with it's key changes, subtle tempo changes, it could pass for prog-rock. The message again a positive one, with potential references to Romans 8:18, taken from the Bible as "I consider that our present sufferings are not worth comparing with the glory that will be revealed in us"...mankind is on a long journey, we can and will overcome all hardships, you just need to believe in humanity.

Tracks like "Camouflage" and "Summer" keep the album ticking along nicely, the latter being textbook Kansas, before we finish with "Section 60". Now, if you're familiar with the law and your rights, section 60 allows a police officer to stop and search a person with no reason of suspicion required, part of the 1994 public order act. It's an interesting title, for an interesting choice of song; essentially a 4-minute instrumental, it's completely random, but, maybe that's the point? They've done it simply because they can, just like law enforcers do, whether you like it or not. Uncertainty aside on this closing track, Kansas have more than delivered here...for an album 16 years in the making, there's absolutely no sign of rust on these veterans whatsoever. Younger generations may only be familiar with them because of TV shows or games like GUITAR HERO...but "The Prelude Implicit" should change all of that. If the prelude is a sign of more work to come, then carry on my wayward sons...carry on. [9]

I've mentioned on a handful of occasions at least, that, in doing what I do (and this goes for anyone doing reviews after ANY sense of establishment), that you will get forwarded work or find yourself requested. Usually this is third-party based communication, management or PR companies promoting their label or artist, but every so often you'll get an email directly from a performer, and these are, for me at least, more appreciated. The artist in question is going out of their way to find you, to ask you personally to work with them, to write for them and really it can be quite flattering. This happened just recently with a gentleman by the name of ALBERT BEVIA. Hailing from Segorbe, Spain...his influences are firmly embedded in the 80's, new-romantic indie, electro-pop era, which, no one really associates with Spain...lets see what he's up to on his new EP; "You"...

We kick off with "I'm Falling Down" and you're instantly hit with an assertive, guitar driven intro, before Albert sways in with his vocal and here we immediately understand the influence. His delivery has a nostalgic vibe harking back to the likes of THE SMITHS, THE CURE and JOY DIVISION...when you take the tone, his lyrical content...it's a classic combination of upbeat, indie rock and, morose story-telling with a Pollyannish perspective. In softer tracks such as "Ms. Pickles" you get more of a DURAN DURAN meets SPANDAU BALLET feel and it's more pop orientated, with more emphasis on vocal harmony and it's a really sweet little track.

Album highlight "Dear Dad (True Love Never Fades)" is for want of a better word; perfect. It's a well-blended mixture of pain and positivity not unlike NEW ORDER and ULTRAVOX in it's ironic delivery...it sounds really chirpy and has a really catchy core structure but it's an emotional, personal song and works really well, before we finish up on "His Kingdom Will Rise". Once again utilising the ying-yang style of happy, indie-pop with a lugubrious tone in his message, if only it didn't end so abruptly. Many artists this century have applied a retro feel to their sound, especially in pop music, very much focusing on synth elements, big neon tunes focusing on image, but few have genuinely captured the feel of the 80's era...Albert Bevia I believe does this incredibly well and this EP serves as a brilliant throwback to an era when the musical landscape went under one of it's biggest ever shifts in gear, probably resulting in 90% of the industry we know today. Some could argue he's 30 years too late, but, if I may quote Morissey..."What difference does it make?" [8]

​The EP "You" comes out October 15 and will be available through  iTunes and Amazon, check his website for details via the link below...