It’s been an incredibly nostalgic year for SAXON…as they slowly approach their 40th anniversary, the Yorkshire based veterans have taken us on a trip down memory lane of late, celebrating their heritage and educating new generations on how they became one of the most important and influential metal bands of all time, flying the flag for not only metal, but Britain too as part of the NWOBHM (New wave of British heavy metal). Inspired by the likes of IRON MAIDEN and MOTORHEAD, Saxon, led by front-man Biff Byford, have had one hell of an illustrious and prolific career, releasing an incredible 21 studio albums and in 2017 they’ve been dusting off some classics courtesy of some new collectors sets. Earlier this year we were treated to “The Solid Book Of Rock”…a wonderfully packaged set of albums covering everything from 1991’s “Solid Ball Of Rock” all the way to 2009’s “Into The Labyrinth”…showcasing the bands ability to withstand the test of time in an ever changing musical landscape…but they’re going further this time…far back, right to the beginning with “Decade Of The Eagle”…set for release on November 17th, “Decade…” highlight’s the band’s first ten years; from their emergence through the most commercially successful years of their career which included gold and platinum selling albums and multiple chart positions…let’s check it out…

The two-disk compilation appropriately opens up with a selection of tracks from 1979’s historical debut; “Saxon” and it’s here where it all began…given the time, we were in the very earliest days of metal and it’s a far cry from today’s brutality, with a sound having borrowed more from rock ’n’ roll. Here you can hear a band trying to find their feet, with “Stallions Of The Highway” and “Militia Guard” proving to be raw and pacey…the production quality wasn’t great but it’s here their journey began, marking a milestone in metal history. From there however, things would pick up big time…as follow up release, 1980’s “Wheels Of Steel” sped up the charts to their highest ever position at number 5 and the band would never look back. With better production quality and a sound more rooted in blues rock, the band would release one of their most popular songs of all time “747 (Strangers In The Night)” and the seeds were sewn for success…seeds that quickly blossomed as they released not one but TWO albums in 1980, following up with “Strong Arm Of The Law”. While not charting as high, reaching number 11…it made up for a lack of standout hits, despite “Dallas 1pm” (Written about the Kennedy assassination) with a more consistent writing quality and the album is considered one of the best in the bands discography by many, many fans. Just a year later then, they broke into the top 10 once more with 1981’s “Denim And Leather”…there was no stopping them! With subtle nods to their beginnings, they included a slicker, classic rock feel into their sound and the title track became an anthem for the metal lifestyle as we came to know it, musically and fashionably transcending style…

Disk two then gets us going with highlights from 1983’s “Power And The Glory” returning yet again to the Top 20 kicking off with “This Town Rocks” and a return to their frenetic hard rock roots, paying homage to the likes of Motorhead, contrasting the generally slower “Midas Touch” which focused on a catchy chorus balancing a more ballad-driven piece, delivering another solid collection of songs. In 1984 we saw Saxon release their final album for the Carrere record label; “Crusader”…a touch softer than previous releases, it garnered its criticisms, and the single “Sailing To America” does suffer from repetition, an anticlimactic end to the relationship with their label. Their form soon picked up again however when they joined to EMI and released 1985’s “Innocence Is No Excuse” and the bulk of disk two’s content is taken from this…tracks like “Rockin’ Again” and “Rock ‘N’ Roll Gypsy” again using classic rock and slick guitar tones to their advantage, which can also be said for 1986’s “Rock The Nations”…Saxon, already established by now, dabble in subtle glam-rock elements for tracks such as “Waiting For The Night” and shock horror, using acoustics and piano for “Northern Lady”, showing they were far from a one-trick pony with another power ballad not sounding out of place whatsoever, before we round off the collection and the decade with a couple of tracks from 1988’s “Destiny”, which includes a cover of “Ride Like The Wind” by Texan songwriter CHRISTOPHER CROSS and the scorching “Red Alert”, ending the collection on a hard rocking high note.

Whereas sounds and styles have changed multiple times over the years, with new genres and fads coming and going with each decade…one thing that will always stand the test of time is metal and here, Saxon prove that like the rock royalty they are…having pounded out so many classics in such a relatively short space of time shows just how important and influential a band they are, even to this day, paving the way for many acts such as the mighty METALLICA…this collection of songs highlights the heydays of heavy metal in all of its unashamed glory and Saxon were at the forefront of a revolution, helping lay the foundations of one of the world’s longest standing genres of music…many would argue it’s more than that, many would say it’s a way of life and thanks to bands like Saxon, we still live for the denim and leather. [8]

Back in 2003 the world of rock music underwent a little renaissance and for the first time in a long time, Goth was cool again…yes black was back and several artists made huge impacts on the world stage. Without a shadow of a doubt, EVANESCENCE stole the show with their chart topping, haunting super-hit “Bring Me To Life”, alternative rock having rarely seen such commercial success…veterans TYPE-O-NEGATIVE dropped the outstanding “Life Is Killing Me” in all of its dark humoured glory…Finnish icons HIM made their UK / US breakthrough with “Love Metal” (Helped ever so slightly by the relentless plugging of Bam Margera) and rock music as a whole found a new heart-throb in Ville Valo…and a little band called THE RASMUS released one of the year’s biggest hits, “In The Shadows”….many thought that the Finns had come out of nowhere, capitalising on this wave of alt. rock popularity but in actual fact they started life back in 1994 while still in high school, and while charting higher than their Scandinavian peers here, the longevity wouldn’t last and as quickly as they became new Goth’s on the block, they ironically slid back into the shadows, eventually going into lengthy hiatus in 2012. Fast-forward five years however, and 2017 see’s The Rasmus return with their ninth studio album; “Dark Matters” but…the question is, do The Rasmus? Let’s find out…

The album opens up with lead single “Paradise” and it finds itself somewhere between ambient acoustics and generic indie-rock…front-man Lauri’s vocals are still honey coated as ever and he sings with an air of innocence as he juxtaposes the idea of one man’s hell being another man’s paradise…it’s a pleasant little song for what it’s worth but for a come-back single after a five year absence it’s a little underwhelming and it doesn’t incite much excitement to start the album…”Something In The Dark” follows up immediately afterwards and here we have this incredibly light, bubbly pop track…musically it sounds like it’s taken influence from modern dance-pop records, lacking only in pace, and the chorus here suffers from being a little flat really, it works as a nice, simple pop song but little else. With “Wonderman” then we’re finally met with some chugging riffs and you’re lead to believe that the album is going to come to life here but, the idea is shot down as the track descends into a soft ballad and it’s massively disappointing…and here we find the album’s primary flaw.

While we know Lauri’s vocals aren’t exactly the strongest, they’ve never been an aggressive rock band…but…we do know they can churn out an absolte banger and he’s capable of delivering, I’ve already mentioned “In The Shadows”, but they also have “Guilty” in their repertoire and hell, just listen to “Life Burns!” with APOCALYPTICA…they can do it, but this album is bereft of life, or even a point at times… despite having certain easy listening qualities, such as the funk driven “Crystalline” and the frankly Eurovision-esque “Delirium” providing an album highlight in all of its catchy pop splendour, the rest of the album is annoyingly lacklustre. “Empire” for whatever reasons deemed acceptable in production utilises a god-awful kazoo-like effect that you’d possibly find in a clichéd R’n’B track…it’s actually horrendous…while “Black Days” and “Dragons Into Dreams” are for whatever reason content with boring the listener into a coma more effectively than an opioid overdose…this album simply fails to inspire on many levels and it’s just an absolute shame…even from a pop music perspective this is relatively half-arsed and lifeless and to make the point clearer, there’s more substance to the last LINKIN PARK record, and look how that was received. Dark matters? Well, this album sadly doesn’t. [3]

Sinister Visions Records are a new independent label with a fresh perspective. One that will support exceptional artists who have a lot of potential but aren’t necessarily seen as commercially viable.

They are currently raising funds to launch their new way of thinking, business-ethical artist-friendly Heavy Metal record label in Greater Manchester, UK. They will be focusing mainly on Thrash, Death, Extreme and Black Metal bands but are not limiting themselves to these genres. If a band can start a decent pit going at a gig then they are most welcome!

Here is what Sinister Visions Records told us:

"Put simply, the only people making money at the moment is Record Labels and this has to change because if bands don't make money then they cannot survive".

​"Our business model is this....the band pays for the studio time, recording costs, mixing and mastering costs. The label pays for the cost of putting the finished album onto CD, LP and/or Cassette (whatever is agreed with each band), it also pays for any necessary advertising and PR costs". 

"Any profits from the sale of music after production, advertising costs and monthly donations (oh, we forgot to mention that didn't we? A set percentage which is to be confirmed but likely around 10-15% will be donated to mental health chariites) is split 50/50 with the band".

​"We are by no stretch classed as "Tree Huggers" but we are mindful enough about the planet and switched on enough to know that we would prefer and insist on (where possible) to use recycled packaging and materials for all our releases. We have been pricing up the costings involved such as recycled card for all digipack releases and vinyl record sleeves etc and these are not much more (if at all) than the costings of non-recycled materials but as that big supermarket chain says - "Every little helps".

While the record label will be going ahead regardless, by clicking on the link above, you'll be taken directly to the SINISTER VISIONS KickStarter campaign page, where you can donate money towards helping the label hit the ground running and make it success not just for the team involved, but for all the bands who will work with them in the future, giving them the best possible start. All donations are welcome and appreciated but if you donate so much, you will be rewarded with items like physical CD's or T-Shirts from the label, or even digital downloads from the label's roster...or...if you really want to splash the cash and are feeling generous (Should you have the funds spare) you can even get a performance from one of the artists in your own home, or even have yourself named as an executive producer on a future release. If you want to do your bit to support up and coming metal...donate now!

If I were to utter the phrase, “Jesus Is A Cunt”…odds on I’d get one of two reactions. I’d either be greeted with a heap of hostility; morally sentenced to an afterlife-time in hell (For the record, Jesus simply could not have been a cunt, on account of his lack of existence, but, I’m sure, had he been real…he MIGHT have been a cunt)…or…you’d of course realise that I was about to make a reference to CRADLE OF FILTH. Yes the Suffolk based black metal mob formed back in the early 90’s and have courted their fair share of controversy over the years, that now infamous t-shirt included, but as time has gone by and the shock-tactics have worn thin, COF have steadily become one of the UK’s most prolific metal acts, rising from their underground status to one of the most recognised names in extreme metal, and despite numerous line-up changes throughout their colourful history, front-man Dani Filth still stands firm as they recently released their newest record “Cryptoriana: The Seductiveness Of Decay”…the question is, can their new music still seduce us or has quality decayed over time? Let’s find out…

We open up with “Exquisite Torments Await” and from a titular standpoint it’s wholly accurate, such is COF’s often grandiose yet macabre musical onslaught and it sets us up for the album really rather well; initially sounding more like the score from a horror movie with its chilling atmospherics, we soon descend into the depths of hell with a flurry of metal and some ominous Latin-esque verse, layered within like something out of THE OMEN, it’s typically foreboding as we lead directly into the albums lead single “Heartbreak And Séance”. It starts off rather melodically with some smooth guitar but it quickly escalates into COF’s trademark blend of fast-paced demonic thrash metal, Dani’s vocals piercing as ever with one of the most distinctive shrieks in all of metal, adding perfect character to their traditionally dark lyrics. The same can also be said of “Achingly Beautiful”…another trademark shriek from Dani, double kick-drums and even a subtle layering of church organ, add to that backing vocals by Lindsay Schoolcraft in her narrative delivery, we’re treated to a dose of old school Gothic COF.

The title track here; “The Seductiveness Of Decay” hammers home the main theme of the album as a whole…firmly planted in Victorian England, Dani states that the album has been inspired by the Victorian’s obsession with the macabre, the supernatural…all of their fascinations with ghosts and the ghoulish and it’s delivered within a prog-inspired Gothic metal onslaught, despite it’s obvious ferocity in places it goes though certain key changes, assisting in the story telling through the era, before we’re met with album highlight “Vengeful Spirit”. Featuring returning collaborator and former LEAVE’S EYES vocalist Liv Kristine, the dual-tone vocal approach softens the song ever so slightly (despite a simply shredding guitar solo) and it only amps up the Gothic feeling here, before eventually we finish up on a cover; “Alison Hell” by Canadian thrash veterans ANNIHILATOR. Naturally tweaked to accommodate COF’s own chilling, atmospheric styling’s, it’s appropriate by name and gives general fans of metal an extra little treat…and it’s better than their cover of “Temptation” so at least there’s that going for it already. Overall though, it’s a solid record and credit to COF for their consistency over the years…admittedly some tracks tend to blur with little distinction between them musically, and with an average track length of around 7 minutes it’s not a casual listen and to many it would appear to drag on, especially if you aren’t a fan of Dani’s high pitched vocals, but it’s a decent record with a strong theme, however I’m hardly seduced. [6] 

While talking about music in the 90’s, it’s easy to just talk about how NIRVANA were the hottest band in the world for a while and say that, alternative rock and metal in its multitude of sub-genres was going through a massive transition but, here in the UK, the scene was so incredibly random…aside from a booming rave culture spanning from the naughty north to the sexy south (God that was a terrible song), we had the SPICE GIRLS wanting all of the zig-a-zig-ah…drugs or sex, you be the judge…we even had MR BLOBBY at Christmas Number 1 in 1993 for fuck sake, but one of the most enduring movements in British music was Britpop…merely a pigeonhole for bands of a certain era, it was made famous by indie-rock artists such as BLUR and PULP but probably the biggest of the lot, was OASIS. Featuring the now iconic Gallagher brothers; Liam and Noel, they became one of the biggest bands to ever come out of the UK, finding rare success Stateside for a British artist, but, sadly you can have too much of a good thing and in 2009, after continuous strain between the brothers, Oasis came to an end. There has been plenty of talk about reunions over the years but other projects have taken priority and now, in 2017, we find LIAM GALLAGHER finally releasing his debut solo album; “As You Were”…is the darling of UK rock ‘n’ roll merely delaying the inevitable or is his story still very much morning glory? Let’s find out…

The album opens up with “Wall Of Glass” and after a harmonica driven country-blues style intro we’re met with relatively simplistic yet catchy indie-rock, the chorus keeps things minimal with some choir-esque backing vocals, accompanying Liam’s distinct voice rather well all things considering, giving his droning Manc accent an added sense of soul, it’s a nice enough introduction really and there’s plenty more where that came from…”Greedy Soul” keeps up the  indie-rock momentum but it’s got one hell of a groove…the rhythm is infectious here but again, kept simplistic much like the opener but bettered, it’s so slick and it’s got a great hook this, an easy album highlight. We revisit certain country elements on “You Better Run” too and in ways it’s like Liam has been listening to  JAKE BUGG to rediscover his mojo here…boosted further by subtle layering’s of brass, it’s good stuff.

​“Come Back To Me” has a touch more of the old attitude we know and love, couple that with more prominent electric guitar, we’re taken on a trip down memory lane audibly, while bonus track “Doesn’t Have To Be This Way” has certain throw-back qualities to the likes of THE LIGHTNING SEEDS in its melody and structure, but it’s not all smelling of stone roses…oh no…for Liam has mellowed somewhat in his age and there are several ballads dotted throughout this album…”Paper Crown” is a quaint little BEATLES inspired acoustic piece, while “All My People / All Mankind” takes a dreary, dismal look at society, lambasting selfies and such of the world around him, declaring his return, no more bullshit essentially and it’s quite a serious track in tone. While Oasis fans are desperate for that reunion, Liam here proves that he’s still one of the most important performers in British music…he may not sound as pissed off as he used to, and to be perfectly honest he probably doesn’t care what you think in that respect, but the important thing is he’s back making new music, and it’s a well-balanced album from start to finish. Now…as you were. [7]

Greatest hits albums; there are a couple of ways you can look at them…on one hand you could say that they act as an easy introduction to bands for new listeners, enabling them to familiarise themselves with a bands work…or…some for example might suggest it’s the band taking advantage of fans, releasing multiple compilations with little to no new content (“Gold” by ABBA for example has been released fucking SIX times since 1992) but, as exploitable as that may make fans, you’ll always have the “Best Of” in some capacity, but nowadays it begs the question, why? With services like Spotify widely available and people being capable of not only compiling their own playlists but often actually improving on officially released sets, coupled with a decline in CD sales anyway, you can’t help but wonder why bands bother…though a band who has bothered recently mind you, are SOIL. The Chicago based rock/metal outfit have been through their fair share of ups and downs since they began in 1997 and their new compilation; “Scream: The Essentials” acts as a musical timeline from their inception all the way up to present day…but how essential is it?

The album opens up with the obligatory new track that’s recorded purely to promote these sorts of releases and what do you know, it’s a cover; “Gimme’ Some Lovin’” by THE SPENCER DAVIES GROUP…made famous by the film “The Blues Brothers”, it ties into the bands roots in Chicago claims bassist Tim King and while that itself may be poignant to them, the cover here is a bit brash, metal as a genre really not lending itself to the song very well stylistically and it’s a bit of a shame really…after this, well essentially we have a selection of singles more or less laid out in order of release spanning the last twenty years…it’s more of a timeline than a compilation, which is good I guess when you’re looking at progression and evolution, but it’s hardly imaginative. Early tracks like “Broken Wings” and “Road To Ruin” retain their production quality and you can feel their age slightly…”Black Betty”, another cover was technically part of a reissue so even that’s out of place here in a linear sense…

When we reach the early 2000’s we hit Soil’s golden era…as both “Scars” and “ReDefine” to this day are still probably their best works…”Breaking Me Down” is as fast-paced and gritty as ever, an incredible up-tempo slab of hard rock, while “Halo” has stood the test of time as a modern metal anthem, laying waste to rock club dance floors to this day, it’s as awesome as ever and an obvious highlight. There’s also an acoustic version of “Can You Heal Me” thrown in which allows for respite mid album and it breaks the tracks up nicely before we not only change gears but also change vocalists! 2006 saw the release of “True Self” featuring AJ Cavalier on vocals and despite the incredibly intense “Give It Up” featuring late STATIC-X front-man Wayne Static, the band hit a lull creatively and they miss the mark more often than not…this includes follow up album “Picture Perfect” which despite including the mellow, country-inspired “The Lesser Man”, it’s got a poor showing here…in 2013 however, the band would come full circle and release “Whole” with returning original vocalist Ryan McCombs and rediscover some form, especially on the track “Way Gone”, easily their best track for years. The album does end disappointingly however…a live version of “Halo” really isn’t necessary…it’s a pointless inclusion to be frank and adds nothing to the record, before we finally finish on another new cover; “Rusty Cage” by SOUNDGARDEN…now while it’s nice in a sense that it may be in memory of the late Chris Cornell, they may as well have pissed on his grave…seriously this is abysmal, it sounds like a mess and personally you’re better off with JOHNNY CASH’s version. Honestly this leaves a sour taste in your ears. Essentially then, is this collection essential? The short answer is no…however…it does provide the listener with a nicely cherry picked timeline of the bands back catalogue…a couple of stand-out moments yes, but collectively, I think essential is false advertising. [6]

Rovio Entertainment, the creators behind the hugely popular mobile app game ANGRY BIRDS have teamed up with the one and only IRON MAIDEN this Halloween, bringing you an exclusive gaming experience! Yes, Maiden's world famous mascot and heavy metal icon in his own right; EDDIE will become a playable character in "Angry Birds Evolution" as "Eddie The Bird"...a tribute to the character.

Miika Tams, VP Games and Product Lead for the project states "Our team is filled with massive Iron Maiden fans and Eddie was both our first choice and a natural fit in Angry Birds Evolution...It's about time his status as a true rock icon was celebrated and we know that fans will love seeing Eddie The Bird raise hell on Bird Island!"

Available for two weeks as a character event celebrating Halloween from October 18th, players who successfully recruit Eddie will get to keep him permanently as a member of their Angry Birds team...Llexi Leon, Interactive Creative Director at Phantom Music Management went on to say; "When you get a call from Rovio, one of the biggest entertainment companies in the world confessing that they are Maiden fans and want to celebrate Halloween with Eddie, you just have to take notice. They have outdone themselves with this incredible tribute to Maiden and the opportunity to share the bands music with their millions of players around the world. I really can't wait to play him and skittle those pigs!"

The island in-game will become an exclusively themed heavy metal oasis with a selection of Eddie evolution's to choose from, based on classic Maiden album art work, as well as featuring 100+ new colourful characters. The game is available as a free download from the iTunes App store as well as Google Play. "Can I Play With Madness?" Bruce Dickinson once asked...probably, but you can definitely play Angry Birds. Download it now.

The super group…the term probably conjures up images of the Avengers or, Guardians Of The Galaxy among today’s youth (Seriously I’m over it already, can we stop with the comic book movies? Can Marvel or DC like, invent a hero called No Need For A Fucking Film Man?) But musically, it’s a term used when big name artists come together for more than a one-off song…when new bands are formed by merging two already established singers or groups, Eric Clapton helped pioneer this with CREAM but, over the years, the likes of THE HIGHWAY MEN and more recently, ALTER BRIDGE have all come together for the greater good…in 2016, members of RAGE AGAINST THE MACHINE, CYPRESS HILL and PUBLIC ENEMY came together to form PROPHETS OF RAGE, solely intending to tackle the mountain of bullshit that was the American election, using their platform and voice for good, contribute to the revolution and the prospect, for all intents and purposes, was mouth-watering. With a history of strong political opinions and frustration between them, and plenty of material to fuel the creative fire, they dropped their eagerly anticipated debut self-titled album this year…will the prophets profit or are they gonna’ make me rage quit? Let’s find out…

We open up with “Radical Eyes” which is a nice little play on words I will say…musically it’s really quite slow and lethargic with an almost southern-rock groove in it’s bass-heavy riffs, while B-Real and Chuck D question the establishment, minorities getting ignored and mistreated, false information in the media, it’s a serious issue but it’s not really hammered home here as sadly the song is very middle of the road, there’s a lack of passion or, frustration behind it and fails to really ignite the album, a lackluster start this. “Unfuck The World” however is a vast improvement, again, bass driven thanks to Tim Commerford and it too has a solid groove, a slick feel to this one with the rhythm and catchy appeal, it’s an album highlight with a great title…if only life was that simple…while “Legalize Me” is a fittingly laid back, almost blues / classic rock inspired piece praising the devils lettuce…with several states in the US having already decriminalized marijuana use, the song campaigns for complete nationwide legalization, both medical and recreational…quite literally, stoner rock.

Sadly however, for the most part, the albums is a bit of a let-down…there is a truly awful solo rounding off “Living On The 110”, while “Fired A Shot” and especially “Hands Up” later on suffer from a deal of repetition…”Who Owns Who” is another strong political track but once again we find even more poor guitar work, honestly it’s painful, if it’s a solo, Tom Morello deserves to be shot…”The Counteroffensive” provides with nothing more than a pointless 38 second interlude…NO! They should have called it counter-productive, before we eventually finish on “Smashit”…nothing overly special, and in that I guess I’ve summed up this record perfectly. The hype surrounding this collaboration was off the chart and while they’ve delivered on a lyrical front, and I won’t take it away from Tim, the bass really owns it on this record, but with a collection of artists such as this releasing an album, do you really want bass to be the thing that stands out? For the most part generic and a little bit dated on times, there are tracks here that wouldn’t be out of place on a Tony Hawk’s soundtrack…never mind unfucking the world, I’m trying to un-listen to this. [5]              

I’ve touched upon certain influences and my own personal inspirations in previous posts, musically or otherwise, but for now we’re going to focus on one in particular; BAM MARGERA. Yes growing up in the MTV era of JACKASS it was always Bam that stood out to me more; the skating, the style...the taste in music…the latter in particular struck me as I noticed he (like myself) was a big fan of HIM which I thought was ironic…and as I watched more of his stuff, I slowly discovered his taste in bands was frankly pretty fucking good! This was cemented when he said he got to pick his own music for his own spin-off show “Viva La Bam”…so when he released his very own compilation record entitled “Viva La Bands” back in 2005, well, you can only imagine my excitement…several of the bands I was already aware of but one or two would become new favourites for life and today we’re going to be looking at one of those very bands…THE SOUNDS. Formed in Helsingborg, Sweden in 1998 and cited as being a combination of BLONDIE and THE CARS, they quickly found themselves a loyal fan-base with their blend of up-tempo rock ‘n’ roll funk with retro synth-pop undertones and earlier this year, they returned with a brand new EP called “The Tales That We Tell”…gather round folks, it’s story time…

The EP opens up with “Thrill” and immediately we’re immersed in their retro disco-pop style…Maja Ivarsson’s vocals distinctive with her combination of high pitch with husky, graveled tones…the rhythm here is simple, allowing her voice to stand strong amidst the synth-led alt. pop…and really there are aspects of this track musically that could appeal fans of both BILLY IDOL and A-HA…a wonderful start this. “The Darkness” follows up and we’re met with a deeper, bass-driven piece here but not in a heavy sense…with a touch of piano sprinkled within the song sporadically and an up-beat chorus with a great hook…for a break-up song it’s rather positive, Félix Rodríguez rocks up with a brief but passionate solo to add a climatic feel to proceedings…it’s equally defiant and delightful.

We take our foot off the gas for a moment with follow up track and EP highlight “Sail Into To Sun”…utilising soft string sections over a soothing acoustic piece, coupled with the subtle inclusion of steel drums, we’re given a truly beautiful little ambient pop record and for four minutes we sail away with Maja’s voice, the mellow tone of the track allowing her vocals to flourish; she excels here, this is lovely, before we finish then on closing track “Turn To Gold” and we return to their preferred mix of big pop melodies with a  funk-driven core sound; with a bold chorus and a superb saxophone solo closing the track, this really is gold (OK it’s brass but you know what I mean) and the EP ends on a high note. While it would be incredibly picky of me to be disappointed here, I can’t but help but wish that this was a new album…these four tracks prove if anything just how consistently good The Sounds are and really it just wets your appetite. Here’s hoping for a new full-length soon but for now, the tale that I’m telling YOU is go and listen to this EP…seriously. [8]

Rock music and controversy have always gone hand in hand…the style, the image, the themes…the potential for shock value within its content, the musical equivalent of horror movies if you like, the idea of taking things to extremes and, every generation has it’s shock rockers. ALICE COOPER paved the way with his theatrical stage shows, with guillotines and electric chairs…the godfather…the one who started it all. GG ALLIN for all intents and purposes, was an absolute fucking nut job…getting naked on stage, cutting himself, throwing shit (literally…his own shit) at people in the crowd…failing that he’d fight them…he was utter lunatic! But…a punk rock pioneer. Then of course, there’s MARILYN MANSON…born Brian Warner, he took his stage name by combining Marilyn Monroe and Charles Manson and assumed the position of The God Of Fuck when he burst onto the scene like a knife through a shower curtain in the 90’s. Mixing alternative metal with Gothic undertones and politically charged songs, he was the poster boy for rebellion and was often in the line of fire for when shit hit the fan (Like the Columbine School massacre) but, it never stopped him…2017 see’s Manson return with his tenth album “Heaven Upside Down”…while he’s recovering from a recent incident on stage which rather ironically adds to the on-going debate regarding America’s precious 2nd amendment, let’s check it out and give him something to read in bed…

We open up with “Revelation#12” and it’s not long at all before we’re met with Manson’s trademark raw, angst-driven brand of rock…and what fitting topic than the coming of the apocalypse to open your album! Revelations, Biblical of course but modernised to a degree, the old adage of the coming of the Antichrist has here been supplemented for those in office, those that run the country through their ignorance and stupidity; he speaks of painting the town red with the blood of the tourists, as that’s all humanity has devolved into, an expendable and milk-able source of money for those corrupt in power, it’s a typical Manson stab at authority and a decent opener. Such is his style mind, the majority of this album targets society and government…”We Know Where You Fucking Live” is aimed at law enforcement and the troubles surrounding gun culture…the constant problems seen in the news, all over the media on a daily basis regarding police brutality and excessive force…

These themes are all entwined within the tapestry of the record overall as we continue through the track listing…”Say10” is a jab at the recent presidential campaign, it’s video featuring one Mr JOHNNY DEPP as God, while Manson himself is the Devil…depicting  them both enjoying the pleasures of luxury and power, a nod to the fact America was voting for the lesser of two evils (an argument from both Republicans and Democrats) and again, the idea that they were only in it for themselves…”Saturnalia” is ironically named after an ancient Roman festival of plenty, where roles reversed and masters served their slaves, a generous act, Manson mocking government here as poverty is rife and public services struggle while the rich get richer, a class divide more prominent than ever, while “Je$u$ Cri$i$” spews criticism all over organised religion; for it’ll be whatever you want  it to be so long as you’re funding it blindly, for God needs you…but no, no he doesn’t, he’s not real, in reality these snakes just want your money and prey upon your naivety from their high towers of wealth; a very real track this, while other highlights include “Blood Honey”, a beautifully morose Gothic ballad full of pain and suffering, this is Manson on form here, while the title track has great rhythm, his distinct drawl giving off a sense of longing, for his life is upside down, there’s a lack of stability and it hints at his past troubled relationships…he’s always been quite an open and honest song writer but it’s something he’s not often given credit for and here he delivers yet again. A grower this record, once it gets going it’s classic Manson, despite not having the aggression and intensity of earlier work, it still bites and it’s an improvement on “The Pale Emperor”…let’s all Say10 together (and get well soon)…[7]

Do you believe in a thing called love? Well apparently you did back in 2003…yes 14 years ago, a little band from Lowestoft in Suffolk called THE DARKNESS ejaculated onto the scene like the most flamboyant of glam rock money shots with their debut album “Permission To Land”…the old-school rock ‘n’ rollers (fronted by spandex-clad mad man Justin Hawkins) instantly became hot property after an immensely successful year (They held off the mighty IRON MAIDEN at the top of the charts and won everything from Kerrang! to Brit Awards…they even had a stab at the coveted Christmas Number 1!)…they were touted as saviors of British rock with a multi-platinum selling album and the world was theirs for the taking…but somehow it all went wrong. In the wake of their follow up; 2005’s “One Way Ticket To Hell…And Back”, Justin left the band, tired of the whole process of recording and touring, coupled with a stint in rehab, and ultimately, the band split up…after such promise, that one way ticket would never find its way back…or so we thought. Fast forward a couple of years and after a reformation, we find them in 2017 releasing their fifth album; “Pinewood Smile”…enduring one-hit wonders or a long lost treasure? Let’s find out…

The album opens up with “All The Pretty Girls” and after a slow-building, droning guitar intro we’re met with Hawkins unmistakable shriek…his falsetto vocals giving the band enough of a unique edge to earn them their popularity early on but over time it’s become sort of a gimmick and detracts from the song to a degree…musically it’s solid rock with a fairly decent solo to boot, one thing that can be said is that instrumentally they’ve always delivered…a shaky start. Follow up “Buccaneers Of Hispaniola” is an immediate remedy however…an early album highlight, it’s got a brilliant rhythm, it’s incredibly slick and some wonderful indie-rock hooks, couple with some enjoyable riffs, this is a quality song and is much better overall, this is The Darkness on form.

As I mentioned, musically, The Darkness have never disappointed…”Solid Gold” capitalises on the classic rock influence, the AC/DC and DEF LEPPARD inspired riffs, but the song has a very tongue-in-cheek feel, attacking the industry and their critics with their trademark blend of humour…speaking of which, “Southern Trains” is a brash and punk-inspired piece…but being so very British, we have a song about delayed services and rail commutes…while “Japanese Prisoner Of Love”…about the uh, intimacies of prison relationships shall we say…dropping the soap and such…is a generally quirky track, albeit random. “I Wish I Was In Heaven” has another strong indie-rock vibe with pop elements, but again those vocals seem like their being milked, we get it, Justin can hit some impressive notes but, here they spoil a generally decent song, before we finish up on “Stampede Of Love”…while yes, it does have Western qualities, a stampede conjures up images of chaos, frantic animals, galloping across the plains…this has all the urgency of a galloping sloth. The deluxe edition has four extra songs…”Rack Of Glam”, Justin’s tribute to tits I guess, while there’s a sweet but peculiar acoustic track about losing his virginity, although nothing entirely memorable. While it’s fair to say, I honestly don’t think The Darkness will ever match the glory of their debut, and to be honest I think they know that too, so really it’s unfair to compare everything they do to that first album…look what happened to LINKIN PARK with “Hybrid Theory”…for what it’s worth it’s a decent record with some enjoyable moments and some good, solid rock ‘n’ roll…but it’s not a world beater…solid bronze if anything…[6]

The shark; the ultimate predator…having existed for around 400 million years, essentially predating spines, they’ve lived through multiple mass-extinction level events and have evolved into the perfect killing machine. They properly put the shits up some people (Jaws didn’t help) but to be perfectly honest, sharks get a bad rap most of the time…did you know you are 1000x more likely to die while riding a bicycle? And did you also know you are 75x more likely to be killed by lightning? So with that in mind…let’s see where today’s band, HARBOUR SHARKS, find themselves on the musical food chain. Formed in Kingston, London in 2015, the hardcore pop-punks (Consisting of vocalist/bassist Jack Morris, guitarist Rob Rees and drummer Richard Hemley) have steadily been finding their fins with live shows up and down the country following the release of their first single “Alive To Survive”…but on October 27th they are taking the plunge with their debut full length album; “A History Of Violence”…let’s tuck in.

The album opens up with “False Flags” and there’s no messing around here, hitting very serious topics from the word go. Inspired by the current state of the world and the on-going conflict between terrorists and the west, it’s message is simply that we need to be sensible and open minded, we can’t rely on the media…for most governments are solely interested in profits and they will use newspapers and such to their advantage; scare mongering and propaganda, we need to be wise to this as we are expendable…set over some meaty riffs, it’s up-tempo and frustrated, it’s a solid opener. “The Killer Inside Me” again utilises a chugging, breakdown approach to this blend of soft metalcore, capped off with a decent melodic chorus, the clean vocals balancing the track well, add to that a slick guitar solo and it’s another enjoyable track overall.

Album highlight “It’s Not Working Out” is considerably lighter with more emphasis on the pop qualities regarding the core sound of the track, there are still riffs and light breakdowns but there’s far more harmony within this melodic little anti-love song…this one reminds me of AMBERLINE with it’s easy-core approach, while “Swing Away Merrill” has an up-tempo BLINK 182 inspired feel, Jack channelling his inner Mark Hoppus, while “Burn Down London” has an almost NEW FOUND GLORY inspired sound, before closing track and further highlight “Abandon All Hope” rounds things off on another serious note. With subtle doom elements, it’s a far slower, morose offering and it really sets itself apart from the rest of the album, and though it does pick up at the end, it’s dramatic and emotional and ends the album strongly. On a random note…”Vulva” is a wonderfully quirky minute-long mid-album punk rock snippet with sole intention of calling the government a bunch of cunts…brilliant. All in all, Harbour Sharks have delivered a decent debut here, there are some elements such as breakdowns which feel dated already because they became the in-thing and are now overdone, but ultimately there’s enough here to keep the listener going, plus the encouraging thought of how these songs play out on stage. They aren’t quite Great White’s but, they’ve still got plenty of bite. [6]

The nicest man in rock…it’s a pretty strange title that if you ask me, but it’s a title that’s been thrust upon one Mr Dave Grohl. In recent years, the former NIRVANA sticks-man turned FOO FIGHTERS visionary has been generally viewed upon as a top bloke by virtually everyone in the music business (The guy recently left a $2,000 tip on a bar tab, told a guy to fuck off out of his show for fighting in the crowd, not wanting any of his fans hurt and despite having a broken leg, had a throne specially made for him to sit on, on stage, so that they could still play shows in his cast) but, it has to be asked, does being a really nice bloke get you an automatic pass on your albums? Everyone knows in the past, yes, the Foo Fighters have churned out several absolute banger's, but in recent years that form has dipped substantially…their 2015 thank-you to the fans and dedication to the Paris attacks, free to download (damn he is a nice bloke) “Saint Cecilia” EP wasn’t anything truly memorable musically, while their last album, 2014’s conceptual “Sonic Highways” suffered with the same issues…so we look upon their newest album, “Concrete And Gold” with a sense of trepidation…is this 24-carat or will it kiss the curb? Let’s find out…
 
We open up with “T-Shirt” and at just over a minute here we have another album with a little intro track…on face value it’s a bit of a request in ways, as if Grohl doesn’t want to be lauded with all of this praise, he’s too down to earth for all that…like he’s been there and worn the t-shirt so to speak, let’s just focus on the important stuff…it’s done sweetly , semi-acoustic, bursting to life at the tail end of the track, albeit briefly, before we transition into the album’s first single “Run”. The acoustic tones delicately continue into the song and it sounds like we’re going to get a power ballad of sorts, intensifying subtly to what you feel may be an emotional chorus…but oh no, the tone here is totally unexpected! It’s riff heavy, distorted and savage, Grohl has a raspy anger to his voice and there’s some proper weight behind this, the flurry at the end particularly enjoyable, but it comes and goes in waves, almost bipolar in presentation…and interesting track.

“La Dee Da” has a similarly raucous tone for the most part, especially as the track rips into life over the chorus…it’s incredibly raw and punk-inspired, the rough around the edges appeal of the track giving it plenty of character, this is harking back to their garage band roots and when it gets going it’s incredibly fun this…sadly however, most of the fun stops here. “Dirty Water” has some wonderful harmonies, the female backing vocals giving the already soft track a blissful tone…that is until it’s halfway point and it jump-scares you with some surging guitar…this would be better suited as a closing track to be totally honest but mid-album it feels…lost. “Arrows” and then “Sunday Rain” suffer greatly from repetition…the former does have a classic climatic Foo’s feel, the latter is quite frankly boring and at over six minutes, drags out far longer than it deserves to, before we finish up on the title track…while it is sweeping and to a degree dramatic, it fails to capture any real interest and as a result, the album sort of just, fizzles out. The concept of concrete and gold is quite simple; it’s the rough and ready of Grohl’s rock back ground meeting with the more polished approach of a pop-record producer (Greg Kurstin) and while intentions were good creatively, it merely comes across as two separate albums trying to coexist on the same disk space and sadly, they don’t gel well…not that it matters…while I’m being negative, Grohl just helped an old lady across the street, rescued a cat from a tree and did some recycling…the nice bastard that he is…[4]

Back in 2014, the world of metal underwent a bit of an unexpected change…Swedish melodic death metal troop ARCH ENEMY had made a name for themselves not only with their quality, technical playing but also because of Angela Gossow…the German vocalist wasn’t like most female rock and metal singers…with the likes of Tarja Turunen and Sharon Den Adel opting for a more operatic, theatrical style, Gossow could tear it up with the very best of them, with her distinctively demonic drawl (Honestly the majority who listened to Arch Enemy without having any prior knowledge assumed she was a bloke given her set of pipes) however…in March of 2014, she stepped-down from her position as vocalist to work behind the scenes as the bands manager…who the hell was going to replace her? Cue Alissa White-Gluz…formerly of THE AGONIST, the young Canadian had had some daunting shoes to fill; would the bands trademark sound and dynamic be lost now with the new vocalist? Would it fuck…the album “War Eternal” proved she could more than handle herself and the band’s sound…so in 2017, we find them releasing their much anticipated follow up, “Will To Power”…will it be worth the wait? Let’s find out…

The album gets underway with “Set Flame To The Night” and essentially it’s just an intro track here…at little over a minute, we’re given some very smooth, melodic guitar and it’s almost enticing…with the police sirens and radio coms providing background noise, the whole thing has a feel of drama and suspense…before we’re pummelled by “The Race” and here we get our first taste of Alissa’s visceral growl…all fired up, she roars her way through a very poignant track, hitting home a very topical issue surrounding equal rights, privileges…the mistreatment of minorities, cultural segregation from the people who are meant to be leading us in office…it’s a powerful opener…”Blood In The Water” follows on and here we have classic Arch Enemy…Michael Amott shreds his way through some classic melodic metal riffs, playing with a passion that you can not only hear but feel, distinctive in style, several notes here take you back to their earlier work, showing their transition has been more than smooth…

It isn’t a 100% brutal metal onslaught however, no not at all, as the band do dabble here and there…for example “The Eagle Flies Alone” closes with some delicate piano, adding a feeling of sadness to the otherwise heavy track, whereas “A Fight I Must Win” includes subtle string sections for a similar effect…adding an extra sense of depth and class to proceedings too. That isn’t all though…”Reason To Believe” features clean vocals for the first time in the bands history and it has to be said, Alissa has a wonderfully smooth singing voice, it’s a shame Arch Enemy don’t utilise more of it, It opens up so many more avenues musically and provides a real album highlight, before we close things on a cover; “City Baby Attacked By Rats” by British punk rockers GBH…the shift in style musically is unexpected but they pull off hardcore post-punk very well…the 1982 chart success given a new lease of life here and it’s a pleasant addition. If anything, this album proves to be a frustration as too much of a tease, they’ve shown they can incorporate more melodic, softer qualities into their sound allowing for a more diverse listen, I mean Alissa can clearly sing, and I think going forward they should explore these avenues more instead of the rinse/repeat heavy hitters…like Australian comedian Steve Hughes says…you can listen to metal all day, but you need a little bit of ENYA to relax in the afternoon. [6]

When it boils down to it, being in a band is essentially like being in a relationship…it’s people coming together, giving it a go, trying to find that spark, that chemistry and, sometimes it works right off the bat. There are still, believe it or not a select few bands that have been together, unchanged since day one; bands like GARBAGE who formed in the early nineties, or more impressively, U2 who have had a consistent line-up since 1978! (Seriously guys you could get less time for murder…) but as we know, a lot of relationships don’t last, people come and go, get dumped, get replaced, and it’s the same for bands…shuffle the ranks, new vocalist etc…and it’s not always amicable. Let’s take VENOM for example…originally formed in 1979, they went on to release one of the most important metal album’s in history; “Black Metal”…it practically kick-started an entire new genre, fusing together elements of thrash and heavy metal with satanic lyricism…but, it wasn’t enough to keep them all together and subsequently they had more line-up changes than the Power Rangers…however, despite vocalist Cronos now doing his own thing, three former members (Vocalist Tony “Demolition Man” Dolan, guitarist Jeffery “Mantas” Dunn and drummer Anthony “Abaddon” Bray) have returned under the moniker of VENOM INC. and they have recently dropped their come-back album “Avé”…let’s ave’ a look shall we?

We open up very boldly on the 8-minute epic “Avé Satanas” and initially we’re greeted with the sweet, angelic tones of the Hail Mary…but the tranquility is soon shattered by the deep, demonic growl of the devil himself as he invites you to instead Hail Satan…it’s all incredibly gimmicky and a touch pantomime but there’s always been a level of theater to metal, thematically returning to their dark roots here. Musically it’s quite lethargic for the most part; it chugs along and feels every bit as long as it’s 8-minute run time which is sadly not a good thing…luckily, follow up tracks “Forged In Hell” and “Metal We Bleed” pick the pace right up as far more livelier offerings! The former utilising an up-tempo, thrash-inspired approach to classic metal, coupled with more of the rough, guttural vocals, and it has to be said the solo here is really quite captivating, this is much better, while the latter continues the onslaught with more pacey speed-metal…I can’t however get the image of GWAR and LORDI out of my head because of the vocals…

​Lead single “Dein Fleisch” uses a deep, bass-heavy riff to give-off a sense of darkness, sinister intentions, while in the back ground you can hear an almost sensual suffering courtesy of female moaning…it’s a very sultry track, focusing on suppressed urges and giving into your desires; the pleasures of the flesh, mental and physical corruption and musically it fits very well, before musically we pick up the pace again with “Time To Die”…very frenetic, it channels the likes of SLAYER in it’s unrelenting delivery, the gang vocals adding an intensity, before “War” kicks in and HOLY SHIT BRAUN STROWMAN! I jest…it opens up with a battle cry and continues to pummel the listener, another fine solo to boot, it’s very stylish this, until we then finish up on “Black N Roll”…very possibly a tongue in cheek reference to black metal and a bit of a dig but regardless, it ends the album on a strong note. They might not have the same impact now as they did in the early 80’s, but there is a respect and admiration for these veterans as has been proven on the live stage in recent years…it’s hardly ground-breaking stuff this but it’s nice to have them back, they are venom incorporated, but we are part of that too…let’s black n roll bitch! [6]