Quite often within these pages, I’ve bumped my gums about how the UK virtually pioneered post-punk, and the concept of “Gothic rock” as we recognise it today. You could reel off any number of late 70’s / 80’s bands that you could pigeonhole as post-punk, or, trad-Goth or however you want to put it, and you could almost guarantee that they’re from somewhere in England, but today we’re going to be turning our attention stateside…

We all know that America has produced some of the most successful Gothic / alternative metal artists of all time, especially industrial titans like NINE INCH NAILS and of course, those iconic dark-humoured darlings TYPE-O-NEGATIVE, but they came a little later…we want to know what post-punk bands helped shape America’s earlier underground music scene.

While you’ve more than likely heard of CHRISTIAN DEATH, other bands may be a little more obscure unless you’re already a Goth-rock fan…bands like THE DANCING CIGARETTES and ROMEO VOID are well worth checking out, but today we’re going to focusing our attention on MY LIFE WITH THE THRILL KILL KULT. Often shorted to just Thrill Kill Kult, the Chicago natives initially started out as an early industrial outfit, and you may actually recognise them from the soundtrack to “The Crow”…but although maintaining a steady, 30-year career, they’ve always been relatively niche. 2019 finds them still releasing records, and their newest one; “In The House Of Strange Affairs”, was chosen by you on my last readers’ poll…so let’s get all of our affairs in order and check it out shall we?

The album opens up with “Gold To Grey” and it’s slow, sullen bass line has a wonderfully nostalgic tone to it, sounding like this track could very well come from those early proto-Goth days…its deep and chilling, as it leads into a spoken-word segment, before kicking into gear with its snide vocal drawl and cold atmospheric synths. The beat is simplistic and the electronic elements rarely inject much life into the track, resulting in an ambient yet algid listen; a slow start this. The following couple of tracks do admittedly get your hopes up to be honest, with “Forbidden Saints” sounding like the first proper track, as opposed to a lengthy introduction. The electronica is more prominent and instrumentally it’s got a decent, but again, simplistic hook, with a lot more rhythm going for it. It’s lyrically dark and fetishized and it’s something you could easily imagine being played to a throng of leather and PVC clad Goths, sipping on absinthe at 3am in some underground club. Although…mate…WHAT is with that ending? Absolutely cringe-worthy, you just shat all over that entire song right there, seriously…forget the saints, I forbid whoever gave that the green light to ever work in production ever again!

Up next we’ve got “Treat Street” and although while still relying on the synths and new-wave style it’s got an old-school disco-funk groove layered throughout the track, with the additional inclusion of…harmonica…resulting in a wonderfully curious listening experience. There are more sexual references, and at this point it’s like, OK, fine, it’s a gimmick…reinforced with the husky vocals, but to be honest they detract from what is essentially a decent little piece of music. We follow this up with album highlight “The Chains Of Fame” and really that’s saying something…it utilises a catchy low-fi hook with chill-wave aesthetics, but the guitars give the track some much needed bite. He asks ‘How much cash can you make with that ass?’ and to be honest…I…I don’t know. Nor do I want to. Rough guess, twenty bucks on a good day? Fuck knows. I digress, the track ends rather abruptly and truth be told, this is about as good as the album gets.

There are moments like on “Studio 21” which peak your interest,  which houses more of that original disco funk combined with subtle trance elements, and “Royal Skull” which returns to a more guitar based approach, sounding much grittier, but overall the album fails to excite. Too often we’re faced with a lack of energy and drive from the remaining tracks and the bulk of the record seems to drag itself along like a reluctant cadaver. Appropriately we eventually end on “Am I Dead?” and to be frank, by this point…yes. Fucking feels like it anyway. To summarise, there’s nothing really thrilling whatsoever about this kill kult, and the house of strange affairs needs to be boarded up and demolished to make way for a Greggs or something…having said that they’re equally as bland as each other; disappointing this. [3]

As it currently stands, we live in a time where our more Westernised society is, for want of a better description; all over the fucking place.  While culturally we’re (For the most part) all steadily becoming more and more open-minded and understanding, of the ever expanding perception of normality, there are still people who may get, ‘triggered’ as you may say, by certain topics and buzz-words. Some of the most common are generally simple things like veganism which, ironically, causes a lot of beef between some people…then there are prejudices and confusion surrounding the ever growing list of sexualities and gender fluid identities. Seriously now they’re giving rock and metal sub-genres a run for their money in volume and I just don’t have the appropriate graphs to go into that right now. Then there’s feminism…

Let’s be honest, it’s 2019 and the very fact feminism is still such a strong word speaks for itself. The inconsistencies regarding equality (Or lack thereof) can still be beyond laughable, covering everything from salary to bloody abortion rights! Well today’s band are proud and passionate to provide a voice for the cause, exuding a positive feminist vibe; let me introduce you to HANDS OFF GRETEL. The four-piece (Consisting of vocalist/guitarist Lauren Tate, guitarist Sean Bon, bassist Becky Baldwin and drummer Sam Hobbins) formed in South Yorkshire in 2015, and with influences including JACK OFF JILL, HOLE and THE DISTILLERS it’s easy to see where they blend punk and emancipation. They recently released their brand new album “I Want The World”…but where’s the equality in that? Let’s find out…

Opening track “Kiss Me Girl” gets the record off to a roaring start with an up-tempo flurry of punk-rock, laced with lashings of attitude and a tongue-in-cheek sense of taboo; it’s very Brody Dalle. The track explores female sexuality within same-sex relationships, with lyrics like “Have you never kissed a girl before?” and “What’s wrong just feels so right” entwined within a narrative of naughty excitement. Tate delivers the track with a brilliant sense of sarcasm and it kicks things off wonderfully. The first half of the album as a whole in fact doesn’t miss a beat and really we’re treated a solid run of tracks from the word go…”S.A.S.S” continues with its sense of female empowerment by taking a swipe at misogyny with an assertive hard rock number, balanced with subtle layers of funk, something which fans of SUMO CYCO would appreciate for sure. “Big Boy” is another up-tempo piece with a solid rock ‘n’ roll rhythm and more than a sprinkling of innuendo. Very lyrically suggestive, Tate is clearly having fun here and resonates through the track.

If you fancy something a little less intense however the album houses further gems such as the wonderfully infectious “Alien”…vocally not as fervent; there’s a predominantly more funk-pop aesthetic here with a cleaner sound and a more polished, commercial production value…this one would easily entertain fans of NO DOUBT / GWEN STEFANI and it’s got a brilliant climactic flurry. The album does run out of a little steam as it reaches its final moments however with a couple of less inspired cuts not quite on par with the aforementioned. “Milk” for example carries a strong grunge influence and as a result it’s a lot deeper, but at the same time more sluggish; sadly a boring listen, before “My Friend Said” then despite being a generally jovial little track becomes pretty stale and repetitive very quickly…I guess you could say it’s lyrically la-la-la lalalalalala-lazy? Aside from those hiccups it’s safe to say that this is, overall, a very strong and entertaining album. The punk elements where needed are raw and confrontational to aid the subject matter well, allowing Tate to get her message across in an epigrammatic fashion, while the more pop-driven segments allow for a genuinely infectious listen. They may want the world, but you may want to just give this album a listen, and very much get your hands ON Gretel…with consent though, naturally. [8]

It only seems like yesterday when we were talking about WEEZER, and quite frankly that’s because it may as bloody well have been! Yes back in January, less than two months ago, Los Angeles emo / post-rockers Weezer dropped a surprise self-titled covers album dubbed the “Teal Album”, given its cover art. A fine a medley of covers it turned out to be, that included everything from TOTO to TLC, but it was all filler, merely biding time for what would be announced as their SIXTH self-titled album, dubbed the “Black Album”, which was released at the beginning of March.

Having six self-titled albums is bold and ambitious for any artist, not even KORN can compete with that! But, let’s break it down…going as far back as 1994 we’ve gone through everything from blue, to green, red, white, teal and now black…either Rivers Cuomo is trying to assemble his own league of fucking Power Rangers or he’s been on the Skittles again! Fuck the rainbow Rivers, focus on the music! I digress…with this, the “Black Album”, have they gone heavier; darker? Have they channelled their inner METALLICA to let rip and deliver an album soaked in the maelstrom of metal misery? Well the answer is, not quite…let me explain…

Opening track “Can’t Stop The Hustle” has an almost Hispanic tone to it combined with brass elements and an almost 70’s funk charm, and it speaks of a general down to Earth, working class lifestyle…lyrics about managers slacking, selling lemonade, higher education and avoiding drugs; it’s a bit of a jab at the idea of the modern celebrity and the idea of instant fame and success. It’s all about the work ethic which is something Weezer have put in for nearly 30 years now, never compromising, always true to themselves…admirable in context but it’s a somewhat flat opener musically. “Zombie Bastards” follows up and sonically it’s a bit of an oxymoron as there’s nothing threatening about this at all. Amidst it’s jovial indie-pop tones it speaks of society and normality; everyone conditioned to a certain way of life, a bland existence if you will and the song challenges the idea of that; suggesting you dig a little deeper, there’s more to life than this, there’s more to life than being a brainwashed zombie, and it’s both a dig AND encouraging.

Elsewhere the album more or less maintains a calm, easy listening vibe over the remaining eight tracks…”High As A Kite” takes on a soft, JOHN LENNON / THE BEATLES vibe, and it’s touching as it mentions drifting off like lost balloons, flying like a beautiful bird over a piano led ballad; the idea of freedom and escaping society and the pressures of everyday life; it’s a sweet song backed by a sweeter Mr Rogers inspired video. Album highlight’s “I’m Just Being Honest” and “Too Many Thoughts In My Head” stand out with their up-beat delivery…the former again utilising infectious indie-pop tones and a simple hook, while the latter is again, up-beat and makes the most of Rivers impressive high notes, in places coming across not too unlike BRONSKI BEAT toward the tracks climax, if only briefly. While not intense, the track ends in an enjoyable crescendo and it’s a pleasant listen overall.

The remainder of the record as I said more or less delivers in a similar fashion…”Piece Of Cake” is pretty straight forward with it’s sweet, laid back delivery, “The Prince Who Wanted Everything” does undertake a more 70’s inspired glam-rock aesthetic not unlike T-REX for example, before closing track “California Snow” runs the clock down with some primarily lethargic and repetitive soft rock. Ultimately I think that this album is a bit of a rib on today’s market and industry generally…the very idea of a ‘Black Album’ conjures up the idea of heaviness, as I mentioned Metallica previously, we’re inclined to think that way; we expect a darkness, a deep resonance accompanying the weight of the music, but Weezer here have trolled us all as it’s one of the softest sounding albums they could have delivered. The song writing and story-telling has clear depth, but we were expecting something much meatier, and the band KNEW this. I’m not knocking it for its lack of heaviness, or grit, but credit to Weezer they played me here and still managed to make me bob my head to the majority of this album. IS IT as good as the covers album from January? No, because of the quality choice of songs they covered, but this is a decent little happy-go-lucky record. Still after all these years you really can’t knock Weezer’s hustle…[5]

Now, I’m going to level with you all OK…I didn’t expect to be doing this review. For those of you who aren’t on the GTGC Facebook page, you may not know that some of my reviews are reader requested via means of polls…every so often I provide ten new albums to choose from and the winners get reviewed; it’s really quite simple. Naturally I like to mix it up a bit and include some, shall we say, interesting options? Usually this is PURELY for diversity’s sake as 9 out of 10 ten times you can guarantee the big name rock bands win…this however…this is that 1 in 10. This, this is Rick Sanchez C-137, the malcontent…So thank you, you bunch of bastards, as we prepare to check out “DNA”…the brand new album by BACKSTREET BOYS. Pass me the fucking Jack Daniel’s, seriously…

For those of you who are of a certain generation, you may not really appreciate the gravitas of the name Backstreet Boys…while you’ve all been busy enjoying ONE DIRECTION and the like, it was back in the early 90’s that AJ, Howie, Nick, Kevin and Brian more or less paved the way for your teeny-bopping lifestyle. Arguably the biggest selling boy-band in the world, for a period they ruled the airwaves with the likes of “I Want It That Way”, “Larger Than Life” and “Everybody (Backstreets Back)”…but that was a long time ago, and the now man-band have returned with their 9th full length studio album in 2019. Are the boys back in town, or should these backstreets be cordoned off?

We open up with “Don’t Go Breaking My Heart” and the initial soft piano leads into some slick vocal delivery as the track gradually picks up momentum, culminating in a rhythmic chorus fuelled by retro synths. The hooks are simple but effective, with the vocal high notes and their emotive delivery; the overall feeling of hope and optimism leads to a really enjoyable piece of pop music and it’s a decent opener it has to be said. Follow up track “Nobody Else” is really just your modern pop ballad; all of the love song clichés, with the vocal harmony and soppy lyrics delivered within a mellow, laid back track. I mean it’s sweet, but it’s no “Fucking An Animal” by GWAR now is it?

There are a couple of notable moments scattered throughout the record; “New Love” has a bass-driven R’n’B vibe at its core, aiming for a sultry mood setting, though the flutes sort of spoil that, feeling out of place, and chorus suffers from repetition, though the multi-layered climax of the track does end things on a lively note. Recent single “Chances” is probably the albums stand-out track with its soulful vocal delivery, and a groove-heavy, upbeat chorus hooks, another admittedly enjoyable pop song this. “No Place” utilises a smooth country-pop inspired sound, where as “Passionate” houses more funk-driven guitar and subtle brass sections, before we eventually finish on “OK”…soaked in positivity and good vibes, providing the listener with a happy ending.

The question we need to ask I suppose is, in today’s climate; musically speaking…are the Backstreet Boys relevant? While it’s impossible to deny the influence and impact they’ve had on the world of pop music, they’ve sold albums in the millions all around the globe….times they are a changing. They may have been trend setters back in their heyday, with all the young girls fainting over them, with the posters on the walls, the screaming and hysteria…but they’re not getting younger, and newer more relatable artists are replacing them on those walls. Their name will carry them to success still, but this album is in all fairness just a run of the mill, safe, pop album. There’s nothing here that says Backstreets Back (Pun intended) …sadly I guess you could say DNA stands for ‘Don’t Needem’ Anymore’…[3]

You may remember a short while ago; I managed to catch up with David Challenger for a chat about all things THE KENNEDY SOUNDTRACK, and got the guitarist to talk about the past, the present and the possible future for the Welsh rap-rockers. Having only recently reformed for the first time since their debut album run in 2002, nostalgia has been ripe within the KST camp, with the band re-releasing that same debut; “Tale Of 2 Cities”, especially for collectors on cassette store day, as well as playing a come-back headline show in Newport. However, with the cassette proving incredibly popular, and the show itself being a sell-out, it would be foolish to pass up on such an opportunity, given the fresh interest in the band. The result; they are not only riding the wave of nostalgia, but they’re owning that son of a bitch Kelly Slater style…and in the wake of all the excitement, they opted to treat long-time fans with a new compilation of B-Sides and rarities, together for the first time on one album…so with that in mind, let’s check out “B-Sides”.

We begin with “You Never Know” and WHAT a way to kick this album off! Originally available on the “Bloodshot Eyes” single, it perfectly encapsulates all that was good with the early nu-metal era of alternative rap rock…the fuzzy guitar distortion, the deep bass lines, the up-tempo delivery…sharp, angst-riddled lyrics and a huge hook-filled chorus, full of melody and harmony. The instrumental-heavy climax genuinely gives you goose-bumps as it filters out with one last flurry of noise and passion and it’s perfect. Firstly this belongs on the actual album, and secondly this deserves to close proceedings, end on a high note, y’know? It’s got that vibe to it…fucking brilliant stuff. We follow this up with the Melodic Mix of “24-7” and while it retains the original rap-heavy approach of the album version, here we find David taking over on vocal duties for the chorus instead of Nic Harvard and it gives us a fresh take on a classic. It’s still full of piss and vinegar but the inclusion of cleaner vocals softens the track, rendering it both freshly interesting but no less enjoyable compared to the original.

Elsewhere we have “Wide Awake” which features a brief guest vocal from SKINDRED front-man Benji Webbe. His inclusion is minimal at best, really, only offering what can be described as Caribbean Scat? I mean that as in the Scat Man (Bee-dap-bap-badda-boop), not as in, shit…please be aware of that, thank you. The song itself is a primarily mellow acoustic ballad and aside from a mid-track tempo-change of Nic’s low-key hip-hop input, it serves as a wonderfully sweet ballad, showing the Welsh quintet were more than one-trick ponies. “Bring Me Down” ironically picks things back up again with a grittier, riff-driven guitar sound before some sleek, classic hip-hop lyrical delivery, in ways harking back to the likes of PUBLIC ENEMY (Think the early Tony Hawk soundtracks), while promotional single “Proud” really gets going in proper KST fashion…really emphasising their status as the valley’s answer to LINKIN PARK…few UK acts truly embraced the nu-metal movement like this lot and despite a genre saturation, their background and tastes allowed them to still sound unique and exciting, which still holds true to this day.

​At only nine tracks long, it’s over far too quickly…alternative versions of “Yourself” and the aforementioned “Bloodshot Eyes” make an appearance, and if anything can be picked at really it’s the deep cut “E.M.B.”, which with its funk-driven instrumental style and almost 70’s guitar-tones sounds more out of place than anything else, but let’s be honest, this is the kind of sound you light up for, if you know what I mean? You do dabble in the devils lettuce, don’t you? Essentially, as was discussed with David, The Kennedy Soundtrack are happy to be back and they’re excited to be playing music again…while at the same time, long-time fans are even happier to have them back themselves. Somewhat of a cult band given their brief original run, but now is THE perfect time to discover KST, or even give them another chance. Hopefully we’ll have new music in 2019, and they’ll be killing music all over again. [8]

It’s been a heck of a year for Brighton’s YONAKA…following on from 2017’s “Heavy” EP, the band have found themselves on some pretty impressive tours in its wake; sharing stages with the likes of reinvigorated king of partying ANDREW WK, DON BROCO and more recently playing arena’s with BRING ME THE HORIZON. The four-piece however (Consisting of vocalist Theresa Jarvis, guitarist George Edwards, bassist Alex Crosby and drummer Robert Mason) aren’t resting their laurels…and earlier this year they released not one but two, highly anticipated follow up EP’s entitled “Teach Me To Fight” and “Creature”. Have Yonaka burned through the midnight oil, or will it be the dawn of a new day for this south-coast ensemble? Let’s find out, as we check out the latter…

The four-track EP opens up with “Own Worst Enemy” and it speaks of a split-personality, battling your inner demons and confronting yourself over your own actions and choices in life. Their dark blend of sultry electronic pop and indie rock, coupled with Theresa’s semi-husky voice combines well for a groove-heavy, rhythmic track and a strong opener. The pop hooks and atmospherics bridge a nice gap for fans of say, JESSIE J and FLORENCE & THE MACHINE. The title track offers a serious EP highlight with its urbanised pop aesthetic; an almost classic disco funk rhythm with subtle R’n’B elements, along-side a catchy chorus, showcasing Yonaka’s ability to write a genuine tune.

​“Death By Love” despite having a slightly slower tempo for the most part retains that funk-based core sound and really utilises a sense of easy-listening pop production…this is the kind of track that could easily (Given the chance) get them more mainstream airplay in the current chart climate, capable of appealing to a fairly wider audience compared to many bands in a similar position.  We sadly then finish up too soon on final track “She’s Not There” and again they’ve opted for a slower, darker, slightly brooding heavy pop track to round things off. It ends proceedings on an almost cinematic vibe, with slick production, a simplistic yet conspicuous beat and minimal yet effective instrumentation; the riffs and percussion flowing effortlessly, carrying Theresa’s vocals through a brief yet hypnotic track. All in all, Yonaka have taken all that was good with their previous works and continued to build not only a sound of their own, but a name for themselves around the UK’s up-and-coming live scene. Both reliable on stage and consistently delivering quality tracks, Yonaka are certainly ones to watch and on this evidence, their debut album has the potential to be something very special indeed. You don’t follow Yonaka? You knackered…[8]

​GIRL! I WANT TO TAKE YOU TO A GAY BAR! Well, to be honest, actually I don’t, BUT, I DO however want to take you on a journey, to remind you about one of the most underrated, hardest working bands on the planet; ELECTRIC SIX. I preach this practically every year, and that’s simply because, whether you’re aware of it or not, Electric Six have practically released a new album EVERY FUCKING YEAR since “Fire”, and frankly not enough people take notice!

People may naturally assume that, to be so prolific creatively, to produce a full album a year and complete all their touring commitments, it really must be a case of quantity over quality? And sure over the years, the band have dropped a lot of their overtly blatant ridiculousness, but having spoken to front man Dick Valentine, it’s interesting to learn that, despite him being very much the face and voice of the band, it’s very much a group effort. Each member of the band in fact writes three or four songs for each album cycle, resulting in a lot of time being saved and more importantly, a rich tapestry of differing styles and influences shaping each and every record. With that in mind, we’re about to delve into album number FOURTEEN; “Bride Of The Devil”…let’s get hitched…

With Dick’s typically dry-humour we open up with “The Opener” and I do like it when things get to the point it has to be said…with its subtle distortion and sludgy riffs, accompanied by plenty of vocal wails, plus Dick favouring his gritty, higher pitched delivery here, almost channelling an AC/DC-esque style, it’s an intense but enjoyable start. This actually carries through the first half of the album with some truly solid cuts from E6, keeping momentum going at a steady but satisfying pace…tracks like “You’re Toast” musically slowing things down for the most part, opting for a semi-blues rock offering, with Dick’s vocals full of piss and vinegar, to a degree akin to something CLUTCH might produce, which is always a good thing, while “(It Gets A Little) Jumpy” is a quaint little acoustic number, full of smooth melody and Summery hooks; it really is a lovely little track.

The second half of the album however….sadly; doesn’t match the same quality. It exceeds it! It honestly just gets stronger as it goes on and seriously, the band is on top form here…”Hades Ladies” saunters in with its gravelly rock ‘n’ roll vibe and deep groove; full of swagger and confidence…the title track utilises more of a simplistic synth-based hook layered within some classic rock influences, especially the brief solo which would easily please fans of THE DARKNESS for example, before album highlight “Witches Burning” delivers some classic E6 with its bluesy guitar licks and quality riff-work with an anthemic chorus…this is quality.

The album DOES drop the ball slightly with its closing track “The Worm In The Wood” as the sudden drop in tempo isn’t so much of a come-down as a let-down, with the latter half of the album getting you pumped up, hoping for an explosive climax. The tinny almost tropical guitar’s giving off an almost CHRIS ISAAK vibe which is nice, don’t get me wrong, but it can’t help but feel ever so slightly anti-climactic. Overall however that’s a minor annoyance that doesn’t take away from what is admittedly a superb album…fourteen albums in and Electric Six are still as consistent and reliable as ever, on this instance maybe even more so, as it’s one of their strongest collection of songs in a few years now…if I may paraphrase the great BILLY IDOL…it’s a nice day for a white wedding; it’s a nice day to, start listening to Electric Six again. [8]

“Are they human? Are they wolves?” – Wait, what? This is going to be fucking great I can already tell let me read some more of this… “Their looks may be deceiving and even comical at first glance, but they have incredible brain power and a superhuman physique”…I just did a legit LOL. In case you’re wondering, this isn’t the plot synopsis to some low-budget Lycanthrope movie; it is in fact the back story to one of the biggest bands currently tearing up the Far East! If I may, allow me to continue; “Such superb abilities enabled them to carry out the planet’s most challenging top secret missions, and made them untouchable by the world’s fearsome and powerful leaders including Genghis Khan, Attila the Hun, and Ivan the Terrible.”…this is incredible…this is absolutely incredible, let me just compose myself for a minute.

The band in question is MAN WITH A MISSION and the Shibuya based 5-piece (Consisting of vocalist Tokyo Tanaka, guitarist/rapper Jean-Ken Johnny, bassist Kamizake Boy, drummer Spear Rib and DJ Santa Monica) are collectively one of the most relevant and loved rock bands in Asia today, selling out arena’s all over the continent, having racked up millions of streams and views on platforms such as Spotify and YouTube…but over the past year they’ve been broadening their horizons and have reached out further afield. Some of you may recognise them from their tour slot supporting DON BROCO recently but  now in 2018 they’ve released their first international album; the appropriately titled “Chasing The Horizon”. The question is are these wolf men leading the pack, or just barking mad?

The international release itself has a couple of exclusive bonus tracks for those of us outside of Japan, which includes “Mr. Bad Mouth”, “The Anthem” and “Brave It Out”…the former is a well-worked combination of pulsing, bass-driven electronica and an up-tempo, rocking chorus which in places resembles the likes of FOZZY, but that’s really not a bad thing, while the latter uses a more R’n’B / rap-inspired approach to its verses with the guitars and synths layered throughout, “The Anthem” sadly click-baits you into expecting something big and bold, but what you DO get is a morose ballad type track which is very anti-anthem if anything…though it’s message is positive so it’s not all bad, just a tad disappointing.

The rest of the album features a selection of singles that MWAM have previously released and to be fair this is quite an impressive repertoire…”Take Me Under” for example is wonderfully infectious piece of synth driven alt. rock with plenty of melody  and sing along qualities…”Dead End In Tokyo” has the additional appeal of having FALL OUT BOY front-man Patrick Stump on the writing credits, which makes sense when you listen to it, it’s got that certain distinction in tone…sticking to pop-culture references, wrestling fans may recognise “Break The Contradictions” from NJPW’s recent G1 Climax, the track being selected as its theme; with all of its clap-along charm it’s a really enjoyable track, before “Dog Days” give-off a more drum & bass vibe for a really up-beat slab of rhythmic techno. The only real downside I can find really is “Freak It!” which features the Tokyo Ska Paradise Orchestra…the brass-sections coupled with the progressive jazz elements don’t really sit too well with the almost stop / start pacing of the track and really it just comes across as a failed experiment. All in all for an international debut it’s a shame…a shame because they’re actually a really good band underneath the furry gimmick and ideally we could have heard more of them sooner, and their back catalogue is well worth exploring. Definitely a recommended record, why couldn’t we get these guys instead of fucking BABYMETAL?!?!?! [8]

The rock ‘n’ roll lifestyle…very much akin to that of any Santa Carla vampire really; you know…party all night and all that malarkey…well it turns out, a couple of UK bands didn’t get that memo last year! Maybe it’s just coincidence but both YOU ME AT SIX and today’s band, DEAF HAVANA (Despite charting favourably) pretty much underperformed and underwhelmed with their previous albums “Night People” and “All These Countless Nights” respectively. They may have been children of the night but oh what music they DIDN’T make…well this year both bands are aiming for redemption with swift follow-up records. I’ve already covered YMA6’s new one “VI” over at www.allabouttherock.co.uk but here I’m going to be looking at Havana’s new LP entitled “Rituals”.

Written with a fresh, interesting approach; here we found front-man James Veck-Gilodi throwing out the usual Deaf Havana rule-book to jot down no more than just some potential song names first. He would then write songs according to those titles, fitting the lyrics and music around those ideas and concepts, with the band then completing them in the studio once satisfied. The end result? The 13 tracks we have right now making up “Rituals”…let’s check it out.

The album rather appropriately opens up with “Wake” and while a completely separate body of work it’s still as though there’s this redeeming narrative that both aforementioned bands are focusing on; the morning after the night before, referencing the previous albums. No more than a 40 second intro with the words “You can fall” repeated in a choir-esque fashion…very hushed but slowly climbing in volume and presence, before cutting off and leading into first track proper “Sinner”. An incredibly jovial track combining elements of soft indie-rock and boy-band pop melodies; an incredibly light-hearted take on James’ own personal past experiences; a song of admittance and acceptance delivered with a very British stiff upper lip, but it’s very easy listening and enjoyable.

This general tone musically carries through the album fairly consistently…even conceptually as far as the single-word song titles. “Holy” utilises a subtle, underlying funk-inspired feel coinciding with the already established indie-pop vibe, backed with more choir accompaniment courtesy of the London Contemporary Voice Choir…”Worship” too with its percussion-driven acoustic tones and minimal synths makes for a very laid back listen, which can also be said for “Fear”, while album highlight “Pure” is rich in rhythm and delivers a simple yet effective chorus, even teasing at James’ grittier vocal qualities, highlighting his passion as a singer.

Some of the tracks do plod along, barely escaping 2nd gear towards the end of the album mind, with “Heaven” again utilising the help of the choir, providing gospel-inspired gang vocals over a generally slower, stripped back track, while the albums longest offering “Saint” makes you wish you had the patience of one. God it’s so slow and boring…I mean it’s touching, but boring…and who really wants to feel bored when touched? I’m getting off topic now…ahem…that sadly too leads us into the closing track “Epiphany” and it’s here I had a sudden realisation; this track is also sadly a bit dull, as well as feeling abrupt and almost unfinished. “Rituals” as a whole isn’t bad; it’s got its pleasant pop qualities, James is still a fine story-teller, plus it’s got more energy than its predecessor…and credit to them for experimenting with their entire approach to writing this time around. The only thing I will say is that know James can properly belt out the vocals when called upon with grit and conviction, he’s done so in the past, and this album again does lack some of that edge…other than that it’s a decent album. Now if you’ll excuse me I have my OWN rituals to sort out…these puppies aren’t going to sacrifice themselves…[6]

If I were to maybe, oh I don’t know, chime in with some lyrics? Maybe something along the lines of…“I chime in with a ‘haven’t you people heard of, closing the god damn door?’”…a lot of you are going have flashbacks to those early emo years of the mid to late 2000’s, and many of you are going to fondly remember how bands like PANIC! AT THE DISCO ruled the airwaves. Well, you may have washed away the eyeliner, cut off your fringe and grown out of all of that since, but you wouldn’t be the only one…front man Brendan Urie has more or less done the same. While alternative rock music has gone through its trends following the emo outbreak, such as the huge metalcore boom, Brendan has very much gone on his own path, in more ways than one. Back in 2016 he released “Death Of A Bachelor” as pretty much the sole remaining member of P!ATD, and long gone were the soaring emo-rock anthems like “I Write Sins…” and “The Ballad Of Mona Lisa”, instead we had a man reinvigorated by the creative process; playing and writing everything himself, toying with ideas and musical avenues, and it paid off with the album doing incredibly well commercially, even though it continued on its clear departure from their original sound.

His new found creative freedom and exploration of pop music theatrics led him to the stage where he did a stint performing for the west end musical “Kinky Boots” and it’s here where we also find P!ATD in 2018 for album number six; “Pray For The Wicked”. Still the sole original member, here we find Brendan allowing his love of all things Broadway to consume P!ATD as he writes freely; full of glee and gay abandon, but does it work for the ol’ disco? Let’s find out…

We rather starkly open up with “(Fuck A) Silver Lining” and despite its initial 50’s feel we quickly transition into Brendan’s bold vocals and a rich, rhythmic jazz piece, but there are also elements of funk as well as early hip-hop layered within the percussion and it’s a real smorgasbord…lyrically it’s heavily focused on those silver linings, coupled with those “Cherries on top”, it’s a message of dissatisfaction; never settle for what you have and don’t be placated by those sweet cherries, you can always strive for more, you can always do better, and this song pushes for that, a possible nod to the bands evolution too if you will. Follow up track “Say Amen (Saturday Night)” has certain elements of religious confliction…housing the album’s title in its chorus, it’s as though he’s suggesting even the righteous need nights off, you can’t save everyone, it’s the weekend, let them do what they want...so while you may not condone ones behaviour, not everyone is your responsibility all the time, and understanding that doesn’t necessarily make you a bad person…and I have to point out the high note at the songs climax, for want of a better phrase, JESUS CHRIST!

The rest of the album pretty much continues with this eccentric and essentially extravagant tone throughout, with Brendan really firing on all cylinders…only those cylinders come packed full of confetti and are accompanied by a full parade, backing dancers, a circus act and marching band. “Roaring 20’s” has this low-key Latin-jazz vibe at its core and highlight’s his experience on Broadway, at this young stage of his life how did end up here so to speak. Album apogee “One Of The Drunks” highlights the dependence society has on substances, the reliance on alcohol and the idea of ‘partying’ to love life, and it’s a powerful song of reflection amidst it’s electronic r’n’b…”The Overpass” again is rich with a heavy brass-driven funk influence, before closing track “Dying In LA” rounds things off with a morose piano ballad; closing the show with a tearjerker before curtains and to be honest Brendan plays to one of his strengths here; his voice. The less-is-more approach musically allows him to pour all the more passion into this, and accompanied by the string sections it’s a lovely little song. Overall while this may be a different band from what you remember from your youth; Brendan does compensate the lack of guitars with an abundance of energy and positivity and while they’ve subtly changed album by album, Brendan’s creative flare is forever a constant and he has to be admired for his daring to explore music. Let’s face it…not many rock stars would swap the sweaty gigs for the glitz and glamour of playing a drag queen in a west end musical, then come back and incorporate that into their day job…that takes some glitter balls! On face value, it’s a fun record as a whole but, it’s not one that’ll stick in your memory on the strength of any single standout songs. [6]

Word of mouth can be a powerful tool (Crying ‘rape’ being a prime example) and it used to be the backbone of the alternative music community if you will…long before the days of the internet, you’ve heard of how rock and metal fans would have to swap mix tapes and records etc. to keep up to date with what was happening in music, relying on your good friend or source to learn who was up and coming, who was the next big thing, who just dropped a sick EP…well those days may seem like a distant memory, but word of mouth can still introduce you to some wonderful people. Take today’s band for instance; SECOND SELF.

The Cheltenham based 4-piece (Consisting of vocalist Simon Bond, guitarist Janek Davies, bassist Barny Barnfield and drummer Pablo Rodriguez) got in touch with me personally after mutual friend and 50 BELOW PROMOTIONS booker Robert Tite (He puts on some sweet gigs and I wholeheartedly encourage you to go check them out) suggested me, as they were looking for reviews. They’re preparing to release their debut self-titled EP and have kindly asked me to give it a listen…full of second self-worth or should they have second-guessed my handling of it all? Let’s find out…

The EP opens up with “Never Coming Home” and it combines a certain nostalgic, classic hard-rock approach with underlying funk-inspired qualities…it’s all about the simple groove here as the bass carries this track forward, coupled with Bond’s emotive vocal display…this sounds like they’ve taken parts of INCUBUS and merged them with the likes of IN SEARCH OF SUN for a truly bluesy opener; it’s a decent start. “Stepping Stones” goes for a similar approach in ways but it does utilise more consistent guitar melody, so while keeping in theme with the track previous we also get throwbacks to artists such as IDLEWILD from that early 2000’s post-indie scene; clean vocals and hooks but not afraid to throw a riff down where needed.

The opening to “Falling Backwards” has a more subdued feel with the relaxed drum-fill and the bubbly guitar tone, before it delves into this, angst-ridden blend of early emo and post-hardcore…a bold vocal display coupled with some passionate instrumentation allows for an enjoyable, emotional jaunt, before closing track “Eat Your Horse” goes all Tesco ready meal on your ass. Arguably the weakest track on offer, it’s here you notice most that it’s the band’s debut recording and production isn’t 100%, there are a few rough patches which will naturally improve with time but here you can feel the scruffy, demo-quality if you will…ultimately however for a first offering you can clearly hear that there’s promise here from the quartet. With just a bit of polishing you potentially have a solid blues-based hard rock unit in Second Self as instrumentally they’re on the right path, and the vocals will only improve with confidence and experience, once they’ve found their groove by the next record fingers crossed. Second Self? Maybe a case of first the worst, second the best as they say… [5]

The UK music scene in the 90’s was an interesting place to be it has to be said…less of an exotic cocktail and more of a dirty pint if anything. At one end of the spectrum we had a rising popularity in girl/boy bands, spearheaded by the likes of SPICE GIRLS and TAKE THAT…at the other end we had the dawn of a new era of darkness by means of the freshly malformed CRADLE OF FILTH and MY DYING BRIDE, and somewhere in the middle of it all, MR. BLOBBY managed a Christmas number 1, I shit you not. The main talking point however was always Britpop, which was of course famously established by the war between BLUR and OASIS, but at the turn of the century when tastes all changed, bands either sank or swam…Blur front-man Damon Albarn however didn’t just swim, he evolved, grew legs, left the pond and changed the concept of performance art as we knew it…he created GORILLAZ.

Consisting of fictional members 2-D, Murdoc, Noodle and Russel, the “group” existed entirely in animated cartoon form and was spawned from Albarn’s growing appreciation for electronic and world hip-hop music, and they made their breakthrough in 2001 via their self-titled debut album and the mega hit “Clint Eastwood”, never looking back, only growing in success with further singles along the road like “Dare” and “Feel Good Inc.” until their eventual hiatus. 2017 saw them return with 26-track behemoth “Humanz” but 2018 sees them back already with the follow up album “The Now Now”…the question is, is it the good good?

We open up with the album’s lead single “Humility” which features famed jazz-guitarist George Benson and what we’ve got is a quirky little, low-fi synth pop piece…laid back in approach combining ambient funk and subtle reggae influences for a very fresh, Summery vibe. This is backed up by the music video, inspired by the Santa Monica lifestyle; carefree and easy-going, and it speaks of the inner struggles of failed romance and yearning, though not entirely serious with Jack Black doing, well, Jack Black things. It’s an OK start…follow up track “Tranz” however is a completely different kettle of fish. Whilst simple in structure and approach it’s got a definite, retro electronic tone musically combining the simplicity of KRAFTWERK and the edgier, darker tones of DEPECHE MODE, all the while utilising some really catchy pop hooks and it works wonderfully, this is easily an album highlight.

Sadly however, highlights over these 11 tracks exist in much the same way Harambe does; i.e. he doesn’t, not anymore anyway (RIP you majestic beast). “One Percent” harbours soft synth melodies that wouldn’t feel out of place in a scene from “Stranger Things”, while “Lake Zurich” is another up-beat, primarily disco / funk-driven instrumental for the most part and it has to be said, on the track “Hollywood”, it’s always good to hear a bit of SNOOP DOGG (Even though the guy will work with almost anyone, refer to my old COREY FELDMAN review for that)…the rest of the album however sadly lacks any real sort of momentum. “Idaho” is structured very much like a dreamscape which would not only put you to sleep, but the sheep you were counting too. “Fire Flies” strikes me as purely ironic and cruel as I’ve literally just reviewed an OWL CITY album and this track actually makes me miss that, before closing track “Souk Eye” rounds things up with some more dreary pop. Damon Albarn is a talented song writer and creator, that’s not in question, but there were days he used to write with a sense of positivity and fun, with more LIFE…lately this project sounds like he’s either half asleep or stoned, or both…honestly, take the W’s off of the album title and it’ll be more appropriate. [3]

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 (petesmusic0508@gmail.com) 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!

As you all know by now, every year I do a round up in some way shape or form, of the annual EUROVISION SONG CONTEST. Highly regarded in the UK as an absolutely cringe-worthy cheese-fest, it's no surprise we haven't won it for years, and that's without getting into the shows regular politics let alone the utter shambolic level of fuckery we've found ourselves in under the "leadership" of Theresa May and the current Conservative government...well actually no I'll blame Cameron too, the pig-poking prick! Regardless...we enter every year and hope to not come last essentially. The 2018 final will be held on Saturday 12th May and will take place in Lisbon, Portugal, after SALVADOR SOBRAL won the Ukraine 2017 competition...here I'll be taking a quick run down of all 26 qualified acts and giving my own personal individual score / opinion ahead of the live final...in order of live performance; let's begin...

1] UKRAINE: MELOVIN - "Under The Ladder". Aged just 21, opening the Eurovision Song Contest would seem like a daunting task for many, but Melovin (Real name Kostyantyn Mykolayovych Bocharov) is perfectly at home here, as winner of season 6 of Ukraine's version of The X-Factor. The track is an up-beat, rhythmic dance-pop piece which should in all honesty kick things off really well in terms of tempo and entertainment, but on record it isn't the most convincing vocal display in places and I just hope things don't fall flat for him on the night. 3/5

2] SPAIN: AMAIA Y ALFRED - "Tu Cancion". This is a track taken from Amaia Romero's album "Sus Canciones" and is a collaboration with one Alfred Garcia...sung in Spanish, it's one of the songs this year traditionally sung in the native language as used to be part of the rules before they relaxed things, and for all intents and purposes it's a soft piano ballad with elegant string sections...a lovely song in some aspects but luckily one of the boring ones is now out of the way early. 1/5

3] SLOVENIA: LEA SIRK - "Hvala, Ne!"...NE! NE! NE! We are the knight's who say...NE! *Ahem* All jokes aside, Slovenia's answer to MO / KESHA does a decent job of bringing a modern twist to proceedings. Utilizing a blend of hip-hop production and combining electronica with soulful pop, it's got a decent beat to it overall but it never truly takes off, with the chorus sadly coming across as anti-climatic compared to the level of expectancy of the track. 2/5

4] LITHUANIA: IEVA ZASIMAUSKAITE - "When We're Old". Ironically titled by the 24 year old, and despite her youth this isn't her first Euro rodeo! Having enrolled to compete in 2013, 2014, 2016 and 2017, she FINALLY get's her opportunity to represent her country in 2018. It's an honestly lovely song, focusing on Ieva's hushed, whispered vocals over a gentle piano lullaby...it's a slow one, and one that will rely on mood and emotions conveyed on the night, but it's a wonderfully tranquil track and should score well regardless. 2/5

5] AUSTRIA: CESAR SAMPSON - "Nobody But You". Always the bridesmaid, never the bride...having performed as part of backing vocals for two previous Austrian acts, Cesar finally get's his own shot. Arguably one of the first bandwagon jumpers this year, Cesar brings a fully emotive, gospel sound to Portugal with his blend of soulful pop music, hammered home by a strong melodic chorus...if you're a fan of RAG 'N' BONE MAN then expect to be giving Austria your vote this year... 3/5

6] ESTONIA: ELINA NECHAYEVA - "La Forza". The show isn't over until the fat lady sings...well as it happens Elina is far from fat and we're less than a quarter of our way through so buckle up! A classically trained Soprano, Elina brings a touch of class and vocal quality to proceedings this year, with her powerful vocal range and dramatic, operatic elements...if you're a fan of TARJA TURUNEN for example, you may want to send your vote Elina's way! 2/5

7] NORWAY: ALEXANDER RYBAK - "That's How You Write A Song". FEED. ME. MORE! Oh...sorry...wrong Ryback I was thinking about WWE for a second...but no in all seriousness, Alexander is technically a Eurovision veteran; he WON the competition back in 2009 with a track called "Fairytale"...can the young lad with the violin become a two-time winner this weekend? This funk-driven almost 70's inspired combination of tinny guitar and violin has plenty of energy, but will it be Norway or NO WAY!? You be the judge...2/5

8] PORTUGAL: CLAUDIA PASCOAL - "O Jardim". The hometown-hero as such, Claudia represents the hosts this year taking the torch from reigning champion SALVADOR SOBRAL and will be hoping Portugal can pull off an unexpected victory to retain the Eurovision Trophy for a 2nd consecutive year. Another acoustic/piano ballad, it's got quite a slow build and is honestly quite soppy, potentially risking too many similarities to last years winning song itself...they say lightning doesn't strike twice, I guess Saturday we'll find out. 1/5

9] UNITED KINGDOM: SuRie - "Storm". Oh boy...if you could find me a more fitting song for the UK for this competition I will do sexual things for you no questions asked...not only is the song already two years old and theoretically out-dated, lyrically and thematically it pretty much sums up the state of affairs regarding Britain and the EU and the whole Brexit debacle...metaphorically of course. Musically it is a decent pop track and has it's anthemic qualities but despite any positives I can't see us doing well at all this year...3/5

10] SERBIA: SANJA ILIC & BALKANIKA - "Nova Deca". There's always an entry with utilizes traditional middle-eastern tones and this track is that entry...and seriously what a long-ass intro, taking up nearly a third of the song! It's got a generally simple beat and does pick up, leading into an ultimately pleasant, up-tempo track with subtle dance tones, but it could have benefited  having more of this, less of the intro, as it's shot itself in the camel-toe essentially. 1/5

11] GERMANY: MICHAEL SCHULTE - "You Let Me Walk Alone". Another young talent with a background in reality TV; 28 year old Michael found mild success on Germany's version of The Voice in 2012, where he came third overall, before going on to release his debut album. This year we find him contributing yet another piano ballad to this years Eurovision playlist, and as you may have guessed it's another harmonious love-song with an impassioned climatic feel...again, nice but, it may get lost in the shuffle. 2/5

12] ALBANIA: EUGENT BUSHPEPA - "Mall"...I take one look at this guys name and I swear to god all I can think of is a bush-tucker trial...but my mental issues aside, here we have the first of our demographic-pleasing alternative entries. Eugent is a renowned rock performer in his home country and has actually supported the likes of DEEP PURPLE in mainland Europe, so he's got his credentials...but what is he offering here? A mellow, country-esque traditional folk-pop type piece with an acoustic lead and impressive vocals. It sounds good, I just wish I knew what he was saying. 2/5

13] FRANCE: MADAME MONSIEUR - "Mercy". France hardly needs the bad luck of performing 13th...their results have hardly been the most impressive in recent years, but they hope to change that in 2018. The ambient, synth-pop track follows on from recent success stories such as CHRISTINA & THE QUEENS and may go down well, and though there are no direct ties to the LGBT community, the whole MRS/MR approach could appeal to gender neutral's from an activist point of view...unless that's me looking far too deeply into what is essentially an annual song contest...2/5

14] CZECH REPUBLIC: MIKOLAS JOSEF - "Lie To Me". A potential favourite here depending on the right crowd...full of swagger and groove, Mikolas utilizes the southern blues inspired jazz tones of New Orleans to great effect here, rich in funk and passion, he confidently takes this track by the scruff and simply awaits the laudits of the Lisbon crowd. The recorded version does have some swearing in it, so that'll have to be edited during the final or he may find himself getting nil poi via disqualification... 3/5

15] DENMARK: RASMUSSEN - "Higher Ground". A man of many talents; Rasmussen (Real name Jonas) originally performed in a covers band, focusing on the likes of ELTON JOHN and ABBA, before he turned his attention to acting, focusing mainly on stage productions. 2018 see's him return to singing with this entry; a combination of power-pop and traditional, Nordic heritage in subtle tones. Despite the classic key-change sequence, it does lack a little oomph and falls just short of being an awesome entry. 3/5

16] AUSTRALIA: JESSICA MAUBOY - "We Got Love"...Hang on just a second let me just get Moe Sargi...'YO JESSICA MA BOI!" There we go...that's out of the way now...but no seriously Australia in Eurovision is still a thing. Yes it was novel having them there for the big anniversary show a couple of years ago but, despite not being anywhere remotely near Europe, here they are...the song itself is a generic, light, radio-pop song which wouldn't be out of place in some, teen Disney flick...it's fine but, I really don't see the point this year. 2/5

17] FINLAND: SAARA AALTO - "Monsters"...Finland you beautiful bastard of a country...as if you didn't already supply the world with some of the finest gothic metal and rock bands to ever grace the stage, you also have pop music nailed too by the looks! Saara Aalto ticks all the boxes having dueted with ADAM LAMBERT and ANDREA BOCELLI, not to mention having done voice acting for the Finnish dub of "Frozen", she's a proven voice. Here we have a sleek, electronic-pop monster in it's own right rich in hooks and mainstream appeal and it's an absolute top tune. All of the yes from me. 5/5

18] BULGARIA: EQUINOX - "Bones". Bulgaria's entry features yet another reality TV statistic in vocalist Zhana, who won Bulgaria's X-Factor in 2013...now, 5 years later we find them representing their country in Portugal with "Bones"...the haunting vocal tones and the predominantly dark-pop vibes of the song are pleasant enough, helped by its catchy chorus, but it sounds like a watered down version of "Skeletons" by 2017 Azerbaijan entry DIHAJ to me. 2/5

19] MOLDOVA: DoReDoS - "My Lucky Day". Three is the magic number as they say, and for this trio, it's third time lucky as they finally get to represent their country after failing to secure their place in both 2015 and 2016. Doritos as I shall call them from here on in, have a fun and up-beat approach this year combining modern pop with a GOGOL BORDELLO style of Oompa / alternative. 2/5

20] SWEDEN: BENJAMIN INGROSSO - "Dance You Off". One of the youngest performers at this years final in Lisbon, Benjamin started early and appeared in several Swedish musicals as a child and is hoping his performance experience can carry him through to another Swedish victory. With his soft vocals it can be said he's another JUSTIN TIMBERLAKE inspired pop-starlet but truth be told he's not of the same caliber previous Swedish winner MANS ZELMERLOW, he lacks that spark. A harmless pop song but I'm not expecting big things. 1/5

21] HUNGARY: AWS - "Vinszlat Nyar". Ever since LORDI won it for Finland back in 2006 there's almost always a rock song or two thrown into the mix to shake things up a bit and here we have that very token rock song. AWS deliver on all fronts with a strong melody and even stronger riffs for their hard rock performance, even including that cliched key-change and it has to be said it's a solid track...it wont win but it is a banger. 4/5

22] ISRAEL: NETTA - "Toy". While it's one thing to question Australia's inclusion in what is essentially a European competition, it can be said that you have to question Israel too...although politically and economically they are at least tied to the EU so there's that....anyway I digress this is a song contest not BBC Question Time. Netta Barzilai is an outsiders bet if ever there was one! A fun and up-tempo track for the most part, combining western pop influences with middle eastern traditions...it's a decent listen, that is until the random chicken noises...seriously I don't know if it's a gimmick or an affliction. 3/5

23] THE NETHERLANDS: WAYLON - "Outlaw In Em'". Real name Willem Bijkirk, he acquired his stage name after the late Waylon Jennings as means of a tribute and is no stranger to Eurovision. As part of THE COMMON LINNETS he finished runner-up back in 2014 and hopes to go one step further 4 years later. Mixing bluegrass with southern rock swagger, fans of BLACK STONE CHERRY and the like are sure to give him the nod of approval and send a vote his way. 4/5

24] IRELAND: Ryan O'Shaughnessy - "Together". Despite a lack of luck in recent years, Ireland are still the ones to beat as they've won Eurovision a record seven times since its inception, and they hope to add another victory in Portugal this year.Another TV talent show statistic, Ryan O'Whatshisface appeared in Britain's Got Talent back in 2012, reaching the final only to finish in 5th place...will he do better here? Another sweet, acoustic/piano ballad, it doesn't truly stand out as such but he's got enough Irish charm to win the voting public over...perhaps. 2/5

25] CYPRUS: ELENI FOUREIRA - "Fuego". Apparently Eleni here is the bookies favourite and I've been scratching my head to work out how and why...with her typically modern autotune-laden pop qualities I guess she'd make quick and easy money in the charts commercially, given the success of everyone from DEMI LOVATO to DUA LIPA and the like...it's decent enough pop song for what it's worth and catchy enough but, it's nothing special per se...we'll see. 3/5

26] ITALY: ERMAL META E FABRIZIO MORO - "Non Me Avete Fatto Niente"...It takes longer to say that than they'll stay in the top 10 this year if you ask me...it's emotive enough with its almost cinematic qualities in places but songs spoken in native tongue are hit and miss and never a guarantee...it might benefit from being on last in some eyes, but to many it'll be an afterthought as the audience suffers from fatigue and burnout, and it's hardly a climatic showstopper...I can't see this doing overly well. 2/5

So...there we have it...my run down of the 2018 Eurovision final! Have you heard any of the songs yet? Are you happy with your countries entry and more important;y, who will you be voting for? Leave your comments below, but for now...it's over to Graham Norton to entertain us with his commentary.

Many societies have numbers deeply rooted into their own cultures…for example the number 666 may trigger many of you as, Satanic…be it spiritual or even from just a horror perspective (Films like “The Omen” being a prime example)…some may even naively say it’s an IRON MAIDEN thing but…those people are idiots. Other numbers may include 420 which, for all intents and purposes is a call to arms for partakers of the devil’s lettuce (Marijuana if again, you are naïve…also a coincidence and a half)…but what about other numbers? Shy of a run-down bingo hall what do numbers really have to do with society? Well few numbers incite thoughts and superstitions like the number 13…to some it’s lucky but to many more, it’s not…again, I refer to horror and the whole notion of Friday The 13th…and many hotels won’t even acknowledge a 13th floor…going straight from 12 to 14…so what’s my point I hear you asking? Well today’s band have recently released their 13th album and in reality it’s both a blessing and a curse…let me remind you about ELECTRIC SIX. Having exploded like the most frustrated of sexual releases back in 2003 with the hit singles “Danger! High Voltage!” and “Gay Bar”…the Detroit rockers have since slid into all but obscurity in the years that have followed but has that stopped them? Hell no…against all odds and regardless of public opinion they have released an album every year since…let’s check out 2017’s “How Dare You”…

The album opens up with “Chicken Wine” and first things first its textbook randomness from not only E6 but their charismatic front-man Dick Valentine…a recipe for disaster or something far saucier? Truth be told it’s a wonderfully energetic, up-beat introduction to the record with some vibrant, light-rock attitude, vocal harmonies and synth elements…it’s a wonderful little opener and while far from their greatest work it’s infectious and gets us off to a solid albeit abrupt start. “Arrive Alive” slows things right down and here we get Valentine’s textbook drawl...many would call him a poor vocalist but his lack of tone in places is really a long running joke and they are very much aware of this…it’s part of their charm. The chorus here is the highlight of the track with its bold approach and there’s not much more you can say really…

There are a couple of talking points dotted throughout this album…the title track is a wonderfully slick, synth driven affair with a solid groove and while it plods along it showcases E6’s ability to excel at both bleak and the banter-filled song writing. “Hatchet Man” utilises a strong solo-driven outro and oozes passion building up to a well-crafted fade-out…it’s lengthy but it’s hypnotic and provides an unconventional album highlight…”The Chimes Of Titus” too makes the most of the outro approach with an energetic hard rock flurry providing ample enjoyment…while stand out track “Routine Cocooning” is at the utmost simplistic enjoyment. The chorus is catchy and it balances the deep-vocal approach of the track well. Album low points are minor…”Sex With Somebody” is a track a band this far into their career could have avoided…it’s a bit cringe worthy…and closing track “A Quiet Man” focuses too much on a spoken word narrative and it’s far from an easy listen. Ultimately what can be said about E6? For any artist...THIRTEEN albums is a hell of an achievement…but the fact that the band has released virtually one every year since their debut comes with its problems. Sure they are prolific and clearly have the creative bug…but in ways it’s partly the reason why they aren’t as big as they could be. When they dropped “Gay Bar” the reaction was phenomenal…comedy rockers yet but it was more than an in-joke…everyone enjoyed it…in the years since, it’s like the band have opted for quantity not quality. Sure there are absolute gems in the bands back-catalogue that you will love…but you have to dig through so much to find it. This is a solid record and to be honest their best in a few years but, honestly…we’re exhausted. How dare you give us so much Electric Six! Warning! Danger! High Voltage! [6]

Back in September I ran a review on one of Klayton’s numerous projects on the FiXT roster; SCANDROID, who returned with their highly anticipated second album “Monochrome”…a very nostalgically indulgent project acting as a throwback to the 80’s era of new-wave synth pop, the neon retro glow of early electronic music, with the concept of living in a futuristic cyberpunk neo-Tokyo…it was done incredibly well and proved once again that Kalyton is one of the top electronic artists in the world today…but he’s not the only one dabbling in the past. Fellow label-mate BLUE STAHLI (Real name Bret Autrey) has caught the retro bug too it seems and for his own new project, he’s dropped the heavier, guitar driven EDM for a spot of synth-pop. With the debut album “Starlight” being released December 1st…let’s checkout SUNSET NEON…

We rather appropriately open up with “Opening Title Sequence” which, really, is probably the most straight-to-the-point, generic track title you could possibly imagine…if this was a film score, I would understand but here it doesn’t even have any sense of ironic self-awareness…it’s just lazy. The track itself is just over a minute of otherworldly, spacey soft-synth…it’s like something that may have found its way into one of the scenes on "Stranger Things" and while it’s promising regarding the rest of the album, I’m already distracted now, Netflix is calling me…I regain focus however as first track proper; “Got You” kicks in and this is more like it! It’s rich in bubbly, up-beat disco inspired new-wave indie-pop…the style, the sound, the vibe; it’s all absolutely spot on here…an early album highlight this is something you could easily imagine having been on old-school Top Of The Pops.

Further highlights include the vibrant “Never Dance Again” which wonderfully blends era’s into one light-hearted, happy-go-lucky electronic pop number…imagine KIM WILDE collaborated with CHARLI XCX and you wouldn’t be far off…it’s beat and rhythm are minimalistic while the guitar during the chorus adds a little depth and just a touch of attitude, this is an enjoyable pop song. “You Are The Sun” layers incredibly soft vocals over a relaxed soft-synth backing, akin to early boy bands in ways, while the title track utilises a lo-fi ambience with a charming delicacy fans of SAVAGE GARDEN would appreciate. The real highlight however comes courtesy of “Tonight”…more guitar-driven in tone and in ways more suited to a glam rock band, it’s got more of an edge, it’s pumping, it’s motivational; it’s the kind of song Rocky Balboa would punch frozen cow carcasses to…excellent stuff. Several of the tracks fail to inspire as instrumentals however; “Strut” has this, nu-disco swagger, it’s got funk but it feels like filler…”Metrocenter 84” too suffers similarly, though more laid back and ambient…but the real kick in the childhood comes from the surprise cover of PRINCE classic “Kiss”…merciful god…the original was painfully cringe-worthy with his unique high pitched vocal but it’s worse when imitated…it’s like MIKA and Justin Hawkins from THE DARKNESS had a bollockless lovechild and it attempted to match the track cringe-for-cringe. Ultimately though, the album as a whole has its quaint nostalgic tones firmly set in the lighter, poppier end of the retrospectrum (See what I did there?) and it offers a wholly different listen to Scandroid, though sadly, the songs here are weaker if we compare the two projects…Sunset Neon needs to replace a few bulbs I think. [5]

The great thing about reviewing is, from time to time, you’ll witness growth…now, while all artists change and evolve from one album to the next (Well, I SAY all…AD/DC made a fortune on stagnation) nothing quite beats seeing a band in their formative years growing in sound, growing in style and more importantly, growing in confidence…back in 2014 in the early days of this blog’s existence, I reviewed a band by the name of DRIVEN in Fuel, Cardiff (I’ll never forget that conga line) and in the years since, I’ve witnessed them achieve so much in such a relatively short period of time. Having undergone a name change, and finding themselves signed to Spinefarm Records, IN SEARCH OF SUN (As they are now known) dropped a highly promising debut album by the name of “The World Is Yours” and grabbed a lot of people’s attention…now…in 2017 they deliver us the much anticipated follow up; “Virgin Funk Mother”…was the world truly theirs for the taking or were they ultimately searching for the sun at night? Let’s find out…

There’s no messing about with this record whatsoever as we open up with “Say It Like You See It” and we’re thrust into an infectious, groove-laden surge of riffs and funk-driven passion…the song writing, the musicianship, the delivery…it’s hard to imagine these were once just a couple of lads from London giving copies of their EP away for free just wanting to be heard, this is superb; this is anthemic…the sound here is positively huge and in ways it’s a blend of INCUBUS and YOUNG GUNS, a brilliant start this. “Bad Girl” follows immediately afterwards and while notably restrained compared to our opener it utilises a heavier, prog-fuelled guitar sound giving the track a more menacing tone as it maniacally reaches its more metal inspired crescendo…with the addition of MONUMENTS  guitarist John Browne bringing a certain djent style, this is a lot darker.

Next up we have Ronseal…or at least it may as well be, as “Motherfunk” does exactly what it says on the motherfucking tin! Its super upbeat, super smooth and front-man Adam’s clean vocals are wonderful, he’s developed into such an equally charismatic and capable vocalist he really helps carry these songs effortlessly, while the guitar work here again from David, Rory and not forgetting bassist Faz, is top drawer; they’ve nailed it here again…funk has seldom felt so relevant in alternative rock music. “Never” ticks all of the same boxes with another bold chorus emphasising another impassioned vocal display, slower and emotionally deeper in tone with subtle power ballad qualities, this further highlights their song-writing capabilities…while “Mega Piranha”…well, it’s more metal in style but don’t worry about that, look up the film…it’s amazing…it’s no Sharktopus but it’s still amazing. Actually scrap this review lets go watch them both! I jest...there are a couple of weaker moments though, yet nothing that completely ruins the record…”Little Wolf” as an interlude is barely existent and while acting as a segue, it may as well have just been a lengthy track intro instead of being its own entity, it’s a little bit pointless, while closing track “Mon Amour” overstays it’s welcome. While a decent track for the most part, we hit the halfway mark and we slide into repetition, couple that with the rising level of distortion and feedback at the songs climax and it just becomes annoying rather than awe inspiring and it really, sadly closes proceedings on a dud note. That’s not to say however that this record is a failure by any means, not at all…the past couple of years has seen the guys really put the time and effort in and it’s clearly paid off, this is a totally different band to the wide-eyed aspiring metal heads I saw in Cardiff back in the day and they certainly aren’t looking back…in search of sun? This album is positively beaming…[8]

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]

"...We ALL know, that one of the main elements of attack...is the element of surprise! So, what could be more surprising, than the first battalion transvestite brigade?! The airborne wing, parachuting into dangerous areas with FANTASTIC make-up...and a fantastic gun...and the opposing forces going 'Fucking hell look at these guys...they've got guns! They've got guns! Jesus they've got guns!...I was so surprised, were you surprised? I was surprised'..."

I know what you're thinking, "Gav...what the fuck are you on about?"...well let me elaborate. In this excerpt from "Dressed To Kill" by EDDIE IZZARD, he perfectly sums up my overall reception of "Peace In Chaos", the brand new EP by Reading-based rockers THE FINAL CLAUSE OF TACITUS. It just rolls off the tongue doesn't it (-_-) Seeing a name like that, your first impression is maybe they are a prog-metal inspired outfit? Or something incredibly heavy and conceptual, given the figure of Tacitus, a notable historian and political philosopher in Roman history...but no...far from it. Let me explain...

We open up with some pretty straightforward guitar riff on "7 Years" and it sounds as though we'll be heading into some classic-inspired, old-school rock and roll territory, but the bass, courtesy of Flea, sorry, Andy, turns everything on it's head...this is some funked-up shit! Coupled with vocalist Matt's best Anthony Kiedis impression you could easily be forgiven for thinking this is some unearthed early-era RED HOT CHILI PEPPERS demo. The is a segment where the forced, shouted vocals literally make you wince with their blunt delivery and it tarnishes an otherwise decent track; an interesting start...

First single "Give Them Blood" initially slows things down considerably, taking a more serious tone and a slightly more aggressive chorus has shades of RAGE AGAINST THE MACHINE etched into it's core sound, though retaining the funk-driven elements, there is some interesting guitar experimentation but the repetitive chorus does fall flat quite quickly. "Snake Town" adds further influence from the likes of FAITH NO MORE and as a whole this record could of easily been released in the early to mid nineties, when rock was in the middle of a transitional period and finding it's feet again, combining various elements to reinvent itself and this track acts as a perfect throwback to that period, before we eventually finish up on title track of sorts "Hidden Patterns", further utilising all of the aforementioned styles. I guess in a way their name represents their musical mindset very well, as Tacitus (history lesson alert) was renowned for his questioning of establishment and not wholeheartedly agreeing with the principles of his emperors, voicing his opinions clearly and going against the grain so to speak. As a band, TFCOT have done this by not falling into any current trend or style. They've looked at the current scene in UK music and have made a bold statement by sounding completely different to the vast majority of bands emerging right now. Original? Far from it, but right now it's refreshing. If you are of that era, this might be your new favourite band! [6]

"Peace In Chaos" is released on February 24th
The single "Give Them Blood" is out January 27th