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]

If you’re a regular reader of this blog then you’re probably well aware that I’m rather keen on my 80’s synth…often looking back fondly to a revolutionary era in music, the birth and evolution of electronic pop paved the way for so many new sub-genres and artists that would later become iconic and pioneering…I’ve often cited DEPECHE MODE as a key contributor and influence given their phenomenal success, with all sorts of artists covering them, ranging from LACUNA COIL to JOHNNY CASH…but if there’s one artist I’ve rather embarrassingly overlooked…it’s GARY NUMAN. Yes the London born musician/songwriter (real name Gary Webb) initially found fame way back in 1979 with his then band TUBEWAY ARMY and the hits “Are Friends Electric?” plus of course, “Cars”, but he continued to experiment with the genre he helped define by adopting a harder, more industrial style over time, incorporating a darker heaviness to his already, semi-bionic presence in the latter days of his lengthy career…though while often critically applauded, he remained in the shadows of the 80’s revival, not one for the limelight…but all that’s about to change with his brand new album “Savage (Songs From A Broken World)”…cue the renaissance…

We get underway with “Ghost Nation” and we’re met with his trademark deep, pulsing, rock based electronica…it’s percussive and ever so slightly abrasive in tone, somewhat disjointed and fits this albums theme wonderfully…set in the future in a man-made post-apocalypse…it’s the remnants of life as we know it, as told in his own chilling, uniquely robotic way, but the chorus, is so smooth! It really carries you off into the concept this…a really good start. “Bed Of Thorns” follows up and musically we have a culture clash here as East meets West…it’s a slow, brooding number with gothic undertones, yet the inclusion of certain middle-eastern instruments adds an extra dynamic to the track that only benefits the album thematically…it’s slower but oh so satisfying.

Lead single “My Name Is Ruin” kick starts a mid-album slab of synth-driven perfection that shows Numan here really is on form and at the top of his game…the video for the track was shot in the blistering Californian desert, with his 11-year old daughter Persia providing equally sweet and haunting backing vocals, layering some incredibly melodic pop-hooks and soft industrial rock, it’s simply hypnotic, before “The End Of Things”, utilising string sections and what sounds like an old children’s xylophone allows the track to appear swathed in innocence, but despite an incredibly catchy chorus, it reeks of bitter disappointment and despair…”And It All Began With You” has some sprinklings of piano which coupled with Numan’s hushed vocal tone, it’s so beautifully peaceful, a track about finding solace through the struggle, before “When The World Comes Apart” brings you back around with a more guitar driven approach, bitter and angry, questioning God, showing a complete and justified lack of faith, it’s a powerful track…then after a couple of far-from unpleasant offerings we finish up on “Broken”; for the most part instrumental, or as so it first seems, but it closes the album, and the concept wonderfully…Numan stating that he’s seen it all happen in front of his very eyes, skies of fire, oceans…all dry…the world as we know it is dead and the back drop is this incredibly sullen, almost cinematic style score…very emotional, and full of equal parts regret and guilt.

Gary Numan may not be a household name as such but you certainly have heard of him…and nearly 40 years into his career, for him to be making albums of this calibre is fantastic…his broken world may be fictional on record, but it’s based in truth…and as artistic as it is, we need to listen to the message here, the Mad Max lifestyle isn’t as cool as it looks…[9]

Transylvania…while it did indeed exist as a region (we just call it central Romania these days), when you hear the word, the first thing you conjure up is the image of Count Dracula in his castle in the Carpathian mountains…moonlight, creepy forestry, bats…the traditional vampire lore and all of its clichés…so when a band by the name of BLOODY HAMMERS forms out of Transylvania County, North Carolina in the United States, it’s absolutely no surprise to learn where a lot of their influence is derived. With a lot of their album art influenced by old-school horror movie posters, and music inspired by the likes of BLACK SABBATH and NICK CAVE, you can tell right away we’re in for a gloomy treat and just recently they dropped a brand new EP by the name of “The Horrific Case Of The Bloody Hammers”…Have they come to suck your blood or, do they just suck? Let’s find out…

We rather appropriately open up at the “Gates Of Hell” and it gives the listener a pretty good idea as to where this EP is heading thematically. Musically we’re treated to a classic surge of hard rock riffs and chugging bass, while front-man Anders Manga’s deep vocals add character and a sense of dread...add to that a spooky yet catchy organ fill, it’s a decent opener…the organ provides us with the introduction on follow up track “Blood” too and it’s clear the band are very much in gimmick, though I don’t mean that in a derogatory sense…although generally slower than our opener, its tone is very brooding, bass-driven until the chorus comes to life with another surge of hard rock…seriously if Dracula had his own in-house band it’d probably be these guys…you can imagine Bela Lugosi hanging there, upside down, head-banging away…

“The Beyond” shifts in tone entirely and here we have an even slower, morose, otherworldly rock ballad…it’s very dreary as Anders sings of an inhuman being, avoiding contact with humanity, awaiting his journey home for he knows they don’t understand, they fear what they can’t comprehend and will kill him and you can’t help but feel guilty, as it resonates to a degree in today’s climate…a lack of understanding culturally, religiously, racially; alienation…and it’s quite a powerful track. “The Blood Sucker Leads The Dance” is similar in its tone and delivers a really dark, haunting track that easily channels the influence of Nick Cave, the melancholic poetry providing one of the EP’s clear highlights, before we finish up on “All The Colours Of The Dark”…a really trippy, synth driven piece, from the perspective of (from what I can gather) a would-be bride of Dracula…he’s watched her, he’s chosen her, he’s taken her and imprisoned her, she longs to see the light of day again but she’s helpless, and he waits for her inevitable submission, there’s a good story behind this track and it closes the EP well. I feel the balance between the classic rock and almost stoner-inspired gothic elements is just right here and it suits the theme and concept perfectly…there’s nothing horrific about this EP at all, it’s actually an enjoyable listen…those bloody hammers…why do you turn this blog into a house of lies? [7]

Let’s take a minute to talk about taste…everyone has taste in something. Sometimes you question it and say someone has “bad taste”…be it in clothes or films or food or music…but it’s human, we’re all different, if we all liked the same things, we’d be boring or, I’d imagine it’s what it’s like living in North Korea…I digress, anyway,  you’ll never find me wearing tracksuit bottoms for example or, you won’t find me watching romantic comedies, or, you won’t find me ever enjoying R’n’B…it’s not in my taste! I hate them! But that’s OK! However, when someone comes along and shares the same interests and tastes as you, you become one of The Inbetweeners…”Ooh Friend!”… This happened very recently with regards to a band from Warsaw, Poland, who emailed me their new EP; “Eternal Hunger”…the band, who formed in 2014, is called THE POISONED HEARTS and they are the culmination of all things I love in music. Their name is derived from THE RAMONES track “Poison Heart”…and their influences include SISTERS OF MERCY…JOY DIVISION…THE CURE…all of the original alt. bands that paved the way for goth rock as we know it…misery loves company as they say, so let’s check it out! Ooh friend!

We open up with “The Ancient One” and we’re greeted with a very soft, delicate guitar tone with some ever so slightly darker underlying bass-driven synths…it’s incredibly simplistic and carries a really good, catchy hook, harking back to those early days of new wave alternative pop, vocally, Lukasz Boldyn delivers a brilliant performance channeling the likes of Andrew Eldritch and Jyrki Linnankivi…it captures the tone of the era and the humble beginnings of the genre perfectly, this is both nostalgic and refreshing, a good start. Following on from here we have the first of two covers and oh boy have they picked a classic…everyone knows the emotional story of Ian Curtis, one of rock ‘n’ rolls saddest chapters, immortalised in the posthumous Joy Division hit “Love Will Tear Us Apart”…here they’ve taken the iconic song and stripped it back, making it a little darker, a little grittier but it’s lost none of its melancholic charm…as soon as you hear that riff, you can’t help but feel happy and sad at the same time and they’ve done it justice here, beautiful.

The second cover is “Alice” by goth-rock godfathers Sisters Of Mercy…it’s not one of their bigger hits but here the band have perfectly paid homage to the retro charm of those early forays into alt. rock, the production quality is incredibly precise; it’s so nostalgic, it feels like you actually have been transported to the 80’s, and here Lukasz voice is perfect, absolutely spot on for this, it’s brilliant. The remaining two original tracks “When The Dawn Is Coming” and “Deadline”, despite being good themselves are always going to live in the shadows of the aforementioned…the former carrying a lighter, positive tone, having a soothing feeling, whereas the latter, with its slower, more morose delivery is probably the weakest track on the EP. However, overall, there’s nothing here you can really complain about…if you’re a fan of old-school alternative rock and have missed the youthful post-punk heyday’s of your upbringing, TPH will provide you with a quality blast from the past, for this truly sounds like the real deal…go on…get your goth on. [8]

If you listen to rock or metal, or, hell ANY genre in some capacity then, odds on you’ve heard the word elitist thrown around, often as a derogatory term…you probably know one (there’s always one)…proclaiming that, so-and-so’s original material was FAR superior to their recent stuff or, generally just living in the past like a Liverpool fan and telling everyone everything was better back in the day…sounding familiar? I’m looking at you METALLICA fans...the reaction from bands however can vary. Take LINKIN PARK for example…a real case of not giving a single fuck about the fans that kept pining for “Hybrid Theory” 2.0 by doing what they wanted each and every time, evolving with each new album…sadly, following on from their controversial last release, Chester Bennington is no longer with us and we have to live with our harsh words forever…other bands mind you go back to the drawing board…bands like PARADISE LOST.

When they started out back in the late 80’s, they were pioneering in the doom metal genre, perfectly combining thrash-driven underground metal with deep, dark, gothic morbidity for a truly despairing sound and they paved the way for so many artists over the years…but like all bands, they dabbled and over a brief period towards the late 90’s, they went softer, more electronic and to be honest, while never truly flopping critically, they pissed a lot of fans off…ever since though, they’ve been on an on-going journey to return to that dark past, to dig up those roots and rediscover themselves and oh boy have they found some treasure here. 2017 see’s the Yorkshire metal veterans continue on a fine run of form following on from 2015’s “The Plague Within” with their brand new album “Medusa”…let’s hope we don’t turn to stone…

We open up with “Fearless Sky” and we’re met with a genuinely menacing introduction…the soft but haunting sound of the organ gives the track a sense of grandiose horror, it’s chilling and really sets a dark tone going forward, before Gregor Mackintosh enters the fray with his trademark, evil guitar sound; slow deep riffs and ear piercing wails…while vocalist Nick Holmes unleashing his hellish, unforgiving growls, commands your attention like few other front-men. With a few key-changes over the tracks 8-minute+ run-time including a hard-rock climatic flurry, its one hell of a re-acquaintance and gets this album underway nothing short of perfectly. “Gods Of Ancient” and “The Longest Winter” continue this nostalgic happiness effortlessly…with the former harking back to their early days of sludgy, doom-laden riffs and an overall darkness in its presentation, while the latter taking a note from BLACK SABBATH starts with rainfall, a ravens call…there’s an echo to the guitar here and Holmes’ softer vocals coupled with the slow gothic-metal approach would please fans of TYPE-O-NEGATIVE…wonderful stuff…

They aren’t always gloomy however, as “Blood And Chaos” proves brilliantly…the up-tempo offering despite it’s obvious aggression utilises some genuinely catchy hooks and has a really infectious rhythm, it’s really accessible and being one of the shorter tracks, it’s very easy listening, providing a clear album highlight with its contrast, likewise with “Shrines”; using more groove and a more delicate guitar, it’s got a more sultry, morose gothic feel…there’s a feeling of sorrow and mourning here and it’s beautiful in its own despairing way, before we finish up on “Symbolic Virtue”…classic as it comes with Mackintosh counteracting a sweet layer of piano with his strong gloomy riffs and the result is sinister yet harmonic, closing proceedings very well. Nearly 30 years into their career, Paradise Lost are still proving few can touch them when it comes to brutal, gothic misery, they really are masters of their craft…not even Perseus could top this one…[8]

It's weird to think really, that, I've been reviewing for at least four years now and, I've covered a fair range of artists for not only this blog but, I've whore'd myself out to other publications as well! That sounds bad...but no, over these past few years I've been allowed to develop as a writer, contributing to several amazing teams which has taught me a lot and allowed me to grow into the bitter, sarcastic bastard you follow today...one such publication would be FIREBRAND. A very well organised e-zine, Firebrand was split into two publications; Firebrand Magazine (which dealt generally with straight-forward rock 'n' roll, blues, AOR type releases) and Firebrand After Dark (which I primarily wrote for, featuring heavier, darker releases). In issue 11, going way back to May 2014, I wrote a review on an album called "Grave Party" by a Greek gothic-rock band by the name of SADDOLLS...it was refreshing to see and hear a band keep the genre alive with a genuinely quality album (gothic rock has always been a niche market)...now...three years later, they have released a follow-up record by the name "Blood Of A Kind" and there's absolutely no way I wouldn't keep you up to date...get your goth on...let's go...

We open up with a track called "Dunkelstein" and immediately I'm forced to imagine Boris Karloff tea-bagging Mae Clarke in a director's cut of "Frankenstein" from 1931...that literally never happened but I really wish it did...nevertheless, it opens up with some chilling organ-esque synth notes and thematically it's very Transylvanian in a horror movie sense. The guitars chug along while the deep vocals of George Downloved offer the listener a dose of familiarity, with this style already working well for the likes of DEATHSTARS and LACRIMAS PROFUNDERE for example, fans of those will appreciate this and as an introduction it works. "Creep It Into You" however takes things up a notch following immediately afterwards and offers us an early album highlight...more melodic and up-beat, it's got a hell of a hook in the chorus and the softer female vocals provided by Ioanna Zach give the track extra texture, the guitar solo is brief but sleek; there are rich pop elements to the track and the finished result is catchy as hell.

Lead single "Cold Blood Inside" is a slower, far more morose track for the most part, the video portraying a simple message, hope springs eternal so to speak, metaphorically no matter what, the outlook for humanity has to be optimistic, you can't kill hope...musically it'll appeal to fans of "Blessed Be" era THE 69 EYES in ways, it's quite simplistic and to a degree repetitive, there are better choices for a lead single really. "Kiss You In Hell" for example opens with it's moody bass, layered under tickled keys and more guest vocals provided by Georgia Dm, it's generally got more life to it, as is the same with "Die Better"...an absolute scorcher of a track; there's great rhythm here, it's solid and consistent, again, it's got really catchy hooks, key changes, I've said it about tracks in the past but this is the sort of thing that would do great in alternative nightclubs.

There are lesser tracks here too however, with "Pale White Dracula" sounding like they are going through the motions so to speak, plodding along, no real life in the riffs as such, and lyrically "Dracula, Dracula, kiss my lips...Dracula, Dracula, give me that kiss..." sounding just a little bit cheesy, but not as much so as "Sex In Church"...yes that is the actual name of track five. As aesthetically pleasing as the track may be musically, you can't help but cringe here...I hope this is a track that doesn't get a music video...anal beads for a rosary anyone? Were you really a virgin Mary? Were you? Were you really? Ave Maria...I bet he did...all jokes aside, while laughable it doesn't spoil the album too much and overall, the nine tracks on offer here again deliver us a solid goth-rock record, as I said before, goth is rarely "in" as such, but it's good to see bands still catering for miserable buggers such as myself. These dolls might be sad but, they are still worth playing with. [7]

Bands operate in cycles, you know the drill; announcement > promotion > single > hype > album > tour > break > repeat...it's a pretty standard formula and let's be honest, it works! Every few years you find yourself thinking "So and so are due an album...". Some fans it has to be said wait longer than others; no one will forget the debacle that was THAT underwhelming GUNS 'N' ROSES travesty "Chinese Democracy" (seriously, that was the musical equivalent of the Gobbeldy Gooker at WWE's 1990 Survivor Series...by the time it happened all you could say was, why?) but luckily, most artists are pretty consistent. Cue AFI...Davey Havok and co hinted at activity with last years return of BLAQK AUDIO, so it's no surprise that a fire inside ignites once more for the first time since 2013's "Burials". Are they still burning brightly on "The Blood Album"? Let's get warmed up shall we...

We welcome them back as "Dark Snow" gets the album underway and it's a wonderfully paced, rich, bassy electronic number...the band have clearly retained the soft-goth core sound that they fully embraced for "Decemberunderground" and it's essentially a gentle reintroduction, Havok's vocal complimenting the melancholy of their music ever so sweetly and it's a nice start. "Still A Stranger" briefly starts with some jolly acoustic guitar but soon becomes trademark AFI; bold chorus, up-beat rhythm and momentum carrying a genuinely catchy piece of modern alt.-rock. Havok's vocal touches on aggressive towards to climax but a far cry from their punk-rock past, but it still adds texture.

Album highlight "Get Hurt" is a quaintly vexed little offering sounding not unlike something you'd get from R.E.M. for example but, obviously with the modern, emo twist that AFI have perfected over the last decade, while other highlights include the intense, angst-driven "Dumb Kids", here harking back to the aforementioned punk-rock origins with a short but sweet stab of adrenaline, and by contrast, "Feed From The Floor" channels subtle nods to THE CURE before closing track "The Wind That Carries Me Away" blends blues tones with dramatic, pop-hooks for a powerful climax.

At 14 tracks long however there a couple of weaker moments, "Above The Bridge" for example suffers from repetition and "She Speaks The Language" while tense for the most part is let down by a fairly flat, unimaginative chorus. Overall though, AFI have delivered a strong and consistent album here...it may not have any immediate hits that leap out at you that previous records have produced but from start to finish it's a good listen. You can water down a record for a fast buck and a cheap shot at the charts but as they've proven here, blood is thicker than water and collectively, the fire inside still burns on. [8]

Every now and again a band will come along and just stand out for one reason or another, and one of those bands today is Pennsylvania’s MOTIONLESS IN WHITE. Their blend of gothic inspired, borderline theatrical metalcore has seen them go from new kids on the block to one of the most exciting bands on the scene in the last couple of years, coupled with front man Chris Motionless’ often astute and sometimes outspoken opinions on that same scene around him, wearing his heart on his sleeve with absolutely no fear of consequence over anything he says, they inject a much needed dose of honesty into the often ridiculous world that is the music industry. Their newest album; “Reincarnate” sees them return to a heavier sound than previous release “Infamous”, here’s what they’ve brought back with them…

“Deathmarch” opens proceedings rather accordingly, trudging head strong into the album with a sound settling somewhere in between the likes of THE DEFILED and MARILYN MANSON, its dark, it’s rigid and purposeful with Josh Balz keyboards providing a sinister backdrop, before we dive right into the title track. Heavier on the synthesizers and introducing clean vocals, but still riff-heavy, it’s a great track and brings the album to life. “Puppets 3 (The Grand Finale)” begins with a seemingly SLAYER inspired thrash metal sound, that is until we’re subject to the all too familiar wails of guest vocalist Dani Filth of CRADLE OF FILTH fame. The sound shifts to an electronic metalcore / black metal mash-up and it works really well.

On the subject of guest vocals, Maria Brink of IN THIS MOMENT pops up in “Contemptress”, with her feminine yet equally ferocious vocals more than welcome; she’s a great vocalist with a powerfully emotive delivery that complements Chris perfectly here, however briefly. Elsewhere on the album, tracks such as “Unstoppable”, “Break The Cycle” and the brilliantly titled EDM styled “Dead As Fuck” maintain a level of quality throughout, before we finish up on “Carry The Torch”. It’s a slow builder, but once it gets going its pretty straightforward, but not to the extent that it ends things on a flat note.

It’s safe to say that MIW, on evidence here with “Reincarnate”, remain one of the brightest prospects for the future of alternative music. This album is their strongest to date and it’s almost impossible to think they won’t be around for years to come, regardless of whatever trends may come and go in the increasingly disposable world of music. You need this album, and everyone else needs to step up. [9]

"Reincarnate" is available on iTunes: https://itunes.apple.com/gb/album/reincarnate/id897039441

If you’re a fan of THE 69 EYES, or ever have been during the bands gothic-era, you’ll no doubt know of front man Jyrki 69 (real name Jyrki Linnankivi) and his love of all things blues and ELVIS style rock ‘n’ roll. The influence has been growing over time, and is unmistakable on the track “Borderline” taken from the most recent album “X”, with the tracks video even being filmed in Louisiana, the home of the blues, so really then it comes as no surprise that Jyrki would eventually put his efforts into a side project where he could focus purely on his musical love affair with this southern style of rockabilly groove, and he has. Meet, THE 69 CATS. Featuring members of THE CRAMPS and BLONDIE, this super-group of sorts have just released their début album; “Transylvanian Tapes”…let’s see what this Helsinki vampire’s sunk his teeth into…

Kicking off with a cover of THE DOORS classic “People Are Strange”, here he pays homage to the late Jim Morrison with a fresh take on a timeless song, a great album opener, before next up we’re treated to a reworked edition of “Sunglasses After Dark” by The Cramps, the rockabilly style really suiting this track and it’s a fun, energetic number.

Next up we've got another unmistakable classic, “Runaway”, by DEL SHANNON, originally released in 1961 but covered numerous times over the years; it’s still a great song to this day and always a pleasure to hear, which can also be said for “Edge Of Reality”, a brilliant piece by Elvis taken from his movie “Live A Little, Love A Little” in 1968. A few more covers in the form of “Werewolves Of London” by WARREN ZEVON and the surprise inclusion of “Girls On Film” by DURAN DURAN keep the album ticking on, some nice smooth instrumental sections like “Necromance For Guitar” and “69 Guitars”, before we finish up on “Bela Lugosi’s Dead”, a shortened down but absolutely brilliant cover of the BAUHAUS track from 1982, keeping his gothic roots in plain sight; superb.

As much as we long to see the next instalment from The 69 Eyes, seeing the effort and passion that’s gone into The 69 Cats it’s literally impossible to complain about the Finnish goth’s absence. This may be cover-heavy in content, but they’re quality covers. “Transylvanian Tapes” is well worth a listen for any neutral fan of rock ’n’ roll, and let’s just hope tapes means plural, and we’ll one day see another instalment. Cats have nine lives after all…or should I say 69? [8]


The album "Transylvanian Tapes" is available on iTunes: https://itunes.apple.com/gb/album/transylvanian-tapes/id895515231

If you ignore “Best Of” and remix compilations, the last time we heard from Sweden’s gothic, glam-metal maestro’s DEATHSTARS properly, was 2009’s “Night Electric Night”. It was a solid album from start to finish and further proved their reliability for churning out top tunes, but while the prospect of brand new material is exciting, it’s worth noting that there’s been a little shuffling going on in the ranks. Now as a 4-piece unit, courtesy of the departure of guitarist Cat Casino, Deathstars have had to tighten up as musicians, especially on the live stage, but has it affected their song writing? Upon listening to the latest record; “The Perfect Cult”, it appears not.

Opening up with “Explode”, it’s clear that the core Deathstars sound hasn't wavered in the slightest; we still have the brooding bass, the almost haunting synthesisers and of course, Whiplasher’s distinctive, deep vocal drawl. It’s all very familiar, and despite the tracks title, it doesn't really excite a great deal, it’s quite relaxed all things considered. First single, “All The Devils Toys”, is a brilliantly catchy track and is in all honesty some of the most accessible music they've ever released, it’s got a real foot tapping chorus and is easily up there with past hits like “Cyanide” in terms of quality; great stuff.

The title track keeps things rolling along nicely, generally more of the same, or, textbook Deathstars you could say, while “Temple Of Insects” and then finally “Noise Cuts” see out the album as standard. Essentially it can be said that, yes, this is yet another strong album from the Swede’s, they've not lost their touch, but, it can also be said that they've not really learnt anything new either. Whiplasher has never really had much of an extensive vocal range, not just evident here but spanning all of their albums to date really, and, without trying to sound harsh they risk becoming a one trick pony. Granted, as I said they are capable of churning out quality tunes, but they do need a change of tactics if they are to continue long-term. They have their fan base, but it doesn't stop things eventually going stale. Perfect in name, but if this were one of the Devil’s toys…I'm sure he wouldn't play with it for very long. [6]


The album; "The Perfect Cult" is available on iTunes: https://itunes.apple.com/gb/album/the-perfect-cult/id876431574

NINE INCH NAILS. This is a name that when mentioned in music circles unanimously gets a nod of respect. Regardless of your background, be it rock, metal, industrial, punk, goth...Trent Reznor and co's band have maintained an almost cult like status amongst various fans of music of various age groups from all walks of life. The last time we saw an official release was 2008's "The Slip". Originally intended as an EP, it grew to become a full length album and was originally released for free via the bands official website. Other than that, numerous other projects aside, Nine Inch Nails have lain dormant, until now.
"Hesitation Marks" is the 8th straight-up studio album to be released by the band and also see's NIN on a major label for the first time since 2007's "Year Zero". The fact that we've waited so long for a new NIN record means we run the risk of over hype and over excitement. Too many bands these days are built up for a massive fall, but Trent Reznor is smarter than that. This is classic NIN, do NOT expect an easy ride.
"The Eater Of Dreams" opens up the new album. At less than a minute in length and being no more than a few subtle notes coupled with some light distortion, it's an eerie reintroduction to the band, before "Copy Of A" kicks in. A simple yet hypnotic beat, Reznor's vocals shifting between harmonious and almost whispered, it's a beautiful track, occasionally picking up tempo, the electronic pulse of the song rising in intensity but never truly taking off.
"Came Back Haunted", the first single to be taken off the album, is again, simple yet unmistakably NIN. A subtle energy, underlying tones of anger and frustration creeping from within Reznor. He wants you to know he means business but refuses to give too much away. There is always a certain enigma surrounding NIN but in a way that, the less you know, the better.
"Find My Way", "Disappointed" and "Satellite" are typically melancholic, subdued affairs, full emphasis on mood and atmosphere. A full, audio journey. Each path different for every listener; your subconscious allowed to roam freely through each song, finding your own conclusions.
"Everything" is a more guitar driven track, slotted in mid-album like a quick adrenaline rush, where as "Various Methods Of Escape" in places sounds reminiscent of Reznor's cover of "Dead Souls" which he did for THE CROW soundtrack.
I could go on, but it's best to let the music do the talking. Trent Reznor / NIN may not have changed their formula much / at all over the years they have been around, but they have this knack of forever sounding not only timeless, but relevant. Current fans will love this unconditionally, if you are yet to immerse yourself into the world of Nine Inch Nails, don't expect to skip through fields of buttercups and fall head over heels in love at first listen, it doesn't work that way. What is at first glance, a depressing, self-destructing example of one man's troubled mind, is in fact another beautifully crafted chapter in the bands already iconic career. Give this album a chance. You'll understand. [9]


"Hesitation Marks" is available on iTunes: https://itunes.apple.com/gb/album/hesitation-marks/id755885332

For twenty years now, Italy’s LACUNA COIL have been at the fore-front of the  female fronted gothic inspired metal scene, but unlike bands such as WITHIN TEMPTATION and NIGHTWISH, who have always been mentioned under the same breath, the Milan based band have always maintained a slightly edgier, heavier and distinctive element to their sound. With the melodious vocal tones of Christina Scabbia, backed with the coarse crunching vocals of Andrea Ferro, coupled with an increasingly heavier musical approach, Lacuna Coil have gone from strength to strength in recent years. 2014 see’s the band release the brand new album “Broken Crown Halo”, an appropriate title given the departure of guitarist Christiano Migliore and drummer Christiano Mozzati. Does this new album signal a band that’s peaked, or is it merely the end of an era for one of rock’s most iconic and recognisable bands?

Opening track “Nothing Stands In Our Way” is a bullet pointed statement if ever there was one. It’s clear that LC have accepted that things are changing within the band, but it hasn’t stopped them delivering this pounding introduction to the new album. It’s got the classic sound the band is renowned for, but everything’s been down tuned giving it an almost nu-metal feel. If you can see past the minimalistic yet effective synthesisers and just focus on the bass and guitars, it could just as well be a KORN track…and that’s not a bad thing, a strong start.

“Hostage To The Light” is a far more relaxed effort, Scabbia flexing her voice over some powerful notes during the chorus but it’s not overwhelming, it’s quite a passive song, a good listen, allowing your mind to wander but not completely holding your concentration to make it a stand-out track. “Victims” has more of a classic feel to it, harking back to a “Comalies” era sound but it slots well into the album, more of a trip down memory lane as oppose to recycling old material / styles.

The intro to “I Forgive (But I Won’t Forget Your Name)” worryingly reminds me of “Jesus Walks” by LOSTPROPHETS listening closely, but soon, and thankfully so, the track ventures off into more familiar territory. Ferro given the opportunity to sing as oppose to utilise his heavy vocals, he’s got a good voice and compliments Scabbia either way, and it’s a pleasant listen. “Infection” and “I Burn In You” keep the album ticking along nicely, before we reach the closing track, “One Cold Day”. It’s a slow, sombre start. Deep strings, low, dreary piano keys, before Scabbia softly steps in with some smooth but somehow disconsolate sounding vocals. The track has a feeling of closure and it’s the perfect way to end the album.

Lacuna Coil might be losing two long term members, but the final contributions given by both Migliore and Mozzati hav ensured “Broken Crown Halo” is anything but a reason to mourn. Whereas this new album, the bands seventh in total, might not contain hits such as “Trip The Darkness”, “Our Truth” or “Heavens A Lie”, it’s a solid effort from start to finish and deserves as much appreciation as any of the bands back catalogue. It might be broken but who cares when it’s this good? [8]

"Broken Crown Halo" is available on iTunes: https://itunes.apple.com/gb/album/broken-crown-halo/id827535839

Symphonic metal is another one of those sub-genres in which its popularity ebbs and flows like the tide, never really lasting too long but never away for too long either. Bands such as NIGHTWISH and LEAVES’ EYES, despite generally being consistently good, usually find themselves releasing albums into a drastically changed market, and, with styles and tastes changing more frequently nowadays, it can result in these bands sometimes sounding, maybe not dated, but a bit behind. The Netherlands’ WITHIN TEMPTATION however hope to make more of a lasting mark on the current scene with their brand new album; “Hydra”.

The Hydra, being a multi-headed creature from Greek mythology, is used here as a metaphor for musical influence and, as a title shows this album holds more than just another collection of run of the mill, female fronted Gothic tinged metal. Opening track “Let It Burn” does get things under way with a fairly standard effort, but consider it as a warm up. It’s unyielding and dramatic with strong vocals from Sharon Den Adel, textbook stuff really.

Track two is where the album starts to get a little more interesting, with the first of FOUR collaborations recorded for the album. “Dangerous” features one Howard Jones, formerly of KILLSWITCH ENGAGE, who himself has an impressive set of lungs. Despite both being renowned for their powerful vocal displays, they compliment each other very well over an up-tempo, bombastic rock track, without anything sounding over bearing.

“And We Run” throws a curve ball into the mix, with a guest appearance from American rapper XZIBIT (no one saw THAT coming), but it does work impressively well! For the best part it’s a steadier number, more of a ballad at Its core despite retaining an intense almost orchestral feel. It’s still a huge sounding track, with Xzibit giving not only the song but the genre itself a swift injection of character and new life.

The leading single, “Paradise (What About Us?)” is in many ways the result of forming what is essentially a super group of symphonic metal. You've got Within Temptation AND none other than Tarja Turunen, the original vocalist from Nightwish. Together they deliver an operatic vocal master class, ticking all of the boxes required and showing the world how it’s done. A genre defining anthem if ever there was one.

Elsewhere, “Edge Of The World” and “Dog Days” keep the album ticking along, while “Covered By Roses” and “Tell Me Why” maintain the albums edgier appeal, with some great guitar driven sections, before we finish on the albums final collaboration. Dave Pirner, from SOUL ASYLUM joins Den Adel on the mic for “Whole World Is Watching”, and although it’s a sweet song, ending things on a somewhat soft note, it can’t help but come across as a little bit weak, and dare I say it, very Eurovision in style. It also ends very abruptly too, leaving you with a feeling of, “oh?” as oppose to giving you real closure. Despite the disappointing ending, “Hydra” is a good album and has just enough originality to help it stand out. Like the creature it was named after, this album had many heads itself, with the band utilizing some interesting but effective collaborations. Good job they didn't find influence in the Greek god Moros instead then really... [8]


Download: "Dangerous", "And We Run" and "Paradise (What About Us?)"
"Hydra" Is Available On iTunes For £7.99 - https://itunes.apple.com/gb/album/hydra/id773523916 
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