As hard as it may be to believe (Given some of the shit I come out with in these reviews) I do from time to time come across a new band that I actually, genuinely like. I mean it’s rare…not quite Shiny Pokemon rare…but it’s rare, and it does happen. While in recent years you may have seen me give praise to the likes of WE ARE HARLOT and AS LIONS for their absolutely scorching debuts…last year my attention was turned to YONAKA. Having discovered them supporting ANDREW WK, I was eager to check out their catalogue of music as they were legitimately great live, to then find myself enjoying their 2017 “Heavy” EP, it’s safe to say that Yonaka were a band I was prepared to keep my eye on…

This was a decision I would certainly not regret, as following some impressive festival appearances and support slots with BRING ME THE HORIZON no less, they dropped arguably my favourite new EP of 2018 by the name of “Creature”. It’s said that lightning doesn’t strike twice but the EP proved that the band were on a fine run of creative form, not only matching their previous work but surpassing it, visibly and audibly growing in confidence with each and every crowd they won over on the road throughout the year. Now, in 2019, we find the band ready to step up; hoping to live up to their own hype and expectation, as they deliver their debut full-length album; “Don’t Wait ‘Til Tomorrow”, and it’s definitely one I’ve been looking forward to. Well? You read the title let’s give it a fucking listen shall we!?

We open up with “Bad Company” though we’re in anything BUT with Theresa Jarvis and the lads…starting off with some bass rumblings and stiff percussion, it provides perfect backing for Jarvis’ multifaceted vocal approach, switching from brooding to powerful; almost angelic in places on certain high notes, with such relative ease. There’s a certain darkness to the tracks tone, yet it’s got a rich alt. pop groove, and we still hear similarities with the likes of JESSIE J and FLORENCE WELCH in its delivery, but everything’s tighter, sharper and it sounds great…a fantastic opener. “Awake” begins in a similar fashion with its stripped back percussion the only instrumental accompaniment to Theresa, but the track quickly erupts into a wonderfully infectious pop-rock number with some assertive riffs and more powerful vocals. If you’re not awake for this one I question the existence of your very pulse, seriously.

“Rockstar” is, before you wonder, not a NICKELBACK cover so it’s already got that going for it. I mean OK, the premise of the track lyrically garners obvious comparisons to the aforementioned, but this is backed up by yet another infectious, hook-laden chorus and is far, FAR less annoying. This comes across as more about hopes and dreams as opposed to focusing on wealth, not emphasising the excess; much more of a rags to riches ‘What If?’ scenario and it’s something we can relate to…it’s something we’ve all thought about. “Creature” and “Fired Up” make it to the album as select cuts from the bands previous EP’s but they slot in perfectly in all fairness, sounding just as crisp and impressive here as they did last year, before we eventually finish up on “The Cure”. Despite its initially almost trap-inspired beat, we’re treated to more of the bands enjoyable blend of light indie rock, sweeping melodies and soulful pop, ending the album on a genuine high note.

Patience may indeed be a virtue, but here Yonaka prove without doubt that sometimes you simply have to strike while the iron is hot, and Christ has the iron been hot for the Brighton-based quartet. As they continue to play new towns and cities around the UK and Europe, be it in a supporting role or with their ever increasing likelihood of headlining their own big tours, Yonaka can and will grow. One of the brightest and most promising bands on the UK circuit right now, if you haven’t already, you NEED to be checking out Yonaka for yourself, seriously, don’t wait ‘til tomorrow. [9]

“I don't like country music, but I don't mean to denigrate those who do…and for the people who DO like country music, 'denigrate' means 'put down.'” – Bob Newhart. All jokes aside, country music isn’t something we hear a lot of in the UK, and by a lot of I mean, virtually any; it’s just not a thing. We’ve got plenty of talented singer/songwriters, but country music to us is a very American thing…a very, cowboy hat wearing, moonshine drinking, horse-riding, rootin’ tootin’ arguably inbred (If you’re down South at least) American thing.

That’s not to say that it’s all bad however, no sirree, as I’m sure everyone can agree that the likes of JOHNNY CASH and TAMMY WYNETTE are iconic performers, and they, like so many others helped take country music off of the front porch into packed out concert halls across the states. Although, while the UK doesn’t have a flourishing country scene, we do have artists that take influence from the genre and that leads us into today’s review; let me introduce you to HAWTHORN AVENUE.

The duo from Neath (Consisting of Marcus Gumms and Laura Benjamin) initially met in 2015 while both playing the South Wales live circuit and immediately gravitated toward each other creatively, starting out at jam nights where they found their feet in terms of collaborating. Laura, a multi-instrumentalist grew up loving music from a young age and looks up to the likes of TAYLOR SWIFT and CARRIE UNDERWOOD, while Marcus admits he just saw some guy on Stars In Their Eyes doing Johnny Cash and thought to himself ‘That’s what I’m going to do’…and he did! The duo have recently released their debut EP entitled “Wildfire” and have asked me to check it out…I guess it’s time to saddle up…

The EP opens up with “Raised Me Better” and it combines subtle organ notes with soft country blues and a crisp pop aesthetic…with its vocal harmonies, powerful key-changes yet an easy-listening approach, it delivers a wonderfully smooth, simplistic country-pop number. Hick-pop if you will. The songs message of restraint and composure allows for a positive outlook and sets a good example; be the better person, and it’s really quite lovely; a good start this. “Fade Away” strips things right back to a gently plucked acoustic-driven piece with subtle nods to a Native American woodwind influence. It’s a hushed, mellow little track with an emotive delivery, though picks up ever so slightly over time, incorporating more electric guitar and growing in volume and intensity, yet manages to stay restrained.

“The Water’s Edge” follows in the same vein with another sombre country ballad; with its sweet, delicate acoustics and silky vocal harmonies…it’s a quaint little track but out of the four presented here, it’s arguably the weakest of the bunch, though you can appreciate its tenderness. We do however finish on a strong note and the EP’s title track is a clear EP highlight in every sense of the term. “Wildfire” returns to a more up-beat presentation blending their love of country stylistics with a more modern indie-pop tone and the resulting track is full of sass, swagger and rhythm. The tinny guitar, dual vocal harmonies and a fantastically hook-laden, melodic chorus means this song is impossible to not enjoy, and it bookends this EP perfectly. Country may not be all too lucrative within the UK market, but here Hawthorn Avenue prove that you can utilise that distinct country style to great effect when blended in with a more modern, pop-oriented sound. After listening to this, I really hope this wildfire spreads…god that sounds terrible doesn’t it…[8]

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Do you wanna be in my gang? It’s my gang, yes that’s right, mine…my gang. I’m the leader of my gang, I am! OK, OK…I’m not REALLY GARY GLITTER, but if I may I would like to touch upon the subject of sexual abuse in music…maybe touch upon was a poorly chosen expression…although I DID ask…you gave consent…right? I digress…I’m facing a backlash before I even get to my point…and that’s not a reference to my penis…FOR FUCK SAKE GAV STOP!

Start again…sexual abuse, or even the accusations of sexual misconduct, whether found to be guilty or not will not only potentially ruin a person’s career but also ruin several lives. The sad thing is it’s a far more common occurrence in music than virtually anybody would care to accept as happenstance. On one end of the spectrum, you’ve got Ian Watkins and let’s be fair, the less said about him the better…don’t get me wrong I fucking miss LOSTPROPHETS but…no, just no. Then there’s cases surrounding the likes of WILLIAM CONTROL, and despite the shit storm surrounding him, all I can gather is that at worst he’s just a terrible husband and a serial cheater. It doesn’t matter if those girls gave consent mate, you still destroyed your own marriage, just hope you had a decent prenuptial in place!

Then we come to the likes of Austin Kerr…the former SET IT OFF bassist was another name to be subjected to allegations and accusations of sexual misconduct and as a result he was ejected from the band back in 2015. Was he guilty? He admits his behaviour wasn’t 100% acceptable, but denies any abhorrently wrong doing…so that’s up in the air…HOWEVER…what would this mean for Set It Off? Despite the negative press they continued to make music without him...but, the question is what did it do for their reputation? They HAVE gone backwards in the Billboard charts, but is that in correlation to all of the trouble surrounding Kerr, or have they simply just dropped a below-par album? Let’s find out as we check out their newest offering “Midnight”…

The album opens up with “Killer In The Mirror” and you can’t help but wonder if this is a confession or they’ve just been reading the newspaper…a song of apparent reflection, it speaks of solitude and the acceptance of circumstances…music is a cut-throat business and you have to take a look at yourself first and foremost. You have to look yourself in the eye and tell yourself you want this, because there are people trying to put you down; this is an unforgiving business and it’s kill or be killed, as much as we’d like to think otherwise. This industry will eat you up as soon as you put a foot wrong, and this song touches upon not only that dog-eat-dog world but in ways mirrors the situation with Kerr. The fuzzy guitar tones, along with the subtle hip-hop/reggaeton inspired instrumentation provide a solid groove and it’s ultimately a fine opening track.

Sadly, the remaining fourteen tracks…that’s’ right, fourteen…really don’t offer a great deal of diversity throughout the record. “Lonely Dance”, aside from being something you’d expect someone who plays Fortnite to do, may harbour certain Latino / Hispanic qualities with its guitar tone and backing brass segments but it’s pretty generic alternative pop-rock. “Go To Bed Angry” may sound like optimum wanking circumstances but it’s still just another dose of harmless pop…granted the additional vocals from WAYFARERS add an extra dynamic but it’s a only minor improvement, and that generally sums up the album as a whole.

“Dancing With The Devil” may utilise deeper vocal effects but that’s really all they are, effects…musically we’re in the same boat; the vocals may be deeper but the track is still shallow. “For You Forever” does have some catchy throwback 80’s synth-pop vibes and provides an album highlight aesthetically but it’ll take more than neon to light this album up. “Raise No Fool” does an amuse with it’s ironic ending…lyrically stating “Won’t let you leave me hanging” but then cuts the song abruptly short, leaving the listener hanging themselves…I see what you did there you edgy bunch of bastards! The only REAL change comes in the form of “Unopened Windows” which is sadly the most boring of the tracks on offer here…the piano ballad coming so late on it’s on the verge of being anti-climactic.

Overall while I’ve been quite sarcastic here the album isn’t completely AWFUL by any means…the innocent charm of the pop-inspired melodies is hardly offensive and it’s a generally easy listening record. It’s all mixed and produced well and has a ton of commercial viability…what’s annoying is that over fifteen tracks, there’s very little if anything to differentiate at least fourteen of them and they all blend into one quotidian collection of songs. Nothing truly positive stands out here and it’s a shame because they can clearly write a tune or two, it’s just that on this instance they all more or less sound the same, and by the same what I really mean is the same as FALL OUT BOY because fuck me does this album wish it was a FOB album…but that’s a whole new kettle of fish. Midnight? Goodnight… [4]
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If there’s one thing that can help you invest interest in something, whether it’s to do with a movie, or a character, or in this case a band; it’s an interesting back story...and few back stories are as intriguing as the formation of THE KING’S PARADE. If you cast your mind back to 2017 you may remember I’ve already covered the English 4-piece (Still consisting of Olly Corpe, Sam Rooney, Tom English and Chris Brent) when they released their “Haze” EP, where I discovered they’d actually formed on a cruise ship around Hawaii…

Yep…no cheap rented rehearsal rooms or jam sessions in your mates garage for this lot, they used to play shows aboard the ship as a means of practicing and tightening as a band, honing their craft as they travelled; not technically on the road per se but it’s one way I guess to get that vital stage experience, and it’s far more glamorous than playing to 3 people down the local pub! The EP itself (While not their debut) was a fine sample of soulful indie pop and could have easily tapped into the buzz around RAG ‘N’ BONE MAN’s success at the time…so let’s see what they’ve done in the time that’s passed.

As it happens, they’ve released not one, but two EP’s since we last caught up with them; last years “Woman” EP and now new to 2019 they’ve released another by the simple title of “Mad”, so they’re seemingly going for the little and often approach. The question is though, how mad are we talking exactly? Where is the context? Let’s find out as we get the EP underway with the title track. It’s got a quite stripped back vibe with initially minimal instrumentation and smooth vocals, combining low-fi indie with a shoe-gaze aesthetic and it’s incredibly mellow. The chorus does have a bit more oomph behind it as the guitars get bigger and bolder and the vocals become much more impassioned; it’s a decent start.

The EP continues then with “Mistakes” and again here we’re given a mellow, minimal piece of music with emotive vocals carrying the song…a reflective little track about life lessons in love, and learning from the inevitable mistakes we will all make at some point or another; quaint but not much different from the opener really. “20” again takes a similar approach but at least incorporates subtle country-guitar in the tracks climax, and although that’s hardly a drastic departure from their usual style, it’s enough to make a noticeable difference to the listening experience. We then finish up on the closing track “Good Excuse” and it’s a good excuse as any for me to admit that my interest has sadly waned by this point. Another slow, minimalistic soft indie-pop piece with tenuous soulful elements layered within.

The disappointing thing here isn’t really about this EP to be quite frank; it’s about the band themselves…in the couple of years that have passed since, despite still managing to write lovely, twee little songs with butter-wouldn’t-melt melodies, they’ve seemingly made little progress if not gone a bit backwards. Their earlier material was at least a bit more enthusiastic and the soulful elements of their writing was just that; soulful…I’m not saying that they went all-out gospel and could raise the roof, (They ain’t no ‘Sister Act’) but their sound at least had more energy. It’s that very energy that draws you in as a listener; both motivating and uplifting…here we get none of that.

Despite this though the bands core sound and writing style has remained more or less the same, and over the course of a couple of EP’s, they’ve essentially released one album spread across three years. Despite the tonal differences between these and previous tracks, if shuffled together they could all easily make up one cohesive record and no one would really guess it was a compilation…a bit like ED SHEERAN’s music in some aspects. This EP may very well be “Mad”, but this reviewer on the other however is just sad. [3]
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Joe Strummer once famously sang that he'd fought the law, and the law won…well as it happens, today’s artist ALSO fought the law, quite regularly in fact, but decided enough was enough and ditched the court rooms in favour of clubs and venues. Let me introduce you to BENNY BASSETT; based in Chicago, Benny was in fact a lawyer for several years, before he decided to pack up his briefcase, cried objection at his own life, and set out on the road to become a musician. A bold move if ever there was one, as if there’s anything more cut throat than the judicial system, it’s the music industry, alas, Benny was not put off and over the past three years he’s spent his time travelling thousands of miles up and down America, playing over 450+ shows, adding new chapters to his life story. This April, Benny releases his brand new EP entitled “Words For Yesterday”…a reflective collection of songs to summarise his life to date. He emailed me recently and asked me to check it out, so let’s do just that.

​The EP opens up with “Window To Forever” and for the most part it’s a sombre, calming indie-pop ballad. An acoustic-led track, it’s charming as it speaks of an uncertainty; not knowing what the future holds but reminding you that, you need to take the chance sometimes. Mistakes can be made for sure, but you need to grow and take risks. The chorus is more up-tempo but the track overall is soothing and it’s a pleasant little track. “Live Where You Love The Sky” follows up and it’s another soft ballad but carries with it more of a subtle country tone. A song of optimism and following his own self-reflective journey; it encourages you to appreciate life for everything it is and do what makes you happy, embrace the selflessness of contentment and be grateful for all you have, so long as you follow your heart.  A philosophical piece as Benny really does practice what he preaches, with the song coming off as very autobiographical, but the hope and belief in his words is enthusing.

Benny isn’t a complete softie however, as proven on “Down Below”…swapping the acoustics for a grittier dose of harder, blues-based rock, there’s a sharper edge here musically but it’s still got a rich vocal harmony and a solid groove. It’s a welcome change as it provides a clear EP highlight, allowing for more swagger and attitude and no doubt this is a stand-out track in his live shows, entertaining stuff this. “Find A Way” switches things up immediately with a bassy, funk-driven piece with retro organs / synths layered throughout the track and it’s quite soulful in its own right, with a brief though enjoyable solo to boot, before the closing tracks sort of taper off with sadly less interest. “Building A Future” is arguably the EP’s weakest offering…the wood-block style synths carry another sickly sweet indie-pop piece but it does descend into a sense of repetition over the chorus, before “From You” closes the EP with another hushed piano ballad.

Overall Benny has proven himself to be a decent song-writer as his lyrical delivery carries you along the EP pretty effortlessly…the melodies flow well and he conveys his story with a softness that absorbs you into each song, resulting in a generally easy, laid back listen. A solid collection of pop songs overall though truth be told a couple more tracks like “Down Below” in future wouldn’t go amiss, sometimes you just need something to move to, but really speaking it’s a fine EP indeed. He’s still brave for quitting his day job to do this, especially such a well-paid and stable one, but he has both a commitment and an ability to make this work, and his debut album should be an interesting listen. Words for yesterday maybe…but more importantly; words to watch out for tomorrow... [6]

Back in the early 2000’s, Matt Willis, Charlie Simpson and James Bourne or, BUSTED as they were collectively known, were on top of the world. The Essex-based pop-punk trio found themselves all over the charts with two consecutively successful albums, which spawned hit singles about sexual exploits with air hostesses, hitting on your great, great, great granddaughter in the future and, oh yeah; the Thunderbirds. But, while many rock and metal fans viewed them as immature and commercial tripe, it can’t be denied that they were a gateway for many younger fans into guitar based rock music…something which would ultimately disband them.

Charlie made no efforts to hide the fact he really preferred harder, grittier rock music, and eventually he found himself leaving Busted to go his own way with FIGHTSTAR, who to their credit more than held their own on the UK alternative scene. This was in 2005, and while Charlie was opening up pits at underground rock venues…Matt became the king of the jungle and dropped an honestly really good solo album, while James took all of the knob jokes ever written with SON OF DORK (Dork being a slang term for penis, as well as being a socially inept person…he was just one big socially inept penis). However, as the saying goes; never say never, and it would only be a matter of time before there would be a reunion…granted it would take eleven years, but the boys in Busted returned in 2016 with the album “Night Driver”. Adopting a more mature musical approach, it wasn’t QUITE like having Busted back as we remembered them, but, hopefully they can make up for that on “Half Way There”, their brand new album for 2019. The question is; where are they heading?

We open up with “Nineties” and thematically at least it sets the tone for the entire record; this is an album of deep reflection, of reminiscing and truthfully it’s really touching and relatable. Singing of fond memories; they mention ditching school and listening to SMASHING PUMPKINS and playing guitar to OASIS…even transitioning from NIRVANA into a ‘na-nana-na-nana” vocal pre-chorus. For many in their age group it hits home and makes you think how times have changed, and it’s a sweet, nostalgic track. Speaking of, “Nostalgia” sums things up wonderfully…with its up-beat, positive guitar tones and subtle FOO FIGHTERS vibe this questions their very ethos…lyrics like “Do I even want you back?” seemingly questioning their very existence as a band, in a self-aware manner that is, given the period of absence, why risk tarnishing their legacy? Why risk it all for a cash-grab per se? Also in a seemingly apropos manner its Charlie repeating the line “I was doing just fine”…as if to suggest did this NEED to happen at all? This is deep stuff given the joviality of the track itself, but brilliantly executed.

The theme continues with the likes of “Reunion” which is another album highlight and more of the recognisable up-beat guitar driven pop…and really it’s quite passive-aggressive in ways. Masked under a school reunion shtick, they subtly hint at how things have turned out and how things may or may not have happened differently and there’s traces of melancholia layered within another entertaining pop-rock track; to be fair their song-writing is on point.  “All My Friends” takes on a similar approach showcasing the differentiation between us and them, taken in context over the years and how they have grown as people, and in ways the title track speaking of being halfway to obscurity, hinting at the flame only burning for so long, before “It Happens” takes you on another nostalgic journey going over the lads background and how you should never give up on your dreams…their hard work and success story laid bare to inspire future musicians to carry the torch so to speak, ending the album on a wonderfully poignant note.

To be fair, Busted were never renowned for being poets or philosophical from a musical or even lyrical perspective, but in their later years it’s clear they are very self-aware and recognise that times have changed. Despite being a new, fresh album, the feeling is very much one of remembrance and former glories. That’s not to say that any of this new material is irrelevant by any means, they’ve touched on a lot of deep personal issues here…the real question is does it even matter in this day and age? The answer is yes…if Busted were to truly call it a day following this, there would be absolutely no complaints and that’s not a derogatory comment. They’ve been there, they played the arena’s, they sold the albums, they made it…but they changed as people…and while looking back may make you proud of certain accomplishments, it shouldn’t define them.  Nostalgia is one thing, but credibility is more important, and I think, given the vibe from this album, it’s something Busted recognise. Does it have the hits of their early years? No…does the album however capture everything it needs to, to provide closure? Absofuckinglutely. If this is Busted’s swan-song, then credit to them, what a way to go out, this is a really well executed album.  It might be called “Half Way There”, but I think Busted have come full circle, and they can go out with their heads held high. [8]

Finnish music it would seem, is undergoing a little bit of a renaissance…just last year we saw the revival (And what a revival it was too!) of original 80’s Goth-rockers MUSTA PARAATI thanks to Jyrki Linannkivi of THE 69 EYES, who helped them rock ‘n’ roll-back the years to deliver some sorely missed traditional post-punk, but this year we’re going back even further. Back in the late 70’s a group of musicians who would be simply known as the AGENTS began their highly collaborative career, acting as a backing band for several successful Finnish artists, and though while consistent throughout this time, having released a plethora of recorded LP’s, they’ve never really had the spotlight on them outside of their home country…until now.

VILLE VALO needs no introduction; the former HIM front-man is one of the most iconic performers in modern alternative music and since HIM disbanded, I guess you could say he’s been a…free agent? Cue the collaboration! But it wouldn’t be the first time, oh no…HIM fans will be aware that back in the late 90’s before the love-metal maestro’s hit the big time, Valo had already performed with Agents a handful of times on Finnish TV…but now, twenty years later, we find them together again as Valo’s career comes full circle as they release their self-titled album “Ville Valo & Agents”. To paraphrase CHER…do you believe in life after love metal? Let’s check it out…

The album opens up with “Kirstinkulma” and what we have really is an elongated intro track; purely instrumental here, it showcases the bands original style and tone with the stripped-back surf rock and blues-pop influences…with a subtle ROY ORBISON inspired sound in places. It’s very easy-listening and really quite sweet sonically. The first track proper then is the first of a couple of revisited tracks for Valo by the name of “Ikkunaprinsessa”, which essentially means ‘The princess in the window’. Not to be mistaken with anything you might find in the window of his dad’s Helsinki sex shop, it’s a romantic little tale about someone who sets their eyes on a model in a shop window and falls in love. A simple story but it’s got such a jovial tone to it, with Valo here sounding smooth as ever. Singing in his native tongue, he makes Finnish as much an art from as a language. “Paratiisi” is another which means ‘Paradise’ and it’s got soft, Mediterranean elements to the guitar here and both tracks sound vibrant; the fresh recording quality has done them justice.

It’s worth pointing out here that the bulk of this record comes in the form of re-recordings, with Valo putting his spin on tracks originally performed when the Agents were collaborating with RAULI SOMERJOKI, a Finnish songwriter who passed away in 1987, with “Kuihtuu Kesäinen Maa” being a great tribute for example. An incredibly mellow track, Valo allows his dulcet tones to weave their way around the song, bordering on the point of becoming a lullaby was it not for the instrumentation. There’s a sense of clarity to him that he was lacking on the last HIM record and he seems audibly more relaxed, healthier even. There are two English language tracks presented by the way of “Rockin’ With Enzio” and “I Told You So”…neither of which have Valo on vocals. The former houses a subtle 70’s glam-rock tone musically, which may appeal to fans of say, T-REX, while the latter harbours a more country-based blues aesthetic; both of which equally refreshing on the ears from a musical and linguistic point.

To be quite frank, this is more of a project than a new band or, real fresh start for Valo post-HIM…a little like his solo single “Olet Mun Kaikuluotain”, he just fancied a change. The songs have been rerecorded and produced well, and Valo’s hushed vocal harmonies are tailor made for Agents musical style, they complement each other wonderfully.  If any HIM fans were hoping for something more like the guys have done in FLAT EARTH then they’ll be disappointed, the whole idea was for Valo to step AWAY from the noise and the heaviness that came with being in HIM; he’s exploring new avenues creatively and allowing himself the freedom to do so. Sure the Finnish itself might put some people off too, but it really isn’t aimed at the same demographic of Heartagram enthusiasts he’s been used to for the past twenty five years. If you’re a fan of Valo’s then naturally you’re going to check this out, long-time fans will already be familiar with his history with the Agents, but don’t go into this expecting his trademark baritone, soaring vocals and wailing guitar solos…you will be massively let down. [6]

It’s been a long time since we’ve heard from Canadian pop princess AVRIL LAVIGNE…not since her 2013 self-titled album in fact, but there is a legitimate reason. Following the release of the album, Avril was diagnosed with Lyme disease; a bacterial infection that if untreated can lead to severe joint pain and swelling, loss of feeling and movement, heart murmurs and palpitations, and memory loss. On top of that, in 2015 she separated from second husband Chad Kroeger, only adding to her personal struggles and overall wellbeing…

There became a point where she openly admits she accepted death…but she found salvation in music and coped the best way she knew how; to play through the pain. Having spent the past six years going through treatment and recovery, and finding hope and salvation in her music, she makes her long-awaited return in 2019 with her brand new album “Head Above Water”…let’s give it a listen and check out the very songs that kept her afloat.

The album opens up with the title track, and the song that got this album off of the ground to begin with. A song of hope, pleading and determination as she sings of fighting off this illness; acknowledging her own mortality but defiant in its face…the idea of drowning here being used to describe her struggles and solitude, and as the sombre piano and subtle orchestral elements wash over you, it’s incredibly moving and deeply personal. A solid pop ballad this and a decent start in all fairness. “Birdie” follows up and here we hear her sing of a caged bird allowed the opportunity of freedom; metaphorically very soul-searching as she hints at personal growth and development, moving onwards and upwards in life, towards new horizons, like a bird free in the wind. Musically subdued but it’s her vocals that carry the track with their impassioned delivery.

Here though is when the album takes, for want of a better word, a bit of a dip…”I Fell In Love With The Devil” can’t help but make me think of poor Chad Kroeger…Avril here pulling off the ultimate Nickelback trolling. I digress, it incorporates more orchestral elements through some morose strings, but the opening line of ‘Shotguns and roses’ makes me think ONE of them had been watching Terminator 2 and that sounds like one hella messy divorce. “Dumb Blonde” treats us to a collaboration with NICKI MINAJ of all people…denouncing the idea that they are some, stupid Barbie dolls and that they’ll prove us all wrong, but musically this is SUCH an immature sounding, cheesy pop track. While meant to be empowering and defiant it’s got such an adolescent sound compared to the rest of the record and it cannot be taken seriously. “Hello Kitty” is a better track…let that sink in.

“Goddess” and “Bigger Wow” lyrically make you do a double take in places and really it’s cringe-worthy. On the former we learn of how Avril is treated like a Goddess, because some unknown person finds her sexy in her pyjamas…even suggesting he goes banana’s over her; banana’s and pyjama’s in an Avril Lavigne song in 2019…the latter? Well the latter really stretches her vocabulary…check this out “I just wanna bigger wow, ba-ba-ba-ba-ba-bigger na-na-na…”, my brain just fucking exploded! “Warrior” may end the album on an emotive note with ample vocal harmony but, it’s too little too late.

Avril over the course of her last couple of albums has tried her best to shake her initial pop-punk skater chick image, and for the most part this IS a much more mature album it has to be said, HOWEVER…the ballad approach wears thin over time. Yes this is a massive victory for Avril personally as she’s been through A LOT recently, hell I applaud her…but it doesn’t give boring songs a pass. When she DOES try and liven things up, the energy is wasted on frankly childish tracks and ideas, really doing herself no favours. Am I glad she recovered and that she’s fit and healthy, making music again? Of course I am…am I glad THIS was the comeback album? No…no I’m not, it’s annoyingly disappointing overall. I was hoping for something…how can I put it? Ba-ba-ba-ba-ba-better. [3]

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]

When you think about bands and their longevity, you’ll be forgiven for making a B-line to the classic-rock generation, and those artists that have been together since whichever year BC they formed out of single cell organisms, (I’m looking at you Rolling Stones) but we sometimes forget that time moves on, and, as a result, some bands get lost in the nostalgic shuffle. This brings us to WEEZER. The Los Angeles based alt-rockers formed back in 1992 and we need to remember that, that was nearly thirty years ago now! Thirty years ago still feels like the 70’s! Granted while they aren’t exactly old-timers, their consistency and reliability over the years has been impressive, and coming back to present day, they’ve surprised us all again….

​Every now and again a band will release a cover-song that’ll slot into an album as a bonus track, or, for an EP for example, but Weezer have gone all the way down that rabbit hole, and delivered a full length covers album dubbed the “Teal Album”. Their fifth self-titled album and their twelfth studio album overall, it started life as an innocent cover of “Africa” by TOTO, but it’s snowballed into the collection of tracks we have before us right now. With that said, let’s go undercover and scope this album out…

It opens up with that Toto track and to be fair, there isn’t a LOT to differentiate this track from its original. The soft synths remain; the gentle percussion and River’s clean, melodic vocals are a pleasure as always. There’s an extra layer of guitar thrown in to the mix to give it a little more character but overall it’s a pretty by-numbers cover. Next up we have the TEARS FOR FEARS classic “Everybody Wants To Rule The World” and again really, they haven’t done a great deal to it…other than hearing Rivers own distinct vocal the tracks delivery more or less remains unchanged in style, in tone and tempo and, to a degree you could argue that, again, bar from some additional guitars, this could essentially just be Rivers doing karaoke.

There are a couple of occasions where the tracks do actually feel like covers; “Sweet Dreams (Are Made Of This)” being an early example…the EURYTHMICS anthem, naturally, originally voiced by Annie Lennox, sounds different with male vocals and here it’s presented in a good way, unlike the god-awful attempt by MARILYN MANSON, though the synths are still pretty copy and paste. We do manage to shake things up on the surprise inclusion of BLACK SABBATH classic “Paranoid” as guitarist Brian Bell takes up lead vocals…why you may be asking? Well…it turns out he can do a pretty fucking decent Ozzy impression so again, it’s like a karaoke track, though I will admit the modern production value and crisp guitar solo breathe new life into this legendary piece of metal history. A-HA classic “Take On Me” gets a turn too and again, with Morten Harket having such a distinct vocal, it’s interesting to see Rivers wrap his chords around it but it’s clean, clear and he does a brilliant job hitting THOSE high notes.

Arguably the most talked about track though will be “No Scrubs” by 90’s has-been R’n’B unit TLC…long-forgotten one-hit-wonders, this is the kind of thing that can revive a career with media interest so thanks Weezer…thanks a fucking bunch, last thing we need is a TLC reunion tour, it’s bad enough with THE SPICE GIRLS. Ultimately though, at only 10 tracks long it’s not a bad listen by any means, the production and mixing are all good, as are the majority of selected songs themselves, but despite the odd, brief, minimal twist, they do for the most part, just sound the same, and there isn’t a lot of additional character offered; there are no extra quirks. It’s like, how can I put it...when you buy a CD full of old Christmas songs, but they couldn’t afford the licencing or the rights for the original artists, so they just got some session singers to get as near to the original sound as possible. That’s what this album sounds like. Having said that…just be grateful they didn’t pick anything by Mariah Carey. [6]

Back in 2015, HORIZONS got in touch with me to cover a live show in the Redhouse, Merthyr Tydfil, covering a variety of up-and-coming Welsh artists, including THE PEOPLE THE POET, HOUDINI DAX and GABRIELLE MURPHY (Check out my review here). That's what Horizons do, and do damn well if I'm honest; they champion blossoming undiscovered Welsh talents, and together with the BBC and special showcase promotions, they've continued to do over the past couple of years. If ever there's been a more fitting name for a project it would be Horizons, as just like the Sun rising on a new day, so too do fresh-faced artists get the opportunity to shine.

​2018 Saw Horizons take a new batch of bands and artists under their wing, and along with BBC Wales, together they worked on something special, and it involved the iconic ROCKFIELD STUDIOS. The studio, situated in Monmouthshire, was founded in the early 1960's and became the worlds first residential recording studio, but that's not all it's historic for. It didn't take long for Rockfield to start churning out the hits, and I don't mean that lightly. Rockfield has produced a number of incredible albums cementing many a bands legacy, from the MANIC STREET PREACHERS and OASIS in the 90's...going all the way back to QUEEN and "Bohemian Rhapsody" in the 70's...even HIM shaped their gothic-rock masterpiece "Razorblade Romance" in this brilliant little Welsh beauty!

Starting this week on BBC Two, you can see for yourself first hand who Horizons have been working with, courtesy of two mini-documentaries highlighting a select batch of artists, who are not only going to be getting the chance to perform original tracks right there in Monmouth, but will also cover some of the legendary artists who have previously recorded at the Welsh studio. Covering a variety of styles and genres, you'll hear the reggae-inspired tones of ALEIGHCIA SCOTT...the quirky indie-pop funk of Welsh speaking three-piece ADWAITH and the harder hitting swagger-ridden rock 'n' roll of HIMALAYAS. With the first show airing at 10:00pm on Tuesday, January 15th, followed by the second on January 22nd. Both shows (Running time 29 minutes) will be available on the BBC iPlayer for repeated viewing following their aired time on TV. Do check them both out, and check out some of the freshest Welsh music out there today.

Well well well...what can I say? 2018 has been and gone; some of it was awesome, some of it was interesting, some of it was amusing and a lot of it was spectacularly shit...however, one thing that's consistent is the sheer volume of music and art created around the world. 2018 saw me cover my usual rock and metal albums...there wasn't a lot of goth...but I dabbled in some pop, in some rap, in some hip-hop...that's not including that which I checked out for the team over at All About The Rock...ultimately 2018 has kept me on my toes musically and I'm sure that my Top 20's, no matter the category, can show you that. 

From Eurovision bangers courtesy of Saara Aalto...to heavy metal swan songs a la Machine Head. From returning Welsh rap rock renegades The Kennedy Soundtrack...to returning Finnish goth godfathers Musta Paraati. From crossover WWE Superstar Elias...to young crossover Stranger Things superstars forming Calpurnia...you name it there's been something for everyone in 2018 and I like to think I've covered a fair unbiased amount of it. After over 200 albums and EP's, the above gallery showcases the best of the best of 2018 and I hope you agree with my overall picks. Below you'll find the link to the GTGC Facebook page, where you can find my lists in their entirety (Including the bonus WORST 20 OF 2018) and my official GTGC 2018 Spotify Playlist, and I hope you enjoy listening to it as much as I enjoyed compiling it. Here's to 2019 and all of the new music coming our way...some of it will get the GTGC treatment, and you know you're looking forward to that. Peace out bitches...WUBBA LUBBA DUB DUB!!!!!!!!!!!!

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]

Those of you who know me or follow this blog kind of grasp that, without beating around the bush, I’m not too up on my rap game. Sure I listen to the odd record for diversity’s sake (A bit like how Steve Hughes goes from Slayer to Enya) but ultimately my rap knowledge and awareness is sub-par at best…thinking about it that’s actually generous, I mean shit did you SEE my rapped review for the newest EMINEM record? HA! It never stops me checking out new music however and thanks to my latest reader’s poll, it was suggested that I sample some Posty…sadly I’m not on any illegal substances and this isn’t about to become the weirdest review of Postman Pat you’ve ever seen…we’re about to delve into the world of POST MALONE.

The New York born rapper has had an interesting  journey into the music industry it has to be said; one of the few rap artists who can pull off not only a fun, rock ‘n’ roll aesthetic, but remain relatively down to Earth about everything while at it, all while sustaining multi-platinum status as a rapper. I mean it’s not often you hear a rapper cite Guitar Hero and emo icons like MY CHEMICAL ROMANCE as a musical influences growing up, but despite this, Posty is now one of the biggest names in modern hip-hop and the recent mumble-rap explosion. Hammering home this point, here we have his most recent album “Beerbongs & Bentleys” highlighting both aspects of Post Malone’s crazy success story…let’s check it out…

We open up this 18-track monster of a record with “Paranoid” and for the most part it’s your typically low-fi, melodic, pop-infused hip-hop track; the slow, smooth rhythm and minimalistic instrumentation, coupled with the auto-tune laced vocal leads this to pretty standard radio-friendly stuff. The autobiographical lyrics speak of his circumstances since finding fame, always watching his back, wanting that normality but when those cheques came; people changed, and despite his accomplishments it’s given him anxiety; an interesting, character building start. The level of self-awareness continues through “Spoil My Night” too, which focuses on the opposite side of the coin, knowing he can use his new found wealth and fame to get the girl with the ‘beautiful boobies’…and that’s a QUOTE I shit you not. While not entirely bragging, he’s aware enough to know the behaviour is toxic and to a degree there’s a level of morality layered within the lyrics.

With over an hour’s worth of music to mull over there’s plenty to talk about here, and we have to talk about some of the collaborations on this record for sure…and this includes the lead single “Rockstar” featuring 21 SAVAGE. The mumble-rap qualities are all the more prominent and it’s easy to see how the modern Soundcloud rap movement helped shape artists like Post Malone. Another minimalist, trap-based track, it really benefits from the less-is-more approach with a slick beat and down-tempo groove, although 21’s vocals couldn’t possibly be any flatter…honest to god he’d better avoid Sweden, Ikea will try to sell him off as a fucking shelf unit that’s how flat he is! Another single “Ball For Me” featuring NICKI MINAJ delivers too with some sickly-sweet retro synths and benefits from Minaj’s more up-tempo lyrical pace and tone, she’s been on form in 2018 taking into account her album “Queen”, they work well together and the track compliments them both.

Posty likes to shake things up a little bit now and again mind and examples of this here are “Stay”, which is honestly a decent little acoustic-based ballad, highlighting his ability as a song-writer, while “Over Now” despite retaining the more guitar driven style, has a more subtle, alternative indie-rock feel to it, channelling those early influences. If there’s anything negative to be said here really it’s simply on a matter of consumption; there is so much to digest here and there are times where you can’t help but feel going over the hour mark was at the very least excessive. For the most part, despite the aforementioned tracks, he CAN come across as a little vocally one-dimensional and it seems he’s quite content with his overall formula…I mean it’s working for him don’t get me wrong, but 18 cuts is a couple of beerbongs too many to be honest, I’d be more inclined to call an Uber than get in the Bentley in this condition. Nevertheless, it’s an enjoyable album for the most part and I’m happy to learn that Post Malone isn’t some terribly named new sub-genre, unless he claims it as his own…I really wouldn’t put it past him. [7]

Unless you’ve been living under a rock for the past couple of years, or, your name is Madeleine McCann, you’ve likely heard or at least HEARD OF Columbus-based chart botherers TWENTY ONE PILOTS. While the lads have been at it for a while now, it wasn’t until 2015 that they made their big breakthrough with “Blurryface” after signing to Fueled By Ramen…but when I say breakthrough mind you I don’t just mean they got a little bit famous; HELL NO…I mean they were EVERYWHERE. In the charts, on magazine covers, on posters, you name it; you could find Tyler Joseph and Josh Dunn on it…

Not since the likes of MY CHEMICAL ROMANCE or early FALL OUT BOY had an act accumulated such an intense and loyal following in alternative circles, and their quirky concept album about metal health and personal struggles found legions of young rock and pop fans identifying with the characters and concepts contained within. Now, just a couple of years later and after a brief period of media silence, the duo are back with the hotly anticipated follow-up entitled “Trench”…another concept album following on from its predecessor with a sense of fluidity and continuity…but does it meet expectation? Let’s jump in…

We open up with the title track and things are going pretty swimmingly truth be told; fueled by a thicc (Yes thicc not thick), bass-line it surges forward with a super infectious groove, coupled with some subtly layered electronic elements, which are balanced well with Tyler’s laid back, often delicate vocals. Appearing to peter out, we get a soft piano transition, before the track re-erupts with a bassy climax with Tyler's voice tearing into an intense rage. Conceptually carrying on from the success attained by their last record; the new place he sings of, is where he finds himself surrounded by fame, and the pressures they’ve essentially put themselves under creatively; stuck in a trench battling with their own success. It’s a solid start, and really speaking so is the first half of the album in general.

“Levitate” transitions in smoothly too and here we shake things up stylistically, as Tyler embraces his hip hop and rap influences, delivering some slick bars over a classic ghetto beat. He speaks of cowards only showing up when everyone’s sleeping, suggesting that those without confidence or a set of balls don’t want the attention, only acting when people aren’t looking, but here Twenty One Pilots knew all eyes were on them in anticipation…this was always going to be make or break time and it’s been handled brilliantly, they’re very self-aware. This is backed up on “Neon Gravestones”, continuing the on-going theme of handling mental health with some very EMINEM-esque vocal delivery, though restrained it’s a well-paced hip hop ballad.

As I said the first half of the album unfolds very well, with further tracks like “Morph” which utilises a super smooth, soft-jazz R’n’B inspired chorus with brass elements, while “The Hype” harbours a simple yet effective, soft indie vibe almost plucked straight out of 90’s Brit-Pop with a very THE VERVE-esque structure. Sadly, the latter half of this new 14 track album does sadly limp over the finish line with some generally unexciting content. While the strength of Tyler’s songs does lay within his lyrics, it does help if the songs warrant listening to from an aesthetic standpoint and sadly here they don’t. “Cut My Lip” has some interesting Reggae influence and “Pet Cheetah” is just, well…I mean Jason Statham? What the fuck? Aside from that, it becomes a very flat and frankly tarnishes what was looking to be a properly strong album. The excitement generated around their return and the strength of the initial singles sold this record don’t get me wrong, fans lapped this up, and this initially looked like it was going to be a superb sequel, and it DOES start off that way, but they should have gone for a less is more approach. I know they called it “Trench” but they didn’t need to give us the fucking Mariana…[6]

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]

When you casually commit your time to reviewing bands, what CAN happen is that, you’re so invested in the to-do list in front of you and going through emails that, you tend to miss a certain amount of stuff going on in the scene around you, and end up missing the boat with some artists. This is exactly what happened with today’s band…THE HUNNA. The Hertfordshire based quartet (Consisting of vocalist Ryan Potter, guitarist Dan Dorney, bassist Junate Angin and drummer Jack Metcalfe) formed in 2015  but have quickly garnered a level of hype among young alternative fans, with appearances at Reading & Leeds Festival and backing from BBC Introducing, and their debut album ”100” broke into the Top 20 too…from what I understand. This year saw the band release their hotly anticipated follow up album “Dare” and it’s here they entered my ears for the first time…let’s see how it went…

Now I’ll be honest…I judged a book (Or CD sleeve in this case) by its cover and it’s safe to say I was a bit…wrong. With the classic ‘Parental Advisory’ logo, the misty, back alley at night background and perception of gang-mentality I went in to  this expecting something along the lines of like, the alternative hard-rock stylistics of EIGHTEEN VISIONS or ATREYU and maybe you could say I was expecting too much? The album opens up promisingly with some fuzzy guitar and a gradually building opening verse, before it erupts into this genuinely catchy, soaring melodic chorus. It’s got a great pop-hook and an infectious groove and though while the track does end on a more breakdown-inspired instrumental segment, this is far more up-beat and up-tempo than I was expecting, but it’s a decent start nevertheless.

This overall tone is continued on tracks like “Fever” which again is an incredibly light-hearted affair which utilises a strong indie-pop feel; more melodic guitar tones and big on chorus, in ways akin to the likes of YOU ME AT SIX in delivery, while “One” easily reflects the bands affection for artists such as KINGS OF LEON, it’s so easy to imagine this played in the same set as “Sex On Fire”, the influence is quite clear…which I guess can also be said for “Summer” too. Closing track “Y.D.W.I.W.M.” (Which stands for ‘You Don’t Want It With Me’…I was relieved to not have to play some sort of Mock The Week type guess the headline game with that let me tell you) does utilise more of that fuzzy, bass-heavy guitar tone, almost grungy and more resembling of artists such as DRENGE which makes for a grittier listen, but this is generally as heavy as it gets.

​Several of the tracks opt for a considerably lighter feel such as the FOALS inspired “Babe, Can I Call?” which is a sickly sweet love song, “Lover” is a morose anti-ballad that’s both powerful and bold while trying to tug on the heart strings, while “Mother”, arguably the weakest track on the record plods along, ending on a repetitive note, really making you hope he was put up for adoption just to end YOUR suffering. Ultimately while there are some decent pop-rock cuts on “Dare” with a fair share of infectious melodies and enjoyable choruses, I really was expecting something with a bit more substance….ideally the hunna gunna’ wunna’ dare to show more fighting spirit next time around as, though while I’m not expecting a sudden switch to anything remotely metal, their songs really could do with a bit more attitude. [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]

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]

I want you to cast your minds back just for a moment, to the year 2009…what a weird year in pop music that was. LADY GAGA exploded onto the world’s music scene with her debut album / virtual hit-factory “The Fame”…inspiring young women everywhere to dress like absolute twats…weeks before his massive come-back tour, MICHAEL JACKSON passes away from accidental overdose, making sure you double-checked your own prescription or else you too would be moonwalking to the morgue (On a serious note that was a bit unexpected)…SUSAN BOYLE became a thing, no really, that actually happened…and a little known artist by the name of OWL CITY would dominate the airwaves with THAT song “Fireflies”…seriously it was everywhere, like a synth-pop plague, going 19x platinum worldwide…you must remember, surely? I digress…following the immediate success of Owl City’s (Real name Adam Young) debut, he seemingly faded away…but he didn’t disappear. In addition to having worked on numerous film soundtracks including “The Croods” and “Wreck-It Ralph”, he now returns with his SIXTH studio album; “Cinematic”…shall we see what owl the fuss is about?

The album kicks off with “Fiji Water” and such is the innocent charm of the simplistic electronica I honestly thought this was inspired by the ‘Human Music’ from "Rick And Morty"…I honestly wouldn’t be surprised if Jerry wasn’t singing this himself! Jokes aside, it combines the unsullied tinkling’s of a baby’s cot mobile stylistically with the sickly sweet vocals…the chorus is catchy enough and this is harmless pop music with some pleasant little hooks; a pretty safe start. Speaking of choruses, “Montana” delivers well with what could musically find itself at home on LINKIN PARKS’s “One More Light” album, naturally he’s no Chester but aesthetically it wouldn’t feel out of place, you can easily imagine Shinoda accompanying this.

Despite being known for the easy-listening electronica, there are a couple of tracks that utilise a more guitar driven approach…”Be Brave” being the first offering. Initially a delicate piano led piece, it takes advantage of the slow-build and gradually becomes this emotive, emo-rock track and it’s genuinely enjoyable as it kicks into gear. “Firebird” then swaps the piano for the acoustic strings and again, the hooks on this chorus are pretty infectious, allowing for a clear album highlight. This too can be said for “Lucid Dream” which when it gets going embraces a total European dance-pop characteristic…in the right hands a potential floor-filler this. By contrast then, the cutely titled “Not All Heroes Wear Capes” is a wonderful little tribute to his father via an acoustic ballad; equal parts nostalgic admiration and present-day appreciation.

While the tracks I’ve highlighted have their own charms and attributes…we can’t ignore the fact that, at eighteen tracks long…this is a lot of synth-pop to get through and given the very often butter-wouldn’t-melt level of innocence within the vocals and poppier-than-thou electronica, it can become overwhelming to the point of nausea. “House Wren” for example is just so incredibly corny, lyrically it makes my ears cringe…”Winners Never Quit” ironically made me want to abandon this review but I’m in too deep now…this might even make Charlie Sheen quit and he INVENTED winning! Aside from some alternate versions of tracks, the album officially closes on the title track and essentially it’s like an excuse to use a lot of movie-themed metaphors and analogies…no more. Essentially here, Owl City haven’t really changed one iota…their sweet electro-pop is still on the verge of troubling diabetics…while they can clearly still produce infectious, radio-conquering tunes, this album in its entirety is for want of a better word; excessive. [5]

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

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

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

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

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

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

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

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

It’s been a couple of years since we’ve heard from THIRTY SECONDS TO MARS…not since 2013’s head-turning, art-rock concept album “Love Lust Faith + Dreams” in fact, which, while at least critically praised for its experimental qualities, was a drastic switch from their established grandiose emo-rock…so why the gap? Well aside from a Guinness World Record holding tour of over 300+ dates, front-man Jared Leto returned to acting for a string of successful supporting roles, (If you exclude his attempt at The Joker in “Suicide Squad”) most notably his appearance in “Dallas Buyers Club” for which he won ALL of the awards! Seriously, he won fucking everything! Now, after their five year absence, 30STM return with yet another concept via album number five entitled “America”.

Before we delve into the music here I have to point out the concept begins with the album cover itself and the band have seemingly opted to appeal to fans of Pokemon, honestly, collectors beware Jared wants your money! Despite being arguably the worst album art of the year, aesthetically anyway, the idea was that there would be lists comprising of what makes America “America”…and along with creative director Willo Perren, 200 were made…TWO HUNDRED! Luckily that was whittled down to six, but still, do we even want ONE copy of this album let alone six? That’s what we’re about to find out…

We get underway with lead single “Walk On Water” and we’re immediately met with anthemic gang vocal harmonies, backed by a rhythmic, sultry dose of electronica…the production here is so clean and it really sounds big, it’s like Jared has been listening to a lot of IMAGINE DRAGONS for example, and if that wasn’t enough in its own right it’s a very socially-politically charged song, with the video lost somewhere between being on the tourist board and having a random stab at propaganda…but it’s a decent start to be fair. “One Track Mind” features the first of two collaborations, with A$AP ROCKY lending his lungs to this one…an incredibly smooth, low-bap style of contemporary hip-hop, it’s layered with ambient percussion and a cold autotune-rich vocal delivery, with Rocky’s contribution itself being rather minor, though the restrained rapping does add texture before the very 80’s guitar solo ends the track on a high point. An instrumental piece “Monolith” then gradually builds up with some tribal drumming and snarling electronica, before it’s intense, dramatic, almost cinematic climax…leading into the utterly anti-climactic “Love Is Madness” featuring second collaborator HALSEY. Despite its powerful, emotive chorus, it’s quite a dull, stripped back electro-pop track, it really is a disappointment, and you’d swear they were doing this on purpose…

The rest of the album…? Well…just like several of the countries amendments, there’s plenty on this record that could do with a rethink. “Rescue Me” has elements of THE POLICE and the best thing going for it is its title because it really does need rescuing…”Dawn Will Rise”…if I’m to be frank even the Sun itself would struggle to get up for this one, it’s so lacklustre, “Remedy” while at least being a half-decent little acoustic piece is a far cry from the bombastic, passionate displays we know Jared can deliver which by now we sorely miss, before “Rider” ends the album quicker than you can find the word ‘abrupt’ in the dictionary…seriously, it’s like someone put the album out of its OWN misery. OK, yes, you can’t keep a band pigeonholed and 30STM have once again tried something a little different, but in essence they’ve gone and done a LINKIN PARK. As accessibly mainstream this record is in the modern climate, it’s as though they’re OK with losing chunks of their original fan base for another chart position. Jared is lucky he’s a handsome man and he’s got young girls getting all 30 seconds to moist queuing for their records, but musically this is just lazy. Make America great again? Start small…make “America” decent first is it lads… [3]

As you’re likely to be well aware by now if you’re a long-time reader of this blog, I have bit of a soft spot for Finnish bands; there’s just something unique about their blend of Gothic, melancholia infused music, with their penchant for all things doom and gloom…and whether it’s the dark pop hooks of HIM, the symphonic bombardment of NIGHTWISH or the riff-heavy pummeling of POISONBLACK, there’s always been something personally alluring about Suomalainen vaihtoehtoinen musiikki. Today however we’re doing the old switcheroo and sampling some of Finland’s ironically less popular pop music, and a lady by the name of SAARA AALTO. If you’ve paid attention at all to my posts over the past couple of months you’ll already have picked up on the fact that Saara was this year’s Finnish entry at the Eurovision Song Contest (And was my personal favourite) but doing a little digging through the snow, we learn she’s far from a new kid on the block of ice…

Saara was born in Oulunsalo in 1987 and prior to this year’s Eurovision she was already a recognised name in some aspects as a voice actor, having done Finnish voice-overs for Disney’s “Frozen” and “Alice In Wonderland”…however singing has always been her passion and she’s actually been releasing music since 2011, having several independent albums under her belt, as well as multiple attempts at talent shows including “Talent Suomi” and “The Voice Of Finland”…even “The X Factor” here in the UK! Her trouble though was a case of that classic saying; always the bridesmaid, never the bride…coming in at 2nd place every single time. 2018 sees her try to rectify that with her first ever major label release through Warner Music; “Wild Wild Wonderland”…let’s check it out.

The album opens up with that Eurovision entry “Monsters” and honestly it’s still as fun as ever, despite being originally released in February. There isn’t really much I can add to this one from my preview of Lisbon truth be told; with the subtle electronica and temple block inspired synths, coupled with Saara’s bold, melodic vocals, with a soaring chorus this is a wonderful dance-pop tune and it still sounds fresh, a faultless start here really. “HӒN” follows up and we’ve got a really rhythmic, funk-inspired piece with brass elements, coupled with Saara’s assertive vocal presence, its brief but it is enjoyable. “Dance Like Nobody Is Watching” on face value would logically be a big, bright, colourful piece of music, focused on letting your hair down and partying but in reality it’s a sombre piano ballad, actually making it that much more powerful; a very emotive track and rich in reflection and self-confidence, resulting in an incredibly sweet listen, absolutely lovely stuff.

“My Touch” continues to pump out the dance-inspired soft pop but does incorporate subtle R’n’B influences throughout the pre-chorus, while elsewhere Saara dabbles in other cultural samples with “Walking On Nails” having a slight Spanish guitar tone to its acoustics, and bonus track “No Fear” utilises low-key classic Indian instrumentation to add character to an already up-beat, positive track. The rest of the album is pretty much consistent really…Saara’s had a decent writing team working with her for the record and all things considered this is a pretty congenial, albeit straightforward pop album. It’s got its highlights, though it does peak far too early with THAT song getting the album underway, but there’s nothing overtly negative to be said about the record in all fairness, it’s worth the listen. [7]

Over the past decade or so the UK has properly stepped up in terms of the whole culture surrounding underground urban music, ranging from hip-hop to rap, grime and alternative R’n’B with everyone from THE STREETS to LETHAL BIZZLE and recently STORMZY, all contributing to what is now a flourishing scene up and down the country. You may be wondering why I’m talking about this as I rarely if ever touch rap and it’s many umbrella terms, but, it didn’t put today’s artists off getting in touch with me via email…and being the open minded fellow that I am I decided to swap the breakdowns for the beats and broaden my musical horizons; allow me to introduce to you TOO MANY T’S. The London-based duo (Consisting of Ross Standaloft and Leon Rhymes) have been described as the UK’s answer to THE BEASTIE BOYS and have had several high-profile endorsements from the likes of ROB DA BANK and WU-TANG already, and not too long ago they released their hotly anticipated debut album “South City”…the lads asked me to check it out so the question is, how many T’s is too many? Let’s find out…

We open up with “South City Court” and it’s not long before we’re taking a nostalgic trip down memory lane (If memory lane was a dark city side-street in the wrong part of town)…this is very much drawn from old-school hip-hop with its swagger, tinny percussion and overall tone, it’s so easy to understand where the Beastie Boys comparisons come in to play it has to be said. With its crisp production yet simplistic approach it starts the album off really well. Follow up track “Sixty’s Ford” again opts for a less-is-more mind-set with a primarily percussion lead piece, with subtle electronic elements filtered through sparingly…the vocals are slick and stylistically here they’ve gone for a more jungle-infused grime track, coming off as slightly deeper, slightly darker.

There are several strong cuts spaced out over the course of the album in all fairness showcasing a variety of influences, highlighting the level of quality the UK has been churning out in recent times, “Diamond’s Gold (Ice, White & Black)” for example utilises a strong melodic hook during the pre-chorus that channels artists such as GORILLAZ while the rapping quality has an attitude to it that would appeal to fans of say, KANO or PROFESSOR GREEN…elsewhere then trilogy completing “1992 pt.3” (Which you may recognise from Camden Hell’s lager adverts) is an upbeat, brass infused piece that has a strong DIZZEE RASCAL vibe layered throughout. New single “Tearing Us Apart” is a much softer, rich, R’n’B ballad type piece that has a genuinely infectious groove, showing further diversity, before closing track “Start The Fire” rounds things up with a bold, brassy, pulsing, techno-heavy number, gradually coming down to an almost TWENTY ONE PILOTS inspired piece of alternative pop.

It’s not all bloodclart  quality though yeah you understand me fam? The ‘skits’ here are utterly pointless and serve the album no merit whatsoever, even on an artistic standpoint; “Sira’s Biscuits” and “FM Mangal” respectively as mundane as each other, if anything just highlighting the down-to-Earth mentality of the two but that’s scraping the barrel, other than that it’s a well delivered, diverse hip-hop album. Not my usual cup of ‘T’ (I’m sorry that really is one too many T’s) but definitely a recommended listen. [7]