Just like heavy metal itself, post-punk and the conceptual origins of Goth-rock can be primarily traced back to the UK…whether it’s CABARET VOLTAIRE or THE CURE, SISTERS OF MERCY or SIOUXSIE AND THE BANSHEES, Great Britain knew how to get its Goth on! However, like with a lot of new genre’s or, evolution's in popular music, post-punk was very much of its time and found itself culturally confined to the late 70’s and 80’s. Mind you, while production quality has improved over the years, and Gothic music gradually became a touch heavier, darker and bolder, despite becoming even MORE of a niche genre…that love of the original post-punk aesthetic has never dissipated. Several indie and alt. rock bands continue to take influence from post-punk to this day, which brings us to today’s band; DEW.

The German three-piece, consisting of vocalist (I Think, going by photos) Mike Antibody and…two others (I’m honestly having a stab in the dark here; their social media is minimal at best, and I don’t speak German) got in touch with me not too long ago via the GTGC contact form, sending me a Bandcamp link. It was suggested I give their 8-track mini-album “DEW-STORTION // DEW-MORGEN” a listen, so, on the anniversary of Ian Curtis’ death, let’s set the mood for melancholia and find out what this alternative krautrock collective has to offer…

The album opens up with “Zuerst Maschine” which basically translates as ‘First Machine’, and it fittingly starts with some industrial / mechanised backing noise, before ripping into some pacey, regimented percussion and up-tempo riff-work. A nostalgic nod to the origins of the genre; fusing those industrial elements with the early proto-Goth sound, all the while housing a decent melody, which balances the semi-scratchy vocals well…the vocals appear a touch overpowering in places with some of the instrumentation drowned out, but for a self-recorded and produced record it’s an entertaining start.

“Menschenfeind” or ‘Misanthrope’ too provides a wonderfully up-beat dose of reverberated post-punk, with more intensity in its delivery; having a certain punk-heavy simplicity that would appeal to fans of say, early BAD RELIGION. If it’s throwbacks you were after though, look no further than “Umgekehert Kontrovers” which roughly means ‘conversely controversial’ and it delves deeper into the genre’s origins audibly. The tinny, slightly-off key guitar with deeper, darker atmospheric tones harks back to those early days of JOY DIVISION, sounding like it’s been plucked straight out of the era itself; thematically it’s been wonderfully recreated to its credit.

There are one or two lesser tracks offered up but they don’t exactly ruin the album so to speak…”N.I.W.E.S. (Nicht Ist Wie Es Scheint)” or ‘Nothing As It Seems’ is a predominantly slower more lethargic track, with arguably the albums weakest vocals; there’s a bleak drone to them at times, all the while sounding pained and shouted as opposed to sung. Technically then, there’s nothing WRONG with “(…)-?!” per se other than its name…I mean seriously I can’t pronounce that in fucking English let alone German! Am I to literally call it “Left Bracket Ellipsis Right Bracket Dash Question Mark Exclamation Mark” or just guess some sort of bilious guttural noise? Pronounce it like I’m actually vomiting into the microphone? Fuck knows…before we then finish up on “Die Lösen Sich Ja Selber Auf” or, ‘They Dissolve Themselves’ which again, is appropriate as the album dissolves into a brief, quirky bass-heavy outro track, ending the album on a rather abrupt note.

The combination of using the German language lyrically, and playing a style and genre that’s nostalgic and underground at best isn’t going to find DEW a great deal of commercial viability, but post-punk, as dated as it is by today’s scene’s standards has always had a loyal cult following, which should in all honesty accept DEW with open arms. Their sound has been brilliantly crafted to be right at home among those early 80’s playlists and could easily find themselves mentioned alongside the likes of THE DAMNED. DEW haven’t reinvented the wheel, but they are due some recognition. [6]

Many reviews and, not just ones I’ve shared here, highlight some bands and genres by the evolution of certain scenes for example, like a specific style in or around a localised area of the world; such as the thrash metal boom of the Bay Area, San Francisco, or say, the grime movement in London…but if I were to ask you to name me the first band that comes to mind when you think about Omaha, Nebraska…the majority of you are going be double checking where the fuck Omaha even is let alone have quick fire knowledge of it’s clearly thriving music scene!

Don’t get me wrong, Omaha’s got its fair share of famous names and faces, ranging from Marlon Brando to Fred Astaire but it’s not got a rich history in alternative rock music by any means. Sure there are some bands you MAY have heard of at some point, such as 311, THE FAINT or THROUGH FIRE, but they’re hardly household names now are they? Well, to be perfectly honest, neither are today’s band…not by a long shot. Allow me to introduce to you, THE SCABBY GHOULS.

A relatively new outfit; the four-piece (Consisting of vocalist/guitarist Denise Hazard, lead guitarist Louie Hazard, bassist Alex Steffens and drummer Nathan Christensen) specialise in all-things that are horror punk, and while they’ve already supported the likes of DOYLE, their style is more akin to the cheesy entertainment of classic B-Movie horror, as opposed to the more serious sound of say THE MISFITS or early AFI. 2019 finds them releasing their debut self-titled mini-album…so let’s pick at this scab and see what oozes out of it shall we?

We open up with “Body Surfin’” and we’re immediately met with some deep bass-driven rock with an initially spoken word approach, before the frenetic punk aesthetics kick in. It goes from a weird combination of BOBBY PICKETT and THE B-52’s into some modern SIOUXSIE AND THE BANSHEES type of darkened proto-punk amalgamation. The title track backs this up further especially with the vocal performance during the near spoken-word chorus, delivering that classic spooky vibrato, though instrumentally heavier in places allowing for more of a Misfits influence to shine through.

Speaking of musical influences, a band that gets nowhere near enough credit in female punk rock is TSUNAMI BOMB and there are moments of their influence dotted throughout this album, especially their earlier works such as “The Invasion From Within” EP; Emily Whitehurst (Or Agent M as she was known) deserves more recognition as a voice in modern punk rock, and there are subtle nods to her sprinkled over this record.

As is expected with this genre this is all over and done with in a relatively short period of time, with the seven tracks presented here clocking in at just under twenty minutes, but they’ve left some gems for last it has to be said. “Road Ragin’” is a wonderfully relatable, up-tempo slab of fun, simple punk rock. The typically common / everyday situations of rushing around early in the morning, late to be where you need to be, can’t find your keys, can’t find your right clothes, hampered by slow elderly drivers; it’s a wonderfully basic concept but delivered with the right balance of frustration and comedic charm, before we round things up with “Knife Fight”. Another pacey dose of frantic punk rock; the rhythm and hook of the chorus is simply infectious, and though the brief psychotic wailing's of the guitar come across as spasmodic, it’s still a fine climax.

While creatively and stylistically they aren’t as volatile as MURDERDOLLS for example, and nowhere near the bleak, black sense of humour of early TYPE-O-NEGATIVE, but they do have a certain quirkiness to them, which should appeal to a variety of post-punks, alt. rockers and Goth’s alike. There wasn’t a LOT of horror presented here truthfully, other than some zombies and a pun-heavy ‘Nightmare On Elm Street number’, but its early days yet for these Nebraska new-comers…just keep picking at that scab; their nostalgic blend of rock and cartoonish retro horror themes will bleed out eventually. [5]

Seattle, Washington may be famed for its contributions to grunge when talking about alternative music, but there’s more to the Emerald City than miserable vocals and despondent guitar tones…sometimes other genres are allowed to raise their, UGLYHEAD if you will? Yes Uglyhead are the brainchild of sound engineer / producer Jake Alejo, and while in their formative years (With Jake being the primary member using only session / backing musicians for certain shows) they only really got airplay on late night college radio shows, it wasn’t too long before he got picked up by Automation Records for his 2007 debut. With more label backing, some additional EP’s and even finding a soundtrack placement on “Greg Hasting’s Paintball 2” for Wii, Xbox and PS3, he soon gained more and more momentum. 2019 finds Jake continuing on his path of noise experimentation with the brand new EP entitled “Disembodied” (Scheduled for release April 26th), collaborating with PIG / JULIEN-K percussionist Galen Walling…let’s check it out…

The EP opens up with a double-barrelled head-fuck of “Here But Not Here” and “There But Not There”…the former offering a light, synth-driven lead countering off-kilter programming and percussion over some raspy, manipulated vocals. The tone is dark despite the subtle joviality of the electronica as he sings of ghostly apparitions, and it’s quite the creepy opener, while the latter transitions into some vocal distortion and an up-tempo instrumental fill. There’s  a lot more urgency to this track and you get more of a feel for the industrial influences…some of the wailing is hard to differentiate from twisted sampling, with the dark dub elements and a certain EDM vibe, blended well with gothic techno. Overall a decent if not expected start…

The title track then takes on a much more, sinister, subdued pace as it skulks along sounding as if musically trapped somewhere between vaudevillian MARILYN MANSON and early ORGY aesthetically…the hypnotic tones allowing for the conceptual outer-body experience as is the theme of the EP, and while not the most entertaining of tracks musically, it’s moody and atmospheric in its own right, and really wouldn’t feel out of place on one of “The Crow” soundtracks. Sadly then we’re given “Too Real For Love” and it’s here the EP starts to struggle on the home stretch…over seven minutes long, the deeply foreboding synths can only maintain their aura for so long and it’s not long before this track seems to just drone on miserably, until closing track “The Funhole” (I’m not even kidding) literally takes up the arse-end of the EP; another slow, off-key pulsing piece of warbling electronica, and echoed, barely discernible vocals.

Jake may have aimed for transcendence with his blend of deep alternative techno, but his proposed outer-body experience sadly stays very much within the confines of your skull, resulting in a headache upon sitting through the whole EP. Things started off really quite promisingly, all things considered with this genre of music, but the last two tracks sadly leak one out the aforementioned funhole and soil the EP. Regardless of what the opening tracks suggest, unless you're a fan of say, ALIEN SEX FIEND for example, it’s neither here OR there. [3]

Despite the gimmicky premise of this blog, I sadly don’t cover a great deal of Gothic artists within these pages. The odd black gem, or, lump of coal if you prefer, will pop up, like A PALE HORSE NAMED DEATH earlier this year for instance, but Goth bands that I DO come across, new ones at least, are few and far between. Luckily however, as it happens, while covering a compilation piece for DEWAR PR just recently, I stumbled across today’s band; let me introduce you to HER DESPAIR.

The five-piece (Consisting of vocalist J, guitarists Dan and Jord, bassist Vikki and drummer Lee) hail from Berkshire, and have been building a name for themselves on the UK alt. rock circuit since their 2015 debut album “Hymns For The Hopeless”. With their penchant for mixing modern melancholia with traditional post-punk aesthetics they’ve quickly grown an impressive underground following. Just last year they released the much anticipated follow up to their debut; a new EP by the brilliant name of “Mournography”…let’s see if we get a kick out of this cadaver…

The EP opens up with “Blaspheme With Me” and right away we’re greeted with a blend of melodic guitar and surging yet sensual riffage…vocally J has a depth to his drawl but it doesn’t go as far as complete baritone like other Gothic rock and metal artists. The two aspects combine well and in ways it can be said it combines the likes of ENTWINE and THE CRUXSHADOWS… a lengthy opener at five minutes but it’s still a great start. “Valentine’s Mourning” continues along the same vein but is a touch more up-tempo and has more of a pop aesthetic with its hooks and overall rhythm. Lyrically steeped in sadness and loss but musically it’s such an uplifting track, a typical yet welcome oxymoron, really fun track this.

We slow things down next for “Within Tragedy” and it takes on a far more elegant tone; the sweeping orchestral elements of the synths really set the mood here while the rock aspects of the track chug along casually, giving it weight and carrying the track forward. If you are all about the slow burn and the melancholy then look no further than closing track “In The Arms Of A Sadist”…at seven minutes plus it embraces a clear doom influence from the likes of MY DYING BRIDE and simply oozes despair, which is very fitting given their name it has to be said, though it’s countered by the previous track “Damnation Tonight” which incorporates more harmonious keys and more groove-heavy goth ‘n’ roll, balancing out the EP perfectly.

Essentially what Her Despair do here is bridge eras in Gothic music; sounding crisp and fresh with their song writing and production, while also channeling the original bleak charm and quality of the likes of Goth godfathers  SISTERS OF MERCY and BAUHAUS. This, alongside their debut confirm that they are one of the brightest (Or should that be darkest?) rising talents on the Goth scene. If you’ve been wanting some quality Goth, stock up on the Kleenex because you’ll be getting off to “Mournography”. [8]

While the end of the calendar year is typically filled with Top 10 favourite lists, editors picks, playlists and compilations, review requests do still slide into your DM’s like the thirstiest of thots…and though while initially preoccupied with deciding which album gets the coveted top spot, I don’t like to leave any stones un-turned, which brings us to today’s review. Just before Christmas, I had an email from a gentleman by the name of Tommy Olsson and he asked me to check out his band LONG NIGHT. The three piece (Consisting of Tommy himself on guitar, second guitarist Arni Sorlie and vocalist Osten) have recently released their newest album; “Barren Land”, and it becomes my first official review of 2019. Let’s see if it really is as fruitless as it makes out…

The album kicks off with “East Of The Sun West Of The Moon” and we immediately get that early 80’s post-punk vibe…the subdued vocals over the hypnotic percussion and rhythmic guitars giving off an indie-esque melancholic tone, harking back to the likes of THE MISSION. The low-key melody compliments the dreary gothic tones well and despite being a generally lengthy opener, it satisfies and it’s a strong start.  “The Night’s Ablaze” continues the album with another similar, early post-punk effort albeit more up-beat with more of a general hook and vocal melody…the bass line though simplistic carries the track and there are elements here that would appeal to fans of KILLING JOKE for example; strong stuff this…brilliant.

The early proto-goth vibe is solidified by standout track “It’s All Gone” with its sombre yet melodic guitar; the track as a whole slow enough to capture the torment  and pain, but still up-tempo enough to create a truly entertaining nostalgic bubble…all of the hooks yet all of the throwback simplicity, this is what long-time fans long to hear. “The Rain Still Falls” returns to that overdone lengthy delivery; properly embracing the gothic tendencies but also utilising darker indie-rock elements as found in the likes of EDITORS or SPECTOR…before the rest of the album descends into a disappointing crawl. “On A Little Snowy Field” being a prime example…it’s that slow you could have mowed the field itself and regrown it, waited for it to snow AND built a snowman before the song finishes. “Black River” drones on for over seven minutes with some minimalist, middle-eastern inspired instrumentation, while “Cold Light” returns to those brooding, dreary indie tones, though it does deliver on the vocal front; very much exuding passion, almost drawing sympathy from the listener.

Overall, Long Night have delivered well enough here, and their ability to recapture the early sounds and tones of that original, goth-rock aesthetic is impressive. A perfectly fresh throwback to the genres formative years, they’re definitely a band for all of you OG goths to check out. Some of the tracks are a little flat, there’s a fine line between moody and boring, with some of the tracks needing a little more bite, but “Barren Land” is certainly showing signs of life. [6]

​It’s been an interesting couple of years for one Mr Jyrki Linnankivi (Aka Jyrki 69) of THE 69 EYES fame…while it was back in 2016 where we last heard from the Helsinki Vampires, with their last album “Universal Monsters”…he’s been keeping busy himself with some projects outside the usual comfort of his coffin. Last year he dropped his first solo album, appropriately titled “Helsinki Vampire” which featured the tracks from horror movies “Halloween Pussytrap! Kill! Kill!” (I shit you not, that’s actually a thing) and “Sunset Society”…this year however he delves deeper into the Finnish goth ‘n’ roll archives, resurrecting some true Finnish legends…let me explain.

Back in the early 80’s, long before Finland was truly on the map musically as a hotbed for alternative music, when you were lucky to know about HANOI ROCKS if anyone, given the lack of internet etc…there was a little band called MUSTA PARAATI, who despite only having a brief career, as well as several line-up changes, managed to influence artists like Jyrki with their post-punk, early proto-goth style. Now, in 2018, after a 30+ year hiatus (If you can even call it that) Jyrki has gone through all the appropriate rituals to bring these Finnish goth icons back from the grave, providing vocals for the brand new English self-titled album “Black Parade”. Please note, if you’re expecting anything relating to MY CHEMICAL ROMANCE, you’re going to be disappointed…

The album opens up with “Animosity” and don’t worry, it’s the track name, you aren’t going get a smack in the chops. Generally a slow burner; you initially only get the soothing notes of guitarist Saku Paasiniemi, before it expands into a soft, synth-pop piece. A beautiful blend of rock ‘n’ roll, with throwback electronic keys and retro pop production, coupled with Jyrki’s distinct baritone vocals all combine for a strong start. Despite its slow-tempo it still houses a hook-laden catchy chorus and is textbook post-punk. We then have another of many highlights courtesy of “Nacht Der Untoten” (Which is German for Night Of The Dead) and the icy synth notes, along-side Jyrki’s deep drawl complement each other wonderfully, really allowing the idea and tone of the chilling, horror theme to shine through aesthetically.

Switching up linguistically next we go from German to French via “Aujourd’hui” and given the dark gothic tones, plus the French connection this reminds of early 69 Eyes works such as “Dance D’amour”, with the synths taking on an almost orchestral approach, adding a sense of intensity and drama at the tracks climax. Both “Radio” and “Digital Twin” provide up-beat, quirky, albeit by-numbers pieces of retro goth-pop, especially the latter, before standout track “Today”, as the shortest track here, gives a hard hitting dose of up-beat, bass-driven  rock that fans of SISTERS OF MERCY should easily lap-up. While there are weaker tracks on offer here, like “Reaper” and “Chopsticks”…it’s more a case of them being a bit generic as opposed to bad, coming off as more filler than failure, managing to keep the album overall sounding consistently solid.

Given Jyrki’s distinct vocal style and the accompanying music, it would be easy to mistake this as 69 Eyes version 2.0…given the blend of garage rock and gothic atmospherics, almost acting like an unreleased selection of tracks rather than a new record with Musta Paraati…but let’s not let that detract from the fact we’re still getting superb quality gothic rock in 2018. This is must have for post-punk fans AND 69 Eyes fans, and it easily gratifies 69 Eyes fans around the world while we wait for 2019’s new 30th anniversary album, as well as reintroducing fans to one of Finland's hidden gems in the process. Musta Paraati? You Musta' listen to this one, seriously… [9]

I’m going to be perfectly honest with you right now; I am officially useless when it comes to time-keeping and scheduling when it comes to this blog! Seriously, I can sit here and make notes, plan some specific reviews and posts then think, right, my free time is here, here and here, so I’ll sort out some content…what ACTUALLY happens instead however is I just find myself opening emails and forgetting about them while I’m lost, procrastinating in the annals of YouTube. Well I’m rectifying one such instance today! Allow me to introduce to you AMERICAN STANDARDS.

I was sent an email by their front-man Brandon Kellum, in which he forwarded his bands (Completed by guitarist Corey Skowronski, bassist Steven Mandell and drummer Mitch Hosier) latest album “Anti-Melody”…asking if I would be so kind to check it out! Better late than never Brandon, though I do apologise! Anyway, formed in 2011 in Phoenix, Arizona, the 4-piece share a love of all things hardcore and post-punk, inspired by big-hitters such as CONVERGE and POISON THE WELL and channelled those influences through this; their 4th album. It wasn’t without its setbacks mind you, as prior to recording, original founding guitarist Cody Conrad committed suicide, which was followed shortly after by the death of Brandon’s own father to cancer…these events, coupled with the state of the world around them pushed them towards writing the most personal album of their career, so let’s see what standards these American’s have…

We open up with “Writers Block Party” and they waste no time getting all up in your face with their blend of punk-infused hardcore rock…with their combination of intense thrashing, full of piss and vinegar, plus the weighty riffs layered over Brandon’s snarling vocal delivery, leading up to a climactic flurry, the album starts as it means to go on; with absolutely no nonsense whatsoever. “Carpe Diem, Tomorrow” follows up and it’s a touch slower in tempo with some off-kilter, almost prog-infused guitar work, bordering on djent in places, before we’re treated to an impromptu and legitimately enjoyable guitar solo which itself takes the track up a level.

Further highlights include “Broken Culture”, which at under two-minutes long may only provide a short, sharp piece of music but it still manages to include some great, groove-heavy guitar work, blunt as it is brief; their punk roots shine through here. By contrast, “Bartenders Without Wings” slows things down completely with a raw, melancholy soaked sense of vulnerability plucked straight out of the MEWITHOUTYOU playbook, while closing track “Chicago Overcoat” plunges itself deep within sludge-metal territory…methodical and with more than a touch of EYEHATEGOD and MELVINS at its core, it ends proceedings on an altogether more sluggish note. For a band that’s gone completely DIY, despite only being 8 tracks and less than half an hour in length this album shows plenty of potential. While firmly rooted in that post-punk / hardcore genre bracket they’re clearly not afraid to dabble to give some of these tracks that extra flavour (Regardless of how off-putting sludge sounds) and it’s this that will likely carry them forward, as they CAN become a little samey when they’re just rip-roaring their way through a bitter, angry track-list, though to its credit the album title doesn’t lie; you won’t find much in terms of easy listening here. [5]

With the odd couple of exceptions, generally you’ll find that bands who have been together for a lengthy period of time usually start to mellow out at some stage in their career. Only recently I was saying this about the MANIC STREET PREACHERS who have lost some of their original punk-rock attitude in middle age…and this can be said too for artists such as ANATHEMA for example; originally a Gothic / doom metal outfit, over the years they evolved into the ambient, progressive band they are today (Check out “The Optimist” if you haven’t already). Well this can also be said about today’s band; let me introduce you to MANES. Formed in Trondheim, Norway back in 1992, they were originally part of the 90’s black metal scene alongside the likes of SATYRICON and IMMORTAL but over the years they’ve toned down into what’s been described as a bastardisation of rock, electronica and progressive jazz. The last time we heard from them was back in 2011 with what WAS to be their final album; “Be All End All”…but 2018 sees them return with the brand new album “Slow Motion Death Sequence”. Available through Debemur Morti Productions from August 24th…lets check it out…

We open up with “Endetidstegn” which more or less translates as ‘end-time signs’ and thematically kicks off the start of this death sequence on a dark, apocalyptic note. It’s slow and dramatic with minimal electronica and percussion, with vocals soaked in melancholy, though it picks up with some intense, dramatic, looming power chords and double kick drums, and the track develops a serious sense of foreboding…this album isn’t going to be a walk in the park let me tell you…and if it were, it would be at night in the middle of The Purge whilst you’re stalked by sociopaths. “Scion” follows up and it’s more of the slow, cold synths, with vocalist Asgeir Hatlen here giving it an 80’s alternative indie vibe; however its slow tempo makes the track feel like it lasts an eternity, with the repetition not helping one iota.

The album overall is fairly consistent in tone and approach, rarely veering from its path but it does have its few interesting points; “Therapism” utilises a moody, almost darkwave inspired tone…the creeping electronica occasionally pierced by assertive guitars, the use of single chords is simple yet effective and though while it does have a feeling of gradual build it never really puts it’s foot down, while “Building The Ship Of Theseus” returns to that almost post-punk, alternative 80’s vibe, aesthetically in ways slotting in between the likes of  BAUHAUS and NICK CAVE…but sadly the rest of the record struggles to capture much attention. At seven and a half minutes, “Last Resort” sums itself up nicely, as a long-winded dreary acoustic-led piece and I really would only consider listening to this as a last resort…oh how I wished this was a PAPA ROACH cover...wouldn't that be fun...“Ater” then closes the album on what is essentially an avant-garde instrumental bar some minimal lyricism, and it’s a despairingly slow one at that, the last breath of this album escaping into the ether. Conceptually, as a listener I have to agree with the album’s title here because this truly is a slow motion death sequence…for generally it’s such a dull, miserable album…imagine yourself or, someone, anyone, in a time-lapse montage, just sat there, motionless, going from young adult, to being frail and elderly, before just succumbing to time and death itself; that’s what this album sounds like and it would perfectly accompany that montage in tone, for both conceptually are as equally sad and boring as the other. [3]

If you’ve at all followed the UK’s alternative scene over the past say, ten years or so, then no doubt you will have at some point stumbled upon the work of Scott Lee Andrews. The wild Welshman originally found minor fame with mid-2000’s post-hardcore rhythm thieves MIDASUNO, before forming Cardiff-based chainsaw loving noise cartel EXIT_INTERNATIONAL, but, more recently, and arguably most notably, his collaboration with GINGER WILDHEART for the third installment of the darkly psychotic project MUTATION. Very prolific and reliable in underground UK music circles, Scott has always been about the intensity, the invigorating sense of finding pleasure in noise and chaos and here we find him working on yet another project to quench his own thirst for the unorthodox. Allow me to introduce to you JAWS OF DEAF and the EP “Delicious Discomfort”…6 tracks hand picked out of around 50 that Scott’s been working on, as he prepares to drop a full length album. Now settle down and get uncomfortable as we check it out…

We open up with “Bait & Switch” which at little over 2-minutes long is the shortest track on offer here and Scott wastes no time delving into his frantic, raucous, thrashy punk roots with an absolute bombardment of messy riffs and demented screeching’s. In his own words; “I really haven’t got a clue what it means”…and that’s partly the fun of it, sometimes noise for noise’ sake is therapeutic. We follow this up with the wonderfully titled “Porno Without The Fucking” and as ridiculous as the statement is, it’s no surprise to learn it came from a YouTube comment that Scott read…intended as a derogatory slur, it’s full of oxymoronic similes, riddled with daft humour, but also a deeper meaning of how the very medication that’s meant to help you can strip you of your identity, resulting in a creative catch-22…another interesting and ultimately fun track.

“Cupid Stunts” is another brilliantly titled self-depreciating effort, with Scott using bleak humour and a wry smile as he sings with a jolly despair about his questionable decisions in life; full of melody and some surprising vocal harmonies it channels the likes of WEEZER in its overall tone and delivery, even down to the climatic key change and its possibly as accessible as you’re likely to find him on any record. Having said that, there’s also “Californian Frown” to take into account which I’ll be honest, initially reminded me of the credits sequence from “Bottom” but that’s something for another time. A bass-driven affair with wacky vocal delivery (Featuring guest vocalist Givvi Flynn), finding itself stuck between being musically designed for Exit_International but lyrically leaning towards Mutation, resulting in a quirky little, edgy indie-rock number. The final two tracks; “An Alone Wolf” is ripped straight out of “Ash Vs. The Evil Dead”; an animalistic take on grunge, before closing track “The World Looks Better From Behind” is an intentionally misogynistic play on words, but also utilises hidden depth with the idea of hindsight and nostalgia. Musically exploratory, dabbling in brass instrumentation for extra character, the drawl of Scott’s vocal harbors elements of Matt Bellamy from MUSE; elongating each note as the track is stretched towards its dying moments.

All in all despite being just six tracks in length, it more or less caters for everyone if you’re familiar with any of Scott’s previous work; it’s got the tumultuous punk-inspired tones of old, it’s got groove-heavy song writing at its core but it also retains a level of darkness brought on by his collaborations with Ginger…it’s not polished, it’s not fucking meant to be; it’s just raw, and rowdy and fun…he meant delicious discomfort quite literally. [7]

At the risk of stating the obvious, I’m quite partial to a review…yes I spend a fair amount of my time writing up these blog entries and contributing to the team over at All About The Rock, but a lot of my free time is spent watching YouTube reviewers too; guys like Anthony Fantano, AVGN, Brandon Tenold and more recently I’ve stumbled upon a guy named Decker Shado; the internet personality with the best hair. He, like most internet movie reviewers has gone through the “Alien” franchise and having watched these particular videos over the last day or so, it’s only ironic that this next review has ties to the movie itself…thematically at least, let me explain…

​Allow me to introduce to you a band by the name of SICK N’ BEAUTIFUL and to utilise some professional wrestling terminology here, they’re ALL about the kayfabe. Hailing from Acheron LV-426, a moon orbiting Calpamos, 39 Light Years from Earth, from which the USCSS Nostromo picked up a distress signal, before its crew got face-hugged the fuck out of in the aforementioned movie “Alien”. Or, if you prefer…Rome, they’re from Rome, Italy. The intergalactic 5-piece (Consisting of vocalist Herma, bassist Big Daddy Ray, drummer Evey plus guitarists Lobo and Rev C2) apparently “crash landed” in the Italian capital after their spaceship; the BFS9000 suffered engine failure on their travels and they’re a bit stuck, but as luck would have it they’re a space-age musical circus freak-show and request your generosity in funding the repair costs by checking out their brand new album “Element Of Sex”. Clearly not endorsed in any way by the Weyland-Yuntani group, let’s see if they deserve our hard earned dollar…

We open up with “Fire True” and immediately we’re met with a dramatic, string-inspired synth sequence, verging on symphonic really, before we’re thrust right into the crunch of some thick, throwback nu-metal riffs. The heavy intensity and subtle electronic elements musically places this somewhere in deep space between KORN and CANE HILL, add to that then a slick guitar solo and overall we’ve got a decent opener here. Recent single “Megalomaniacal” is up next and it brings the tempo with it too, mixing raw, punk qualities via Herma’s cacophonous vocals, with a classic hard rocking rhythm…also the “Mortal Kombat” inspired arcade game video that accompanies it is a bit bonkers to boot; all in all a fun track. “All Wanna Go To Heaven” then reaches an entirely different echelon as the albums clear stand-out track…the gradual build of seductive keys and simple percussion leading into cleaner vocals, capitalising on influences such as GARBAGE and NO DOUBT resulting in a perfectly catchy piece of pop music; the hooks and overall groove here will have you hitting repeat with no doubt ironically, this is superb.

The trouble with that is, the rest of the album can only go downhill, but it doesn’t go too far down it has to be said; “Hellawake” is another brilliant example of synth-pop combined with hard riffs and hushed ambiance for a solid, almost anthemic listen; layered incredibly well…”HeXxX (The Element Of Sex)” has a certain retro feel to it, partly channelling the likes of THE B52’S in tone giving it a fun, up-beat feel, while “Cryptid” utilises a pacey guitar driven approach, rich with gang vocals, melodies and subtle breakdowns for a well delivered ear-bashing, before closing track “C*mmunion” ends on a high note with more hooks and accessible pop-rock enjoyment. It’s not quite a perfect album over its ten tracks though sadly; “Slam!” despite being heavier and grittier musically plods along a touch too methodically, while “New Witch 666” undergoes a remix following its initial release in 2015…not the best of tracks to begin with, the revised cut gives it new life but it’s still weaker compared to what else is on offer. All in all however we have an undeniably strong album here and from start to finish these xenomorphs entertain on a number of levels. If we could just get Ash to sabotage the fuck out of their repair operation given his previous, maybe they’ll stick around a bit longer…because whilst sick they are indeed beautiful. [8]

Back in 2005, a little know indie band by the name of EDITORS burst into the spotlight with their debut album “The Back Room” and it just the beginning of what was to become a new era in British guitar music. Artists such as STEREOPHONICS and OASIS were still riding high in the charts but there was fresh meat on the table and Birmingham’s Editors were among the new specials on the British scene. Ever since they’ve scored numerous number 1 albums and have gone multi-platinum, with their modern blend of indie and throwback post-punk a-la JOY DIVISION and ECHO & THE BUNNYMEN, and 2018 sees them return, wind-milling their way through a sea of mainstream mediocrity via album number six; “Violence”…let’s check it out…

The album opens up with “Cold” and we’re met with a slow, subdued introduction consisting of light, repeated keys and Tom Smith’s distinct deeply melodic vocals, extra layered piano and simple percussion take the song out of first gear but thematically it’s appropriately named; very mellow, speaking of loneliness in life’s bigger picture, time will be up for us all in the end, let’s be lonely together, ghost along in life…and there’s a beauty in his melancholy that once again they’ve perfected; a good start here. “Hallelujah (So Low)” picks up next and again we’re given a predominantly steady opening; continuing with more synth, coupled with a hushed delicacy to Tom’s vocal delivery…before gang-vocals lead into an eruption of hard-hitting riffs and crunching guitar. Very much a song of light and dark but it’s balanced brilliantly.

The title track maintains the consistency going forward with its laid back, ambient approach to electronic pop music and is easily an album highlight…a song of disparity, it highlights humanities struggle to coexist in ways, growing further apart, with lyrics like “The last train will pull you through, at night the war still comes to you, it makes it harder to join the dots, the river gets wider in front of us”…the violence itself referring to the state of the world, the track then culminating in a frenzied climax, summing up the growing tensions worldwide and it’s been wonderfully done. Further highlights include lead single “Magazine” which is full of hooks and emotive vocals, as well as some wonderfully gritty guitar segments resulting in a highly enjoyable listen overall.

At just nine tracks long, there’s very little room for negativity here which is something I wish more artists would embrace when compiling track listings for finished records, but if I had to pick anything to bring this album down, it would be “No Sound But The Wind”…a delicate piano ballad and in its own right, it’s a sweet, sombre listen…BUT…it’s a re-recorded track that was once used on the soundtrack to “Twilight: New Moon” and to that I say “FUCK THAT!”…I don’t want to promote any shiny, sparkly vampire shit here! Keeping within the same tone however, the album closes on “Belong” which acts as a wonderfully sad metaphor for hidden passion, burning within but private and secluded…locked within the four walls of your own skin; a constant struggle. Overall it is a very restrained album and has nothing in means of classics like “Blood” or “Munich” but Editors have proven that less can certainly mean more. Sometimes violence CAN be the answer apparently. [7]