South Wales has always played an important role in the UK’s music scene; be it the love and support for traditional grass roots venues such as Fuel in Cardiff, or the old TJ’s in Newport, but more importantly the bands themselves that have emerged from the valleys and beyond that have helped put the area firmly on the map. BULLET FOR MY VALENTINE may be riding high at the moment as one of the UK’s biggest modern metal exports, but there’s a bit of a transitional period in play right now as many if not 99% of the biggest names from the area have called it a day. Luckily however there’s always a group of plucky up-and-comers aiming for that brass ring and willing to pick up the ball to run with it…which brings us to today’s band; HOLDING ABSENCE.

Fresh off of the back of his previous band, FALLING WITH STYLE, vocalist Lucas Woodland helped form Holding Absence (Who are completed by guitarists Scott Carey and Chris Smitheram, bassist James Joseph and drummer Ashley Green) as a means of truly delving into his song writing capabilities. With an emphasis on love; its nuances and the  roller-coaster of emotions that accompanies it, their initial singles garnered them much critical praise and the adoration of fans very early on. Momentum grew as they released their split EP with LOATHE and the acclaim kept coming, so in 2018, they began working on their debut full length album. Now, here in 2019 we find that album finally released after much anticipation, as the Cardiff quintet declare that this is…”Holding Absence”…

The album opens up with “Perish” and it’s a bleak start as we find ourselves confronting the heaviness of mental health and its effects on relationships…with over a minute of introductory resonance, it sets a sense of tranquility with its flowing soundscapes before the apropos breakdown, a nice instrumental metaphor for a fragile state of mind. This is mirrored by Lucas himself as he switches from lulling, morose clean vocals to a blistering onslaught of intense shouting amidst a barrage of riffs, and its solid slab of alternative post-hardcore. “Your Love (Has Ruined My Life)” continues with the theme of seemingly depressing song-titles as it also seemingly repeats a similar formula; a soothing intro segment, albeit drastically cut, leading into a wall of noise that transitions into more clean vocals, before a soaring chorus. It’s lyrically where the song stands out as Lucas digs deep into his own level of self-awareness, with an acceptance of his own emotional state; he is an impassioned performer, credit where credit is due.

Speaking of depressing there are a couple of tracks that should come with a repeat prescription for Citalopram in all honesty; “Marigold” is a sombre piano ballad that’s as cold as it is cathartic…and however sweet the admittedly emotional performance is, with its numerous floral references there’s very little blossoming here…which can be similarly said of closing track “Wilt” (Plant related segue for the win). The longest track that’s presented, at near seven minutes, it speaks of the helplessness of watching a love wither away…a heart wrenching story of appreciating the love for its original beauty, like a bouquet of flowers, but those flowers will eventually die and there’s nothing you can do about it. Completing the hat-trick of heavy-heartedness would then be “A Godsend” which again, with its morose tone and low-fi, shoegaze inspired delivery leaves the listener almost despondent.

It isn’t ALL doom and gloom however, this isn’t a MORRISSEY record for fuck sake, and that’s reinforced by album highlight “Like A Shadow”. A sharp dose of angst-ridden, punk-inspired post-rock…it’s got a great rhythm and an infectious chorus hook full of pop aesthetics that you simply can’t help but move to, this is incredibly enjoyable stuff this. “To Fall Asleep” too, despite its heavy message of wanting support through life’s darkest periods is a wonderfully up-beat dose of melodic alt. rock, likewise with “Monochrome” which would easily appeal to fans of artists such as TAKING BACK SUNDAY for example. Ultimately as one of the UK’s hottest rising prospects, they’re showing plenty of promise for big things to come. This may only be their debut and it hasn’t been out long, but their fan base is a loyal and enthusing one, and is growing with each gig and festival slot, no matter how big or small the stage. Raw and passionate, they have all the talent to help lead a new generation of Welsh artists into the spotlight. Just…cheer up lads though yeah? [7]

Going back decades, arguably since its inception truth be told, ‘rock’ music was always viewed upon as bad thing; a rebellious genre that started in the early days of rock ‘n’ roll a la ELVIS' controversial hip-swinging, leading young ladies astray…punk rock was always a primary instigator of rebellion when that came about, the musical equivalent of streaking through a convent with your middle fingers proudly pointing skyward…and then there’s metal. We’re not going to be delving into all of the deep, dark sub-genres, but metal itself has always been associated with the devil and darkness, and of course bands like BLACK SABBATH and IRON MAIDEN only fueled that…but sometimes a band just feels the need to speak up; make a statement and be as brutally honest or opinionated as they can be. Here; special guest writer PETE HARRIS (petesmusic0508@gmail.com) showcases his personal picks on “5 Metal Bands That Made Their Name Attacking The Establishment”

"There are many ways to speak to the powers above. But sometimes, the best and only way to unleash truth is to do it as loudly and as aggressively as possible. Here are five of our favourite artists who knew just that — and have used the inherent aggression of metal to express rage, dissent, and criticism against the unyielding sociopolitical establishment."

Godfathers of 90’s and 00’s thrash metal; MACHINE HEAD first made a name in Europe before getting famous back home in the US. One of the pioneers in the ‘New Wave Of American Heavy Metal’ which began in the mid 1990’s and peaked later in the millennium. Machine Head dabbles with thrash and groove metal, which they’ve perfected in songs like “Aesthetics Of Hate” and “Clenching The Fists Of Dissent”. From criticising the critics who act like the gatekeepers of rock, to taking an anti-war stance in the midst of the American government’s oil-hoarding in the Middle East, Machine Head’s fans know that they mean business.

"Being able to loudly and aggressively speak truth to power is just one of the many uses of anti-establishmentarian music. As many metal-heads can attest to, listening to some quality rock and metal can prompt emotional, mental and even physical benefits as well; revelling in the violent themes of metal in in many ways, an act of anti-violence and therapeutic self-love. In fact, academically-backed research published in an article on LOTTOLAND reveals that people who regularly go to live rock music gigs are more satisfied with their lives than those who don’t. The same source also reveals that powerful music can give a 26% boost to your overall blood-flow. Keep these things in mind the next time you’re debating whether or not it’s worth it to go out and see what the newest bands have to offer…"

What are your thoughts on metal bands speaking truth to power? Were there any bands or artists you feel deserve to be in this list? Let us know what you think in the comments!

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]

There are a couple of reasons why I started writing reviews a few years ago; I have my influences scattered around different mediums, some might surprise you but I’ll leave that for another time…one reason however was and, I guess still is…music magazines. Now I’m not sat here saying they influenced me because I wanted to write FOR them…no…you see the beauty of a review is that it’s essentially an educated opinion. Do I see myself as the all knowledgeable Wizard Of Oz when it comes to music? Of course not, but if you read this regularly you’ll know that I care enough about my music to take it seriously (granted sometimes I include some ridiculous humour but that’s just me amusing myself)…my point is, while it’s still only a collection of my own opinions, my opinions are 100% honest. This is where I had the issue with certain magazines and for this example and for this review funnily enough I have to turn my attention to KERRANG!...back in 2013 FALLING IN REVERSE released “Fashionably Late” and amidst a sea of controversy and hype surrounding front-man Ronnie Radke, Kerrang! were tasked with reviewing it and using their K-Rating system (1K to 5K)…they voted it…”Fuck Knows”. Yep…a score of ?K’s…this told me one thing…the reviewer and the magazine, knowing FIR were hot property and would sell magazines as cover stars, were too afraid to just say look, the album is fucking mediocre at best, I don’t understand why you are so popular…so they chickened out. You won’t find any of that here…oh no…so when I see the same publication say this about the new NECK DEEP album; “11 instantly lovable genuinely unique tracks”…I’m like hold your horses, this is pop-punk we’re talking about…what the fuck is unique about pop-punk? So…without further ado, here are my thoughts on “The Peace And The Panic”…

The album gets underway with “Motion Sickness” (that in itself is a good start…) and in all honesty we do open up with some vibrant riffs; a positive, punk-inspired guitar tone, the melody is pleasant and carries the light pop qualities well, it all sounds crisp and fresh and in terms of sound, mini breakdown included, musically and vocally I guess too should appeal to fans of NEW FOUND GLORY...it references the album title and essentially it’s about struggle going forward, the choice between good and bad and you can see by the album art itself it’s very rooted in balance, civility and conflict, the choice is as clear contrast as night and day, hence the black and white drawing…stylistically they take a similar approach on tracks like “The Grand Delusion”…I mean this is so NFG, you have to stop and remember these lads are from Wrexham, not fucking, West Tampa Florida…

There are some highlights here though to be honest…”Happy Judgement Day” takes the ever-popular almost clichéd route of social-political commentary found within a lot of iconic punk artists…it’s what the genre is famous for, non-conformity, speaking out, having an angry voice, wanting people to wake up…and while here the message is clear, essentially we are responsible for our own downfall, mankind will be the reason for its own undoing because of segregation, creating diversity, wars…the usual…and while it’s good they have the passion to make a point of it, try to encourage fresh ears to make world a better place, the style here musically is just maybe too soft for such a serious global issue…like…it’s not so much “This is important! Do whatever you can!”…it’s more “This is pleasant…have a bit of a dance”. It ticks all the pop-punk boxes though so sounds decent. “Wish You Were Here” tones things down for a sweet little acoustic song, the story within a tale of loss and mourning, aided by some subtle, soft piano, it’s sad but an enjoyably quaint listen, while by contrast “Don’t Wait” has an intense, relentless energy to it…it’s heavier, it’s assertive and isn’t messing around…the gang vocals aid the chorus but it’s Sam from ARCHITECTS that puts the cherry on top here, his furious vocals really add weight to this track and it really stands out…before we finish up on “Where Do We Go When We Go”…a song about making a lasting impression, make something of yourself before, well, you die essentially. Now, while I’ve pointed these tracks out as my own personal highlights, and I’ll be honest, this album isn’t unpleasant, it’s got it’s quirks, I can see the easy-listening appeal and I can see why the band are making a name for themselves here in the UK; it’s all tailor made for radio and its easily accessible for young audiences with its light pop tones, but for Kerrang! to turn around and say these songs are genuinely unique, is quite frankly, a bit bollocks…it’s just well produced pop-punk, and as I stated, they can sound like NFG…if you sound like someone else…you aren’t unique…wake up Kerrang! [6]

When you mutter the words GOLDFINGER…the vast majority of people are going to suddenly turn into Sean Connery…shtart shpeaking really shtrong Shcottish, ordering by dry Martini’s, shhaken, not shtirred (Shhit, I’m doing it myshelf!) but in all fairness, it’s one of the most iconic James Bond movies of all time and you’d be forgiven for doing so…others may look upon the term with a mind full of filth; Goldfinger? Slip the Queen a cheeky one? Foreplay by Royal appointment…I literally can’t believe I just typed that but, I digress…the rest of you may remember it’s actually also the name of a punk band! Formed back in Los Angeles in 1994, they steadily found themselves garnering a loyal fan-base with their upbeat blend of ska and pop-punk, associated with artists like LESS THAN JAKE and REEL BIG FISH, but we haven’t really heard from them since 2008’s “Hello Destiny…”…well, luckily, 2017 sees them dust off the cobwebs and return recharged with a new line-up and a brand new album; “The Knife”. Are they still as sharp or is this a wild stab in the dark? Let’s find out…

I mentioned the new line-up and I’ll quickly touch on that before we begin, founding member John Feldman remains on vocals but here he’s joined not only by Mike Herrera of MXPX, but also Travis Barker of BLINK 182…so to some degree we’re now dealing with a punk supergroup…which is pretty cool, so we press play with plenty of anticipation and we’re greeted with opening track “A Million Miles”. To be fair you can’t really say anything overly negative about this; it’s got everything you’d want or expect really…it’s lively, typically up-tempo ska-infused melodic pop-punk. It’s got the gang vocals, it’s pretty much by numbers but, being the first track in nine years, it’s forgivable…ease in as such, so it’s a decent start. “Get What I Need” and “Don’t Let Me Go” especially ramp up the ska content, you’ve got the trumpets and occasional subtle steel drums contributing their own flavour, the latter having hints of THE POLICE layered within it and a genuinely enjoyable brass solo, so it’s all really easy listening.

Further highlights include “See You Around” which features Travis’ Blink buddy Mark Hoppus providing guest vocals, distinctive as he is, he never disappoints, it’s just a shame Matt Skiba isn’t here too, as it’s a genuinely pleasant track, nothing special, just, nice, while “Am I Deaf” offers us probably the albums grittiest track, more punk driven and aimed at the current music scene; the state in which Goldfinger have found it in coming back from their hiatus, joking that they feel old, everything’s changed, a tongue in cheek poke at the industry which is always fun. There is one track I’ll point out however…”Orthodontist Girl”…it’s a touch weird, I mean, cute love songs about having a crush are all well and good, but, this one’s just…weird. Getting turned on by her sterile rubber gloved fingers in your mouth while she does her dentistry is…an odd fetish let’s be honest. I mean, there is NOTHING remotely sexy about dentistry…drilling here, injecting there, tugging here, and filling there…actually OK yeah I can see that it’s really quite homoerotic…lovely. I’ve lost focus…anyway, to summarise, while there will be fans very happy to have Goldfinger back, especially in this new supergroup format, I guess musically there’s only so much you can do with ska-punk. It’s not bad, far from, but it’s not entirely memorable either. Now, if you’ll excuse me…I’m going to phone my dentist…[6]

People do this on purpose I swear...they decide to form bands with the sole intention of being so utterly terrible it hurts...I'm not exaggerating, I would rather listen to a rap battle between Prof. Stephen Hawking and Microsoft Sam in real time...speaking of rap, I would rather personally fund a new STEVE-O album...I would rather name my first born daughter ROMAN REIGNS than have to go through any more of this, but, alas...it is my duty to you all to share such a monstrosity.

​Allow me to elaborate; I was sent an email containing a link to an EP, with a request to check it out and review, non-PR related, a personal email. The person in question stated that they were a casual reader of this blog, and wanted to know what I thought about their "comedy / punk" band; BANKRUPT PUG. Alarm bells are already ringing in my ears, are they baiting me?...With influences including "Music, sound effects, cartoons, alcohol and pugs", they created (they didn't write this EP, they created it, like a fucking FRANKENSTEIN monster) the "I Can't Believe I Ate The Whole Thing" EP....did I spare myself the loss of sanity and send this to the spam folder? Of course not...I wasted ten minutes of my sense of hearing only to find myself raging harder than a Red Gyarados flipping it's shit in Johto...here's what I found.

We open up with "Adopt / Adapt / Improve" and all I can say is that initially, it begins with a semi-retro vibe with it's guitar tone taking you back to the likes of THE B52's or MINUTEMEN...musically it's straightforward enough, it's upbeat, generally quirky but vocally, Pablo or Tetley, whichever one it is (Yes, they go by these names, other members include Captain Zilchio, Vlad The Creator and wait for it...Strangey McStrange) it sounds awful. There's barely any tune vocally, it's flat and, lyrics that include two boys burning a bag of dogs is just...what?! It get's worse...we follow up with "Why So Seagullrious?" (I'm not even joking) and it is beyond ridiculous. It's a softer song, it's got subtle keyboard elements that aid with the tracks melody and really it falls under pop-rock more than punk, if you took out all the words this could actually make a decent demo track for a proper band...but those words...I thought I'd heard it all but I was clearly wrong. If you spend three minutes singing about wanting to cause physical harm to a seagull while trying to feed ducks, by sticking dynamite up it's arse, you need help, you really do. I get that this is comedy punk but use that term loosely, very loosely. I hope a seagull shit's in his chips for this song...

What's next? "Golf, Strangling Animals & Masturbation"...OK you know what, I'm not even going there. It's getting to a point now where I'm unsure if I should stop writing this review right now and contact someone...like, the police, or, the RSPCA or, Jeremy Kyle, anyone! I'M going to need counselling let alone this lot! Finally we finish up then on "Marshmallow" and it's another two minutes of up-beat punk-inspired noise akin to our first track and really it's nothing special, ending rather abruptly too which quite frankly is the most merciful thing they've done here...the line "sweat out your sickness" closing the song and really, they should take their own advice, I mean, who recorded this?! Now, I can appreciate artistic merit, freedom of creativity, alternative comedy, freedom of expression and all of that, and even more so I do appreciate being personally contacted and requested, but if you're going to call yourself a comedy act please make sure there's something worth laughing at that ISN'T the fact you submitted this EP, unless, that was the whole point all along? There are other bands from Wales that utilize a comedy twist, NIGHTMARES FROM THE DISCOTHEQUE do it so much better and even BREAKDOWN FACE have found their purposefully low-quality niche...this on the other hand is just bad. Bankrupt is least of their worries, I'd put this pug down myself...[1]

The line-up is complete, the stage is set, Cyfarthfa Park is ready to host the return of MERTHYR ROCK! With the stage times now announced, who will you be seeing this Sunday? Which of the three stages appeals to you more, and who do you think will step up and deliver? Leave your thoughts in the comments!
Please visit http://merthyrrock.com/ for tickets.

MAIN STAGE
21:00: Taking Back Sunday
19:35: Reel Big Fish
18:10: Anti-Flag
17:00: Blitz Kids
16:00: Save Your Breath
15:00: Clear The Auditorium

SECOND STAGE
20:25: The Blackout
19:00: Feed The Rhino
17:40: LostAlone
16:30: The One Hundred
                                                                   15:30: Colt 45


                                                                   YOUNG PROMOTERS NETWORK STAGE
                                                                   19:55: En Garde
                                                                   19:00: Continents
                                                                   18:05: When We Were Wolves
                                                                   17:10: Falling With Style
                                                                   16:15: Reaper In Sicily
                                                                   15:15: Breathe In The Silence

When a band comes along, influenced by the SEX PISTOLS, GREENDAY and ANAL CUNT, describe themselves as “Shitcore”, and has part of their biography that states “Being talentless is no obstacle for this 3 piece South Wales band”…it’s safe to say that either the band don’t take themselves seriously AT ALL, or they are seriously in need of some sort of therapy. Luckily, it’s the former that sums up BREAKDOWN FACE, who have just released their newest album; “Quarter Life Crisis”. Let’s see what’s troubling these Welsh youngsters…

Kicking things off with the album’s title-track, we’re greeted with a lengthy intro of sludgy, heavy guitars, its very doom and gloom, before it picks up and becomes this deep grungy punk number. It’s got some observational lyrical commentary on life, added with the angst fuelled punk style, it’s not original but it’s a relatively decent start.

“I Don’t Wanna Go To School” is a typically rebellious sounding piece you’d expect from young punks, pretty cliché and in all honesty, rather cringe-worthy lyrically. The band may just be primarily tongue-in-cheek but it doesn't mean they've managed to be amusing in the process here. “Kabuteri” and “I’ll Do It Tomorrow” keep up the abrasive slurry of noise, before we finish up on “Victorious”, a five minute, almost epic number. It chugs along, with its uncharacteristically jolly and positive message about friendship and sticking together, a dash of piano, again, unexpected, and the whole thing seems to be, well, happy.

If you have to break down Breakdown Face, there are one or two things that are evident. Despite claiming to be talentless, it’s clear that, should they consider trying, they have the capability of being a decent, old-school grubby punk band. They have the sound; they can play, here it’s almost as if they've dumbed it down. Even though you know they are only doing it half-assed, it’s almost annoying to see because instead of playing around amusing themselves, they could be more. What they've achieved in doing is made an album that’s meant to be pretty much pointless and a bit of a joke, but they've left out anything actually considered funny. The whole thing is a shame really. [4]


If you want to check them out, visit them on Facebook: https://www.facebook.com/BreakdownFaceMusic

Back in 2001, four guys from Utah decided to break the mould, it was time to shake things up a bit, and, after a lot of disinterest from a variety of labels, and a lot of patience, THE USED managed to release their début self-titled album through REPRISE RECORDS. With songs such as “Maybe Memories” and “A Box Full Of Sharp Objects”, The Used became one of the hottest new bands on not just the scene, but any scene. Their penchant for combining great rock melodies with raw punk intensity separated them from the then mainstream nu metal machine that had reached its peak, and were breaking away from the pack, garnering a loyal cult following. That following grew with follow up album “In Love And Death” and the huge singles including “Take It Away” and, over the course of time, Bert McCracken and co became one of the key bands of the emerging post-hard core/alternative scene. 2014 see’s the Orem based four-piece release the new album “Imaginary Enemy”.  

“All revolutions are impossible until they happen; then they become inevitable”…this is what greets us as we press play for track one, “Revolution”.  It’s an anti-political burst of energy with killer hooks and a great sing-along chorus, some of the catchiest material the band has released and it’s a bright, promising start. Lead single “Cry” delves further into the pop-infused melodic approach, allowing for a really accessible track that’s sure to go down well as a crowd pleaser at live shows.

“Generation Throwaway” is, despite its title, really quite the soft number. It’s got a huge sounding pop-anthem style, gang vocal chorus that catches you off-guard, after having expected a brash, unapologetic punk rock statement. “Make Believe” is a bit livelier but again, it’s lacking bite. A catchy song, that’s undeniable, but that’s as far as it goes. The same can be said for the title track and, well, the album as a whole in all honesty.

Whereas it’s not unheard of for The Used to utilise melody to great effect in their song writing, it’s unusual for them to produce such a unilaterally fashioned album. There are a lot of great songs on “Imaginary Enemy”, it’s an entertaining listen with some top tunes, but it just seems, innocuous. It’s probably their most accessible album to date, bar the odd pocket of mild aggression, which some long-time fans may deem disappointing, but, in a scene drowning in metalcore, it does I guess provide a more than welcome alternative. The Used have allowed the lyrical content in their songs to provide food for thought while making a really commercially friendly album. It’s clear they've stopped to take note of what’s happening around them, and they've delivered an album not only relevant in terms of topic, but they've done it stylishly too. It stands out, and on this rare occasion, for a band like The Used to make a pop album is exactly what we needed. I guess the imaginary enemy is the mainstream itself…fans of rock and metal universally see mainstream culture as plastic, with no depth or ingenuity other than for making fast money, The Used have released a record full of radio friendly tracks not to “sell out” per Se, but because they’re smart. The mainstream is only the enemy if you want it to be, you can just as easily use it to your advantage…”Force Without Violence” and all that…[8]


"Imaginary Enemy" is available now via iTunes: https://itunes.apple.com/gb/album/imaginary-enemy/id804990197

When you mentally piece together your standard band, you generally envisage four key members; vocalist, guitarist, bassist and drummer, but what if you decided to half that and take an unconventional route? Well that’s exactly what THE FIRE AND I have done and it hasn't hindered them in the slightest. Formed in Bathgate, Scotland, Gordon Love and Hooligan Sadikson, using just a bass guitar and a set of drums, deliver an intense onslaught of hard, raw indie rock, and show the world that yes, less can indeed mean more, and back that up with the brand new album; “Double Kamikaze”

Opening instrumental track “Devil Damned Thoughts” is a groove-laden, dark, bluesy piece, and like it’s title suggests, sounds like the inner turmoil of one’s fragile state of mind, full of frustration and is a great start to proceedings, while the following title track takes things up a gear with some almost punk/thrash drum playing before Gordon’s vocals finally make an appearance. Clearer than expected but by no means crystal, like a rough copy of DRENGE.

“Coming Loose” is a gentler affair, with its bass sounding like it owes a lot to artists such as THE CURE, it’s an altogether more stripped back effort with far smoother vocals, which is poles apart from “High Flyer Suicide” in every aspect. There’s a doggedness at its core, the duo not concerned with sounding polished or not wanting to take anything away from the sound, its rock ‘n’ roll as was intended.

“Still Under” is again stripped right back and acts as an interlude is some ways, despite the album having an actual interlude prior to this song. At less than two minutes long, it’s morose and almost gothic in its sense of melancholy, like a modern take on JOY DIVISION. “Full Effect Intake” and “Bitten” snap you back into consciousness with their lively displays, leading up to the final track; “Washing Over”.

“Double Kamikaze” is a fitting title really, in the sense that it’s highly unorthodox for a rock band to just utilize bass and percussion and play as a duo; it’s a risk that’s paid off however, and goes to show that if you’re serious about your art, in this case music, you can achieve what you want to achieve without having to conform to any rule books or templates. The sound may not be all too innovative, but it’s inspiring none the less. [6.5]


"Double Kamikaze" is available now on iTunes: https://itunes.apple.com/gb/album/double-kamikaze/id819306888 
Check out The Fire And I on Facebook: https://www.facebook.com/thefireandi

Newton Abbott, a Devonshire town known for its historical markets and it’s trading. It’s a town that’s generated several county cricketers and such, but it’s safe to say that it’s not a place you’d quickly associate with gruff punk rock. Well, hopefully all of that is about to change. Let me introduce to you YOUR LAST DAY; a highly energetic 5-piece inspired by the likes of FOUR YEAR STRONG, SENSES FAIL and FUNERAL FOR A FRIEND, who on their brand new self-titled EP, deliver a strong, confident alternative punk onslaught capable of thrusting them into the eyes of the UK rock scene and out of their southern surroundings.

The 4 track EP opens up with “Ok To Break”, which apart from a steady rhythmic intro, descends in to a frantic paced gravelly punk number. Ryan Walker’s vocals coarse and unpolished but it’s that very style that separates it from your typical pop punk band. A lot of musical elitists complain about bands sounding like they are aiming too much for the mainstream (selling out) and sounding over commercialised, or over produced…not YLD. This is punk as it should sound; real.

“Life Lines & Land Mines” starts off slightly more pop punk sounding, but it’s still rough enough to distinguish itself. Musically there’s a little more of the Senses Fail influence on display, drummer Naff driving the song forward, guitarists Chris and Matt , as well as bassist Bill maintaining a steady and solid tone to the track. The odd breakdown, sturdy riffs, its good stuff, before third track “Gatwick: It’s Terminal” kicks in with a more “in your face” approach. Not a great deal different from the previous track, just sounding slightly more urgent, sounding hungrier, which really benefits the genre. It’s not ground breaking but its how it’s supposed to sound, which is good.

The final track then, “67-94” (which happens to be Kurt Cobain’s life span) is a song about reaching the end generally, and not actually about the NIRVANA front man himself. It’s an inspired title, to perfectly encapsulate the feeling of closure, finality and realising you’ve done all you can. A sense of, it’s better to go out in a blaze of fire, than to fade away into nothing. Go out with a bang so to speak (no ill humour intended there), and it’s a great way to end the EP. It’s poignant, meaningful, and altogether a fitting way to summarise a fantastic EP. Punk rock at its core is brash, it’s dog-eared and pretty sketchy on times, but it retains a charm that isn’t found elsewhere in music. YLD, despite their location, sound like the kind of band that could make an impression on the world scene, with a real quality sound behind them. Like I said, the last thing you’d expect from south Devon is a proper old-school punk band…but life is full of surprises. Your last day? Let’s hope it’s not really… [7.5]


To download the EP for FREE, go here! https://yourlastday.bandcamp.com/ 
Your Last Day on Facebook - https://www.facebook.com/YLDbanduk

As much as we’d all hope, rock and metal, as a culture at least, doesn’t have the “all for one” type of, brothers in arms community we’d all like to think. For example, to some, the idea of an all-girl rock band is greeted with the sense of elitism and snobbery, as if to say they simply can’t be any good at rock because of their gender, or they are just seen as eye-candy in a very male dominated genre. However, three young ladies (Welsh sisters Sam and Charlotte Bolderson, and Oxfordshire born Harriet Wadeson) who go by the name THE KIX are proudly demonstrating that ladies have as much a place in the pit as their male counterparts, using hooks not looks to turn heads and draw attention to themselves.

With a love of artists such as AC/DC, and drawing influence from the likes of JOAN JETT, The Kix wrote and recorded their début EP; “Lady Luck”. Six tracks of ballsy, classic rock with a fresh modern twist. Opening track “Bring The Thunder” has some slick guitar work from Sam, her vocals too sounding crisp and clear with drummer Charlotte and bassist Harriet supplying solid backing. “Right On Cue” is slightly grittier, a touch of old school punk with the influence of Jett all the more prominent, before the title track rolls in with its riff laden simplicity. It’s a slow burner, but carries with it an ample amount of dirty, denim and leather clad rock ‘n’ roll swagger.

“Playing With Fire” picks things back up again, the shortest track on offer here, again, slightly punk in tone but very melodic, an EP highlight, where as “Had It All” is probably the weakest of the six songs, if only because of the chorus, it lacks…kick. Regardless of that, the EP is rounded off with “Back To My Place”, another fine up beat rock number, possibly a nod to what I mentioned initially, it sounds like they’re having a pop at the guys who see them for one thing, when in actual fact they are here to be taken seriously as musicians, and really with this EP, it’s impossible not to. The Kix are clearly passionate about what they do, they could've gone down the easy road of becoming a post-PARAMORE female fronted pop rock outfit, but chose to stay true to the music they love in a male dominated scene, and it’s paying off. They've already played support slots with the likes of SAXON and they deserve all the praise they get. I'm sure with lady luck on their side we’ll be seeing a lot more of these in future. [7]


The EP "Lady Luck" is available on iTunes for just £4.74 : https://itunes.apple.com/gb/album/lady-luck-ep/id709124947 
Find The Kix on Facebook: https://www.facebook.com/TheKix1

As a self-confessed “Grunge-core Trash band”; Basingstoke’s MARY KELLY, describe their style as bluntly as their style sounds. Their raw and unfiltered blend of heavy post-punk will excite fans of artists such as SEND MORE PARAMEDICS and early AFI. You’ll probably need a paramedic after listening to debut album “Modus Operandi”.
Opening track “Bagpussy” is primarily an instrumental piece, the vocals are minimal at best. It’s more of an intro as oppose to an actual album track, brimming with a classic middle-fingers up, punk attitude, before “Through The Announce Table” takes things down a peg or two. It’s darker and heavier, with vocalist Simon Gibbins giving 110% behind every lyric screamed, in places sounding like Frank Carter era GALLOWS.
The brilliantly titled “I Don’t Dig Chicks (I Dig Graves)” is another short dose of vicious punk rock, followed by first single “I’m Not A Buddhist (I’m Just Weak)”, which, after a calm, near silent start soon turns into this, snarling, rabid animal of a song. 
“Penny Dreadful” is probably as accessible as MARY KELLY get, a great rhythm to this one, guitarists Matt Spencer and Breeze have a real feel for the genre, with bassist Sean Gisby and drummer Martin Sylvester holding everything together nicely. The drums being all the more prominent in “Stained Glass Weirdo”, very much at the forefront here, before “Treadwell Timothy” ends proceedings. At over ten minutes long, it becomes apparent that there’s a hidden track in the mix somewhere, revealing itself at around the six minute mark, but it’s generally recorded spoken word poetry and noise.
Mary Kelly are an acquired taste, it’s far from easy listening, but having cited lyrical influences that primarily come from subjects such as Jack The Ripper, (even their name is one of the Rippers’ victims) it’s hardly surprising. “Modus Operandi” is a fine full length debut, and fans of alternative heavy music should give this a chance. [6.5]

Download: "I Don't Dig Chicks..." and "Penny Dreadful"

Visit http://www.marykellyband.com/ for links to purchase the album via Amazon and iTunes.