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VR Sex - "Rough Dimensions"

17/7/2022

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Let’s talk about abbreviations... basically a shortened form of a word, phrase, or even branding... like, AEW, which is All Elite Wrestling... S&M which is the kind of fun, kinky shit I’m not going to share with you HERE, this aint Only Fans! (I say this winking at you, watching you recoil in confused arousal), and we can’t forget LGBTQ+, which, is just cheating at Scrabble, let’s be honest.  

This segue brings us to VR; virtual reality... and, I’m going to have to set the scene here using DEMOLITION MAN of all things. Do you remember that bit where, Sylvester Stallone and Sandra Bullock partake in that brief bout of, futuristic head-set sexy sex? It was like being off your tits on Viagra and mushrooms with absolutely none of the nutritional value. I don’t know what confused him more, this or the seashells? I digress...this IS fitting however, as today we’ll be taking a look at VR SEX... 

Comprised of Noel Skum, Z. Oro and Mico Frost, who, aside from sounding like the contents of a BTEC Kellog’s variety pack, are an acid-punk / death-rock / ethereally ambient ensemble, who released their newest album this year entitled “Rough Dimensions”. The question is, if Y4dyz =√(60/4) x yz/r² x (1/4𝜋) ½ , what the FUCK is THIS album going to sound like? There’s only one way to find out... 

The album opens up with “Victim Or Vixen” and it starts with this, almost, 1970’s era, grainy synth instrumentation, that you might find in the theme of a children's TV show. That however soon descends into something between KILLING JOKE and JOY DIVISION instrumentally. It’s got a somewhat smooth post-punk aesthetic, with a lack of vocal range, practically spoken word for the most part, yet manages to bridge that with an indie/grunge vibe. It ends on an enjoyably melodic note, ultimately starting things off in an interesting manner with a variety of influences. 

We quickly transition then into album highlight “Glutton For Love”, which utilizes all of the above points while delivering the hooks; the synths here make this song, and it’s got an incredibly up-beat chorus instrumentally. There’s a sense of frustration here vocally at times that harks back to the likes of THE CURE, and it lavishes in its more pop-based production because of it.  
Further notable points include “Live In A Dream”, which starts off reminding me of a BLOODHOUND GANG track (Think “Along Comes Mary”), which is a mixed bag of tricks...however combining bits of bass-rich post-punk with a more indie-rock aesthetic, the verses here reek of the SLEAFORD MODS. It’s got charm to it, and it’s a grower to be fair, but the near-spoken word delivery again can be understandably off-putting. “Walk Of Fame” in turn channels the likes of RADIOHEAD, with its slowly plucked, frankly crestfallen sense of vulnerable accountability, and that itself heaps on about as much praise as I can possibly muster... 

The rest of the album then which, retains that sense of overall melancholic misery, plateaus, into this generally uninspired mediocrity. “Cyber Crimes” as an interlude is absolutely pointless... at just over half a minute of electronic distortion, it sounds like a late 90’s AOL internet Dial-Up connection having a stroke. “End Vision” starts off promisingly with some up-beat, catchy percussion and does maintain an up-tempo rhythm, but is let down by the stagnant vocal delivery. At least for half the track...the last half plods itself over the finish line with the laziest of riffs that, loop so lethargically...it’s like that cut off point where you can hear them running out of ideas. 

VR SEX, I guess, on first listen, are a bit like losing your actual virginity. On paper it’s a wonderous thing; you go into it head-on full of excitement without the foggiest idea what you’re doing, fumble your way through until you finish, a bit sloppily, thinking...oh? “Rough Dimensions” here has its ideas, as do the band in general, but just like Stallone wearing that head-set, you can’t help but wish it was just some, back-to-basics post-punk, or in his case, post-spunk. An average album by an average band with a quirky name...now if you’ll excuse me, taking off MY headset, the curtains have been open this whole time, and, the bacon just pulled up...at least the band can thank me for some decent exposure? No? (Laughing for the last time as a free man) *KNOCK KNOCK* “Open up! It’s The Police!”...fuck... [4] 
WWW.FACEBOOK.COM/VRSEXBAND
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Billy Idol - "The Roadside" EP

16/10/2021

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MTV...it’s MEANT to stand for “Music Television”, if you can remember that. Nowadays it’s full of ten-a-penny reality TV shows, and original programming aimed at teenagers and young adults. Whatever that means. Stars are being “made” for their fifteen minutes of fame apiece, but they are entirely disposable. Not like the good old days.  

As I stated MTV was and should be all about the music, that was the entire point! It was a new media platform in the evolution of entertainment to provide artists with a means of promotion, creative freedom and advertisement, which you could enjoy all day from the comfort of your home WAY before the internet! Music videos were new, fresh and exciting, and it allowed bands to reach vast new audiences outside of radio.  

The initial wave of these artists would ultimately go down in history, as being pioneers; ground-breaking media personas, as being among the first, they were at the forefront of a new evolution in mainstream media attention, and one of those artists, was BILLY IDOL. Born in London as William Broad, Billy first found fame as part of underground punk outfit GENERATION-X before his solo career exploded in the early 80’s. Tracks such as “White Wedding” and “Rebel Yell” had cemented him as a bonafide punk rock poster boy; leather clad with his blonde hair, whiplash smile and cheeky charm; he was made for MTV. In 2021, we find Billy Idol revitalised, releasing his first original music since 2014; via an EP by the name of “The Roadside”. Are we stopping at the services for a quick Maccies en route or have we completely broken down with five flat tires and no phone service? Let’s find out... 

We’re going to have to start off by talking about “Bitter Taste”; the EP’s lead single and the focus point of Idol’s latest creative flurry. The track itself, conceptually, is centred around a motorcycle accident Idol was involved in back in 1990, which nearly cost him his life. It’s a heavily reflective track, that he likens to this past year or so of the pandemic. Lifestyles change, habits change, your entire way of life and way of thinking changes in face of uncertainty and, such incidents can mature you mentally and emotionally. The track musically is a sombre, acoustic heavy, semi-country inspired ballad, and you can not only hear, but feel the reflection and sentiment in Idol’s voice; in his lyrics and the overall delivery of the track as a whole. The subtle piano keys that litter the track sporadically add a quaint delicacy to the already soft recording, and they complement the gentle percussion and mellow acoustics, before we get a more frustrated flurry of more aggressive vocals towards the tracks climax. Deep in its sense of soul searching, it is a thing of beauty.  

But what else makes up the rest of the 4-track EP? It actually opens up with “Rita Hayworth” who, for those of you who don’t know, is an American actress who was prominent in the late 1930’s through the 1940’s, where she found herself as a popular pin-up girl for American GI’s. Topically the track mirrors Hayworth’s own personal struggles with Columbia Pictures with the soulless corporate political money trap Hollywood is today. Almost a piece of advice put to music, he sings “You’re swimmin’ with Jaws and this dream town will swallow you whole; you’re gonna’ need a bigger boat”. A sadly all too common remark towards the otherwise glamourized Hollywood lifestyle of fame and fortune. It eats people up and breaks people down. Set to a no-nonsense rocking piece of instrumentation with a solid groove and soaring gang vocal whoa’s, it’s a fun, up-beat bit of rock ‘n’ roll. 

​The second half of the EP is made up of “U Don’t Have To Kiss Me Like That”, which harks back to a jovial sense of late seventies / early 80’s glam rock that could quite easily appeal to fans of say T-REX and MARC BOLAN for example. It’s more of that era in aesthetic and highlights more of the early influences Idol would have been around growing up, before we finish up on “Baby Put Your Clothes Back On” which on paper, sounds like an absolute mood killer. It turns out that, that’s actually accurate. A slow jam of twangy guitars and mild percussion not unlike something CHRIS ISAAK would produce, it’s another reflective track about self-worth and emotional maturity that could easily thematically tie-in to the main narrative of “Bitter Taste”. It’s as if he harks back to when he realised there was more to life than fun times, girls and living fast and it’s quite humbling. 

With Idol’s last record, “Kings And Queens Of The Underground” being a trip down memory lane itself, here we see him continue to take inspiration from the past and using his memories and stories as a form of catharsis through his creative process. From a selfish point of view, we could all easily say we’d prefer a new full-length Billy Idol album, as it’s been so long, but the quality and honesty presented here more than makes up for it. As far as this EP goes, we are so glad you weren’t left by that roadside, as THAT, would have left a bitter taste. [9] 
WWW.FACEBOOK.COM/BILLYIDOL
SPEAKING OF THE ROAD...BILLY IDOL makes his return to the UK in 2022 for a live arena tour, his first since 2018! The original rebellious poster boy hits six dates across the UK with special support from THE GO-GO'S to promote his new EP, as well as treating audiences to a plethora of classic hits and favourites. Tickets are available right now, via www.aegpresents.co.uk/events/detail/billy-idol - and to clarify, the dates and venues are as follows;

Saturday June 11th - Glasgow, SSE Hydro
Monday June 13th - Manchester, AO Arena
Wednesday June 15th - Birmingham, Resorts World Arena
Saturday June 18th - London, SSE Arena Wembley
Sunday June 19th - Cardiff, Motorpoint Arena
​Tuesday June 21st - Leeds, First Direct Arena

We hope to see you all at the roadside next Summer...you'll find me at Cardiff.
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Various Artists - "The Metallica Blacklist"

14/9/2021

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Image Courtesy Of Rolling Stone
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Iconic...legendary...these are words quite often thrown around haphazardly nowadays. Like, you're at the bar and your mate goes for a round and comes back with a cheeky packet of pork scratchings, so you call him a legend. No, he’s not a legend, he’s a bell-end he could have grabbed two packs the selfish twat. I digress. When it comes to something like music, or art in general, it takes something special to garner such praise, truly, and today’s review is a real reflection of that. Today we’re going to be talking about METALLICA. 

Now, love them or hate them for whatever reasons y’all elitist metal heads have (Personally bar a couple of tracks, I’m not a massive fan of Metallica, or their style of metal in general but that’s just me) you can’t deny the impact they’ve had on heavy music since day one. Their early discography helped lay the foundations for the evolution of metal into thrash and beyond, churning out some of the most important releases of the whole genre...until in 1991, when they released arguably THE most important; “The Black Album”. 

Many OG fans felt like it was a bit of a departure from their raw origins, incorporating softer melodies and more clean vocals (James Hetfield has gone on record to say on this album he finally became a singer) and that while still Metallica, and as strong of an album it technically was, they had sold out. Sounds absurd right? “The Black Album”, already following “...And Justice For All” simply cemented them as THE biggest metal band on the planet, and in terms of the history of metal, it’s one of the foremost standard bearers. In 2021...that still holds true. 

Thirty years after its release, it’s still talked about and revered for its influence and importance, and to celebrate the albums anniversary, Metallica have decided to cherry pick a plethora of artists from all walks of life, to highlight just how influential the album has been. The artists got to pick a song of their choosing from “The Black Album” and record a cover, for what is now known, as “The Blacklist”. SIXTY-SIX versions of the songs you all know and love...in one compilation. Let’s dive into this, black hole if you will, and highlight some the more, diverse recordings on offer. 
Luckily for us, the tracks aren’t all thrown together mish mash like the running order was decided by a washing machine spin-cycle, they are categorised by specific tracks, and to start us off, we have 7 renditions of “Enter Sandman”. Let’s be honest as far as heavy metal anthems go, this is up there in the top tier; a rock club floor filler guaranteed for beer fuelled singalongs...so what do we get here? ALESSIA CARA is first up and the “Scars To Your Beautiful” songstress wraps her husky, soulful pop vocals around the track, accompanied by THE WARNING. As a performer she brings a fresh take on the vocals and this is SLICK; a very strong start here. As the track progresses, we get the heavier instrumental factors and it becomes something say, FLORENCE & THE MACHINE would drop on an EP... actually that sounds fantastic somebody make that happen.  

Sticking with “Enter Sandman” we get some interesting variations...we get WEEZER dropping a version that wouldn’t be out of place on their own “The Teal Album” compilation...a pretty straightforward cover, bar a couple of guitar tweaks and a subtle nod to “Buddy Holly”. It’s fine. RINA SAWAYAMA then takes things up a notch with a surging, riff-heavy almost techno-inspired piece of production with bold, assertive vocals, becoming possibly one of the tracks better covers ever. Occultist theatrical rockers GHOST then drop arguably the most creative cover, as they ditch the iconic intro, and delve straight into a piano-led lyrical opening. They have their distinct style, and the holy-tones soon shift into gear as the guitars erupt, and it’s an interesting take on the classic. 

Next up we have “Sad But True” and I have to say, the best version here by far comes courtesy of country artist JASON ISBELL & THE 400 UNIT. The country/rockabilly twist with the twangy guitars gives the Alabama-born artist a unique take on the track and it really works. South Korean outfit YB offer a more up-tempo rock recording, which, while fine audibly, highlights the global reach Metallica have. 
“Holier Than Thou” takes up the third portion of the album and this kicks off with BIFFY CLYRO and to be fair, they produce quite a quirky, synth-based recording but the novelty sadly wears off as boy does this rendition drag out...you took over five minutes to do a track less than four minutes long. Absolutely no need lads. Spoiled it for yourselves. THE CHATS and OFF! Both drop simultaneous punk-rock covers which, while decent in their own right are put too closely together and it depreciates both their values. COREY TAYLOR then showcases why he is one of the most prominent voices in modern metal as he tears through his own hard rocking rendition; quite raw but with it’s own throw-back, thrash-metal vibe going on. 

Back to more ballad-based territory we find ourselves at “The Unforgiven” and CAGE THE ELEPHANT kick us off with an incredibly stripped back, indie/acoustic cover and the hushed, smoky vocals allow for an even more intimate listening experience, which suit the song quite well really. DIET CIG keep the indie aesthetic going but the New York duo bring a brasher recording to the table and it works just as well. Some of the compilations better covers come here however, as we depart far from what you would perceive Metallica to be, courtesy of FLATBUSH ZOMBIES Feat. DJ SCRATCH. We get a proper old-school hip-hop beat laid in front of us with some classic flows layered around the soft melodic vocal chorus from James Hetfield. This works surprisingly well as a mash up to be fair, it’s impressive. This can also be said for HA*ASH, as the Louisiana-based duo deliver a wonderfully relaxed harmonic clean vocal cover with acoustic, Latin-pop aesthetics giving the track some extra flavour.  
It’s safe to assume that, the most popular tracks will get the most covers as they are going to get the most attention, and as good as the aforementioned have been, if you think of “The Black Album”...you think of “Nothing Else Matters”. The ballad that sent Metallica into the mainstream stratosphere, here, gets a whopping 13 renditions...it’s essentially an album worth of tracks within itself! There’s a LOT to get through here so we’ll focus on some highlights...and we have to start with the one that got all of the attention...starring MILEY CYRUS with ELTON JOHN on piano. Originally scoffed at for her “Wrecking Ball” era output, she’s come on leaps and bounds as a vocal performer, having worked alongside everyone from DOLLY PARTON to BILLY IDOL, and credit to her here, she wraps her smoky voice around this superbly. It’s big, it’s bold, it’s confident, it’s passionate and it WORKS. Forget jumping on bandwagons and all that gubbins, you need to appreciate Miley here as a performer, this is a respect earner for even the die-hards.  

On the other end of the scale then, we get a cover I was myself personally looking forward to, courtesy of DEPECHE MODE vocalist DAVE GAHAN. His sombre rendition is practically haunting as he croons his way through the track, taking it to whole new levels of emotional torment, yet while undeniably sad, its equally undeniably beautiful; I love this. On a side note, it’s rare I highlight instrumentals but, German pianist IGOR LEVIT offers up a sincerely sweet solo piano rendition which could quite easily pass for a lullaby. 
The rest of the compilation consists then of, non-single tracks and while not necessarily less-popular, they are lesser known to mainstream audiences...deeper cuts if you will. These, naturally get sparse recognition in comparison, but they aren’t without their talking points. French vocalist IZIA does well with “My Friend Of Misery”, offering a fuzzy, up-beat electronic-tinged rock offering, despite the slightly awkward chorus transition. IMELDA MAY drops by for a quick cover of “The God That Failed” that has quite a deep, bluesy swagger, while TOMI OWO wraps her soft, husky vocals around a delicate version of “Through The Never”. It’s still got guitar presence but it’s got more of an R’n’B flavour. 

Naturally...there are over sixty tracks here, you must be thinking, surely there has to be some absolute crap littered throughout the compilation? I have to say, you would be absolutely correct. JUANES idea of “Enter Sandman” is like, he is first trying to learn THAT riff for the first ever time...it is SO jerky and dissected it detracts from the feeling of the song entirely. ROYAL BLOOD’s cover of “Sad But True” is no more than a straight-up cover with little additional character, which results in a pretty boring listen quite frankly. CHASE & STATUS with BACKROAD GEE drop this god-awful mumble-rap, grime-inspired take on “Wherever I May Roam”...I suggest you roam as far away from this as physically possible, and then defy physics and roam further. This is abysmal. Sadly, another disappointment comes courtesy of THE HU. The Mongolian throat-metal traditionalists deliver a cover of “Through The Never” in, I GUESS their native language, with some native instrumentation. It gives the track some interesting character with fresh sounds, but you lose all of the sing-along qualities here. This might be nit-picking but, it’s lacking in it’s own ways. 

Overall, over the course of this, playlist essentially, there is a noticeably distinct lack of rock and metal, and really that’s probably by design. The artists that have contributed that have kept to these genres, haven’t really brought anything new to the table and those covers in question have been really quite run of the mill...it’s the diversity of artists that Metallica were looking to showcase and they have undeniably delivered on that front. A lot of these vocalists have injected fresh ideas into thirty-year-old classics by utilising their own inspirations, backgrounds, ideas and flavours, creating a genuinely creative cocktail menu with just twelve original songs to work with. Metallica fans might not appreciate this 100%, most still living in their tight stonewashed jeans, patch-laden battle jackets and downing warm cases of beer...a bit like GNAR KILL fans I guess, (James Hetfield is Hell Boy confirmed) but for anyone curious about the legacy of this album, and have nearly six hours to kill, it’s worth a listen...I guess? [7] 
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Unlucky Dip (19/05/2020)

19/5/2020

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I get A LOT of emails, not as many as big publications obviously, but for me, I get a lot, and I literally can’t keep up with them all. This means I either take virtually forever getting around to some reviews, resulting in the peak promotion period usually having been and gone, for that I do apologise. Sometimes I forget about submissions entirely, for which I also apologise, and a lot of the time, I’m sent singles. Now, this blog has been running since 2014 and 99% of the content here, bar the odd rare article, is comprised of EP and album reviews. I’ve nothing against the humble single, I miss the days of picking up CD singles in Woolworths wondering what B-Sides you’d be treated to…but writing a full review for just A single is something I’ve always personally deemed a bit of a ball ache.

Going forward, I am going to try to, once a week (The key word being try here, I’m making no promises) present a general collection of single submissions from my inbox in one article, to try and ensure I don’t miss out on potential gems, and more importantly, to also clear some space in my inbox (At this time of writing I have around 650 unread emails…LOL). With that in mind, here are seven randomly selected tracks that I have been sent, that I would like to share with you, in the first GTGC Unlucky Dip; the result of combining Speed Dating with the heartfelt Comedy Roast.

Heavyman - "Baby Jean"

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We're going to kick this feature off with a 4-piece from London by the name of HEAVYMAN. Comprising of vocalist/guitarist Charlie Yang, drummer Tom Papaloizou (I'm pretty sure he was in "The League Of Gentlemen"?) bassist Igor Fonseca and lead guitarist Nick Burns, they recently got in touch, stating that were fans of the blog and were themselves fueled by alcohol and sarcasm, asking me to check out their debut single "Baby Jean". How could I possible refuse?

Initially sounding like something you'd hear from early TURBONEGRO, it soon transitions into a more methodical, groove-rich slow jam of a southern blues rock effort. It covers all the bases with some slick guitar work and vocal swagger for some textbook classic blues rock. With more tracks scheduled to be released over the coming months, these are ones to watch.

Rory K - "Heat Thru Your Body"

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"Now this is a story all about how my life got, at most, mildly inconvenienced, but I'd like to take a minute just to share this my friend, and talk about this new single by The Fresh Prince Of Bellend".

You know all the meme's with "Now listen here you little shit..."? Well that's essentially me right now with RORY K. A native of downtown Manhattan, New York, Rory was born into a musical family, with his dad having been in the late 80's socio-political rock group BLACK 47. So imagine his dad's disappointment to see Rory here peddling some of the most uninspired, cringe-worthy rap/hip-hop an eleventeen-year-old would perform, on the track "Heat Thru Your Body"...I bet he finds vanilla spicy.

From the intro that sounds like seagulls having a stroke, to the combination of abysmal lyrics and self-indulgent vocals...and the embarrassing video, it's just...no. The bit where Rory is, (I'll use this term loosely) "performing" in front of some street graffiti, why are you holding a mic? You look like an absolute tit mate. And you emailed me three times for this? Assuming I hadn't replied because I couldn't stop dancing to the track? I would sooner invite my enemies to dance upon my grave than dance to this myself. And it's through*...for the record. I'm beginning to regret this new feature already...

Deejay Centipede - "Twerk It Out"

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I honestly don't know why I get sent this stuff...I'm not against rap and however many hip-hop subcultures there actually are, but it is SO rare I find any that I genuinely like. I can appreciate a flow, or a beat, sure, but there is too much recycled rap out there full of cliches about money, bitches, drugs and ho's and quite frankly I don't care about any of it.

"Twerk It Out" is the new track from Cleveland Ohio based hio-hop veteran DEEJAY CENTIPEDE, who has been spinning records since the 80's, and it features Sonny Vajra and Tee Hova...which...means absolutely nothing to me. It's got a certain 90's vibe going on which I guess you could describe as "fresh", with some soft synths poorly underlying some genuinely irritating clapping percussion. A lot of autotune going on in the vocals, and I can't lie, outside of this blog, I wouldn't listen to this...I'd rather be in the middle of a Human Centipede truth be told, but that's just me. As of now I'm outlawing Twerking on GTGC. 

Mother's Cake - "Toxic Brother"

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Austrian psychedelic rock trio MOTHER'S CAKE (Consisting of lead vocalist/guitarist Yves Krismer, bassist Benedikt Trenkwalder and drummer/backing vocalist Jan Haussels) are set to release their new album sometime in the Autumn of 2020, and tease interesting things to come with their latest single "Toxic Brother".

The onslaught of fuzzy guitars and echoed vocals, delivered among a frenetic, up-tempo barrage of stoner sludge-punk is as fun as it is exciting; the energy is real here and it'll easily appeal to fans of say, EXIT_INTERNATIONAL. The gradual fade-out of the track counters the increasing levels of insanity as you can hear the mental breakdown as it happens...this is a solid track.

Smiling Assassin - "National Pride"

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Returning to the UK now and more specifically; Hull, and we have a four-piece hardcore punk outfit by the name of SMILING ASSASSIN. Consisting of vocalist George Garnett, drummer Robbie Johnson, guitarist Josh Rogerson and bassist Casey Stead, they were forwarded to me by the wonderful folk over at Rage PR.

The new socio-political single "National Pride" is taken off the forthcoming album "Plight Of The Millennial" which is penciled for release on May 31st, and it combines all the vitriolic aggression of hardcore punk with the instrumental impatience of trash metal, easily taking influence from the likes of THE EXPLOITED or MUNICIPAL WASTE. It's an intense listen and suggests that the new album is going to be an absolute scorcher.

Hayden Brenen - "Mi Carino (feat. L.D.N.)"

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Now I'll start off by saying this...on initial listen, it's not as annoying as "Despacito"...but I'm not ruling it out overtime. It's another one of this Latino-inspired R'n'B/rap offerings that's meant to sound all smooth and sexy in the club, but I'd rather just sit in the corner with a warm bottle of Bacardi squeezing fresh lime directly into my eyeballs. 

L.D.N's contribution is fine and his rapping isn't bad, probably the most enjoyable aspect of this track in all fairness, but that doesn't really say much. Also, Mi Carino means My Sweety...creepy much. Your Nan singing this is she mate? Bomboclaat don't say shit like sweety fam ya get me? Real talk blud. I just lost the plot, literally watched it run off...

Calling All Astronauts - "Welcome To The Black Bloc"

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We round off this selection of tracks by coming full circle back to London, to find CALLING ALL ASTRONAUTS an their newest single "Welcome To The Black Bloc". The trio (Consisting of vocalist/programmer David B, guitarist JJ and bassist Paul "Buzzsaw McCrudden) mix elements of punk rock attitude and an electronic, almost light industrial tone for their sound, bridging the likes of PITCHSHIFTER, MINDLESS SELF INDULGENCE and MINISTRY for a no-nonsense blast of socio-political neo-dystopian noise.

The single is officially released on May 29th, with the new album, entitled "#Resist" dropping shortly after on June 5th, via Supersonic Media which I'm sure is going to an incredibly charged listen.
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ROCKDOWN: A Fuel Rock Club Benefit Compilatoin

3/4/2020

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This isn’t a review as such…but more of a call to arms if you will. Now, while I’ve touched on the current Coronavirus pandemic in recent reviews in a predominantly light-hearted manner, or at least trying to make light of the situation to maybe try to boost morale, it is in so many aspects in fact, a VERY serious situation. Businesses are shutting down, people are losing their jobs, people are losing their means to support their families, hell; people are fucking DYING! In such a time of need for many in an age of advanced communication and technology, some of us have never felt so far apart and, given the unprecedented nature of this global pandemic, it’s a hard realisation.

While the government (Here in the UK at least) is doing what it can to help certain businesses cover expenses while the country is on lock down, not everyone is fortunate enough to benefit from such subsidies and this is where both you and your local music venues come in. Small and independent venues have had a hard enough time over the last couple of years as it is, with several having to close doors up and down the country for financial reasons, or for dodgy housing development projects etc, so the last thing they need is a forced closure due to some Asian-ass virus because some dude in China did an Ozzy Osbourne with an infected bat.

I can’t say with certainty that your local venue is doing the same right now (Though if they are I urge you to support in any which way you can) but FUEL ROCK CLUB in Cardiff is one of the clubs that would be incredibly grateful for your support.  The award winning bar/venue situated in Womanby Street in the Welsh capital naturally relies on its punters and gig goers to pay the bills and the wages…but under forced closure, they face difficult times. Luckily, while we may not be currently able to attend the club in person, we can still help and support the club during this testing time, thanks to a new compilation album.

XIII PROMOTIONS based out of Cardiff have reached out to 30 bands and artists who have played, performed or promoted at the club, to piece together a 30-track compilation entitled “Rock Down: A Fuel Rock Club Benefit Compilation”. Available on Bandcamp as a digital download for £7.50, all proceeds raised will go towards ensuring the club doesn’t fall onto harder times that it’s already been put under, by contributing to venue upkeep etc while they have no custom. It’s a hell of an eclectic compilation, ranging from black and death metal, to punk, post-rock, blues, funk and even electronica, showcasing a plethora of genres represented by multiple scenes, who all support Fuel.  The link to Fuel’s Facebook is below, so if you can, go and buy some Fuel merch through their official channels, and the bandcamp link is also included. My personal favourites include tracks by GLASS HEART and BONDAGE FAIRIES…but there’s literally something for everyone here. Go check it out, it’s for a wholesome cause.
WWW.FACEBOOK.COM/FUELCARDIFF
WWW.XIIIPROMOTIONS.BANDCAMP.COM/RELEASES
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Alkaline Trio - "E.P." EP

28/3/2020

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For those of you living under a rock, good, stay there and self-isolate. For the rest of you, you’ll be aware that the world is currently being absolutely shafted by the on-going Coronavirus pandemic; with thousands of directly linked Covid-19 deaths reportedly recorded worldwide…supposedly 23,721 at this time of writing. Basically, life has for the most part, practically ground to a halt, as many people have to either work from home or have been furloughed indefinitely during this time of uncertainty, but while that covers all aspects of life, as summer approaches we can’t overlook the severe impact it’s had on music, more specifically concerts and festivals.

Just recently, UK heavy hitter Download Festival announced it was essentially writing this year off entirely, as have Glastonbury and Isle Of Wight, with Slam Dunk being fortunate enough to reschedule for later this year (Assuming things don’t continue to go tits up). It’s not JUST festivals though, as any large gathering is now prohibited in the interest of public safety, so bye-bye MY CHEMICAL ROMANCE reunion shows too! (We haven't long suffered flooding in Wales I don't particularly want to drown in a sea of emo tears thank you!) One of the tours, I would have not only given my left testicle to attend, but I would have sold my last roll of toilet paper too…and that would have been BAD RELIGION and ALKALINE TRIO. The trio are wholesome punks however, and themselves, personally not wanting everyone to miss out, went and dropped a surprise three-track EP simply entitled “E.P.” to make up for not being able to perform. As we’re all currently on lock-down, let’s take 10 minutes to appreciate this generous gift…

The EP opens up with “Minds Like Minefields” and we’re swiftly greeted with the up-tempo, alt. pop-punk that Alkaline Trio have made their own over the course of their career. It mixes a great, catchy off-kilter delivery with an intense, alternating instrumental flurry and some subdued yet distinct whoa-oh backing vocals. In typical Matt Skiba fashion it’s a darkly poetic love song about the aftermath of a damaging relationship leaving you mentally unstable to some degree, but delivered with so much bounce and energy it’s actually uplifting; a fantastic start this.

We follow this up with “Radio Violence” and we welcome Dan Andriano back to vocals which has always been part of Alkaline Trio’s appeal…the dual vocal styles not only gel well but it allows for completely different approaches to the bands writing and overall sound. The track retains the bands punk aesthetics when it gets going, including some sleek guitar work, but it has a lighter, more pop-oriented delivery, with its quirky chords and fun instrumentation; the band sound like they’re enjoying themselves here…if they’re trying to spread a little positivity it’s working.

Finally then we finish up on “Smokestack” and it’s like we’re taken right back to the “Damnesia” sessions…for the simple campfire acoustic approach is, surprisingly, yet another strength of Trio’s song-writing prowess, for not only can they write solid punk rock bangers and alternative goth punk anthems, they can also absolutely nail an acoustic folk ballad and they prove that here effortlessly. While not AS good as renditions of “Every Thug Needs A Lady” for example, it’s easily good enough to have been taken off that same compilation, and this mellow simplicity is just as stirring as their more perturbed punk rock, highlighting their talent for emotive story telling. The guys are quite obviously on top form here and quite frankly, just as with the recent VILLE VALO EP, the three songs only make you want to hear more, but if this is the level of material they’re putting out, whatever comes next will certainly be worth the wait. They dropped this EP because they felt bad about fans not getting to see them live because of this stupid virus…so I implore you now, the very next moment you get an opportunity to catch them live and thank them (Hopefully rescheduled shows with Bad Religion) you do it. I know I will. [9]
WWW.ALKALINETRIO.COM
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GTGC 2019: A Year In Review

30/12/2019

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2019 has like most years, been a strong year for new music. It doesn't matter what genre we're talking about; it's been a year of triumphant returns, exploratory and experimental albums and EP's and an overall win for you and me, the consumer. Over the past 12 months, in between changes in my personal life with relationships and employment, undertaking a completely new job with no prior training or background, I've still done my best to keep on top of new music, more specifically my reviews, despite my own mental health which I don't really talk about much. With all of that said, I've still managed to listen to a total of 274 brand new EP's and albums in 2019 and out of all of those, I've managed to whittle down that number to a categorised series of Best Of lists. Ranging from EP's specifically, to pop music, metal and my own personal favourite releases of the year, I've managed to expand my listening experiences and broaden my horizons to allow myself to grow as a reviewer, and these albums sum that up quite well in my opinion. While I've already shared these lists on social media, such as my Twitter ( @GavinJGriffiths ) my Instagram ( @gavthegothicchav ) and my Facebook page ( www.facebook.com/GTGCReviews ) I wanted to give a more in-depth look at my choices for the year, and my individual scoring of each record...essentially doing a Dave Meltzer star-rating system for each individual track. I hope you find my choices interesting, and as usual, I've compiled my official Spotify end of year playlist which I've included at the bottom of this post for your listening pleasure. Here's to 2020 where all of this starts again...until next time...have a happy new year, and, A LITTLE BIT OF THE BUBBLY! 

GavTheGothicChav: Top 20 EP's Of 2019

20] KILO KISH - "Redux" EP - 1.60/5
19] HEAVY LUNGS - "Measure" EP - 1.60/5
18] NAUT - "Semele" EP - 1.66/5
17] INTERPOL - "A Fine Mess" EP 1.80/5
16] POPPY - "Choke" EP - 1.80/5
15] SODOM - "Out Of The Fontline Trench" EP - 1.80/5
14] YUNGBLUD - "The Underrated Youth" EP - 1.83/5
13] BENNY BASSETT - "Words For Yesterday" EP - 1.83/5
12] 8MM - "Heart Shaped Hell" EP - 2.00/5
11] MILEY CYRUS - "She Is Coming" EP - 2.00/5
10] CATHEDRAL IN FLAMES - "Children Of The Blackest Hole" EP - 2.20/5
09] SKYLAR GREY - "Angel With Tattoos" EP - 2.20/5
08] SUN ARCANA - "Just Another Dream Away" EP - 2.20/5
07] PALAYE ROYALE - "Massacre, The New American Dream" EP - 2.25/5
06] YEAR OF THE LOCUST - "Year Of The Locust" EP - 2.25/5
05] RXPTRS - "I" EP - 2.40/5
04] LIL NAS X - "7" EP - 2.50/5
03] HAWTHORN AVENUE - "Wildfire" EP - 2.50/5
02] HER DESPAIR - "Exorcisms Of Eroticism" EP - 2.50/5
01] SOME VILLAINS - "Outliars" EP - 2.75/5

GavTheGothicChav: Top 20 Pop Albums Of 2019

20] P!NK - "Hurts 2 B Human" - 1.53/5
19] BASTILLE - "Doom Days" - 1.54/5
18] TOM WALKER - "What A Time To Be Alive" - 1.57/5
17] BILLIE EILISH - "When We All Fall Asleep Where Do We Go" - 1.57/5
16] EMMA BUNTON - "My Happy Place" - 1.60/5
15] POST MALONE - "Hollywood's Bleeding" - 1.64/5
14] BLACKPINK - "In Your Area" - 1.66/5
13] KERLI - "Shadow Works" - 1.66/5
12] MIKA - "My Name Is Michael Holbrook" - 1.69/5
11] ALICE MERTON - "Mint" - 1.81/5
10] SIGRID - "Sucker Punch" - 1.83/5
09] LEWIS CAPALDI - "Divinely Inspired To A Hellish Extent" - 1.83/5
08] MARINA - "Love + Hate" - 1.87/5
07] DAVE - "Psychodrama" - 1.90/5
06] BUSTED - Half Way There" - 1.90/5
05] WILDWOOD KIN - "Wildwood Kin" - 2.10/5
04] WILL YOUNG - "Lexicon" - 2.16/5
03] JAMES BLUNT - "Once Upon A Mind" - 2.18/5
02] HANTE. - "Fierce" - 2.23/5
01] SCANDROID - "The Light" - 2.28/5

GavTheGothicChav; Top 20 Metal Albums Of 2019

20] KHAIDIAN - "Penumbra" - 2.00/5
19] INCITE - "Built To Destroy" - 2.00/5
18] LEACH - "Hymns For The Hollow" - 2.00/5
17] SWALLOW THE SUN - "When A Shadow Is Forced Into The Light" - 2.00/5
16] HEARTSICK - "Sleep Cycles" - 2.07/5
15] CRYSTAL LAKE - "Helix" - 2.08/5
14] AS I LAY DYING - "Shaped By Fire" - 2.08/5
13] KILLSWITCH ENGAGE - "Atonement" - 2.09/5
12] FALLUJAH - "Undying Light" - 2.10/5
11] AFTERLIFE - "Breaking Point" - 2.10/5
10] THROUGH THE NOISE - "Dualism" - 2.11/5
09] KAAMOS WARRIORS - "Ikuisen Talven Sarastus" - 2.12/5
08] ABIGAIL WILLIAMS - "Walk Beyond The Dark" - 2.14/5
07] AMON AMARTH - "Berzerker" - 2.16/5
06] MEGADETH - "Warheads On Foreheads" - 2.20/5
05] SOILWORK - "Verkligheten" - 2.33/5
04] DEMON HUNTER - "War" - 2.40/5
03] CORRODED - "Bitter" - 2.41/5
02] ROTTING CHRIST - "The Heretics" - 2.41/5
​01] CHILDREN OF BODOM - "Hexed" - 2.45/5

GavTheGothicChav: The Best Of 2019

20] RISKEE & THE RIDICULE - "Body Bag Your Scene" - 2.33/5
19] DEMON HUNTER - "Peace" - 2.40/5
18] THE DIRTY YOUTH - "Utopia" - 2.40/5
17] DREAMSTATE - "Primrose Path" - 2.40/5
16] THE WRAITH - "Gloom Ballet" - 2.41/5
15] NORTHLANE - "Alien" - 2.45/5
14] D-A-D - "A Prayer For The Loud" - 2.45/5
13] PAPA ROACH - "Who Do You Trust?" - 2.50/5
12] SUM 41 - "Order In Decline" - 2.50/5
11] IN FLAMES - "I, The Mask" - 2.50/5
10] WHILE SHE SLEEPS - "So What?" - 2.54/5
09] BAD RELIGION - "Age Of Unreason" - 2.57/5
08] LINDEMANN - "F & M" - 2.69/5
07] WEEZER - "Teal Album" - 2.75/5
06] MOTIONLESS IN WHITE - "Disguise" - 2.81/5
05] RAMMSTEIN - "Rammstein" - 2.90/5
04] YONAKA - "Don't Wait 'Til Tomorrow" - 3.00/5
03] LACUNA COIL - "Black Anima" - 3.18/5
02] THE 69 EYES - "West End" - 3.27/5
01] BLAQK AUDIO - "Only Things We Love" - 3.33/5
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Holding Absence - "Holding Absence"

4/4/2019

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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]
WWW.HOLDINGABSENCE.COM
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Fight The Power: Metal Vs 'The Man'

17/7/2018

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Slayer Performing At Mayhem Festival 2009 Photo Credit: Mdnghtshdw
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."

[5] BOLT THROWER

"There’s a reason why LOUDWIRE and many other musical critics consider BOLT THROWER to be a quintessential British metal band; just have a listen through albums “War Master” and “The IVth Crusade”. Bolt Thrower’s atmospheric use of death metal effortlessly conjures up images of medieval melees, the perfect accompaniment to the bellowing of vocalist Karl Willets, whose prophetic tales warn against the horrors of war. After the group disbanded in 2016, many fans argue that Bolt Thrower’s sound continues to live on in MEMORIAM, Willets’ latest metal project."

[4] SYLOSIS

"The progressive melodic death outfit that is SYLOSIS was formed by guitarist Josh Middleton back when he was just 15. Since then, the band has developed into an experimental group that dabbles in thrash, metalcore, melodic death and groove – wrapped around the introspective musings of Middleton’s songs. Although the band is not overtly political, Middleton’s interview with PURE GRAIN AUDIO reveals the front-man’s own political viewpoints on veganism, the social dynamics of power, and other criticisms on the socio-political establishment. He says ‘I like to dress the lyrics up a bit and use imagery so it’s not obvious what I’m talking about all the time’."

[3] RAGE AGAINST THE MACHINE

"Of course, RAGE AGAINST THE MACHINE deserves a spot on this list, even if it’s only to introduce them to the youngest metal heads stumbling across this blog. RATM didn’t just tackle institutional racism and the follies of late-stage capitalism…in the process of highlighting these social ills, the band also accomplished what musicians previously thought to be impossible; combining rap, metal AND funk. Some of their hits include “Sleep Now In The Fire”, “Guerilla Radio” and “Killing In The Name Of” which METAL INJECTION delightfully describes as ‘In your face metal infused with a snotty punk rock ethos’. Decades later, RATM’s sound remains to be one of the most recognisable sonic signatures in any of the genres they experimented with – inevitably tied to the militant spirit that underscores the bands historical and political relevance."

[2] MACHINE HEAD

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.

[1] SLAYER

"Among the four founding bands of thrash metal, only SLAYER was able to truly utilise the satanic imagery closely associated with metal in open protest against our institutionalised religious beliefs. With songs like “God Hates Us All” and “Angel Of Death”, the band succeeded in creating thrash anthems that highlight the hypocrisies of organised religion and government. Slayer unleashes thrash the way it was meant to be played – as offensive and as indignant as humanly possible."
"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!
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American Standards - "Anti-Melody"

17/7/2018

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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]
AMERICAN STANDARDS: MEDIA FAN LINK
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Neck Deep - "The Peace And The Panic"

30/8/2017

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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]
www.neckdeepuk.com
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Goldfinger - "The Knife"

28/8/2017

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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]
www.facebook.com/goldfingermusic
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Bankrupt Pug - "I Can't Believe I Ate The Whole Thing"

12/4/2017

1 Comment

 
PictureCorrect me if I'm wrong but this cover art suggests otherwise...?
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]
www.facebook.com/bankruptpug
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Merthyr Rock: Stage Times Announced

16/8/2014

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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

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Breakdown Face - "Quarter Life Crisis" Review

2/5/2014

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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
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The Used - "Imaginary Enemy" Review

9/4/2014

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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

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The Fire And I - "Double Kamikaze" Review

10/3/2014

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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
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Your Last Day - "Your Last Day" EP Review

18/2/2014

1 Comment

 
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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
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The Kix - "Lady Luck" EP Review

5/2/2014

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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
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Mary Kelly - "Modus Operandi" Review

18/1/2014

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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.
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    Gavin J Griffiths, a.k.a GavTheGothicChav, lover of new music and supporter of bands. Inspired by a mixture of horror and comedy, and fueled by a blend of alcohol and sarcasm...if you're a singer / in a band and would like a review written up, please do get in touch via the email address at the top of the page and I'll get back to you ASAP. Much love x

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