​Certain things are simply made for one another, and rightfully go hand in hand, can we all agree? Like, Jack and Coke for example. If I could get endorsed by Ol’ Uncle Jasper, believe me, I would. I’d happily pickle myself in your Tennessee tastiness HMMMMMMMM (Makes Shayne Topp horny face)…*cough*, sorry I got carried away there. Moving on. Another example would be pineapple on pizza. Before you try to cancel me, get yourself a ham & pineapple and add some freshly sliced jalapenos, make yourself a spicy Hawaiian then apologise to me AND Canada, when you learn it’s the best damn pizza in the world. (Look I know Canada produced Justin Bieber and Nickelback as well but, swings and roundabouts, alright?) A fairer example, however, would be punk and politics, and this ties us into today’s band; GREEN DAY. 

Now, punk rock at its core, has always been very anti-establishment in its principles, it’s message and its purpose, going back decades to its very conception. Ranging from the likes of DEAD KENNEDYS and SEX PISTOLS, and in more recent era’s artists like PUSSY RIOT, to name just a select few. There has always been a voice for the people. People don’t always listen, don’t get me wrong, that’s why the US Presidential election campaign is a joke, and the UK’s populous seems to comprise of utterly braindead sadomasochistic fuckwits, that seemingly WANT themselves and our nation to be thoroughly buggered in every taxable way possible. Rishi Sunak is not my Prime Minister. 

Where do Green Day fit into this? Well in their lengthy career, they’ve established themselves as one of the biggest names in the punk/pop-punk genre, with “Dookie” firmly putting them on the map thirty years ago, before “American Idiot” completely reinvigorated them during the second Bush administration. They wonderfully blended social commentary with deeper agendas and it catapulted them to a status of one of the biggest bands of the new Millennium. So, what happened? They peaked.  

Everything they’ve done since, has failed to live up to the pop-culture impact and success of “American Idiot”. Commercially, granted, their name carried them, and they’ve charted well since, but fans haven’t been overly impressed. Be it the all-filler, no killer trilogy that was “Uno”, “Dos” and “Tre”, for example, in which the band very clearly had ideas above their station yet no real direction, or the incredibly phoned in “Revolution Radio”, and we can’t forget the absolute shit-show that was “Father Of All Motherfuckers”. Green Day seemingly turned into a band without cause, or even relevancy. Can a group of fifty-something punks not even so much as cling onto, but reclaim their youthful, vitriolic drive on latest album “Saviours”? There’s only one way to find out. 

We open up with “The American Dream Is Killing Me” and it would be hilarious, if a polka-dot clad Dusty Rhodes was dishing out Bionic Elbows here, but we aren’t that fortunate. Lyrically it IS a powerful song, and it's a damning indictment on what is very clearly an illusion. For what feels like forever, we’ve all been sold on the American dream. You go there to prosper; for opportunity, for wealth, for success, but, with lines like “People on the street, unemployed and obsolete”, and “My country under siege on private property”, it’s more of a capitalist nightmare, as the working and lower classes, the true people of the country are being increasingly overlooked, and abused by the very home they are meant to feel so undeniably patriotic and proud of. When Billie Joe Armstrong sings “We’re paedophiles for the American dream...” you know it’s a problem, likening such a sickening perversion to the simple want of a better-quality life. The only trouble here? Its their own sound. This song is just so happy-go-lucky, and bounces along with just this, too-ironic, juxtaposing frivolity, you forget the seriousness of the subject matter, because you’re just bopping along to a fun piece of pop-punk. 

Tracks like ”Look Ma, No Brains!” touch upon a sense of arrogant ignorance that a lot of people view Americans as having, with opening line “Don’t know much about history, ‘Cause I never learned how to read”. There’s a lack of awareness and self-reflection within America it feels, and this is a decent slab of social satire. One of the main promotional singles was “One Eyed Bastard”, which resulted in Ofcom being inundated with zero complaints, as Cyclops’ don’t exist outside of Greece, so they’re safe. Controversial for all of the wrong reasons, it’s been alleged that they heavily plagiarised P!NK of all people for the main riff, and the resemblance is uncanny to be fair. The song being “So What?”, which, I’d imagine is exactly what Green Day thought when writing this. It’s also got shades of “Holiday” in tone and presentation, just slowed down, so they’re even riffing off their own material, almost sounding recycled, or lazy even. 

We have a subtly punk-infused indie-pop ballad in the form of “Suzie Chapstick” which reminds of THE LIGHTNING SEEDS or WEEZER in its soft semi-acoustic strumming, while “Living In The 20’s” gives us arguably the albums edgiest track in terms of tonality. It’s got some nice crunching guitar, back to basics but delivered with more bite and attitude. This is more like it, and easily one of the albums highlights. The title track “Saviors” is ironically self-depreciating. We thought Green Day were intending to BE the saviors here, and that, that was their mission statement; to save face by saving their scene, this new generation; giving us a reason to deviate from the norm. Instead, it’s more of a defeatist attitude, basically stating that hey, we’re no spring chickens, where are the kids that are up in arms, where are the kids with dreams to make a stand? Where are the kids that want to make a difference? They are the future, THEY will be the saviors, and it’s essentially a rallying cry. Again, however, given the way the band write songs, it’s too despondent...it’s like, they’ve given up, and are just asking, even hoping, that more people make their voices count. We finish with some “Fancy Sauce” and sadly this isn’t the least bit sexual. It’s quite a sluggish track, but lyrically nods to the video for “Basket Case” in places, almost coming full circle in the bands story arc.  

Ultimately, here we have a case of the right messages, purpose and sentiment driving these songs lyrically, but Green Day do what Green Day do, and their almost whimsical style of song writing negates any of the seriousness they intend with the points they are making. Yes, you are a multiplatinum, absolutely massive band in name and appreciation, but if you’re going to take jabs at society, the government, the establishment, your countries situation and way of life...you've got to sound like you mean it man. You can’t be like, let’s call out the bullshit but make you want to dance to it at the same time. The messages they try to portray are sincere, don’t get me wrong, but there’s absolutely nothing about them here musically that says, we need to be angry, we need to be pissed off and we need to do something about a lot of things. The only thing they are saving here is their own airplay value and income. Green Day might be saying some of the right things here, but it is severely lacking conviction. The American dream isn't killing you...you're just slowly killing yourselves with mediocrity.  [5]

​So back in April, I reviewed an album for All About The Rock called “Italians Die Better”, by B-Movie punks SUPERHORROR. It was somewhat controversial given its title, as it was released during the height of the Covid-19 pandemic (One which we’re actually still in, despite the countries neither here nor there approach to public safety). Their background is plucked straight out of a low-budget zombie slasher, and while I did refer to them as a BTEC MURDERDOLLS, they are at least keeping the horror-punk scene alive. However, diving into my email submissions, I find an album forwarded to me by Stencil PR that predates the Italian’s…

Formed in Budapest, Hungary, THE HELLFREAKS are another seemingly horror-punk inspired outfit, consisting of vocalist Shakey Sue, guitarist Jozzy, bassist Domján Gabi and drummer Budai Béla, though they aren’t quite as tongue-in-cheek or gimmicky. Their own background simply stating that hell was “full” so they came back, but their original sound somewhat contradicts this at least in principle. Sure there were horror elements entwined within their lyricism, but as a generally psychobilly based band, I can’t so much as see them being denied entry to hell because HELL was too full, it’s more likely they were denied entry to an alternative club night for not having ID and exaggerated the story; embarrassed they couldn’t get served WKD. I mean there’s always room in hell for psychobilly!

I digress…over the years however they have adapted their sound to be more befitting of their name and claim, as 2020 finds them releasing their latest album “God On The Run”. With an angrier, seemingly more metallic approach to their writing, let’s see what the almighty father is fleeing…and does it explain the events of 2020 thus far? The album opens up with “Men In Grey” and you can immediately sense the increase in aggression compared to their debut…Sue’s vocals are coarse but retain a level of clarity and melody that drives the chorus hook home, all the while complimenting the more frenetic riff-work wonderfully. This is some enjoyable, up-tempo melodic alternative punk, and a solid start.

Recent single “Red Sky” then follows up and after a brief build we’re thrust into another dose of pacey, melodic alt. rock, combining pop sensibilities with a more vitriolic punk aesthetic…not too dissimilar to our opener but with ever so slightly less attitude; it’s cleaner with more harmony allowing for a generally smoother, easier listen without losing any bite. The rest of the album then  in all fairness sticks to this formula pretty vehemently, fleeting between those same duel aggressive and arresting aspects of their song writing style. “Doldrum Dynasty” is another great example of a simplistic yet really effective chorus hook amidst edgier guitar elements, while “Adrenalized” uses soaring gang vocals and almost pop-punk riffs to great effect, before we eventually finish up on “Tabby”. The odd one out as the slowest paced piece here; it’s got a deeper, darker,pulsing synth underlying some predominantly grunge-influenced hard rock, but this change of pacing is a pleasant one. It’s nice to know that they CAN shake things up a little more at least.

Ultimately while “God On The Run” doesn’t explain the complete shit storm 2020 is turning out to be, what it has done is turned a psychobilly horror-rock band into a more straight up, alternative punk rock monster with a more sleek, serious tone and less of a niche appeal…which is saying something. The only thing going against it is its lack of real overall diversity; as it’s pretty much all systems go until track ten, and while the melodies are tight, it CAN sound a little samey. If you’re a fan of SUMO CYCO and NEW YEARS DAY…check out The Hellfreaks…if they let you in that is. [8]

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]

IGGY POP once famously sang about having a certain “Lust For Life”; and that is still impressively evident even to this day, as the rock ‘n’ roll icon continues to perform with zero shits to give, despite being the age of 72. It’s probably fair to say then, that few people share that same level of energy and passion for music and performing, but if anyone deserves to be mentioned in the same breath, it would have to be Jason Butler.

From 2002-2017 you would have known him as the front-man of critically acclaimed post-rock hardcore crew LETLIVE, who won over metal heads and punks alike with their frenetic live shows and sheer lunacy. More recently you may have been familiar with his role in FEVER 333 who are also riding a wave of critical praise for very similar reasons…but Jason Butler has a burning desire to scream like an absolute banshee in any way, shape or form he can…seriously as vocalists go, he’s like the fucking Duracell bunny on a 3 day coke binge. With that said, it’s no surprise we find him in yet another project; PRESSURE CRACKS. Completed by former members of SCARS OF TOMORROW and WEREWOLF CONGRESS, the Californian’s have recently released their sophomore EP entitled “This Is Called Survival”…but will I survive this EP? Let’s go all Bear Grylls and find out…

The EP opens up with quite the depressingly titled “Like Father Like None” and it begins with some old, recorded spoken word sample of American re-offender statistics, before the band ferociously tear into a riff-heavy barrage of near blast beats, screeching guitars and the equivalently feral vocals. A deep cut about broken homes, a broken society and the past repeating itself, but also acknowledgement of those pitfalls and the determination to beat the cycle, taking a stab at the system and wanting to set a better example, wanting to be a better father figure…a really intense intro this; but full of self-motivation and determination. “Ready For You” follows up with a similar theme running through the tracks narrative…erasing the past and fleeing a moral sense of conviction but asking for forgiveness for previous actions. The riffs here come hard and heavy with more of that hardcore punk influence bursting through, although the track does become a touch repetitive as it reaches its climax.

Third track “Shhh” is ironically anything BUT quiet as we get another sharp dose of blistering hardcore. The tempo and pacing here only emphasising the intensity of the bands sound, which really can also be said of closing track “Big T Youth”…well, truth be told it can really be said about this whole EP in all fairness. Clocking in at only 12 minutes, Pressure Cracks have combined a sense of personal anguish and resentment with social awareness into four utterly chaotic bursts of noise and semi-antiestablishmentarianism. Bridging those elements of punk and metal, it really allows for a cathartic release of pent up energy, pulling absolutely no punches. Pre-existing Fans of hardcore will appreciate this without saying, but it’s quite unlikely to draw much new attention to the subgenre, as it’s not exactly easy listening shall we say. Its niche…it’s noisy…it’s intractable and ultimately, nicely done. [6]

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! 

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

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

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

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

As it currently stands, we live in a time where our more Westernised society is, for want of a better description; all over the fucking place.  While culturally we’re (For the most part) all steadily becoming more and more open-minded and understanding, of the ever expanding perception of normality, there are still people who may get, ‘triggered’ as you may say, by certain topics and buzz-words. Some of the most common are generally simple things like veganism which, ironically, causes a lot of beef between some people…then there are prejudices and confusion surrounding the ever growing list of sexualities and gender fluid identities. Seriously now they’re giving rock and metal sub-genres a run for their money in volume and I just don’t have the appropriate graphs to go into that right now. Then there’s feminism…

Let’s be honest, it’s 2019 and the very fact feminism is still such a strong word speaks for itself. The inconsistencies regarding equality (Or lack thereof) can still be beyond laughable, covering everything from salary to bloody abortion rights! Well today’s band are proud and passionate to provide a voice for the cause, exuding a positive feminist vibe; let me introduce you to HANDS OFF GRETEL. The four-piece (Consisting of vocalist/guitarist Lauren Tate, guitarist Sean Bon, bassist Becky Baldwin and drummer Sam Hobbins) formed in South Yorkshire in 2015, and with influences including JACK OFF JILL, HOLE and THE DISTILLERS it’s easy to see where they blend punk and emancipation. They recently released their brand new album “I Want The World”…but where’s the equality in that? Let’s find out…

Opening track “Kiss Me Girl” gets the record off to a roaring start with an up-tempo flurry of punk-rock, laced with lashings of attitude and a tongue-in-cheek sense of taboo; it’s very Brody Dalle. The track explores female sexuality within same-sex relationships, with lyrics like “Have you never kissed a girl before?” and “What’s wrong just feels so right” entwined within a narrative of naughty excitement. Tate delivers the track with a brilliant sense of sarcasm and it kicks things off wonderfully. The first half of the album as a whole in fact doesn’t miss a beat and really we’re treated a solid run of tracks from the word go…”S.A.S.S” continues with its sense of female empowerment by taking a swipe at misogyny with an assertive hard rock number, balanced with subtle layers of funk, something which fans of SUMO CYCO would appreciate for sure. “Big Boy” is another up-tempo piece with a solid rock ‘n’ roll rhythm and more than a sprinkling of innuendo. Very lyrically suggestive, Tate is clearly having fun here and resonates through the track.

If you fancy something a little less intense however the album houses further gems such as the wonderfully infectious “Alien”…vocally not as fervent; there’s a predominantly more funk-pop aesthetic here with a cleaner sound and a more polished, commercial production value…this one would easily entertain fans of NO DOUBT / GWEN STEFANI and it’s got a brilliant climactic flurry. The album does run out of a little steam as it reaches its final moments however with a couple of less inspired cuts not quite on par with the aforementioned. “Milk” for example carries a strong grunge influence and as a result it’s a lot deeper, but at the same time more sluggish; sadly a boring listen, before “My Friend Said” then despite being a generally jovial little track becomes pretty stale and repetitive very quickly…I guess you could say it’s lyrically la-la-la lalalalalala-lazy? Aside from those hiccups it’s safe to say that this is, overall, a very strong and entertaining album. The punk elements where needed are raw and confrontational to aid the subject matter well, allowing Tate to get her message across in an epigrammatic fashion, while the more pop-driven segments allow for a genuinely infectious listen. They may want the world, but you may want to just give this album a listen, and very much get your hands ON Gretel…with consent though, naturally. [8]

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

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

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

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

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

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

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

We’re going local again for this installment of the Wreckord Collection, as we turn our attention to COLIN JAMES MACFARLANE. Not just a cog in the local independent music scene, he is a Jack of all trades and generally more of an all-round entertainer, dabbling in solo work, fronting the band BREAKDOWN FACE, conducting interviews with other bands, making gig diaries, dabbling in hip-hop/rap songs (Consider him a dairy free Vanilla Ice) and making comedy skit videos on his YouTube channel. Here, in his own words, he talks us through some of the records that inspired him and had the biggest impact on him creatively…

There have been a few times where, while talking about musical backgrounds, I’ve referred to areas and places that seem to just, almost mass produce a certain level of quality, relevant artists over time…like, Birmingham in the UK for example. Today however we’re not going to be examining any parts of the UK, as instead we’ll be jumping across the pond to the US and focusing our attention on Detroit, Michigan. Going as far back to the 50’s and 60’s and the likes of MC5, THE SUPREMES and STEVIE WONDER…all the way up to more modern successes like EMINEM and THE WHITE STRIPES, Detroit has always had its finger on the pulse when it comes to music, and today's band want to include themselves on that list…let me introduce you to FLOAT HERE FOREVER.

The three-piece (Consisting of vocalist/guitarist Darrell Bazian, drummer Nick Marko and vocalist / bassist Samantha Easterbrook) initially came to light in 2016 with their debut EP “The Owl”, which was then swiftly followed up by the “Inexhaustible” EP just a year later. Fast forward to the present though, and the band aim to see-in 2019 in style, having released their debut full-length album on January 1st. Samantha sent me an email kindly requesting me to review it, so, let’s press play and together we shall all “Tour The Ruins”…

We open up with the track “Cars Crashing” and hopefully this doesn’t sum up our imminent listening experience…the deep, fuzzy riffs and coarse vocals, coupled with the up-tempo delivery and off-kilter breakdowns gives this an overall, punk-inspired post-rock feel. The dual male / female vocals providing additional depth and variety too and it’s a pretty decent start it has to be said. I wouldn’t go as far as a car crash though; this is at the very most just, clipping a wing mirror. “Wasps” is up next and here musically they’ve gone for a similar approach, with the energetic, up-tempo, angst ridden pop punk tone, though turning ever so slightly prog-based as the track meanders into a purely instrumental second half climax. It’s the punk aspects that truly comprise the albums meat and veg however, as it’s made up of multiple short, sharp doses opposed to more elaborately structured songs.

​The raw vocal approach to “California’s Burning” allows it’s frustrations and sentiments to shine through the tinny guitar, despite the mostly repetitive lyrics. In many ways it reflects many of the victims of the devastating fires in 2018, like, what can you really say? Such was the magnitude of the blaze. While we’re on the topic, “Quick Burn Fire” offers the listener a truly infectious chorus hook, with Samantha taking over lead vocal duty, allowing for a lot more melody, with the guitars too sounding cleaner and clearer. Further album highlight “Gradients” turns the distortion up again and really gives us a riff-heavy barrage of thick guitars and muzzled vocals, in many ways harking back to early CKY, while “Pilot” has this, happy-go-lucky indie rock ‘n’ roll vibe, providing a fun, up-beat listen.

There are a couple of off moments over the course of the 14 tracks however…”Addax”; a sombre little instrumental primarily consisting of ambient guitars, fades into nothing without the slightest of points, and it’s named after a large North African antelope…making all of the sense. “Plasmodium” being another one…insect bacteria apparently, but sounds all soft and quaint…because nothing says beautiful like malaria right? The rest of the album just consists of the same, brief punk-based indie rock, and while musically enjoyable, nothing REALLY grabs your attention. The 30 minute play time doesn’t allow you to connect with the songs, resulting in no more than a collection of somewhat entertaining, albeit short, generic tracks. Float here forever? I can already do that with Pennywise thank you, and he has balloons too. [5]

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

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

“That was intense, REALLY intense…well, not really intense, but pretty intense”…you may remember this quote by Chris Pontius from Jackass Number 2, when Preston and Wee-Man did the “The Bungee Jump”, but as intense as that was, it pales in comparison to the recent touring cycle undertaken by CKY. Yes the Philadelphia three-piece (Consisting of Chad I Ginsburg, Jess Margera and Matt Deis) made their triumphant return in 2017, with their comeback album “The Phoenix” (Their first in nearly a decade) and ever since the guys virtually haven’t stopped. From US headline tours, supporting HIM on their US farewell tour, covering the entirety of the Vans Warped Tour, touring with SKINDRED, playing multiple festivals, touring with NEKROGOBLIKON, they’re own UK headline tours…the guys have practically LIVED on the road for the past two years! That’s not enough though for these rejuvenated rockers…hell no, amidst all that they still managed to find time to record and release a new EP especially for Record Store Day. Let’s check it out and find out exactly why camp kill yourself are in fact “Too Precious To Kill”…

The EP opens up with “Chase Me” and as the title may suggest it’s got a not-so-subtle action-packed car chase vibe to it…the up-tempo feel, the catchy guitar licks and the brass-bursts take this back to the golden era of James Bond films if you will (Think DURAN DURAN)…there’s elements of a detective caper to this and it’s a really fun opening track. The track flows with an easy listening fluidity and really is infectious, great stuff this. “Fists To The Sky” follows up and here we have a more traditional sounding CKY musically…the imposing trademark riffs are instantly recognisable in tone and although the track has a very steady pacing, broken up by THE DOORS inspired organ-esque synths, it’s still very up-beat…doubling as not only a statement of intent from the trio regarding their come-back, but also maybe a subtle nod to Rocky thematically, given the Philly connection.

As this was a vinyl release, side-B kicks off with “One Step Ahead” and it immediately starts off darker, atmospherically speaking…the slow build leading to a frenetic chorus, with Chad belting out the lyrics against a wall of reverberated noise. He gets to fret-wank his heart out here too as he embarks on an incredibly trippy, psychedelic guitar solo and you can sense the enjoyment had in writing this one, it resonates through his playing. The final track however is the one we’ve all been waiting for…not just over the course of these four tracks…no…I’m talking over the course of the last TWENTY YEARS. Yes, for the first time ever, CKY have FINALLY given us a recorded cover of GG ALLIN classic “Bite It You Scum”. A long-time fan-favourite and a staple of their set list on the live stage forever, they finally put it to record and they’ve more than done it justice. It’s lost none of its raucous rock ‘n’ roll charm and still retains all of its raw punk attitude, while both refreshing and nostalgic at the same time. Having heard it live for all these years, we finally get a studio recording and it’s magnificent. While currently only available as a limited edition vinyl released for Record Store Day, (Were you lucky enough to get one?) I’m sure that sometime over the near future the EP will become available for download or streaming, or you should hope at least. Is this an EP you want? Is this an EP you NEED!? fuCKYea! [9]

When it comes to the UK music scene, there’s always hot-spots…an obvious one is Camden which has more quality venues than you can shake a drum stick at…Nottingham has Rock City which is a favourite among many gig-goers…Wales too has a great history of grass roots music support, but today we’ll be looking at Southampton. With its own iconic venues such as the Guildhall and The Joiners, over the past couple of years it’s produced some top quality artists such as BURY TOMORROW and of course, CREEPER, who’ve had an almost stratospheric rise to the top of the alternative rock scene…so naturally with So’ton back on the map, we’re going to be hearing about more bands looking to make a breakthrough, which brings us to today.

Let me introduce you to CANAVAR…consisting of vocalist / guitarist Deklan Webb, guitarist Jack Bowden, bassist Rowan Rashley and drummer Toby Rashley, they bring together a chaotic blend of heavy metal and hardcore punk to create an equally commanding and confident sound; so confident in fact that they totally skipped recording an EP…no testing the water for these fuckers they dove straight into a full length album! With a name roughly translating as Monster…let’s see just how monstrous they sound on “Canavar”.

We open up with the lead single “Sacrilege” and initially we’ve got this really bouncy, up-tempo punk-rock piece; the vocals are clean though very rough around the edges giving it that traditional skater-punk vibe…but this soon descends into a more traditional metal style breakdown and a crazy solo! The classic metal approach charging through, but this only leads us into the tracks climax, foreshadowing the rest of the album…Deklan switches up his vocals and sounds almost possessed such is the change in tone, the inclusion of growls being so sudden, it’s an interesting start. “Brick By Brick” follows up and while it has certain thrash-inspired elements running through its riffs there is still a pretty prominent punk backbone here; you can hear the influence the likes of RISE AGAINST or even say, ANTI-FLAG have had musically on the 4-piece, and naturally as a result it’s quite another pacey offering.

Those same thrash elements can again be heard in “Fire Inside” which for all intents and purposes sounds like the bastard offspring of some weird METALLICA / SLAYER crossover experiment from a 6-string perspective, while vocally again it bridges the gap between hardcore punk and heavy metal, absolutely full of piss and vinegar. The main highlight however comes courtesy of “Devil’s In The Details” which initially embraces a subtle MISFITS vibe while also harbouring more modern alternative rock aspects, mirroring artists like MATCHBOOK ROMANCE and the aforementioned Creeper. The rest of the album generally fleets back and forth, hand picking certain qualities from all genres listed above…there are slower cuts like “Deadly Sins” and “Moral Compass”…then there’s the less than two-minute flurry of closing track “Ready And Willing”, and while  musically they’re not reinventing the wheel or anything as such here, this is for the most part a really fun album and that’s really down to THEIR enjoyment, the band are having a fucking whale of a time making noise and it resonates. Personally I’d like to hear them focus on being a solid punk unit as it’s that area they sound strongest and more fluid musically, but overall, it’s a fine album. [7]

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

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

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

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

Everyone loves a comeback; the more ardent then the better the story, the greater the achievement…let’s take Jesus for example. The man was supposed to have been tortured, literally crucified and then thrown into a sealed cave on a Friday, DEAD, only for him to re-emerge 3 days later like an absolute lad, dabbing with his disciples…well now we’re going to talk about a different comeback; a virtual messiah of modern music, ANDREW WK. Back in 2001 he made an instant impact on alternative rock with his iconic debut “I Get Wet”, with undeniable anthems such as “Party Hard” and “Party Till’ You Puke”…he backed this up with the brilliant “We Want Fun” which was used for “Jackass: The Movie”…he was intense, on face value he was here for a good time, not a long time and as it turns out, it was true. He did release a couple more albums but the party had died down, and over time he petered out as tastes evolved and changed. Recently however, AWK has been going through a bit of a renaissance…and it’s all thanks to that partying.

To party, is to live; though it’s far more than a weekend session getting wasted, but an actual way of life itself, it’s a state of mind for there is party in everything around you, and he’s taken this philosophy around the world as a motivational speaker, encouraging young people to embrace themselves and love life. A regular magazine column writer, an author, he conducted seminars at universities on the positive power of partying and he garnered almost cult-like status, so it’s with a great sense of anticipation, that we allow Andrew back into our lives with his first new album in over ten years; “You’re Not Alone”…has this new sense of being reignited a fire within him, or will hype and expectation crash the party? Let’s find out…

The album opens up with “The Power Of Partying” and as with most albums these days it’s an intro track…with almost military inspired drum loop, coupled with a complete brass section and triumphant, almost cinematic tone, it sounds very much like a mission statement; Andrew is BACK and you better get ready, because this party is gonna’ start any time now! First track proper “Music Is Worth Living For” follows up immediately and it exudes all of the up-beat, positivity…all of it. The synth led alternative rock, backed with a huge bold chorus is virtually beaming…like a ray of sunlight slicing through the clouds on a rainy day, it’s just happy! Recent single “Ever Again” takes things up a notch or two then with its gang-vocals and anthemic bombardment. Bass-heavy and full of groove it’s incredibly infectious with some huge melodies, this is no doubt going to be a firm favourite with live crowds; such a pleasure this is!

The good times don’t stop there either, “Keep On Going” is full of encouragement and support for the listener, a message to not give up, to not allow life’s setbacks to stop you being you, Andrew is rooting for you, the party is for everyone and you’re welcome to join in just like everyone else. “Break The Curse” is a lot deeper in tone, sultry, pulsing electronica leading into a sweeping, grandiose piece, but the message is the same, rise above the negativity…lengthy, but enjoyable, while by contrast “I Don’t Know Anything” utilizes a shorter, retro-punk inspired tone to vibrant and enjoyable effect. There are a couple of questionable moments however over the course of this 16-track record, most notably the three interludes; “The Feeling Of Being Alive”, “In Your Darkest Moments” and “Confusion And Clarity”…while the thought behind them was and is lovely, reinforcing his motivational philosophies, he does come across as a touch preachy which would have been better suited to one of his seminars as opposed to album content. Luckily the title track closes the album on a triumphant note; a charismatic call to arms, to unite in the name of partying. Fans who have fond memories of head-banging like lunatics to his heavier early material may be disappointed with this but the message here transcends genre. It’s impossible to not be cheered up and motivated by this record, and long may Andrew inspire partying around the world…puking optional. [7]

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

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