While talking about music in the 90’s, it’s easy to just talk about how NIRVANA were the hottest band in the world for a while and say that, alternative rock and metal in its multitude of sub-genres was going through a massive transition but, here in the UK, the scene was so incredibly random…aside from a booming rave culture spanning from the naughty north to the sexy south (God that was a terrible song), we had the SPICE GIRLS wanting all of the zig-a-zig-ah…drugs or sex, you be the judge…we even had MR BLOBBY at Christmas Number 1 in 1993 for fuck sake, but one of the most enduring movements in British music was Britpop…merely a pigeonhole for bands of a certain era, it was made famous by indie-rock artists such as BLUR and PULP but probably the biggest of the lot, was OASIS. Featuring the now iconic Gallagher brothers; Liam and Noel, they became one of the biggest bands to ever come out of the UK, finding rare success Stateside for a British artist, but, sadly you can have too much of a good thing and in 2009, after continuous strain between the brothers, Oasis came to an end. There has been plenty of talk about reunions over the years but other projects have taken priority and now, in 2017, we find LIAM GALLAGHER finally releasing his debut solo album; “As You Were”…is the darling of UK rock ‘n’ roll merely delaying the inevitable or is his story still very much morning glory? Let’s find out…

The album opens up with “Wall Of Glass” and after a harmonica driven country-blues style intro we’re met with relatively simplistic yet catchy indie-rock, the chorus keeps things minimal with some choir-esque backing vocals, accompanying Liam’s distinct voice rather well all things considering, giving his droning Manc accent an added sense of soul, it’s a nice enough introduction really and there’s plenty more where that came from…”Greedy Soul” keeps up the  indie-rock momentum but it’s got one hell of a groove…the rhythm is infectious here but again, kept simplistic much like the opener but bettered, it’s so slick and it’s got a great hook this, an easy album highlight. We revisit certain country elements on “You Better Run” too and in ways it’s like Liam has been listening to  JAKE BUGG to rediscover his mojo here…boosted further by subtle layering’s of brass, it’s good stuff.

​“Come Back To Me” has a touch more of the old attitude we know and love, couple that with more prominent electric guitar, we’re taken on a trip down memory lane audibly, while bonus track “Doesn’t Have To Be This Way” has certain throw-back qualities to the likes of THE LIGHTNING SEEDS in its melody and structure, but it’s not all smelling of stone roses…oh no…for Liam has mellowed somewhat in his age and there are several ballads dotted throughout this album…”Paper Crown” is a quaint little BEATLES inspired acoustic piece, while “All My People / All Mankind” takes a dreary, dismal look at society, lambasting selfies and such of the world around him, declaring his return, no more bullshit essentially and it’s quite a serious track in tone. While Oasis fans are desperate for that reunion, Liam here proves that he’s still one of the most important performers in British music…he may not sound as pissed off as he used to, and to be perfectly honest he probably doesn’t care what you think in that respect, but the important thing is he’s back making new music, and it’s a well-balanced album from start to finish. Now…as you were. [7]

Do you believe in a thing called love? Well apparently you did back in 2003…yes 14 years ago, a little band from Lowestoft in Suffolk called THE DARKNESS ejaculated onto the scene like the most flamboyant of glam rock money shots with their debut album “Permission To Land”…the old-school rock ‘n’ rollers (fronted by spandex-clad mad man Justin Hawkins) instantly became hot property after an immensely successful year (They held off the mighty IRON MAIDEN at the top of the charts and won everything from Kerrang! to Brit Awards…they even had a stab at the coveted Christmas Number 1!)…they were touted as saviors of British rock with a multi-platinum selling album and the world was theirs for the taking…but somehow it all went wrong. In the wake of their follow up; 2005’s “One Way Ticket To Hell…And Back”, Justin left the band, tired of the whole process of recording and touring, coupled with a stint in rehab, and ultimately, the band split up…after such promise, that one way ticket would never find its way back…or so we thought. Fast forward a couple of years and after a reformation, we find them in 2017 releasing their fifth album; “Pinewood Smile”…enduring one-hit wonders or a long lost treasure? Let’s find out…

The album opens up with “All The Pretty Girls” and after a slow-building, droning guitar intro we’re met with Hawkins unmistakable shriek…his falsetto vocals giving the band enough of a unique edge to earn them their popularity early on but over time it’s become sort of a gimmick and detracts from the song to a degree…musically it’s solid rock with a fairly decent solo to boot, one thing that can be said is that instrumentally they’ve always delivered…a shaky start. Follow up “Buccaneers Of Hispaniola” is an immediate remedy however…an early album highlight, it’s got a brilliant rhythm, it’s incredibly slick and some wonderful indie-rock hooks, couple with some enjoyable riffs, this is a quality song and is much better overall, this is The Darkness on form.

As I mentioned, musically, The Darkness have never disappointed…”Solid Gold” capitalises on the classic rock influence, the AC/DC and DEF LEPPARD inspired riffs, but the song has a very tongue-in-cheek feel, attacking the industry and their critics with their trademark blend of humour…speaking of which, “Southern Trains” is a brash and punk-inspired piece…but being so very British, we have a song about delayed services and rail commutes…while “Japanese Prisoner Of Love”…about the uh, intimacies of prison relationships shall we say…dropping the soap and such…is a generally quirky track, albeit random. “I Wish I Was In Heaven” has another strong indie-rock vibe with pop elements, but again those vocals seem like their being milked, we get it, Justin can hit some impressive notes but, here they spoil a generally decent song, before we finish up on “Stampede Of Love”…while yes, it does have Western qualities, a stampede conjures up images of chaos, frantic animals, galloping across the plains…this has all the urgency of a galloping sloth. The deluxe edition has four extra songs…”Rack Of Glam”, Justin’s tribute to tits I guess, while there’s a sweet but peculiar acoustic track about losing his virginity, although nothing entirely memorable. While it’s fair to say, I honestly don’t think The Darkness will ever match the glory of their debut, and to be honest I think they know that too, so really it’s unfair to compare everything they do to that first album…look what happened to LINKIN PARK with “Hybrid Theory”…for what it’s worth it’s a decent record with some enjoyable moments and some good, solid rock ‘n’ roll…but it’s not a world beater…solid bronze if anything…[6]

Ohhh nicotine, Valium, Vicodin, marijuana, ecstasy and alcohol…C-c-c-c-c-cocaine!!! No, I’m not talking you’re average shopping list from the Gurnos estate (although it’s pretty damn accurate) I’m obviously referring to iconic stoner-rockers QUEENS OF THE STONE AGE…yes, that “Feel Good Hit Of The Summer”, however tongue in cheek, propelled the desert dwelling Californian’s to instant stardom and, over the course of time, several well received albums and endorsements by the likes of Dave Grohl, they’ve become one of the biggest names in rock music, but, things have been quiet for a couple of years now. The last we heard of them was back in 2013 when they ironically dropped “…Like Clockwork”…and aside from some work front-man Josh Homme has been doing with IGGY POP, QOTSA have been dormant…until now. At the tail end of August, they unveiled their brand new album “Villains”…a decidedly more care-free album according to the band, a little looser…have they taken stoner rock quite literally? Let’s find out…

We open up with “Feet Don’t Fail Me” and after a lengthy intro, consisting of very little other than tinny, echoed guitar tone, soft synths and hushed percussion…it’s got certain qualities to it that would honestly see it befitting on a show like "Stranger Things", it’s quite dark and trippy…before the track kicks in properly. It’s pleasant enough, the rhythm and overall feel of the song is very generic and methodical at its core, it’s really quite basic, only the subtle synths breaking the monotony, though it’s fitting with Homme’s distinctive drawl, but there’s a solo mind you (at least I think it’s meant to be a solo), incredibly brief but oh god does it sound off, however intentional the tone, it’s honestly excruciating to listen to, really spoiling the song. “The Way You Used To Do” follows up and is redemption enough…it’s a far more positive, up-beat track, although still simplistic, harking back to the early days of rock ‘n’ roll with its basic percussion and repetitive style, it flows nicely, accompanied with the hand-claps it’s got a feeling of movement, the old dance-all days of swing and it’s got a great climatic flurry with the guitars turned up a notch, this is much better.

Further highlight’s include the short, almost punk-a-billy inspired “Head Like A Haunted House”…it’s a sharp dose of energy and the whole thing, again, harks back to an almost 1950’s style of American rock ‘n’ roll,  aided by the inclusion of subtle electronica, it’s like an amalgamation of two era’s with a slight hint of B-Movie feature thrown in for the full retro package, while standout track “Fortress”, despite being more restrained, combines string sections and a soothing, morose tone with further synth elements for simple but effective hooks…there’s more melody here, it really is loose, it’s a band relaxed and just enjoying themselves, it is laid back, it is care free and that carries over through the listener, allowing you to just kick back and enjoy…sadly however, the rest of the album  fails to hit the mark. “Domesticated Animals” for example is incredibly slow and practically lifeless…its really quite a boring listen, likewise too on “The Evil Has Landed”…there are moments when tracks pick up the pace but it’s sadly too little too late for the most part, before the album closes on “Villains Of Circumstance”; rounding off proceedings with a disappointingly dull listen…again, there is a flurry of life at the end but it doesn’t make up for it too well. It’s not a terrible album, for what it’s worth…it’s within its style and QOTSA have approached this record with a sound and theme in mind, and there are moments to take away from this, but you can’t help but think back to the likes of “Go With The Flow” and “Little Sister” and just wish they’d turn it up again. It may be called villains but, the only crime they’ve really committed here is for the most part subjecting the listener to boredom. [5]

I’ve often talked about legends and icons here; the artists who started it all, just as likely to pick up a pension as they are an instrument these days…let’s be honest (and without meaning to sound disrespectful) you’re as likely to find early Rolling Stones records on an episode of Time Team as you are in HMV…but, these bands did pave the way for music as we know it after all. I’ve mentioned several bands that defined eras in these pages, the usual suspects like Sabbath and Maiden etc…but rarely have I touched upon specific individuals. Well, all that is about to change…Vincent Furnier was born in Detroit, Michigan way back in 1948 and would grow up to become one of the most iconic rock ‘n’ roll stars of all time under the moniker ALICE COOPER…with a career in both music and movies spanning nearly 50 years, he’s become a pop-culture icon far surpassing his status as “The Godfather Of Shock Rock”, but it’s that very gimmick that kick started it all, giving the world of rock ‘n’ roll one of its most charismatic and theatrical performers of all time, influencing the likes of ROB ZOMBIE and WEDNESDAY 13 and recently, he released his 27th (Twenty seventh!) studio album…”Paranormal”…has the shock rocker still got it in him or like and episode of Most Haunted, will all we get be a series of questionable noises…let’s find out…

We get underway with the title track and it simply oozes nostalgia through its guitar tone alone, it’s got a proper classic feel through its riffs and melody, the slow build…there’s an air of drama to the whole thing despite its general simplicity, and in keeping with the theme its quite the haunting love song, an unobtainable love after death, a mere memory and in ways it’s quite sad, however the song comes to life itself with a rather slick old-school solo…it’s very emotive and provides good contrast, and furthermore a solid opening track…speaking of solid tracks, Cooper proves he still has enough to offer at this stage in his career with several enjoyable offerings dotted throughout the album; “Paranoiac Personality” has a slow, plodding build just like the opener, the bass is very prominent here, it’s quite groovy this one but lyrically insecure, talking about a target on his back and there’s a brief inclusion of the “Psycho” shower score which adds character, it’s well done.

“Fallen In Love” is rich in blues tones paying homage to rocks southern roots with another quality solo and it’s no wonder, as ZZ TOP guitarist Billy Gibbons is at hand to lend his services and it shows…while “Holy Water” includes some wonderfully cheery brass elements, it’s got another catchy chorus and the jazz-infused up-tempo approach works well, mixing things up nicely, but the highlight has to be “Fireball”; it’s bass heavy, scruffy, riff-driven raw energetic guitar is full of attitude and sounds like it was plucked straight out of the 70’s in a good way, this is a track with heritage and it’s a pleasure to listen to. The album isn’t without its minor faults however…”Dead Flies” struggles to inspire over its two minute play time plus vocally its far poorer, and “The Sound Of A” could pass for a discarded BLUE OYSTER CULT track…however, any faults here are minor and overall we have a pretty solid album from the veteran rocker. He might be way past shocking in this day and age, I don’t even think shock rock exists anymore quite frankly, everyone is so desensitized, but here he proves he can still deliver after all these years. Who the fuck is Alice?! Alice Cooper…that’s who… [7]

At just 20 years old, life couldn't be much better for one Taylor Momsen. The Missouri born performer found fame from an early age, appearing alongside JIM CAREY in the hit Christmas movie “The Grinch” back in 2000, before finding further fame in the teen show “Gossip Girl”. However, as it happens, the young actress had ambitions beyond being on screen. A lover of rock ‘n’ roll, she formed THE PRETTY RECKLESS, and in 2010, released their breakthrough album “Light Me Up”. It was well received, and singles such as “Make Me Wanna Die” achieved commercial success ensuring the band were hot property, but there was always the nagging thought that, maybe, just maybe, this was just a passing fancy. A project used to boost the fame of Momsen between acting roles, but, that wasn't to be the case. 2014 see’s TPR return with a new line-up for the release of album number two, “Going To Hell”.

The album starts off rather randomly, with sirens being heard over what’s clearly a young lady enjoying herself…which is all I'm going to say about that… before it all kicks off with some pleasant riff’s and assertive drumming in “Follow Me Down”. It’s not heavy but it’s got a classic feel to it, dirty leather and denim rock ‘n’ roll provide perfect backing to Momsen’s vocal drawl. It’s a decent track spoiled by an unnecessary and rather cringe-worthy intro.

The title track, “Going To Hell” keeps up with the same dirty rock vibe, the vocals a little grittier and the track as a whole packs a bit more punch, with more arrogance and bluster, while “Heaven Knows” in places sounds fitting for military training; you can easily imagine marching to this. It’s got a, certain simplicity to it, a slow, steady beat, gang vocals…minimalistic but effective.

“House On A Hill” is far more delicate, a primarily acoustic number backed with big string sections, Momsen, just like on the album cover itself, sounds naked and exposed, vulnerable even. It’s a powerful song full of emotion and an album highlight. The second half of the album has its highlights too, with tracks such as “Blame Me” and “Fucked Up World”, before closing on the country inspired “Waiting For A Friend”, less a parting shot, more of a peace offering.

On one hand it’s great to see The Pretty Reckless stick at it and that the band wasn’t just a half-hearted idea, they’ve recorded some strong tracks and have been on some impressive tours, including festival slots, and slowly but surely fans of rock and metal are seeing that Momsen is taking all of this seriously, and that the band are doing everything by the book. Granted, her fame boosted the popularity of the band from the start, and some people maybe unimpressed with that, but their songs are all original and they haven’t really taken any short-cuts. It’s not going to win any album of the year awards, but there is progression evident here; worth a listen. [7]


Download: "Going To Hell", "House On A Hill", "Sweet Things"
The album is available now on iTunes: https://itunes.apple.com/gb/album/going-to-hell-deluxe-version/id804096710

When the name BAM MARGERA is mentioned, it’s normally put hand-in-hand with skateboarding, stunts and chaos, but underneath all of that, if you strip back the anarchy and showmanship, you’ll find a very talented, determined and committed individual who, despite his well-partied rock ’n’ roll appearance, is a complete professional when it comes to projects he’s involved in.

You may already know he has a deep love of music and bands (he had SLAYER play in his back garden and had IGGY POP play his first wedding for fuck sake!), and does his bit to help wherever he can. The obvious one, would be the band HIM, whom he’s directed numerous music videos for, even making their iconic Heartagram logo as much his own as it is theirs, but he’s also directed video’s for the likes of THE 69 EYES and VIKING SKULL, even going as far as making a whole album’s worth of videos for CKY, and that’s without also opening his own venue in West Chester called “The Note”. It’s safe to say then, that Bam Margera is passionate about music, but, did you know he was now in a band of his own? They go by the name of FUCKFACE UNSTOPPABLE, and have just released their début self-titled double album. Recorded in Reykjavik, Iceland…what’s Bam come up with?

Disk one’s opening track dives straight into a cover of “Big News I & II” by CLUTCH. A big fan of the band, here he pays homage to their southern groove metal and blues style influence, it’s a great cover, giving the track a new lease of life with a dirtier, grittier performance. “Moonshine” is an FFU original and wears the influence of that southern style proudly on its sleeve. Waldie’s bass and Matty J’s guitar work capturing the feel of the music style effortlessly.

Next up we’re into cover territory again, this time its “Get It On” by Scandinavian death-punks TURBONEGRO, and once again we see FFU (aided by guest vocalist Nate Bergman of Lionize) breath fresh life into another classic track, although it’s not as good as their cover of “All My Friends Are Dead”, which was released as a stand-alone single back in 2013.

“Sleepless” takes a far gloomier path, with more guest vocals, this time from Dani Filth of CRADLE OF FILTH fame, and despite being a slow burner, still holds your attention with some more, slick guitar work and emphasis on piling on the gothic atmospherics. “Till The Wheels Fall Alf!” was originally included in the band’s first EP, but is more than welcome here, freshly recorded and sounding crunching as ever. Disk two primarily consists of live songs recorded at the Zombie Hut, Corby, during the bands 2013 UK tour; that is until you reach the final track, which is special inclusion of Bam’s ludicrously brilliant dub-step banger that is “Bend My Dick”, which is better listened to than explained in words.

All in all, FuckFace Unstoppable are a clearly a cohesive unit, they play well together live, they've written and recorded some good songs together and have a lot of potential as a band. If they can focus less on covers and live content next time round, they could very well turn out a quality hard rock album. Right now, Bam is in that awkward place where people still know him for stunts and crazy antics and, while that may very well be a big part of his career, if he’s to pursue music, people need to look past his days as a JACKASS and allow him the chance to express himself through his band. We’ll see what the future holds, until then, pass the moonshine; let’s rock ‘n’ ral! [7]


The album "FuckFace Unstoppable" is available exclusively via http://bammargera.bigcartel.com/ 

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