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]

Now, it WOULD ironically take some sort of deal with the devil to actually accomplish what I’m about to propose to you here but, just go with me on this…imagine you managed to, I don't know, dust off the old Ouija board to summon the spirits of both ROSIE HAMLIN and AMY WINEHOUSE, somehow harnessed their combined vocal capabilities, incorporated that with the suddenly resurrected rock ‘n’ roll musical style of the 50’s and 60’s and, oh, sang about satanic rituals while you’re at it? I wouldn’t blame you if you assumed I was four days into a three-day weekend of abusing multiple substances all the while binge watching Nostalgia Critic videos (That’s half right, I’ll let you speculate which half)…but in principle, there actually does exist such a twisted creation…a creation even Mary Shelly would tip her quill to…let me introduce you to TWIN TEMPLE.

The duo, comprising of Alexandra and Zachary James, formed in (As they say with a slight case of tongue in cheek) the City Of Angels, only recently really in 2016, but have caused quite a stir among the alternative community in the brief time since. While you would typically associate the idea of Satanism in music going hand in hoof with genres such as black or death metal, here the pair argue the case that maybe the devil doesn’t have a ‘type’ and that maybe he loves a slow jam as much as the next bloke…or…biblical outcast, and so using the classical sounds of soul, blues jazz and doo-wop, they spread the message of feminist Satanism, and tackle topics of oppression while fighting for free will against dated ways of thinking in society. How are they doing this? Well with their new album of course! So with that in mind, let’s check out the smoothly titled “Twin Temple (Bring You Their Signature Sound…Satanic Doo-Wop)”…I feel like I’ve just summoned something just SAYING that out loud…Venite incipere!

We open up with “The Devil (Didn’t Make Me Do It)” and it’s a quaint little slice of social commentary and tackles the idea of perception; with lyrics about 8-Balls, playing pool, beer and what not…the idea that gambling and alcohol etc is the work of the devil and leads to further sinning, but here they defend him claiming he gets a bad rap, it’s not all his fault at all! There IS a sense of poignancy however as Alexandra references the 27-club, making the point whilst doing her best Amy Winehouse over some subtle jazz and soft blues. You make your own choices in life, but some of us do have our demons and we need to hold ourselves accountable; it’s a touching nod. “Lucifer, My Love” then goes head on into a world of Satanism but done in the most romantic manner possible. There’s no bombastic sense of theater or hedonistic rituals of sacrificial bloodshed…instead there is a sweet love song about how Alexandra genuinely loves him. The ceremonial candles likened to a candle-lit date, and she even asks if he prefers blue denim or a red dress? A rib at the expense of both gothic and heavy metal clichés…despite its pacing as a slow-dance track it’s really quite comical, in a good way!

The rest of the album continues to tackle the concepts of tortured romance, adultery, corruption and revenge fuelled by love and loss; “I Know How To Hex You” dabbles in a little black magic as the scorned woman gets back at her ex for objectifying her, all delivered with a smooth dose of Americana, while “Let’s Hang Together” goes down the route of taking marriage vows very literally, with emphasis on the till’ death do us part bit, so long the lovers both go out at the same time…morbidly romantic you may say. There are two instrumental pieces making up run-time in the form of “In Lvx” and “In Nox”, representing night and day and other than acting as an interlude and closing piece respectively, they contribute little to what is essentially an 8-track mini-album really.

Overall, while musically it won’t be exciting very many people in the heavy metal community, it IS a refreshing change, in both pace and style. Where it lacks in instrumental heaviness it makes up for in its message and entire point…its MEANT to stick out like a sore thumb because the duo are challenging preconceived and already existing ideas and norms, and really they’ve succeeded, all the while managing to not make any sort of mockery of their Satanic principles. The Goths will get behind this for its quirkiness, and if you’re fan of the “Dreamboats And Petticoats” era then you’ll likely enjoy this too, just, look past the nods to the occult and don’t play it for your grandma...the next time you visit you may find her hailing Satan and finger painting with her cats blood in between cups of tea. [5]

Everyone loves a mystery; something to wrap your grey matter around and one of the most infamous mysteries of them all, is the case of Jack The Ripper. His horrific murder-spree across London in the late 19th century is known around the world and is arguably the most notorious unsolved crime case in history, and despite numerous theories and arguments claiming to have it cracked, to this day still, nobody knows his (Or her) identity. While the ripper case may have captured the imaginations of many artists over the years, such as SCREAMING LORD SUTCH or MARY KELLY (One of the very first reviews on this blog as it happens, way back in 2014), it wouldn’t be the only unsolved murder to influence something musical…have you heard about The Bodominjärvi Murders?

Back in 1960, Lake Bodom, situated near Espoo in Finland would become synonymous with an almost Friday The 13th style massacre, as four teenagers who were camping near its shore, were brutally attacked in their tents. Three of them died with multiple stab wounds and blunt force traumas, while only one survived with severe but non-fatal injuries. The survivor in question, Nils Gustafsson has faced charges in the years that have passed, but there has never been enough evidence for a full conviction, and the case remains unsolved. History lesson over, and though while not a well-known cold-case here in the UK, metal fans will instantly recognise the name and make the connection to one of Finland’s finest melodic death metal exports; CHILDREN OF BODOM. The Finns have been peddling their extreme yet elegant metal, inspired by those killings, since the mid 90’s and here still in 2019 they’ve released their 10th studio album “Hexed”…let’s cast our ears upon it, as it tries to cast it’s spell upon us…

The album open’s up rather impatiently if I’m honest with “This Road”, and what I mean by that is for once there’s virtually no introduction or build up; it’s straight into the fucking riffs and there’s no messing around here. It’s classic COB with Alexi snarling his way around every syllable while the subtle keyboards sift between the relentless onslaught of crunching guitar and percussion. There IS melody here but it’s minimal, almost an afterthought, and in places it stylistically takes on an almost SLAYER-inspired tone; an unforgiving start this. If you WERE looking for more melody mind you then “Under Grass And Clover” has you covered as the synths are FAR more prominent…the track is incredibly up-beat and it’s got a great, simplistic instrumental hook, while the track as a whole takes on a more power-metal sound overall…it’s a definite album highlight.

“Glass Houses” continues the pummelling with more frantic fast-paced metal delivery amidst Alexi’s traditionally raspy vocals…the title track utilises more of that old-school trash metal influence in both its intro and general delivery, somewhat alternating with spats of almost symphonic metal. “Platitudes And Barren Words” is a genuinely superb piece of catchy, synth-driven metal; arguably as accessible as this album gets especially with some of Alexi’s less-aggravated vocals being on offer, while “Kick In A Spleen” provides one of the most equally specific yet random song titles I’ve ever come across…I mean, why the spleen? Who’s spleen is it exactly? And if anything, why not use a knife or other instrument? Let’s be honest a spleen is a pretty fucking obscure target! Why use your foot?! We’re talking Chuck Norris levels of precision here!

​The rest of the album is pretty much by numbers and it’s hard for that to not come across as derogatory…while a lot of bands over time find themselves applying a copy and paste formula from album to album, depending on their longevity of course, a lot of them become stagnant. COB do have their style and aside from the recording and production quality here compared to their early days, their writing style is more or less the same, they have their little niche…BUT…such is with COB, their style IS very much their own and distinct in its own right, and few bands manage to blend the same level of chaos and charm as these feral Finns. “Hexed” doesn’t exactly leave the listener entranced, but it’s undeniably a quality metal album from start to finish. Now that that’s listened to, who fancies a camping trip in Espoo? I know of this beautiful lake…[7]
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If you pay any attention to the Chinese zodiac, you’ll know that 2019 is the year of the pig, and while many are celebrating the prospects of wealth and good fortune (According to traditional beliefs that is, personally I just double-up on my bacon) there’s a group of musicians on the other side of the world with an entirely different set of animalistic beliefs; let me introduce you to YEAR OF THE LOCUST. The New York based five-piece (Consisting of vocalist Scot McGiveron, bassist Fred Serrell, drummer Dusty Winterrowd and guitarists Tyler Hensley & Cody Hyde) dropped their debut album “Devolver” back in 2016, and with the ballsy-brand of hard rock riffs they found themselves supporting the likes of SALIVA, HOOBASTANK and PUDDLE OF MUDD. 2019 sees them return with their brand new self-titled EP; “Year Of The Locust”…will these new tracks see them devour all before them, or are they just a plague on rock and metal? Let’s find out…

The EP opens up with “Stay Alive” and immediately you can hear a marked improvement in the production quality here…everything sounds cleaner compared to the album prior. The vocals are clear and more polished and the instrumentation sounds crisp so we’re already off to a promising start. The song itself is superb; a simple yet steady beat and progression of riffs, embracing the slow build leading into an infectious, hook-laden chorus of powerful vocals. It’s impassioned and poles apart from anything offered previously, coupled with the frenzied solo, it makes for a brilliant opening track. “Line Em Up” follows on and it’s got a tough task ahead of it, but it takes on a slightly more southern-metal tone instrumentally, with its distinct guitar driven groove and subtle vocal drawl…fans of BLACK STONE CHERRY and THEORY OF A DEADMAN will likely get a kick out of this; no nonsense, fun rock ‘n’ roll.

As most bands of this genre do, they aren’t opposed to dropping a ballad or two either, allowing for a change of pace and to showcase their varied vocal and musical ability, and here that comes by means of “Whispers In The Dark”. A slower, tender piece of soft rock that’s big on melody and emotive vocals…with its key changes and sensually flowing solo it’s teeters on soaring power pop without quite having you reach for the lighters, before closing track “Sorry” rounds things off with another dose of chugging hard rock. A decent track but spoiled by the inclusion of random spoken-word segments. They sound jarring and hinder the flow of the track, coming across as forced and would have been better suited to an intro monologue or interlude to set up the track.

Overall in the three years that have passed between releases, YOTL have come a hell of a long way…their song writing and playing have come on in leaps and bounds and the sound quality improvement in terms of recording and production is doing them all of the favours. Gone is the grainy instrumentation and raw vocal performance, despite being only four tracks long, this makes the album feel more like a demo! Whatever the band have done differently is paying off, and if this is their direction then it’s an exciting and promising one, as their next record could feature some absolute tunes. It's the year of the locust they claim, and it’ll take more than pesticide to stop this lot! [8]

Joe Strummer once famously sang that he'd fought the law, and the law won…well as it happens, today’s artist ALSO fought the law, quite regularly in fact, but decided enough was enough and ditched the court rooms in favour of clubs and venues. Let me introduce you to BENNY BASSETT; based in Chicago, Benny was in fact a lawyer for several years, before he decided to pack up his briefcase, cried objection at his own life, and set out on the road to become a musician. A bold move if ever there was one, as if there’s anything more cut throat than the judicial system, it’s the music industry, alas, Benny was not put off and over the past three years he’s spent his time travelling thousands of miles up and down America, playing over 450+ shows, adding new chapters to his life story. This April, Benny releases his brand new EP entitled “Words For Yesterday”…a reflective collection of songs to summarise his life to date. He emailed me recently and asked me to check it out, so let’s do just that.

​The EP opens up with “Window To Forever” and for the most part it’s a sombre, calming indie-pop ballad. An acoustic-led track, it’s charming as it speaks of an uncertainty; not knowing what the future holds but reminding you that, you need to take the chance sometimes. Mistakes can be made for sure, but you need to grow and take risks. The chorus is more up-tempo but the track overall is soothing and it’s a pleasant little track. “Live Where You Love The Sky” follows up and it’s another soft ballad but carries with it more of a subtle country tone. A song of optimism and following his own self-reflective journey; it encourages you to appreciate life for everything it is and do what makes you happy, embrace the selflessness of contentment and be grateful for all you have, so long as you follow your heart.  A philosophical piece as Benny really does practice what he preaches, with the song coming off as very autobiographical, but the hope and belief in his words is enthusing.

Benny isn’t a complete softie however, as proven on “Down Below”…swapping the acoustics for a grittier dose of harder, blues-based rock, there’s a sharper edge here musically but it’s still got a rich vocal harmony and a solid groove. It’s a welcome change as it provides a clear EP highlight, allowing for more swagger and attitude and no doubt this is a stand-out track in his live shows, entertaining stuff this. “Find A Way” switches things up immediately with a bassy, funk-driven piece with retro organs / synths layered throughout the track and it’s quite soulful in its own right, with a brief though enjoyable solo to boot, before the closing tracks sort of taper off with sadly less interest. “Building A Future” is arguably the EP’s weakest offering…the wood-block style synths carry another sickly sweet indie-pop piece but it does descend into a sense of repetition over the chorus, before “From You” closes the EP with another hushed piano ballad.

Overall Benny has proven himself to be a decent song-writer as his lyrical delivery carries you along the EP pretty effortlessly…the melodies flow well and he conveys his story with a softness that absorbs you into each song, resulting in a generally easy, laid back listen. A solid collection of pop songs overall though truth be told a couple more tracks like “Down Below” in future wouldn’t go amiss, sometimes you just need something to move to, but really speaking it’s a fine EP indeed. He’s still brave for quitting his day job to do this, especially such a well-paid and stable one, but he has both a commitment and an ability to make this work, and his debut album should be an interesting listen. Words for yesterday maybe…but more importantly; words to watch out for tomorrow... [6]

When I utter the word ‘Gothenburg’, I can guarantee that you’ll know what I’m referring to…you’ve got this already haven’t you? Fucking damn right I’m talking about the Crazy Frog! No honestly, before I get into this review I have to remind each and every one of you that we collectively allowed the Crazy Frog; that…irritating, frankly cancerous, poorly animated and apparently Swedish cunt-nugget to not only be a thing, but ACTUALLY TOP THE CHARTS! I’m ashamed of us as a species. I digress…I just found out that the Crazy Frog did indeed originate in Gothenburg and had a mild PTSD episode.

I say this though with relevance as taking this seriously now, Gothenburg as we all know it is, for want of a better description, a Mecca for all things melodic death metal. Everyone from AT THE GATES to AVATAR have emerged from this epicenter of Swedish metal, which bring us to today’s band, and arguably one of the biggest of them all; IN FLAMES. Over their near thirty-year career to date they’ve delivered some of the finest melodic death metal albums to ever puncture our ears, from their seminal work on “Colony” which paved their way back in the 90’s, through to the Billboard bothering successes of “Reroute To Remain” and “Come Clarity” especially, In Flames have always been a reliable source of maelstrom…until recently that is. Back in 2016 the band released “Battles” and despite being a decent record generally, it irked many fans with its sense of pop-record production. Can they redeem themselves in the eyes of those same fans? 2019 sees them return as they channel their inner Stanley Ipkiss on “I, The Mask”…let’s check it out.

The album opens up with “Voices” and after the brief, slow build of a repetitive guitar fill that gradually rises in pitch and key, we find ourselves immersed in the familiar sounds of their heavier riffs and subtle synth elements. Vocalist Andes Fridén delivers a particularly run of the mill performance, switching from his usual raspy snarls into a more melodic vocal for the chorus. It’s a fairly standard affair, textbook In Flames in 2nd gear for the most part though Bjorn Gelotte’s solo is a nice inclusion; it’s a safe start. The title track follows up and to be fair this picks up the pace aplenty and there’s a lot more urgency here; with it’s almost thrash-based musical approach coupled with a hook-laden chorus it provides the listener with a truly up-tempo, enjoyable track and gets the album underway properly.

Elsewhere highlights include “(This Is Our) House” which combines anthemic gang vocals and a hard rocking rhythm with almost prog-inspired key changes, which includes Anders vocals; ranging from soaring melody and an emotive clean delivery to a sudden baritone, giving the track additional character. The band haven’t completely left behind the accessibility of the more pop-orientated production from their previous record however…”We Will Remember” despite its crunching hard-rock riffs carries with it a predominantly euphonious tone and it’s really easy listening, before the sudden surprise that is our closing track “Stay With Me”. This is essentially a power ballad and totally juxtaposes the album altogether…with the acoustic guitar, sweet harmonies and Anders surprisingly impassioned, heart-wrenching vocal display; it’s unquestionably a beautiful track and is in its own unique right, the best thing on this record.

Overall over the course of these twelve tracks, the album itself isn’t poor; it’s just for the most part In Flames by numbers. The Swede’s have always been able to deliver the goods over a 13-album discography now and I guess you could say there is the safety of familiarity within their brand of metal, which they do well…but it’s when you’ve got tracks like the aforementioned ballad, it makes you wonder why they haven’t done MORE of that? This is exactly the kind of track that builds bridges between not just genres but audience demographics, and dare I say it, mainstream success? The idea of a 30 year old melodic death metal band delivering such a genuinely sweet song is a mind-blowing concept, but In Flames have ALWAYS been a quality outfit…if anything just genre pigeon-holed. If the likes of BRING ME THE HORIZON can switch from death-core to getting a number one UK album in a country run by chavs and TOWIE outcasts, then on this evidence, In Flames are EASILY capable of being a lot more successful in the eyes of the wider mainstream audience. It’s just a shame it’s preceded and ultimately weighed down by the middle of the road metal before it. [6]

It only seems like yesterday when we were talking about WEEZER, and quite frankly that’s because it may as bloody well have been! Yes back in January, less than two months ago, Los Angeles emo / post-rockers Weezer dropped a surprise self-titled covers album dubbed the “Teal Album”, given its cover art. A fine a medley of covers it turned out to be, that included everything from TOTO to TLC, but it was all filler, merely biding time for what would be announced as their SIXTH self-titled album, dubbed the “Black Album”, which was released at the beginning of March.

Having six self-titled albums is bold and ambitious for any artist, not even KORN can compete with that! But, let’s break it down…going as far back as 1994 we’ve gone through everything from blue, to green, red, white, teal and now black…either Rivers Cuomo is trying to assemble his own league of fucking Power Rangers or he’s been on the Skittles again! Fuck the rainbow Rivers, focus on the music! I digress…with this, the “Black Album”, have they gone heavier; darker? Have they channelled their inner METALLICA to let rip and deliver an album soaked in the maelstrom of metal misery? Well the answer is, not quite…let me explain…

Opening track “Can’t Stop The Hustle” has an almost Hispanic tone to it combined with brass elements and an almost 70’s funk charm, and it speaks of a general down to Earth, working class lifestyle…lyrics about managers slacking, selling lemonade, higher education and avoiding drugs; it’s a bit of a jab at the idea of the modern celebrity and the idea of instant fame and success. It’s all about the work ethic which is something Weezer have put in for nearly 30 years now, never compromising, always true to themselves…admirable in context but it’s a somewhat flat opener musically. “Zombie Bastards” follows up and sonically it’s a bit of an oxymoron as there’s nothing threatening about this at all. Amidst it’s jovial indie-pop tones it speaks of society and normality; everyone conditioned to a certain way of life, a bland existence if you will and the song challenges the idea of that; suggesting you dig a little deeper, there’s more to life than this, there’s more to life than being a brainwashed zombie, and it’s both a dig AND encouraging.

Elsewhere the album more or less maintains a calm, easy listening vibe over the remaining eight tracks…”High As A Kite” takes on a soft, JOHN LENNON / THE BEATLES vibe, and it’s touching as it mentions drifting off like lost balloons, flying like a beautiful bird over a piano led ballad; the idea of freedom and escaping society and the pressures of everyday life; it’s a sweet song backed by a sweeter Mr Rogers inspired video. Album highlight’s “I’m Just Being Honest” and “Too Many Thoughts In My Head” stand out with their up-beat delivery…the former again utilising infectious indie-pop tones and a simple hook, while the latter is again, up-beat and makes the most of Rivers impressive high notes, in places coming across not too unlike BRONSKI BEAT toward the tracks climax, if only briefly. While not intense, the track ends in an enjoyable crescendo and it’s a pleasant listen overall.

The remainder of the record as I said more or less delivers in a similar fashion…”Piece Of Cake” is pretty straight forward with it’s sweet, laid back delivery, “The Prince Who Wanted Everything” does undertake a more 70’s inspired glam-rock aesthetic not unlike T-REX for example, before closing track “California Snow” runs the clock down with some primarily lethargic and repetitive soft rock. Ultimately I think that this album is a bit of a rib on today’s market and industry generally…the very idea of a ‘Black Album’ conjures up the idea of heaviness, as I mentioned Metallica previously, we’re inclined to think that way; we expect a darkness, a deep resonance accompanying the weight of the music, but Weezer here have trolled us all as it’s one of the softest sounding albums they could have delivered. The song writing and story-telling has clear depth, but we were expecting something much meatier, and the band KNEW this. I’m not knocking it for its lack of heaviness, or grit, but credit to Weezer they played me here and still managed to make me bob my head to the majority of this album. IS IT as good as the covers album from January? No, because of the quality choice of songs they covered, but this is a decent little happy-go-lucky record. Still after all these years you really can’t knock Weezer’s hustle…[5]

Birmingham, as we all know, is the spiritual home of heavy metal and the myriad of alternative genres that followed it, but it’s not the only city in the UK with serious rock ‘n’ roll credentials. Yes today we’re going to be turning our attention to Sheffield and to be fair, its home to several big-name artists itself, spanning from all walks of rock and metal culture, having spawned everyone from DEF LEPPARD to BRING ME THE HORIZON over the years…and while the latter are at the very peak of their career riding high with chart success, infiltrating the mainstream, their contemporaries aren’t too far behind…enter WHILE SHE SLEEPS. (That sounds creepier than intended…)

The five-piece (Consisting of vocalist Lawrence Taylor, drummer Adam Savage, bassist Aaran McKenzie and guitarists Sean Long and Mat Welsh) have been going strong since 2006 and over that time they’ve steadily established themselves as one of the UK’s hottest up-and-coming metal acts. With their last album “You Are We” receiving heaps of critical praise and breaking into the UK charts, all eyes were wide awake in anticipation for their eagerly awaited follow up, and the lads delivered at the beginning of March with album number four; “SO WHAT?”…if I may paraphrase MEGADETH for a second…so far, so good…so what’s in store for us here? Let’s find out…

The album opens up with “ANTI-SOCIAL” and while initially ticking off the clichés with the police sirens and dogs barking, planting the image of troubled neighbourhoods over at the bad side of town, it soon descends into a flurry of almost djent inspired metalcore riffage. Lawrence’s vocals are initially hushed before a bold yet simplistic chorus of ‘I’m not anti-social, I’m anti-bullshit’…the almost nu-metal tones of the instrumentation carry a sense of vitriol and as a whole the track is brimming with piss and vinegar. The disdain for the current state of society, awash with corruption has become too much and here those sentiments are hammered home, especially in the incredibly powerful accompanying video; this is intense stuff. “I’VE SEEN IT ALL” initially follows up with some crazed fret-wankery, before  bellowed gang vocals are layered within the groove-heavy slab of hard rock, giving the track a prominently anthemic feel.

The title track again utilises a rich groove, coupled with duel vocal / guitar harmonies over a hook laden chorus, which can also be said for “THE GUILTY PARTY” and album highlight “SET YOU FREE”…the former, another up-tempo offering with a blistering chorus and more gang vocals, while the latter doubles down on the pop-production quality. The clean vocals are much more prominent and there’s a fun, almost pop-punk tone to the chorus and it all flows so smoothly, before the album eventually closes up on “GATES OF PARADISE”; another fine blend of mauling metalcore and melody, even including some almost rap-inspired vocals towards the breakdown. There was a lot of hype and anticipation around this record, and I will gladly point out that it IS a quality modern metal record; the riffs, the aggression; it’s all on point, just as the softer moments are and it’s a well-balanced album overall. The metalcore aspects themselves ARE growing tired truth be told, there’s only so many screamed vocals and breakdowns you can hear before you begin to feel you’ve heard all of it as many bands apply a copy and paste formula, but there’s enough here to warrant repeat listens, switching up JUST enough to keep their sound fresh.  They aren’t quite on the same level as their fellow Sheffield residents BMTH right now commercially, but the music speaks for itself, and this is an album well worth checking out. [7]

Black metal; arguably the most perceived to be evil of all the extreme metal sub-genres, and a genre that’s been the subject of A LOT of controversy over the years…while its origins may lie in England thanks to VENOM and the album that practically named the entire movement; “Black Metal”, the bulk of it can be found in (You guessed it) Scandinavia etc. It’s here that the genre picked up its notoriety with cases of band mates murdering each other as well as convictions for hate crime, bands using ACTUAL images of suicide victims on album covers (See MAYHEM’s “Dawn Of The Black Hearts”) and if that wasn’t enough, several churches have legitimately been burned down!

But, let’s not dwell on those crazy Scandinavian bastards for now, as black metal reaches further afield than that, and one of the genre’s most prominent bands can actually be found in Greece. Yes, today we’re going to be focusing on ROTTING CHRIST. Formed in the late 80’s, they were one of the first black metal bands to form out of the Mediterranean region and have been an iconic and influential force for many an underground band ever since, and 2019 sees them release their brand new studio album “The Heretics”, Their first in three years. Let’s all skip church together and find out what the Greek’s have got in store on album number thirteen…no I said SKIP church not set fire to….never mind…

The album opens up with “In The Name Of God” and its spoken word intro is incredibly damning and profound, pointing out the overall hypocrisy of mankind. While many of us today denounce the idea of any religion, the very concept seems archaic while we create our own miracles; yet we still are able to pick and choose our own deities as they suit us…war and death in the name of God not out of true belief, but out of convenience. Musically the track has a rigid, militant tone which suits the aura of the track completely and it’s an intense start. The album then to its credit just keeps getting better and better…”Vetry Zlye” manages to balance pummeling percussion and Sakis scorching metal vocals with some beautifully melodic guitar, along with the sweet, cleaner vocal notes of Russian singer Irena Zybina. The two complement each other brilliantly and it’s an infectious piece of metal! Speaking of infectious, “Heaven And Hell And Fire”, despite it’s obvious metal aesthetics carries a great guitar hook layered within another up-tempo melodic metal offering, this is all very good stuff!

This is further backed up by album highlights “Fire God And Fear” and “The Sons Of Hell”…the former starts with another spoken word piece amidst the quaint chirping of birds, like it’s the introduction to one of the levels on “Dungeon Keeper”, but swiftly descends into a wall of blackened metal riffage, and THAT solo? It’s superbly executed and slicker than a bowl of extra virgin olive oil! The latter embraces a more traditional heavy metal style, evident in the wailing guitar notes and more methodical approach instrumentally, before “The Raven” utilises more soaring guitar harmonies while Sakis recites the works of Edgar Allan Poe.

There are some minor hiccups mid-album…such as “I Believe”, which combines a spoken-word Greek monologue with an unrelenting wall of noise as the frantic guitars are played on loop in the background, and it gives you a little bit of a headache before it fades out, while “Hallowed Be Thy Name”, although commanding and ominous in tone, does suffer from a case of repetition. Although to be fair, these flaws are minor in the grand scheme of things. “The Heretics” has showcased Rotting Christ’s ability to incorporate melody and an accessibility into their otherwise crushing sound, something which was lacking on “Rituals”, resulting in a wonderfully smooth listen. Putting aside the gimmicked elements of early Catholicism with the ritualistic or ceremonial chanting emitting from the backing vocal samples, this is a really strong blackened metal concept album and if you’re unsure of making the jump from traditional metal into something more dramatic and intense, then this is actually a brilliant segue record. It’s as easy-listening as extreme metal can get but it loses none of its credibility. Forget rotting, Christ sounds fresher than ever. [8]

I’d like to take a minute to just talk about collaborations and the idea of the ‘Supergroup’. I know I’ve covered some examples in the past; just look up my reviews on artists such as THE 69 CATS and FLAT EARTH etc…but the very idea of the ‘Supergroup’ has lost a lot of its charm and appeal in recent years, and that’s mainly down to the current chart trends. Over 25% of the current UK singles chart contains a feature or collaboration, and the idea of artists working together on records isn’t really that much of a big deal anymore. While we may have had MCBUSTED recently…gone are the days of THE HIGHWAYMEN or, VELVET REVOLVER. But today’s artist hopes to restore faith in the entire concept; let me introduce you to EVI VINE.

The London-based, soundscape weaving, progressive post-rock doom outfit, which are fronted by Evi herself (But also includes bassist Matt Tye, drummer David ‘GB’ Smith and Korg/synth operator Steven Hill) have recently released their newest album, “Black // White // Light // Dark”, through Solemn Wave Records. Nothing special you’re thinking thus far, however, the album was recorded live in the studio with an assortment of guest musicians that really do peak your interest. With members of THE CURE, FIELDS OF THE NEPHILIM, FAUST and GOLDFRAPP all contributing to the record…this truly is an alt. rock ‘Supergroup’ project! Let’s check it out…

The six-track mini-album opens up with “I Am The Waves” and after some brief guitar fuzz we’re slowly dipped into a mire of miserably depressing instrumentation. The doom influences are beyond evident as this is so dense and bleak, though not heavy; the musical equivalent of a black hole absorbing all light around it. Vocally hushed, almost whispered in parts…singing “I am the waves; I am the ocean”…hopefully acting as a calm before the storm, as this body of water lays still, waiting to surge and crash around you. We follow this up with “Afterlight” and while initially more up-tempo with more groove and rhythm, the percussion and guitar’s take on more of that progressive influence. The beat and majority of the structural melody is off-kilter and disjointed, resulting in a somewhat trippy little track, though vocally there’s hardly any change.

Despite being a short album in terms of track listing, they make up for it in track length with “Sabbath” and “Sad Song No.9”…the former does, to its credit, give us our first taste of a proper riff and you hope that despite it’s near ten-minute run time, it’s finally waking up…though those hopes are dashed soon afterwards as once again we descend into a bleak, abyssal depth of damning boredom. When the guitars pick up, the intensity breathes SO much life into the instrumentation and you can’t help but be left wondering why couldn’t they maintain those heavier doom qualities? The instrumental climax is energetic and enjoyable but frankly it’s too little too late, while the latter then, being over eleven minutes long feels like the equivalent of watching a sloth complete the London marathon in real-time…congratulations are in order but I never want to have to watch that ever again.

The other remaining tracks “My Only Son” and “We Are Made Of Stars” sadly do nothing to balance the mood whatsoever and while there are sweet vocal displays and elegant string sections in the former, as Evi sings from the heart about a close friends suicide, it doesn’t rescue this record from its own pit of despair. With the talent surrounding this album, while not intending to have certain expectations or, typecast anyone creatively, you’d at least HOPE that here you’d find a decent to good alternative rock album with diverse ideas ranging from original post-punk to modern Goth-pop aesthetics…couple that with the progressive doom elements, and you allow for a really dynamic and interesting listen. Sadly what you DO get is comparable to a narcotics prescription; as you’ll likely find yourself bored into a deep slumber instead. It’s ambitious, it’s artsy and it’s atmospheric I’ll give it that, but from getting excited at the list of personnel, to listening to the finished product, it really is a case of day and night. Maybe the album’s title itself was trolling me all along? Speaking of, the album is that dull it practically used the same artwork as one of ARCHITECTS previous records; I mean they couldn’t even make an effort with THAT it would appear! All in all a disappointingly boring listen. [2]

As you all SHOULD know by now, Scandinavia is renowned for its mind-blowing plethora of heavy metal bands. Seriously now, collectively, the Nordic block shit’s out such a vast variety of metal it could be mistaken for another industrial revolution! When it comes to exports though, no one can match Finland…them Finns LOVE them some metal and it’s here we find ourselves again for today’s band; let me introduce you to KAAMOS WARRIORS. Formed in 2018 in the town of Kempele, their name roughly translates as ‘Warriors Of The Polar Night’…and hailing from just outside the arctic circle, it’s safe to see where the duo (Consisting of Mikko Ojala and Jani Moilanen), like many other Finns, get their inspiration.

Living in such an often unforgiving environment, with extremely cold temperatures and often fragmentary nocturnal cycles, it’s no wonder a lot of the music produced in Finland is soaked in despair, melancholy and delirium. It should come as no surprise then, that their debut album; “Ikuisen Talven Sarastus” essentially means ‘At The Dawn Of Winter Eternal’…but are they resigning themselves to an existence in icy isolation? Let’s find out…

The eight-track mini-album opens up with “Kaamos Warriors” itself and I guess it’s like a declaration of intent if you will…the foreboding intro of the sinister guitar tone leads into an eruption of blast-beats and unrelenting percussion, accompanying the evil snarls of vocalist Mikko. There’s an uncomfortable, unholy aura to the track, reinforced by the chilling monastic vocal chanting, almost ritualistic over the cold, blackened metal; a decent start this. We follow this up with “Talventuoja” which I’m honestly struggling to translate…it’s message roughly means (And I mean this as an interpretation) the reaper is the bringer of Winter; for the cold solitude of endless nights is comparable to death itself; dark and void, and musically the slower tempo, owing much to the sound of say, SATYRICON for example, allows the song to impose a sense of dread and seriousness upon the listener, though the guitar solo and abrupt ending spoil the vibe of the track ever so slightly.

Thankfully there are a handful of English titles here too, making life a little bit easier for me truthfully, with the first of which being “Winter Eternal”. Another gradual build here, blending their brand of blackened death with subtle battle metal aesthetics, coming across as more of a march than a full track if you will; it’s quite regimented and linear and honestly it’s about as flat as you’ll find this type of metal. The other English tracks comprise of “Immortals” and “Secrets Of Stars”…the former delivering an interesting blend of acoustic guitar and harmonious, choir-esque vocals underlying the sonic intensity, while the latter offers a more up-tempo, pacier slab of melodic metal, providing a late album highlight. It’s full of groove and rhythm and it’s, dare I say it, catchy…? Before we then round things off with the title track itself; returning to their cold, brooding visceral misery.

Let’s not beat around the snow covered bush here…the Nordic / Baltic region for blackened death metal bands is like a cave in the Kanto region for the mighty Zubat, walk just a couple of steps in any direction and you’ll have one screeching in your face. This doesn’t necessarily mean the genre is completely over-saturated however…for a band practically just a year old, this is a really promising debut. At just over twenty minutes it’s a short album, but that makes this an easy, accessible listen for such a niche underground genre. Warriors…raise your pork swords, winter is coming. [7]

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

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

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

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

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…

Back in the early 2000’s, Matt Willis, Charlie Simpson and James Bourne or, BUSTED as they were collectively known, were on top of the world. The Essex-based pop-punk trio found themselves all over the charts with two consecutively successful albums, which spawned hit singles about sexual exploits with air hostesses, hitting on your great, great, great granddaughter in the future and, oh yeah; the Thunderbirds. But, while many rock and metal fans viewed them as immature and commercial tripe, it can’t be denied that they were a gateway for many younger fans into guitar based rock music…something which would ultimately disband them.

Charlie made no efforts to hide the fact he really preferred harder, grittier rock music, and eventually he found himself leaving Busted to go his own way with FIGHTSTAR, who to their credit more than held their own on the UK alternative scene. This was in 2005, and while Charlie was opening up pits at underground rock venues…Matt became the king of the jungle and dropped an honestly really good solo album, while James took all of the knob jokes ever written with SON OF DORK (Dork being a slang term for penis, as well as being a socially inept person…he was just one big socially inept penis). However, as the saying goes; never say never, and it would only be a matter of time before there would be a reunion…granted it would take eleven years, but the boys in Busted returned in 2016 with the album “Night Driver”. Adopting a more mature musical approach, it wasn’t QUITE like having Busted back as we remembered them, but, hopefully they can make up for that on “Half Way There”, their brand new album for 2019. The question is; where are they heading?

We open up with “Nineties” and thematically at least it sets the tone for the entire record; this is an album of deep reflection, of reminiscing and truthfully it’s really touching and relatable. Singing of fond memories; they mention ditching school and listening to SMASHING PUMPKINS and playing guitar to OASIS…even transitioning from NIRVANA into a ‘na-nana-na-nana” vocal pre-chorus. For many in their age group it hits home and makes you think how times have changed, and it’s a sweet, nostalgic track. Speaking of, “Nostalgia” sums things up wonderfully…with its up-beat, positive guitar tones and subtle FOO FIGHTERS vibe this questions their very ethos…lyrics like “Do I even want you back?” seemingly questioning their very existence as a band, in a self-aware manner that is, given the period of absence, why risk tarnishing their legacy? Why risk it all for a cash-grab per se? Also in a seemingly apropos manner its Charlie repeating the line “I was doing just fine”…as if to suggest did this NEED to happen at all? This is deep stuff given the joviality of the track itself, but brilliantly executed.

The theme continues with the likes of “Reunion” which is another album highlight and more of the recognisable up-beat guitar driven pop…and really it’s quite passive-aggressive in ways. Masked under a school reunion shtick, they subtly hint at how things have turned out and how things may or may not have happened differently and there’s traces of melancholia layered within another entertaining pop-rock track; to be fair their song-writing is on point.  “All My Friends” takes on a similar approach showcasing the differentiation between us and them, taken in context over the years and how they have grown as people, and in ways the title track speaking of being halfway to obscurity, hinting at the flame only burning for so long, before “It Happens” takes you on another nostalgic journey going over the lads background and how you should never give up on your dreams…their hard work and success story laid bare to inspire future musicians to carry the torch so to speak, ending the album on a wonderfully poignant note.

To be fair, Busted were never renowned for being poets or philosophical from a musical or even lyrical perspective, but in their later years it’s clear they are very self-aware and recognise that times have changed. Despite being a new, fresh album, the feeling is very much one of remembrance and former glories. That’s not to say that any of this new material is irrelevant by any means, they’ve touched on a lot of deep personal issues here…the real question is does it even matter in this day and age? The answer is yes…if Busted were to truly call it a day following this, there would be absolutely no complaints and that’s not a derogatory comment. They’ve been there, they played the arena’s, they sold the albums, they made it…but they changed as people…and while looking back may make you proud of certain accomplishments, it shouldn’t define them.  Nostalgia is one thing, but credibility is more important, and I think, given the vibe from this album, it’s something Busted recognise. Does it have the hits of their early years? No…does the album however capture everything it needs to, to provide closure? Absofuckinglutely. If this is Busted’s swan-song, then credit to them, what a way to go out, this is a really well executed album.  It might be called “Half Way There”, but I think Busted have come full circle, and they can go out with their heads held high. [8]

Finnish music it would seem, is undergoing a little bit of a renaissance…just last year we saw the revival (And what a revival it was too!) of original 80’s Goth-rockers MUSTA PARAATI thanks to Jyrki Linannkivi of THE 69 EYES, who helped them rock ‘n’ roll-back the years to deliver some sorely missed traditional post-punk, but this year we’re going back even further. Back in the late 70’s a group of musicians who would be simply known as the AGENTS began their highly collaborative career, acting as a backing band for several successful Finnish artists, and though while consistent throughout this time, having released a plethora of recorded LP’s, they’ve never really had the spotlight on them outside of their home country…until now.

VILLE VALO needs no introduction; the former HIM front-man is one of the most iconic performers in modern alternative music and since HIM disbanded, I guess you could say he’s been a…free agent? Cue the collaboration! But it wouldn’t be the first time, oh no…HIM fans will be aware that back in the late 90’s before the love-metal maestro’s hit the big time, Valo had already performed with Agents a handful of times on Finnish TV…but now, twenty years later, we find them together again as Valo’s career comes full circle as they release their self-titled album “Ville Valo & Agents”. To paraphrase CHER…do you believe in life after love metal? Let’s check it out…

The album opens up with “Kirstinkulma” and what we have really is an elongated intro track; purely instrumental here, it showcases the bands original style and tone with the stripped-back surf rock and blues-pop influences…with a subtle ROY ORBISON inspired sound in places. It’s very easy-listening and really quite sweet sonically. The first track proper then is the first of a couple of revisited tracks for Valo by the name of “Ikkunaprinsessa”, which essentially means ‘The princess in the window’. Not to be mistaken with anything you might find in the window of his dad’s Helsinki sex shop, it’s a romantic little tale about someone who sets their eyes on a model in a shop window and falls in love. A simple story but it’s got such a jovial tone to it, with Valo here sounding smooth as ever. Singing in his native tongue, he makes Finnish as much an art from as a language. “Paratiisi” is another which means ‘Paradise’ and it’s got soft, Mediterranean elements to the guitar here and both tracks sound vibrant; the fresh recording quality has done them justice.

It’s worth pointing out here that the bulk of this record comes in the form of re-recordings, with Valo putting his spin on tracks originally performed when the Agents were collaborating with RAULI SOMERJOKI, a Finnish songwriter who passed away in 1987, with “Kuihtuu Kesäinen Maa” being a great tribute for example. An incredibly mellow track, Valo allows his dulcet tones to weave their way around the song, bordering on the point of becoming a lullaby was it not for the instrumentation. There’s a sense of clarity to him that he was lacking on the last HIM record and he seems audibly more relaxed, healthier even. There are two English language tracks presented by the way of “Rockin’ With Enzio” and “I Told You So”…neither of which have Valo on vocals. The former houses a subtle 70’s glam-rock tone musically, which may appeal to fans of say, T-REX, while the latter harbours a more country-based blues aesthetic; both of which equally refreshing on the ears from a musical and linguistic point.

To be quite frank, this is more of a project than a new band or, real fresh start for Valo post-HIM…a little like his solo single “Olet Mun Kaikuluotain”, he just fancied a change. The songs have been rerecorded and produced well, and Valo’s hushed vocal harmonies are tailor made for Agents musical style, they complement each other wonderfully.  If any HIM fans were hoping for something more like the guys have done in FLAT EARTH then they’ll be disappointed, the whole idea was for Valo to step AWAY from the noise and the heaviness that came with being in HIM; he’s exploring new avenues creatively and allowing himself the freedom to do so. Sure the Finnish itself might put some people off too, but it really isn’t aimed at the same demographic of Heartagram enthusiasts he’s been used to for the past twenty five years. If you’re a fan of Valo’s then naturally you’re going to check this out, long-time fans will already be familiar with his history with the Agents, but don’t go into this expecting his trademark baritone, soaring vocals and wailing guitar solos…you will be massively let down. [6]

It’s been a long time since we’ve heard from Canadian pop princess AVRIL LAVIGNE…not since her 2013 self-titled album in fact, but there is a legitimate reason. Following the release of the album, Avril was diagnosed with Lyme disease; a bacterial infection that if untreated can lead to severe joint pain and swelling, loss of feeling and movement, heart murmurs and palpitations, and memory loss. On top of that, in 2015 she separated from second husband Chad Kroeger, only adding to her personal struggles and overall wellbeing…

There became a point where she openly admits she accepted death…but she found salvation in music and coped the best way she knew how; to play through the pain. Having spent the past six years going through treatment and recovery, and finding hope and salvation in her music, she makes her long-awaited return in 2019 with her brand new album “Head Above Water”…let’s give it a listen and check out the very songs that kept her afloat.

The album opens up with the title track, and the song that got this album off of the ground to begin with. A song of hope, pleading and determination as she sings of fighting off this illness; acknowledging her own mortality but defiant in its face…the idea of drowning here being used to describe her struggles and solitude, and as the sombre piano and subtle orchestral elements wash over you, it’s incredibly moving and deeply personal. A solid pop ballad this and a decent start in all fairness. “Birdie” follows up and here we hear her sing of a caged bird allowed the opportunity of freedom; metaphorically very soul-searching as she hints at personal growth and development, moving onwards and upwards in life, towards new horizons, like a bird free in the wind. Musically subdued but it’s her vocals that carry the track with their impassioned delivery.

Here though is when the album takes, for want of a better word, a bit of a dip…”I Fell In Love With The Devil” can’t help but make me think of poor Chad Kroeger…Avril here pulling off the ultimate Nickelback trolling. I digress, it incorporates more orchestral elements through some morose strings, but the opening line of ‘Shotguns and roses’ makes me think ONE of them had been watching Terminator 2 and that sounds like one hella messy divorce. “Dumb Blonde” treats us to a collaboration with NICKI MINAJ of all people…denouncing the idea that they are some, stupid Barbie dolls and that they’ll prove us all wrong, but musically this is SUCH an immature sounding, cheesy pop track. While meant to be empowering and defiant it’s got such an adolescent sound compared to the rest of the record and it cannot be taken seriously. “Hello Kitty” is a better track…let that sink in.

“Goddess” and “Bigger Wow” lyrically make you do a double take in places and really it’s cringe-worthy. On the former we learn of how Avril is treated like a Goddess, because some unknown person finds her sexy in her pyjamas…even suggesting he goes banana’s over her; banana’s and pyjama’s in an Avril Lavigne song in 2019…the latter? Well the latter really stretches her vocabulary…check this out “I just wanna bigger wow, ba-ba-ba-ba-ba-bigger na-na-na…”, my brain just fucking exploded! “Warrior” may end the album on an emotive note with ample vocal harmony but, it’s too little too late.

Avril over the course of her last couple of albums has tried her best to shake her initial pop-punk skater chick image, and for the most part this IS a much more mature album it has to be said, HOWEVER…the ballad approach wears thin over time. Yes this is a massive victory for Avril personally as she’s been through A LOT recently, hell I applaud her…but it doesn’t give boring songs a pass. When she DOES try and liven things up, the energy is wasted on frankly childish tracks and ideas, really doing herself no favours. Am I glad she recovered and that she’s fit and healthy, making music again? Of course I am…am I glad THIS was the comeback album? No…no I’m not, it’s annoyingly disappointing overall. I was hoping for something…how can I put it? Ba-ba-ba-ba-ba-better. [3]

Lansing, Michigan; the very heart of Michigan State and a pivotal player in the US educational sector, housing a plethora of universities, law schools, medical schools and more…but what are they like with metal? That’s where today’s band comes in…let me introduce you to HEARTSICK. Having formed nearly 20 years ago, through a love of progressive metalcore and amidst the NWOAHM boom, the four-piece (Consisting of vocalist Alfonso Civile, guitarist Jerred Pruneau, bassist Waylon Fox and drummer Justin Robinson) have over time built a strong following stateside with their intense, unforgiving live shows, supporting big-hitters such as FEAR FACTORY and HATEBREED. As they unleash their newest album “Sleep Cycles”, we have to ask, can the lads from Lansing school US on the metal? Let’s find out…

The album opens up like Corey Graves’ wife with a track called “Affair” and it’s not long before we’re met with Alfonso’s visceral snarls, curling themselves around some deep riffs; the metalcore style prominent, as it switches up between subtle gang-vocal melody for the chorus and being instrumentally itching for the imminent breakdown. It ends abruptly but generally it’s a fairly standard though enjoyable metal track; a decent start. “Hate Anthem” keeps up the momentum with its primarily more thrash metal inspired sound; the tempo and intensity are all turned up a notch and in ways this harks back to early SLIPKNOT in its delivery; a proper head banger of a track this.

Given the quartets admiration for metalcore however it’s not always a swift smack in the mush as they are more than capable of incorporating ample melody within their instrumentation, especially on the latter half of the album. “Slave Labor” in particular with its hushed atmospherics, whispered vocal delivery and soaring, emotive chorus, almost combining anthemic indie rock with chilling metal aesthetics; it’s quite hypnotic. “Her Heart” is another and again, with the soaring clean vocals it adds diversity to their audible assault, while single “Love Letter” embraces a more sombre, chilled out post-rock approach, appealing to your inner emo with their own take on a heartfelt rock ballad; a genuinely touching track.

​Ultimately “Sleep Cycles” is a fitting title as one minute it’s crushing and aggressively vibrant; wide awake and alert, but they know how to reel it back and soothe you too without managing to make you dose of completely, and they’ve balanced this out really well over the course of the thirteen tracks. Currently unsigned but, it’s hard to see why quite frankly (Unless it’s by choice of course), Heartsick know how to make you feel the feels and this is a solid record all in all…[7]

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

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

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

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

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

DEWAR PR is a PR company based out of Ontario, Canada, run by CEO Curtis Dewar. Specialising in all that is hard and heavy within the music industry, Dewar champions all of the underground genres such as sludge, stoner rock and other sub-divisions of heavy metal, allowing them the platform and opportunity to reach out to new set of ears worldwide. You may already be familiar with a couple of their clients through my recent 'My Wreckord Collection feature', but if you really want a taste of what Dewar has to offer, then look no further.

“Dewar PR Presents” is a brand new, FREE TO DOWNLOAD sampler compilation album, consisting of seventeen tracks by seventeen different artists, showcasing the variety of metal you can find within their catalogue of bands. Whether you like the groove-heavy hypnotic drones of sludge lords FALSE GODS….the traditional sound of old school thrashers TOMMY CONCRETE, the classic, sensual darkness of Gothic rockers HER DESPAIR, or even the sweet vocal harmonies of DUST PROPHET, there is sure to be something for you over the course of this record. Curtis himself says;

“I’m pleased to release the latest in our series of compilations! This is the fifth year of Dewar PR being in operation and I’m excited to have the chance to work with great new bands.  Download the compilation and support (with money) any of the bands that you enjoy! If you’d like more information on promoting your next release with Dewar PR, please email me at dewarpr@gmail.com!”

Follow the link below to download the sampler…did I mention it’s fucking FREE?!?! Get on it!

Track List:
1] FALSE GODS – “They Who Speak To The Lost”
2] OWL MAKER – “Witches”
3] TOMMY CONCRETE –“Leith Punk Flat”
4] HER DESPAIR – “Blaspheme With Me”
5] GORM – “Beyond Black Rainbow”
6] CHAOS SYNOPSIS – “Sixteen Scourges”
7] ALICEISSLEEPING – “Scary Mary”
8] RITUAL EARTH – “Solar Ecstasy”
9] DEATH ON FIRE – “Witch Hunter (Remix)”
10] VESSEL – “The Dreaming”
11] BLESSED BLACK – “Stormbringer”
12] STUMP TAIL DOLLY – “Regret”
13] ALLFATHER – “By Sword By Famine By Plague”
14] DUST PROPHET – “The Big Lie”
15] ARCHARUS – “Erebor”
16] RIFT – “Lift To Ash”
17] DESERT KINGDOM – “Unleash All Hell”

Jonathan Davis and Fred Durst once very lovingly tried to tell us that, it’s all in the family…and though while more of a roast battle than anything else, ideologically, the sentiment rings true more often than not. Families and close relatives especially will always have a natural bond that’s hard to find elsewhere, and this can be incredibly beneficial for musicians and performers. You can look back through history and find some of the most successful recording artists of all time have been blood relatives; THE BEE GEES, THE BEACH BOYS, THE JACKSON 5…and even up to modern times the importance and value of that bond has been hammered home by the sad passing of Tom Searle of ARCHITECTS…and this brings us to today’s band. Let me introduce you to BLACKLIST 9.

Originally formed in Southern California back in 2013, they are the brainchild of founding members (Also father and son duo) Lonnie and Kyle Silva. With Lonnie on drums and Kyle taking up guitars, they initially started as all bands do, jamming in the garage, making some noise…but this soon turned into an aspiration and an actual project as opposed to a hobby. After a demo or two with some local musicians and some extensive local gigging, they caught the bug; this is what they wanted to do and so, taking this seriously, they had a shuffle in the ranks. Brought in were new vocalist Graham Fletcher and bassist Ray Burke, and so began the journey of writing and recording their proper debut. Scheduled for release this coming March via Eclipse Records, let’s find out why Blacklist 9 are “Mentally Ill, Legally Sane”…

The album opens up with “Azzip” and although no more than an intro piece, it’s absolutely fucking demented…some quiet knocking leading into this, intensifying tinny guitar and a wall of sheer, noise, clutter and distortion. Some of the squeals emanating from these speakers right now leads me to believe I’m PRETTY sure someone is being recorded raping a pig here, but it’s hard to tell really…utterly psychotic. First track proper then, “Stand In Line” actually gives some musicianship which after that opening is frankly fucking welcome! With the deep, bass-heavy riffs and coarse production it takes on an up-tempo, southern groove metal / sludge crossover style…though the solo is clean…a bit like finding a pound coin that’s been dropped in dog shit. I mean it’s a pound coin, you might need it for a trolley like, but you aren’t picking it up. On a serious note, if anything you could liken this to a drunken VIKING SKULL demo with added heaviness.

“Kali Smile” has a drawn-out riff-driven intro that eventually incorporates some up-beat, rhythmic percussion and again it’s all about the groove with these guitar hooks…in ways it can be likened to the likes of MUDVAYNE in places instrumentally, though aesthetically the nu-metal is more of a nuance. The vocals are still brash and aggressive, and are about as appealing as cauliflower ear for the most part, though it has to be said the death growls salvage things in the long run. “Liars” takes a more classic-thrash inspired approach with its pacey delivery and there are hints of SLAYER and PANTERA trickling through here as influences, the solo guitar work is again, a highlight. Early demo track “Madness” makes a reappearance, nothing truly stand out as it slowly chugs itself along, before we finish up on “Legally Sane”; returning to that southern groove metal style, the album’s title track, inspired the trial of mass-shooter James Holmes who murdered 12 people in that dreadful Colorado theatre shooting.

Coming back to my initial point about family bonds and chemistry, it’s easy to see that, musically things ARE working out here; for a debut first and foremost and secondly for a sludge metal inspired musical style, they’re on the right path, Lonnie and Kyle clearly have a vision…the riffs and percussion are solid and the overall guitar work is fine, there’s definitely a market for this, but it’s vocally where these fall down. If it weren’t for the death metal growls Graham would miss the mark completely here, as when he’s not growling he’s grating…there’s no REAL tone to his voice and it all just becomes angry venting after a while. Honestly, they’d be mentally ill to not consider replacing him and really work on that aspect of the bands overall presentation, for it’s those vocals that bring some decent metal down. Blacklist 9 by name but, not as many listens for me to blacklist them…for now at least. [2]

As February 8th 2019 was officially Dydd Miwsig Cymru, or, Welsh Language Music Day for those of you requiring English...I thought that I'd go local for this next installment of My Wreckord Collection. Today we catch up with one Mr Zac Mather, drummer of Pontypridd-based alternative rockers CHROMA. The currently unsigned trio have been making a name for themselves in and around Wales' live music scene since their debut self-titled EP, and continue to come on leaps and bounds through their work with Horizons, even garnering accolades at the Cardiff Music Awards. Here, Zac gives us a quick run down of five albums that helped shaped him as a person and a musician today....

Now, I’m going to level with you all OK…I didn’t expect to be doing this review. For those of you who aren’t on the GTGC Facebook page, you may not know that some of my reviews are reader requested via means of polls…every so often I provide ten new albums to choose from and the winners get reviewed; it’s really quite simple. Naturally I like to mix it up a bit and include some, shall we say, interesting options? Usually this is PURELY for diversity’s sake as 9 out of 10 ten times you can guarantee the big name rock bands win…this however…this is that 1 in 10. This, this is Rick Sanchez C-137, the malcontent…So thank you, you bunch of bastards, as we prepare to check out “DNA”…the brand new album by BACKSTREET BOYS. Pass me the fucking Jack Daniel’s, seriously…

For those of you who are of a certain generation, you may not really appreciate the gravitas of the name Backstreet Boys…while you’ve all been busy enjoying ONE DIRECTION and the like, it was back in the early 90’s that AJ, Howie, Nick, Kevin and Brian more or less paved the way for your teeny-bopping lifestyle. Arguably the biggest selling boy-band in the world, for a period they ruled the airwaves with the likes of “I Want It That Way”, “Larger Than Life” and “Everybody (Backstreets Back)”…but that was a long time ago, and the now man-band have returned with their 9th full length studio album in 2019. Are the boys back in town, or should these backstreets be cordoned off?

We open up with “Don’t Go Breaking My Heart” and the initial soft piano leads into some slick vocal delivery as the track gradually picks up momentum, culminating in a rhythmic chorus fuelled by retro synths. The hooks are simple but effective, with the vocal high notes and their emotive delivery; the overall feeling of hope and optimism leads to a really enjoyable piece of pop music and it’s a decent opener it has to be said. Follow up track “Nobody Else” is really just your modern pop ballad; all of the love song clichés, with the vocal harmony and soppy lyrics delivered within a mellow, laid back track. I mean it’s sweet, but it’s no “Fucking An Animal” by GWAR now is it?

There are a couple of notable moments scattered throughout the record; “New Love” has a bass-driven R’n’B vibe at its core, aiming for a sultry mood setting, though the flutes sort of spoil that, feeling out of place, and chorus suffers from repetition, though the multi-layered climax of the track does end things on a lively note. Recent single “Chances” is probably the albums stand-out track with its soulful vocal delivery, and a groove-heavy, upbeat chorus hooks, another admittedly enjoyable pop song this. “No Place” utilises a smooth country-pop inspired sound, where as “Passionate” houses more funk-driven guitar and subtle brass sections, before we eventually finish on “OK”…soaked in positivity and good vibes, providing the listener with a happy ending.

The question we need to ask I suppose is, in today’s climate; musically speaking…are the Backstreet Boys relevant? While it’s impossible to deny the influence and impact they’ve had on the world of pop music, they’ve sold albums in the millions all around the globe….times they are a changing. They may have been trend setters back in their heyday, with all the young girls fainting over them, with the posters on the walls, the screaming and hysteria…but they’re not getting younger, and newer more relatable artists are replacing them on those walls. Their name will carry them to success still, but this album is in all fairness just a run of the mill, safe, pop album. There’s nothing here that says Backstreets Back (Pun intended) …sadly I guess you could say DNA stands for ‘Don’t Needem’ Anymore’…[3]

Metal fans are a fickle lot aren’t they really, let’s be honest…I mean go on social media and browse through the comment sections of any established music outlet. Pick an article, any article, and I can guaran-damn-tee you’ll stumble across any number of elitists proclaiming [Insert Band Here] are not metal enough or, they aren’t metal at all, or they sold out. Some of the memes can be funny don’t get me wrong, but for a collective of supposedly like-minded people, putting specific genre’s to one side for a moment, rock and metal fans can be some of the most narrow-minded and often childish music fans in the world…and this brings us, to BRING ME THE HORIZON.

Formed in Sheffield back in 2004, Oli Sykes and the lads have been raising more eyebrows than The Rock since their debut “Count Your Blessings”…their early energetic deathcore assault was ambitious, and their youthful vitriol and intensity was applauded, but the recklessness and inexperience that came with it drew criticism. Over the years that have followed however, BMTH have gradually toned down their initial brutality, becoming a household name in UK metal in the process, and also one of the fastest rising bands in recent times…but there’s only so far you can really get in metalcore; so in 2015 the band decided to split opinions even further. “That’s The Spirit” was a total departure from their original sound as they’d now started incorporating more electronica and pop production…alienating some fans and metal purists, but finding themselves riding high in the UK charts. Some people don’t like change, but the band are now bigger than ever as they continue down this path, releasing their latest album “amo”…the Marmite of the UK metal scene, or under-appreciated genius? Let’s find out…

The album opens up with an appropriate forewarning entitled “I Apologise If You Feel Something”, and while already a well-executed anti-ballad, it also doubles down as an ironic jab at their critics. A case of sorry / not sorry as they continue to explore new sounds and arrangements, moving further away from their heavy roots, emphasised by the soft, echoing synths and hushed vocals; a cleverly confrontational start. This though is followed up by lead single “Mantra” and the lads are back on anthemic form. Keeping in line with the previous albums sound, the vocals are clean, there’s all of the groove and an incredible hook through the chorus. Despite the heaviness of the lead riff and the pounding percussion at times this is polished with a rich pop production quality and it sounds HUGE.

It’s this type of production that upset so many metal fans last time around, and unluckily for you things haven’t changed a bit this time round either…”Medicine” is oozing the influence that LINKIN PARK had Oli growing up as it blends rock and electronica with a subtle R’n’B vibe, it’s easy to imagine Mike Shinoda guesting on this one. “Sugar Honey Ice & Tea” returns to a more guitar driven core sound but retains the accessibility of the bands recent musical direction, and though while ironically “Heavy Metal” again has some surging guitars it’s far from abrasive.

The majority of this record is comprised of a band happy to experiment and explore; with the album unafraid to shake things up stylistically. With the sweeping, elegant string sections of closing track “I Don’t Know What To Say”…the trance / hard house qualities of “Nihilist Blues” bringing out your inner raver, and the dark, low-fi grime influenced street ballad that is “Why You Gotta Kick Me When I’m Down?” all take the band on different musical directions and it makes for a roller coaster of a listen. Even though on face value BMTH have stayed on this, mainstream path, the evolution is still there for all to see…they have no shame in trying new things, toying with new styles and crossovers and frankly that’s how it SHOULD be. Too often we’re hypocritical of the current scene we’re meant to uphold…band does the same thing over and over? Boring, stagnant, dull…band changes up their sound as they grow as artists? BOOOO traitor! You sold out! You’re meant to be a rock band! Bring Me The Horizon in their current guise might not be for everyone, I totally get that, but what’s wrong AT ALL in one of our own going out there and fucking owning it? Nothing, that’s what…well done lads, shots have been fired. [7]

Courtesy of Dewar PR, we’re going to be having a slightly different take on the Wreckord Collection this week, as we talk to Tommy Stewart; bassist and vocalist of Atlanta-based doom/sludge trio NEGATIVE WALL. Having formed in 2018 as an amalgamation of members from other bands including BLACKLIGHT MIDNIGHT and BLUDY GYRES, they will be releasing their debut album “Gammagelu”, after only a handful of writing rehearsals mind you, on February 8th through Black Doomba Records. Check out the advance-track "Hybrid Genus Serpentis" via the Bandcamp link below! Here Tommy discusses why it is that he prefers to listen to vinyl and how it helps him as a producer… 

“I love talking about my record collection! I have a few years on me so most of the records I have were bought when they came out. So when I say I bought DEEP PURPLE 'Machine Head', I LITERALLY mean the year it came out, and it's the quadrophonic version! I had little interest in anything else so listening was and still IS a very intimately focused experience. I've had many albums on cassette, 8-track, vinyl, and CD, but I still think that vinyl is best because of its presentation. I like that the art and photos are larger for one thing. It's my habit to buy a vinyl, then sit and listen with focus and not while doing something else. I read the lyrics and follow the journey the album takes me on. Sometimes, as I revisit the album, I may follow just one instrument through its own journey. I was quite inspired by English rock and metal. I've tried to figure it out and it looks like about 60% of my life long listening came from a 178 square mile area of mainly England. If you have that in mind when you're listening to albums I'm known for, such as Bludy Gyres' 'Echoes of a Distant Scream', or Negative Wall's 'Gammagelu', you can certainly hear the Crimson and Sabbath influence. There's no doubt that HALLOWS EVE's 'Tales of Terror' was influenced by IRON MAIDEN and MOTORHEAD.

This laser focused listening habit inspired me to develop into the person I am today, who not only plays on albums, but also produces them! Just listening in such an attentive way since I was a wee lad of 6 years old pretty much trained me for recording myself and other artists. It's amusing to watch the bands come in the studio very pumped up, and I try to make it comfortable for them, but as I start mixing, they usually glaze over, begin to sleep here and there, and I even get asked how do I listen to the same passages for hours. I enjoy it!

The artists I have the most records of are BLACK SABBATH, JETHRO TULL, PINK FLOYD. And you thought I'd say METALLICA, I bet. I have those and a variety of metal styles on albums…I do a wide variety of listening. If I'm asked if I own anything embarrassing. Some closet classics I like when I'm all alone? I have a pretty fair collection of 7" singles that are mostly 60's pop and some 50's hits; from THE BEATLES, to NANCY SINATRA, to JERRY LEE LEWIS. In the middle of all that there is a Vertigo copy of "Evil Woman" by Sabbath, but it's all alone in that stack.”

When you think about bands and their longevity, you’ll be forgiven for making a B-line to the classic-rock generation, and those artists that have been together since whichever year BC they formed out of single cell organisms, (I’m looking at you Rolling Stones) but we sometimes forget that time moves on, and, as a result, some bands get lost in the nostalgic shuffle. This brings us to WEEZER. The Los Angeles based alt-rockers formed back in 1992 and we need to remember that, that was nearly thirty years ago now! Thirty years ago still feels like the 70’s! Granted while they aren’t exactly old-timers, their consistency and reliability over the years has been impressive, and coming back to present day, they’ve surprised us all again….

​Every now and again a band will release a cover-song that’ll slot into an album as a bonus track, or, for an EP for example, but Weezer have gone all the way down that rabbit hole, and delivered a full length covers album dubbed the “Teal Album”. Their fifth self-titled album and their twelfth studio album overall, it started life as an innocent cover of “Africa” by TOTO, but it’s snowballed into the collection of tracks we have before us right now. With that said, let’s go undercover and scope this album out…

It opens up with that Toto track and to be fair, there isn’t a LOT to differentiate this track from its original. The soft synths remain; the gentle percussion and River’s clean, melodic vocals are a pleasure as always. There’s an extra layer of guitar thrown in to the mix to give it a little more character but overall it’s a pretty by-numbers cover. Next up we have the TEARS FOR FEARS classic “Everybody Wants To Rule The World” and again really, they haven’t done a great deal to it…other than hearing Rivers own distinct vocal the tracks delivery more or less remains unchanged in style, in tone and tempo and, to a degree you could argue that, again, bar from some additional guitars, this could essentially just be Rivers doing karaoke.

There are a couple of occasions where the tracks do actually feel like covers; “Sweet Dreams (Are Made Of This)” being an early example…the EURYTHMICS anthem, naturally, originally voiced by Annie Lennox, sounds different with male vocals and here it’s presented in a good way, unlike the god-awful attempt by MARILYN MANSON, though the synths are still pretty copy and paste. We do manage to shake things up on the surprise inclusion of BLACK SABBATH classic “Paranoid” as guitarist Brian Bell takes up lead vocals…why you may be asking? Well…it turns out he can do a pretty fucking decent Ozzy impression so again, it’s like a karaoke track, though I will admit the modern production value and crisp guitar solo breathe new life into this legendary piece of metal history. A-HA classic “Take On Me” gets a turn too and again, with Morten Harket having such a distinct vocal, it’s interesting to see Rivers wrap his chords around it but it’s clean, clear and he does a brilliant job hitting THOSE high notes.

Arguably the most talked about track though will be “No Scrubs” by 90’s has-been R’n’B unit TLC…long-forgotten one-hit-wonders, this is the kind of thing that can revive a career with media interest so thanks Weezer…thanks a fucking bunch, last thing we need is a TLC reunion tour, it’s bad enough with THE SPICE GIRLS. Ultimately though, at only 10 tracks long it’s not a bad listen by any means, the production and mixing are all good, as are the majority of selected songs themselves, but despite the odd, brief, minimal twist, they do for the most part, just sound the same, and there isn’t a lot of additional character offered; there are no extra quirks. It’s like, how can I put it...when you buy a CD full of old Christmas songs, but they couldn’t afford the licencing or the rights for the original artists, so they just got some session singers to get as near to the original sound as possible. That’s what this album sounds like. Having said that…just be grateful they didn’t pick anything by Mariah Carey. [6]