LESLEY GORE once famously sang the now immortal words “It’s My Party And I’ll Cry If I Want To”…and the way 2020 is going so far, a lot of us have related in some way. We hardly got chance to celebrate the new year really; we had the insane and catastrophic Australian bush fires kicking the year off, the UK was battered by some of the worst storms in years resulting in some horrendous Welsh flooding, not to mention the on-going fiasco that is Covid-19! It’s only fucking March! Honestly I would not be surprised if April brought with it an alien invasion!

All of this has naturally disrupted the lives of millions over the last three months, especially the pandemic, and as I mentioned in my recent ALKALINE TRIO review the music industry has taken a hit…but what about us every day folk? Everything is either on hold or has been scrapped, with employment being frozen and the government suggesting we all isolate, a lot of plans have gone nipples north. Just this weekend me and some friends were meant to be getting biblically drunk in Bristol for my good friend Izzy’s birthday celebrations, but Corona sadly put a stop to that. I don’t know what’d be worse to be honest…catching Corona or the state of my liver when we finally get to catch up!

There are millions in the same boat however, and frankly we have A LOT of overdue birthday bashes to catch up on. Luckily, thanks to Metropolis Records, today’s ironically named band helped us celebrate while stuck in lock down; THE BIRTHDAY MASSACRE. The Canadian synth-goth veterans were forced to release their latest album “Diamonds” early as businesses closed up for the Coronavirus lock down…resulting in them in their own way, giving us an early birthday present. At only 9 tracks long it’s one of their shorter offerings, but remember; it’s not the size of the present, it’s the thought behind it that counts…so let’s check it out.

The album opens up with “Enter” and we’re immediately met with some light keys that give off an innocent, 80’s pop vibe as we transition into the main beat and rhythm of the track. The simplicity of the instrumentation allowing Chibi’s sweet vocals to take center stage and it really is a blissful little number. The chorus brings with it more guitar and they blend more of their grittier style into the retro-synth sound and this is classic Birthday Massacre; simple, catchy and repeatable…a superb start. We follow this with promotional single “The Sky Will Turn” and we slow the tempo right down to more of a brooding, colder synth style, allowing for the darker aspects of the band’s sound to shine through like the full moon in a murky night sky…beautiful but chilling and quite awe-inspiring.

This continues through the title track “Diamonds” as well as cuts like “Crush” which use the down-tempo delivery to great effect, building up atmosphere and mood, channelling their gothic influences wonderfully, balancing subtle vocal and synth hooks with a darker, dispirited tone. Tracks like these prove The Birthday Massacre really are like diamonds themselves… oh so precious, but to many sadly they remain hidden gems. What this album IS lacking is some of their past, anthemic-style darkwave floor-fillers such as “One Promise” and “Walking With Strangers”, and the nearest we get to that here really is “Run”. Utilizing an almost DEPECHE MODE sense of deep melody, it flows delicately through each verse before kicking in with a grittier, guitar driven chorus.

Depeche Mode aren’t the only sounds you can pick up on either…during “Flashback” some of the guitar tones resemble the likes of ORGY in their futuristic, synthetic delivery, while “The Last Goodbye” harbours more of an accessible electronic-pop sound you may get from the likes of PET SHOP BOYS, before we round things off with closing track “Parallel World”; the calming synth ballad creating a dreamscape so apropos to its title, your mind wandering as Chibi serenades on.  

The Birthday Massacre never try to reinvent the wheel and this is what makes them so consistently good; they have their distinct style and they own it. They’ve proven time and time again that you don’t fix what isn’t broken, and “Diamonds”, arguably one of the strongest albums of their career to date, proves that. These are uncertain, often worrying times, but Chibi and co are themselves the diamonds in the rough here, but if we’re stuck at home in quarantine and isolation, you couldn’t ask for better company. Our own birthday’s may have been massacred, but the sky WILL turn, we just have to ride this out together.  [9]

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

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

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

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

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

​Back in 2017, the gothic rock community found itself in an official state of mourning. You might think, well, nothing fucking new by there? But, we had a legitimate excuse for our smudged eye liner. You see, everyone’s favourite romantic-rockers HIM, were officially no more. Yes following the departure of long-time drummer Mika Karppinen (Gas) and the appointment of Jukka Kröger (Kosmo), plus the fairly lukewarm reception of “Tears On Tape”…there were a lot of mixed feelings within the HIM camp…and a lot of uncertainty. Over this period, one thing eventually led to another, and after a series of farewell shows, the Heartagram had seemingly stopped beating. Tears were no longer merely on tape, they were on the cheeks of thousands of distraught fans across the globe…and it hurt.

Granted there were other projects that trickled out from certain members of the band…we got a fantastic 3rd installment from DANIEL LIONEYE courtesy of guitarist Mikko Lindström…as well as a couple of the guys forming FLAT EARTH, but it just wasn’t the same. What was Ville Valo up to? As the voice of HIM, he naturally carried the most intrigue, and while he did tease some activity with the release of the Finnish language single "Olet mun kaikuluotain", as well as reuniting with former collaborators THE AGENTS for some more traditional Finnish classics…he’s been incredibly quiet, almost suspiciously quiet…until now. On March 20th, 2020, Ville, under the new moniker of VV, surprised everyone by dropping three new tracks on an EP entitled “Gothica Fennica Vol.1”. With a modified Heartagram on the cover…was this what HIM fans had been craving for so long? Tissues at the ready folks, this might get emotional.

We get underway with ”Salute The Sanguine” and as the soft, near synthetic guitar melodies meander through your speakers, you can’t help but feel overwhelmed with, dear I say it…a foreboding sense of impending happiness. This is in its own right fitting as the delicate tones of not only the instrumentation but Ville’s voice hark back to albums such as “Screamworks…” and “Dark Light”; there’s a vulnerability to his voice that adds heaps of sentiment. Conceptually an interesting one, as sanguine is essentially a colour, or pigment used in a lot of centuries old artwork and self-portraits, resembling the shade of dried blood. It’s as if he’s looking back fondly on his career as if it had been dusted off having been locked away, appreciating the memories and what they gave him, with each scar a story, but knowing too that he isn’t the same man as before. This ties in nicely to the modified Heartagram…for like the music accompanying it; it’s a little HIM, but it isn’t, though it’s still beautiful.

Next up we have “Run Away From The Sun” and again here we’re immediately met with Ville’s gentle croon over more soft rock guitars and mellow acoustics. Another smooth and melodic offering, this is accessible as any of HIM’s lightest works as though Ville has embraced more of an indie-pop aesthetic, while retaining his core, lyrically melancholic writing style, allowing for those distinct HIM tropes. Speaking of, closing track “Saturnine Saturnalia” is the most HIM-sounding of the three tracks presented here and while not specifically raucous or rocking, it carries with it a distinct aura of hurt and emotional torment, mixing Ville’s honey coated vocals with a more sombre dose of doom and gothic stylistics. It’s got more prominent riff work and sounds like it could have come from one of the old “Venus Doom” demo sessions, fitting in with the likes of “Cyanide Sun” aesthetically, allowing for a deeper, ever so slightly darker listen.

If I may come across as selfish for a moment, sadly, these are the only three tracks presented here but while naturally wanting more, we have to be grateful of a couple of key things. To start, Ville is once again releasing music in any capacity, that’s the main thing, but the fact that the Heartagram has returned and his music is more akin to the styles and sounds of old is not only heart-warming, but brings with it hope. He’s clearly finding his feet again, and despite being only three tracks long, having been away for three years now, “Gothica…” is an effortlessly good start. The fact too that it’s merely volume one hints at more music down the line, and if these three tracks are anything to go by, we’re in for a fucking treat. Never mind the sanguine, Ville Valo, we salute you and welcome back sir! [10]

Aren’t massacres just the best? They come in a whole assortment of colours, shapes and sizes…Birthday Massacres, Texas Chainsaw Massacres, Slumber Party Massacres, Pizza Girl Massacres… (I could go on, I just had a field day on IMDb) and ooh boy, Columbine was a work of art wasn’t it! (I jest; shooting up children is frowned upon in the UK) However let’s be honest, while alternative music and horror movies may overuse the word to the point it’s almost desensitized, it’s the very real incidents such as Columbine that, capture the most intrigue and make for some of the most fascinating stories. This brings us to today’s band…THE MASSACRE CAVE.

While at first glance the name could very well be taken from yet another low budget slasher movie, The Massacre Cave are in fact a 4-piece alternative metal band from and around The Isle Of Eigg, Scotland. Situated in the Inner Hebrides, Eigg is a small island with an equally small population, but while it lacks in mass…it makes up for in mass murder, and this is where they get their name. According to clan tradition, way back in 1577, around 395 people were suffocated and killed while sheltering from the MacLoed clan inside the Cave Of Frances. The MacLoed’s, seeking revenge following a fall-out, found the islanders in hiding and started fires at the caves entrance, asphyxiating everyone inside, virtually wiping out the islands population. Or so they say. Might be a load of bollocks, who knows?

Anyway, history lesson over, The Massacre Cave (Who consist of guitarists/vocalists Joe and Ben Cormack, bassist Jodie Bremaneson and drummer Pete Colquhoun) originally formed in 2005, quickly becoming recognised within independent circles and within Scottish national tabloids for their intense sound and live shows, especially their breakout single “Behemoth”. Now, in 2020 we find them releasing their brand new album “Godlust” through Red Death Records…Joe sent me an email asking me to check it out…so let’s do just that before they send a clan after me!

The 8-track mini album opens up with “We Own The Sun” and after some gradually built, galloping riffs, we’re met with a wall of assertive percussion, channelling a rich progressive metal aesthetic with the off-kilter, rhythmic yet, technical fret-work. Vocally intense; combining an almost southern groove with guttural growling, making for a tumultuous opening. “From The Mountains” transitions in then nicely and there seems to be a little more structure to the instrumentation; the guitars seem that bit more regimented and disciplined, while vocally it’s as though we’ve taken influence from the likes of early SATYRICON in places. There’s the subtlest hint of black metal adding flavour to the track while still utilising traditional thrash influences, all combining to create that aforementioned progressive sound.

The blackened influences continue on the intro to “Tetramethrin” before the gruff vocals take the track down a more sludge-metal avenue, yet there are glimmers of the likes of Jaz Coleman of KILLING JOKE sprinkled here and there, there’s a fair variety of styles layered throughout these tracks in all honesty, making for an interesting listen. We have a couple of sub-three-minute offerings too starting with “Godfrey”, and it’s no more than a quaint little acoustic-led instrumental, breaking up proceedings nicely I will admit, while “Red Death” capitalises on those early thrash qualities, benefiting from some crisp recording, the solo here too just the cherry on top of quite the enjoyable track.

Finally then we do end up on the title track and again, we have a bountiful blend of genres, styles and sounds that fleet between progressive and traditional metal, ambient yet, avant-garde experimentation. It’s got some great hooks and balances it’s gentler melodies with its more crunching guitar work really well, ending the album on a positive note. Essentially The Massacre Cave tick a variety of boxes and if you enjoy your music somewhere between, say, early OPETH and MASTODON then you may find ample enjoyment over the course of these eight tracks. Despite living in the arse end of nowhere they’ve accumulated a smörgåsbord of influences, resulting in a colourful approach to progressive metal. Now if you’ll excuse me…I have the sudden urge to watch The Descent. [6]

If you cast your mind back to this past December, you may (Or may not) remember some of the albums I listed in my 2019 Top 20’s…some of which I reviewed here, others I may have reviewed for the likes of All About The Rock or, Astral Noize…but others I didn’t review at all. To be more specific, as well as my usual lists covering rock/metal, EP’s and my overall favourites, I’m always sure to cover my Top 20 Pop albums. I don’t really (Or at least very often) review pop music here, but I will listen to a lot of pop and keep track of what’s new as best I can. This brings us my number one pop album of 2019; “The Light” by SCANDROID, which ties in nicely with today’s review.

I’ve mentioned Scandroid, as well as Klayton’s other projects here on numerous occasions, as I’ve been lucky enough to have regular submissions from his record label FiXT, but while I very much enjoyed his most recent retro-pop endeavours, I haven’t showcased the label in some time now…but that’s about to change. Let me introduce you to 3FORCE. 3Force are an electronic/retrowave trio from St. Petersburg, Russia, and are one of a growing number of artists on the FiXT / FiXT Neon roster. Consisting of members Dmitry Gancher, Aleksey Ruin and Andrey Eyescream, they recently released their latest collection of tracks via the new album “Divide & Collide”. I’m just glad their name is in English…because fuck trying to pronounce три силы! Let’s check them out.

The album opens up with “Shape Shifter” and given the genre I’m immediately envisioning were-folk throwing down absurd shapes on a blinding neon dance floor, a la An American Werewolf In Paris. I digress; the track itself is a purely instrumental one…initially a slow starter, it gradually builds atmospheric synths not unlike the Stranger Things title screen, but soon comes to life; rich in pulsing electronica and regimented percussion…the 80’s aesthetic oozes from each and every keyboard note. A fine piece of music but no more than a glorified intro track ultimately…not that it stops Lycans shaking booty though.

Next up we have the first of the albums collaborations and it comes courtesy of Robin Adams on the track “Uprising”. The UK-based musician/vocalist provides a slightly rockier vibe to an otherwise GLITCH MOB sounding piece of electro/alt.-pop, but it works very well. It houses certain funk elements in places and the former CELLDWELLER collaborator allows the track to explore a plethora of avenues. Robin shows up again on “Guardian Angel” but here, musically at least it’s not as intense, his grating vocals giving the more subdued track its character. Fellow FiXT label-mates RAIZER join proceedings on the track “Lost & Found” and we’re given a lighter, more melodic mix, allowing for a more pop-based retro style…while Scandroid themselves get in on the action on the track “Abyss”. As distinct as the resulting sound is, and as enjoyable as it is…it suffers with a pretty repetitive and unimaginative chorus that brings an otherwise enjoyable track down.

Surprisingly though, a lot of the albums highlights do come courtesy of instrumental offerings which speaks volumes of the quality of sound 3Force have managed to recapture. “Future Frame” in particular perfectly bridging that gap between throwback techno and modern dance-pop, it’s like something Creamfields would belt out at 2am to a throng of ketamine fuelled cretins…in a good way,  while “Outcome Theory”, “Insect” and later on “Celestial Squad” reinforce the strength of the album as a whole. A lot of artists have been capitalising on this retro trend in recent years, riding a wave of nostalgia celebrating that throwback, 80’s aesthetic, and 3Force are no different, but they manage to retain a crisp, fresh sound as opposed to sounding recycled. That said FiXT have a solid track record with cherry picking quality electronic artists, and these Russians bolster an already impressive roster on the back of this album, which has more killer hooks than Ivan Drago. A recommended listen comrade… [7]

How about a tedious link? Yeah? You ready?…OK…so, if you were to dispel something, it would be like, relieving something or getting rid of something…maybe even curing something? THE CURE were a new-wave Goth band who originated in the late 70’s, who went on to release tracks such as “A Forest”, and also enter the Rock ‘N’ Roll Hall Of Fame in 2019. The Rock ‘N’ Roll Hall Of Fame is situated in ‘The Forest City’, which is the nickname for Cleveland, Ohio. Cleveland Ohio is an anagram of Cool Heaven Lid, which is in ways ties into “Just Like Heaven”; a track by The Cure, which coming full circle, could mean to DISPEL…and that brings us to today’s band. You follow?

Dispel are a throwback, Gothic / darkwave outfit formed in Cleveland, Ohio, consisting of founding member and percussionist/programmer Scott Doland (Alongside vocalists Ravensea and Sean Gallows) and together, they’ve created a sound combining old-school electro-Goth nostalgia and an even older school sense of medieval theatrics, as they release their debut album “Lore”. Released in January 2020, the team over at Shameless Promotions asked me to check it out, so let’s do just that before I get caught up in any more convoluted segues…

The album opens up with “Spiritual Warrior (The Hero)” and initially we’re met with some hushed, choir-esque harmonies, backed with gentle bell chimes, before we suddenly transition into a deep, pulsing dose of synths and percussion. Gallows’ vocals here are almost robotic given their languid delivery, though he does switch up in tone here and there. There’s a cold monotony to the track…its very CLAN OF XYMOX.  Follow-up track “The Call (To Adventure)” gives Ravensea a turn on vocals and the tone changes immediately. While instrumentally it takes on a similar style with some brooding electronica, it incorporates more of a guitar influence, which counters Ravensea’s softer, sweeter vocals. She provides a more pop-oriented style, especially within the chorus, which sounds like it’s been plucked from some generic 90’s dance track for want of a better description.

“Gift Of The Goddess (Andante In Bb)” is our first primarily instrumental track, which aside from some echoed, almost monastic chanting consists of a simple, low-fi drum fill and very little else; it showcases their adoration for the medieval and fantasy gaming (Which is another influence) as this could easily be taken out of some sort of loading screen. “Atonement (Andiago In Bb)” is the other…and it’s far more morose in its delivery. It’s incredibly dreary with its slower pacing and aesthetically gives off a despondent feeling of mourning and loss. Luckily there are more SLIGHTLY uplifting cuts on offer here, such as the promotional track “Modal Consequence (The Threshold)” which sees Ravensea wrap her harmonious vocals around some electronic alternative rock, however the track is a touch subdued instrumentally, before we eventually round up the album with “The Depth Of Transformation (The Return)”. Coming back to Gallows on vocals we get a subtle hint of the likes of PITCHSHIFTER before it becomes more hushed throwback post-punk.

Conceptually, Dispel are admittedly onto an interesting approach…utilising traditional proto-Goth and post-punk sounds but coupling that with a medieval, fantasy RPG-inspired song-writing characteristic, they can tap into multiple markets with very die-hard followings, which in itself would continue to open doors for the alternative rockers. The only real issue is these nine inaugural tracks (Ironically enough) aren’t quite game changers. Sure the ideology is there and they have a vast sea of potential inspiration and material to play with creatively, given their niche, but it’s not quite there yet. If I can liken this to anything it would be a mimic chest from Dark Souls…you open it expecting riches but SIKE…you died. Ok a little extreme as this album isn’t going to eat you alive, but Dispel could possibly offer so much more than this album showcases. [4]

Ah yes; Money Inc...For those of you who don’t know, they are one of the most iconic heel tag teams in professional wrestling from the early 90’s. Consisting of “The Million Dollar Man” Ted DiBiase and “IRS” Irwin R. Schyster, they won the then WWF tag team championships three times over the period of 1992 to 1993, having beaten the likes of the Legion Of Doom and the Natural Disasters, before eventually disbanding, as wrestling continued to adapt and evolve into a new era trough the mid-nineties. Wait a minute…something’s not quite right here…*checks notes*… for fuck sake Gav (-_-) let’s start again shall we?

MONO INC. for those of you who don’t know, are an alt. rock  / Goth band formed in Germany in 2000 and over the past twenty years have racked up an impressive number of albums and EP’s. The four piece (Currently consisting of vocalist Martin Engler, drummer Katha Mia, guitarist Carl Fornia and bassist Manuel Antoni) have enjoyed a fair bit of homeland success as their previous five albums have all reached the Top 10 in the official German charts, and they hope to continue their run of good form with their brand new album “The Book Of Fire”. Let’s see how quickly we can read this before it’s little more than a smoldering pile of ash…and it better have pictures…

We open up with the seven-minute-plus title track and after a brief piano intro; we practically set sail for high adventure…honestly for a split second I thought I was aboard the Black Pearl swigging rum with Captain Jack Sparrow. This is some piratey shit! The song itself, while a little drawn out in places is up-tempo and incredibly up-beat, it combines that ideology of exploring the seven seas with folk inspired qualities and a rock-based core sound, which while fun and not unpleasant, IS unexpected.  Goths and pirates don’t mix like…do I bury the treasure at the graveyard or scare all the children at the beach? I digress. Follow up track “Louder Than Hell” is the first real album highlight and takes a more traditional musical approach without as much of a gimmick. Rich in melodic guitar and a simple yet commanding rhythmic percussion, it’s got a solid groove amidst subtle power metal qualities and a great hard rock solo, resulting in another entertaining, up-tempo offering.

Lead single then “Warriors” takes a disappointing down-turn in momentum sadly, as we get a slow, sombre orchestral rock ballad with dreary, near monotonous vocals (Chorus aside)…while instrumentally charming in places, it doesn’t do the album too much justice in all honesty. Highlights do however include “Shining Light” which features LACRIMOSA vocalist Tilo Wolff…and it’s a shiny black slab of gothic tinged alt. rock, combining a deeper vocal and harmonic, choir-esque background singing. This is continued with “The Last Crusade” which really ups the ante with it’s incredibly SISTERS OF MERCY inspired intro and slick presentation. This track is infectious as all hell, from the vocal hooks in the chorus to the borderline sexual guitar solo, the book of fire is scorching here. Elsewhere “Right For The Devil”, which features German medieval metal outfit TANZWUT continues a similar standard of simple yet catchy alternative rock…slower in pace maybe but it’s a got a great bass-line and with that comes a certain swagger which is impossible to dislike.

The rest of the album trudges along fairly well without any real complaints, resulting in a solid overall listen, as portions of it will appeal to quite a broad spectrum of alternative music fans. Granted it’s not the all-out Goth-rock record I was expecting, seeing as THE 69 EYES were mentioned in the 'FFO' section of the press-kit, but I can admit I’m not disappointed. “The Book Of Fire” is itself only the latest chapter in Mono Inc.’s storied career to date, and it’s safe to say that these flames aren’t dying anytime soon. A record worth checking out this. [7]

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

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

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

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

As it’s now 2020, my New Year’s resolution is to focus a lot more on email submissions from bands and record labels/PR companies, when it comes to my review content on this little blog. I’m not for one minute suggesting I’m going to actually succeed in this…remember that scene from Bruce Almighty when Jim Carey is bombarded with prayers? That’s pretty much me as I attempt to juggle listening time, writing time, working full time and, oh yeah, occasionally 3, maybe 4 hours sleep if I’m lucky…nevertheless, I continue.

Today’s review is the beginning of my resolution, but we do have to go all the way back to DECEMBER 2018…I mean I had to get Time Team to dig this one out! Let me explain. Yes on December 4th, 2018, I received an email from a Norwegian pop group by the name of SECRET TREEHOUSE, who were typically doing their rounds, promoting their upcoming single “Fear Of Frogs”, which was to be taken off of their debut album “The Big Rewind”. Now as you’re aware I don’t generally review singles, so, I thought I’d save the email and keep checking back and forth over the coming weeks, awaiting the album. A couple of weeks did pass…nothing…a couple of months then passed yet still I found no album, the Secret Treehouse really were keeping this album a fucking secret! Fast forward to December 2019 however, and while I’m going over my end of year lists and clearing out some emails ready to start afresh, I stumble upon that saved email, having completely forgotten by this point and after a quick look, I discover they have in fact FINALLY released that bloody album! With that said, and regardless of how out-dated this review now actually is, here are my thoughts on the frankly ironically titled “The Big Rewind”.

The album opens up with that initial single “Fear Of Frogs” and to be fair it starts things off really quite promisingly. A song about the fear of unintentionally misleading someone in love, it gives off a rich 80’s synth-pop vibe with some incredibly catchy melodies, over Anja Bere’s velvety smooth vocals. In certain ways it combines the likes of OF MONSTERS AND MEN with ROBYN and THE CRANBERRIES, resulting in really quite a pleasant track. The same can be said for “Too Young” which also houses more of this pulsing electronic style although it isn’t quite as up-beat.

A lot of the record combines elements of indie, with a more shoegaze pop aesthetic, resulting a very easy listening album overall…”Wrong Hands” is a really chilled ambient piece of indie that slowly builds to some wonderfully emotive guitar, getting better and better as it winds up to its gentle crescendo. The title track manages to sound soft yet simultaneously bold, being able to pull off the sort of radio ballad COLDPLAY would churn out, while more recent single “Do You Remember” has a more lulling tone, in places giving off an almost subtle LOU REED vibe, before closing track “Hero” rounds things up with a delicate little acoustic piece, emphasising the sweetness of Anja’s hushed vocal notes.

The question I have to ask myself is, considering I was made aware of this album back in 2018…was it actually worth waiting until 2020 to review it? To a degree, no…but that’s not a direct knock on this record. Fans of this sort of dreamy pop soundscape will appreciate the tenderness and tranquility that makes up the bulk of this record, despite the initial single suggesting a far more up-tempo, retro-pop direction. It’s not a bad album by any means, and what Secret Treehouse do they do well, but it’s hardly The Simpsons Treehouse Of Horror. With their second album due to drop sometime in 2020, maybe I’ll get around to reviewing it in around two years or so…somebody remind me though yeah? [5]

So, I’d like to kick off the New Year, by talking about burning churches…now, typically you’d expect me to go on some tirade about black metal, and all of the clichés that come with the panda-painted faces of our Scandinavian metal brethren. But while some of the black metal community did in fact, set fire to several Norwegian churches between 92’ and 96’ in the genre’s heyday, today’s band are so lit they may as well have called themselves fucking Notre Dame! Let’s talk about CATHEDRAL IN FLAMES…before Quasimodo starts asking questions…

Formed in Prague in the Czech Republic (And consisting of vocalist Phil Lee Fall, bassist/programmer Gatsby, guitarist Billac de Ville and vocalist Ambra Von Bernstein) the four-piece unveiled their debut EP, entitled “Children Of The Blackest Hole”, towards the tail end of 2019, having sent me an email in late December requesting a review. While I missed it over the Christmas period, it just so happens that the EP is getting a physical release on vinyl in early 2020, so I thought what better way to transition into the New Year than with some new Goth…

The EP opens up with “Python” and immediately the chilling atmospheric tones take you way back to the 80’s post-punk revolution. With haunting wails providing backing vocals over Phil’s deep drawl, while soft piano’s compliment the overall grittier instrumentation wonderfully, allowing for a real raw sense of melancholy. Respectfully channelling the likes of FIELDS OF THE NEPHILIM etc. “Red Car” in turn houses a solid bass-driven groove that matches the depth of Phil’s baritone growl really well, but it somehow manages to retain a sense of up-beat melody, especially as the track climaxes with a subtle key-change, and it’s an enjoyable listen this.

The title track, despite keeping up with the Nephilim, almost RAMMSTEIN levels of gruff crooning harbours a slower, shoegaze inspired backing track with a lighter guitar tone and this gentler approach provides a sombre yet sweet listen…if I were to get married this could for all intents and purposes be an acceptable, albeit alternative first dance slow jam. “Hungry As The Grave” returns to a more simplistic, retro post-punk stylistic, plodding along, wallowing in its own self-inflicted misery, before closing track “Gunslinger’s Blues” ends proceedings on a dreary, despondent note. A dark, anti-ballad with church bells and subtle Western undertones; it really is quite tender in its own morose way. Essentially, this is equally superb as both a debut AND a Gothic rock record, especially the latter as it ticks so many confession boxes. They’ve really captured the cold emotions and melodic yet monotonous vibe of the era so well, and old-school Goth fans are going to want to pick up a copy of this on vinyl as it’s going to sound absolutely incredible. Cathedral In Flames are legit lit fam…now, Quasimodo, about your home insurance…[7]

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

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

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

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

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

The last time we caught up with DEMOCRATUS, the South Wales metal conglomerate (Consisting of vocalist Steve Jenkins, guitarists Joey Watkins and Rich Rees, bassist Stu Rake and drummer Zak Skane) had just released their 2018 debut EP “Starting Again”…and it was in all fairness rather apropos. Having formed out of the ashes of their previous collective bands such as COUNTERHOLD and CANNIBAL GOD, the five-piece really were starting again, and truth be told it did them the world of good, as 2018 saw them off to a frankly superb start.

Not only was the EP received well but they managed to bag themselves a slot at Bloodstock Festival courtesy of their coveted Metal To The Masses competition, cementing their status as one’s to watch on the unsigned metal scene (Aided by some determined self-promotion). With their profile rising and with the band finding themselves expanding their live audience venue by venue, it’s perfect timing for them to drop their 2nd EP “Damnation”, to really strike while the iron is hot. The band recently asked me to check it out ahead of its release this December, and I’ll be damned if I don’t!

The EP opens up with “Is This Fear” and immediately we’re swept up in this surging yet harmonious, grand cinematic instrumental intro; we’re literally seconds in and already we find the band’s sound has evolved as they experiment with their approach. It doesn’t take long however before the metal kicks in and once again you can hear a diverse array of influences in their style, ranging from classic melodic metal, to thrash to death-infused, polyrhythmic brutality. It yo-yo’s between the calm and almost carnivorous quite well and the song is well-balanced, kicking this EP off nicely.

Follow up track “BTK” however slows things RIGHT down and the transition is almost jarring. The subdued plucking of guitar strings and restrained percussion is almost creepy as it sets a foreboding tone, until the track comes to life with a more regimented style of death metal. The riffs are semi-sluggish as they chug along with a doom-like sensibility, while the vocal delivery is almost bullet pointed. A totally different approach to our opener but while not as entertaining, it does highlight that diversity in their influences all the more. The title track returns to a more traditional metal approach instrumentally, though retaining a distinct heaviness, while the bulk of the vocals stick to guttural growling, chorus aside (Especially that impressive note Steve hits at the tracks climax), and you can hear the bands admiration for the likes of AMON AMARTH and INSOMNIUM. Finally then, closing track “Dead Without Dying” rounds things up with another weighted, borderline somnolent display of riffs that’s sadly more than a little anti-climactic.

What’s clear is that the band are unafraid to try to concoct their own brand of melodic death metal, still dabbling in an array of genres, still finding room to experiment a little more. The trouble however in doing that is Democratus are still seemingly trying to find their identity. There ARE more signs here that they are in fact heading more down the route of heavier, death-inspired metal; this EP seems angrier in presentation and delivery, but they aren’t 100% there yet. As with their debut, the weakest aspects really are the cleaner vocals and to be fair they’ve restricted that aspect of their sound here, with less power metal vocalisation, and really that suits them a lot more. With the bands profile growing show by show, coupled with the bands passion and determination, Democratus are absolutely on the right path and making all the right steps, but this path is a long and winding one, and their journey has only just begun. [6]

It’s a new day! Yes it is! Ok, alright, before I get issued with a cease and desist by WWE…no, Kofi Kingston isn’t about to come out with his New Day team-mates to bitch slap you with a tray of pancakes, but it does provide me with an ample segue into this next review; let’s talk about  FOREVER VENDETTA.

Kofi Kingston emerged as a bright up and coming talent in WWE through the mid to late 00’s, and though while a solid worker, he never truly reached the heady heights of being WWE Champion and never attained main event level status…that was until 2019 when he was finally given a well-deserved push and a fantastic WrestleMania ‘Moment’ on April 7th.

Forever Vendetta have (Albeit on a smaller scale) mirrored that to a degree. From as far back as 2008 you may have seen them share the stage with the likes of HARDCORE SUPERSTAR and LA GUNS, though while promising upstarts, the Swansea based quartet (Now consisting of guitarist Leigh Fuge, bassist Liam Alonzi, vocalist/guitarist Chris Tippett and drummer Gareth Hunt) always remained in that lower to mid-card status in the South Wales music scene. Recently however the Welsh rockers have returned after a brief hiatus with their long-awaited debut album “New Day Rising”…and all of a sudden my analogy makes sense. Will this give Forever Vendetta the push they need to hit the big time? Let’s find out…

The album opens up with “Unbreakable” and what we have is essentially a drawn out introductory piece. Purely instrumental; it flows through your speakers with a subtle mixture of emotions, blending a sense of sadness and, almost apathy…however that’s juxtaposed with a reassuring feeling of hope and defiance in the face of struggle. In just two minutes of soulful guitar playing they’ve already managed to convey a message of redemption; they’re back and shits about to go down. It’s wonderfully structured this, a strong start.

First track proper then, “Come Alive” immediately transitions into a deep, bass-heavy rumbling, before the band kick into gear with their blend of hard southern-inspired blues rock. The chorus carries with it a decent melody and the influence of bands such as BLACK STONE CHERRY is fairly clear here. The riffs are solid and the solo is both slick and impassioned…credit to them they’ve absolutely nailed the sound in regards to this genre. “Takin’ It Back” initially gives of a subtle nod to the likes of VELVET REVOLVER before falling into a similar song structure, though the solo is, again, enjoyable and the track overall is a touch grittier.

Elsewhere the likes of “Snake Oil Saviour” and “Not Your Hero” provide more of the same, enjoyable blues-based hard rock, with the band primarily sticking to their formula and knowing their strengths in delivering riff after riff, with well executed guitar play…but here we have to sadly point out the albums only real flaw; the vocals. Chris is clearly passionate about his craft, there’s no denying that and credit to him he’s giving this 110%, but there are too many occasions throughout this record where despite his efforts, he comes across as simply not capable of delivering the notes he’s aiming for. On “Easy Way Out” for example, his voice really isn’t powerful enough to stamp authority on the tracks chorus, as he comes across as strained, almost forced and it sadly sounds off…there’s something that just doesn’t click and it makes you wince truthfully. “Roll It On Back” gives off the impression it’s more of a demo with raw vocal recording, while “Don’t” comes across as a scrapped BON JOVI B-Side track.

Overall, instrumentally this album is undeniably superb, and kudos to the guys for their efforts here; this is some top-notch blues rock ‘n’ roll…it’s just a shame vocally things aren’t quite on par. They haven’t quite emulated Kofi Kingston's trajectory  just yet, but there’s a lot of potential for them to do so. It’s a new day, yes it is…but it’s more of a Monday morning than a Saturday morning if you catch my drift. [6]

Few things in this world entertain me more than the idea of terrifying little children. Now don’t get me wrong, I don’t belong on a register before you all jump the gun here, (I have three names, none of which are Jimmy and/or Saville) but I’m talking about when kids get legitimately scared. You’ve all seen little YouTube videos or Vines etc., where kids get startled by something or, if a parent pranks them in scary mask or whatever, and they end up bursting out crying and running away in some sort of mild panic attack, squealing and screaming…that shits funny! Well today’s band takes a more philosophical look at that entire concept; let’s catch up with NIGHTMARES FROM THE DISCOTHEQUE.

Formerly going by the moniker of MASSIVE HORSE, I discovered the Cardiff based duo of Canz Rickman and Rick Schaple many moons ago when they supported firm favourites of mine ELECTRIC SIX at a show in the Welsh capital, and I’ve been an admirer ever since. Their penchant for comedic song writing based on social commentary is genuinely entertaining, and they’ve managed to get the balance between humour and musical integrity spot on. I often reference STEEL PANTHER in these situations, where the joke and gimmick has truly worn thin, but NFTD continue to be both inspired and creative.

Regardless of whichever name they go by however, they’ve proven in the past that they can mix horror and comedy very well indeed. Whether it’s the brilliantly catchy vampire parody “She Only Comes Out At Night”, or the sexually haunting “Phantom Pregnancy”, they do enjoy dabbling in the darker aspects of entertainment, and their new track backs that up wonderfully; “Real Things To Scare Your Children”. Yes their new Halloween track see’s the pair in character, cos-playing as ‘Robert Smyth’ and ‘Marilyn Maanson’ in brilliantly tongue-in-cheek fashion, as they take us on a tour of Marilyn’s Mansion in the accompanying music video, where we aren’t subject to the hauntings of ghosts and monsters, but real life adult problems such as taxes, declined credit card payments, running out of toilet paper and all manner of horrifying scenarios. If you appreciate a spot of dark humour and want to inject a little fun into this year’s Halloween party playlist, you can find the track on Apple Music, iTunes and Spotify, the links to which are on the NFTD Facebook profile, linked below. Check out the video, and leave a comment sharing what scares YOU…personally in a sense of twisted irony, I’m afraid of horses, so I’m glad they dropped the Massive Horse name, I mean, normal sized horses are bad enough! FUCK! THAT!

Now, I’m sure you’ve all heard the tales about us Welsh…stories about non-licet liaisons with animals of a woollen nature (For the record, Velcro gloves work wonders, though you didn’t hear that from me) but it’s not ALL about sheep shagging, let me tell you! Yes aside from our preferred bestial pastimes we do occasionally dabble in a spot of rock ‘n’ roll and as I’ve stated before, South Wales is a hotbed of up-and-coming bands and musicians. Now while a lot of attention is heaped on the Cardiff area because of its bustling live venues, we can’t forget about the rest of Wales, and today we’re taking a little trip up the valleys to a town called Aberdare for our next band; HEAVY FLAMES.

Comprising of vocalist David Hill, guitarists Lee Harvey and Ryan Lewis, bassist Gareth Owen and drummer Richard Boggis, the outfit are all about the old-school; opting to ignore what’s happening in the world of modern music, to play in their preferred style of classic blues-inspired rock ‘n’ roll…and they’ve showcased this on their debut full length album; “Bolt On The Rust”. The question is does this pile of rust belong on the scrapheap?

The album opens up with “Clearly Not A Welcome Rain” and it utilises the gradual build really quite well…we’re subject to a simplistic looped guitar sequence, blending in to some subtle percussion, as David wraps his vocals around proceedings before the track eventually erupts into a barrage of harmonica-fuelled rock. It’s bold as it is brash instrumentally, the southern blues tones giving this track some real swagger when it gets going and it’s an enjoyable start this.

The rock ‘n’ roll keeps on coming through album highlights such as “Nature Of The Beast” too…another initially low-key start but it quickly comes to life with some rich organ-eqsue synths akin to the likes of THE DOORS or even DEEP PURPLE in places; really embracing that early hard rock transitional period…not quite metal yet but the exploration into the weight and delivery of the instrumentation is all there. “Acre Of Graves” hammers this home brilliantly with its meatier riffs and almost polyrhythmic percussion, allowing for subtle prog aesthetics. The tone of the track here is a touch darker, incorporating more of a BLACK SABBATH vibe while still retaining their aforementioned synth-driven core sound and it’s a solid track.

There are a couple of lesser moments scattered around the album though, “Insult To The Brain” is more of an insult to my eardrums in all honesty, mainly because of that fucking guitar loop that makes your eye twitch. ‘Duh-duh-duh-duuuuuuh-duh’ it goes over, and over, and over, and over, and over…the chorus provides a brief respite, but it comes back and the repetition of this specific chord sequence just drives you mad. Maybe it’s just me but this makes me want to cause physical harm to the brain of whoever decided to record this particular track, not just insult it. “House Full Of Women” suffers from a similar problem although the riff here is quirkier and the track is generally grittier overall, salvaging it somewhat.

Generally speaking though those are minor irritants more than anything and don’t really take away from the album as a whole…the recording quality and sound that they’ve gone for clearly harks back to those classic days in the 70’s with the bluegrass-inspired tones, with the band managing to retain that certain rawness in their production. Younger fans of rock and metal may view this as old-fashioned or, maybe even uncool, but if you appreciate the nostalgia of those formative years in rock ‘n’ roll’s evolution then you’ll likely appreciate this a lot more. Not quite niche per se, but it certainly has more of a target audience in mind. [5]

Gothic music has for the most part; got a bit of stigma or, a reputation from the non-initiated…many simply view it as maybe just a tad miserable or, maybe even slightly suicidal, and to be fair these CAN be traits of the genre. There are of course those however more acquainted to this, misunderstood style and its nuances, that find the beauty amidst the often bleak poetic content, but most people simply think “Fuck me this is depressing!”… Today’s band doesn’t particularly help things in that sense…let’s talk about LACRIMAS PROFUNDERE.

The German outfit (Now consisting of vocalist Julian Larre, guitarist Oliver Nikolas Schmid and drummer Dominik Scholz) have a name that translated from Latin, literally means ‘To Shed Tears’…so we’re practically crying before we even press play, fucking amazing start! I digress…while the bands origins in the early 90’s harboured more of a progressive doom aesthetic, they over time switched up their sound to the more iconic Gothic / dark rock style we know and love today, but that doesn’t mean we’re alleviated from the doom and gloom…au contraire, there’s just marginally less doom! 2019 finds the band releasing their 12th studio album; “Bleeding The Stars”…so, Kleenex at the ready then folks; but will we be shedding happy tears in the end? Let’s find out…

The album opens up with “I Knew And Will Forever Know” and in all honesty it’s a pretty slow, lumbering start. The initial guitars seem to drag alongside Larre’s vocal drawl as if they’ve already given up the ghost so to speak, such is the level of sonic misery. We do get a little more lively for the chorus mind you, as the percussion picks up, accompanying heavier, more tortured vocals; really walking a fine line between their doom-metal back ground and a more melodic, melancholy. This is for the most part a reoccurring theme throughout this ten-track album…”Mother Of Doom” being a prime example (The clue is in the name to be honest). Although to be fair, as dreary as it is superficially, it’s the deep baritone croon of Larre that allows this track to connect with the listener. It’s low-key, low tempo and generally minimalistic but it’s the mood and atmosphere that carries this…it’s actually incredibly well delivered and while it isn’t about to kick start any parties, it has to be applauded.

While a lot of this album is a touch bleak, there are some enjoyable highlights that twinkle in the darkness; flashes of brilliance from this dying star if you will. “After All Those Infinities” for example really ramps up the tempo and for its brief run time it manages to deliver a boisterous, albeit brief melodic hard rock number; the kind of track that leaves you wanting more. “Father Of Fate”, unlike the preceding mother, is far more upbeat…perhaps he’s won some brutal custody battle? Who knows? Regardless, its hook-laden synth-driven style, coupled with the well balanced dual vocal approach of deep crooning and pissed-off snarling, makes for an entertaining listen. The real stand-out however comes in the form of “Celestite Woman”…the simplicity of the chugging bass, the lyricism and overall song structure coupled with the abundance of melody; this easily lives up to previous gems such as “The Shadow I Once Kissed” and “My Velvet Little Darkness” as an individual highlight, and it’s Lacrimas at their brilliantly bleakest best. This album though as a whole may not live up to some previous standards, 2004 to 2010 was a superb timeline in all honesty, but this is a solid Gothic rock album that hits most of the right filthy notes, in spite of how low they are. [7]

Back in 2015, THE DIRTY YOUTH were primed and ready to spearhead a new wave of Welsh alternative rock. Their sophomore album “Gold Dust” received critical acclaim (Including most importantly of course, my own) and fans were lapping up their evolution as artists. While they experimented with new styles and ideas, not only did their sound grow, but so did their reputation as one of the UK’s hottest rising bands…and I guess you could say they had a golden touch?

Their rise continued while touring with established acts such as INME, ALIEN ANT FARM and FOZZY, resulting eventually in them finding themselves being the first ever signees to the newly created Marshall Records, with their new material set to be recorded at the legendary Abbey Road Studios. However, after the initial release of the single “Hurricane”, things seemed to come off the boil…the gold dust had settled and everything seemed quiet. Fast forward to 2019 and the band are no longer on the Marshal Records roster (With “No Results Found” on the website) and they’ve released their anticipated third album with the help of Kickstarter…so what happened? Let’s search “Utopia” for some answers…

We open up with the title track and we’re initially met with the apparent childlike innocence of a glockenspiel, before we make way for the more familiar, up-tempo rocking instrumentation we’ve come to expect. The ideology of the intro here, seeming to metaphorically at least take us back to simpler times, with the song itself then acting as a rallying cry of sorts. Lyrically we deal with concepts of revolutions, scrapping societal norms and starting afresh for a better world…there’s a sense of frustration fuelling this track and it’s a decent opener.

If you’re familiar with The Dirty Youth you’ll likely expect a fair few decent tracks spanning this new record, given their previous, and really here you won’t be too disappointed. “Horizon” continues the bands experimentation with a more futuristic, electronic sound, combining simplistic hooks and riffs, a quaint piano melody and layered synths, for a catchy piece of alt. pop. If you prefer TDY of old though, then you’ll more than likely get a kick out of “One Dance”…with it’s harder percussion and a more guitar driven approach it’s one of the rockiest, traditional sounding tracks on the album and Danni flexes her vocals that bit more, allowing for a really bold, really enjoyable track. By contrast, “Lights” utilises a far slower build, opting for a more soulful, power-pop / ballad aesthetic…this chorus is absolutely bouncing however and it’s this dichotomy that makes the track appealing; full of emotive and instrumental fluctuation.

Their previous single makes a reappearance here as “Hurricane Pt.2” and here we find the track has been given a bit of a makeover; a slight revamp, as it’s considerably more up-beat and up-tempo, sounding more like a polished track as opposed to more of a demo, which this makes the initial single sound like now. “The Ballad Of San Frandisco” also reappears having undergone the same treatment. No longer a B-side; its synth-driven retro qualities make for a clear album highlight, and it still gets brownie points for the name. San Frandisco…made me do a chuckle that.

The rest of the album to be fair maintains a fairly solid, consistent level of quality…there are no real negatives here to be perfectly honest. The band know how to reel you in with a good hook, they’ve always written great melodies, and when called upon, they CAN rock out with the best of them…I guess the only real issue of this record, is that there isn’t enough of that. The ten tracks here are fine, there’s nothing wrong with the run-time, but there are times you can’t help but feel this is a band that are, for some reason, holding back. Danni Monroe has a truly remarkable voice and can properly belt them out, but there’s a level of restraint here for some reason and it stops this album going from good to great. It’s not lacking quality, but at times it is lacking a bit more oomph…The Dirty Youth here sound a bit too…clean? [7]

We live in a world where everything seems to be, well, for want of a better word; fucked. The USA is, in many cases, devolving rapidly as a country socio-politically when it comes to human rights. Between deportation issues, police brutality and abortion debates; it’s becoming less ‘united’ by the day. Speaking of the US, mass shootings! Popular as ever apparently! We’ve got Boris Johnson this side of the pond, who, for all intents and purposes is like, an Everyday Value version of Donald Trump, despite his privileged upbringing, and he’s attempting to questionably force the country through a geo-political trade clusterfuck. The Amazon rainforest is STILL on fire, which is far more important than Notre Dame burning but hey, it’s only trees so that’s fine I’m guessing? It’s not like we need to, you know, breathe? People continue to watch Love Island, reaffirming the rise in mental health issues and for some reason, McDonald’s named their new burger the “Double Quarter Pounder”…guys…I don’t know if you noticed…but two quarters makes a half? It’s…it’s literally a half pounder. I thought it was just failed students that worked there who need to whip their dick out just to count to eleven, turns out their marketing team struggle with maths too! Alas, when we’re faced with all of this…we need a beacon of hope, and a message of reassurance and positivity…and that’s where THE MAINE come in with their new album “You Are OK”.

The Arizona-based alt. pop-rockers have been around since 2007 and have built themselves a loyal following over the years. After early tours supporting the likes of GOOD CHARLOTTE and THE ACADEMY IS…, 2019 welcomes them back with their 7th studio album, to remind everyone one that, while there’s a lot going tits up in the world, you’re doing alright. So without further ado let’s cast out any negativity and realise that we are indeed OK. The album opens up with a touch of macabre courtesy of “Slip The Noose” and it’s about a special encounter, leading to salvation and safety. That special someone that manages to let you see and think clearly, preventing you from doing something you’ll regret is so invaluable in life, and it’s delivered with an up-beat dose of happy-go-lucky indie-pop. It’s got some light riffs, some strings and some solid drum fills, yet manages to retain a sort of, MARK OWEN pop-vibe vocally.

“Numb Without You” lyrically highlights a juxtaposition of feelings and emotions that all flourish at once during a relationship; both negative and positive…and like marriage vows typically state, “For better or worse”, it means life and love will have up’s and down’s, but it’s testament to your character how you overcome the worst bits to flourish in the best, and this track champions that very mind set. With more string accompaniment, we’re given a sweeping emo-inspired pop anthem with soaring gang vocals and it’s got an impassioned chorus. Album highlight “Heaven, We’re Already There” takes that formula and refines it to deliver a much more intense, hook-laden synth-tinged, emo-rock banger that, in places reminds of KIDS IN GLASS HOUSES during the chorus and it’s an absolute belter of a track this, really well done.

Elsewhere, “One Sunset” with its energetic, tinny guitar tone and gradual build to a beaming chorus makes it impossible to not tap your foot and bob your head along to this, another fun, bubbly track, while “Tears Won’t Cry” retains that guitar tone and has certain, modern boy band charm akin to artists such as THE VAMPS or the like. “Flowers On The Grave” does allow for a bit of a come-down however ,with a 9-minute-plus acoustic driven pop ballad with some lulling piano…it DOES liven up courtesy of some rockier sequences and progressions, but overall the track ebbs and flows between sounding highly animated and anti-climactic at the same time. Despite this, the album as a whole just oozes a positive, enthusing simplicity resulting a genuinely easy-listening feel-good record. Like I mentioned earlier, the world is on its arse at the moment, and times are testing…but you need to be reminded that you’ve got this…you’re doing alright…you ARE OK. Unless you voted Conservative…you’re not OK…fuck you. [7]

So what’s YOUR favourite type of knot? Is it a Half Hitch? Perhaps a Bowline or a Sheet Bend? Of course not, we all know its SLIPKNOT, and with bloody good reason! The Iowan nonet started life in the mid-to-late 90’s and from day one they practically turned the world on its head, over time becoming arguably the biggest modern metal band on the planet. Between the mystery of their masked persona’s and the brutality of their early crossover genre-mashing, it didn’t take them long to get noticed, and they helped revolutionise alternative music as we know it. Sure, there have been trials and tribulations along the way, but the band have always bounced back stronger than ever…proven emphatically on their last album; 2014’s “.5: The Gray Chapter”.

Following the death of bassist Paul Gray, the band found themselves in purgatory, and the resulting album was both the closure of one chapter of Slipknot, a nod to Paul and an appreciation of everything preceding it, but also the beginning of a new era; a rebirth, and all signs pointed towards a brutal, unrelenting future. What exactly did that future have in store? Well aside from keeping things ticking over with festival appearances and a live album, the band did initially return in 2018 with a rare stand-alone single “All Out Life”, reminding fans that they were still very much active creatively, with the track itself acting as a rallying cry, encouraging everyone to live in the now and not dwell on the past. This only got fans excited for what was to come…and what came was this; “We Are Not Your Kind”. What direction were Slipknot heading in in this new chapter of their storied career? I challenge you to all-out fucking listen with me…

We open up with “Insert Coin” and we’re greeted with a strangely ominous intro-track fuelled by semi-retro arcade style synths that meander gently, as the instrumentation washes over you with a calming motion. It’s as though we’re on the title screen here getting ready to press play and dive into this brand new game as Corey says in a chilling manner “I’m counting all the killers..” and it’s an interesting start. First track proper then “Unsainted” gets the album underway properly and what an opener…from the initially haunting children’s choir it gradually builds in atmosphere and intensity until it explodes into a frenzy of blistering vocals with pummelling riffs and percussion. It carries on from the previous album in terms of delivery; blending visceral verses with a clean, hook-rich chorus. It’s a powerful track.

From here on in however, the album gets VERY interesting…recent single “Birth Of The Cruel” slows things down with a more methodical riff and plenty of tinny percussion. Vocally clean for the most part until Corey lets rip during the chorus segments, countered by Sid Wilson’s trademark scratching harking back to the bands earlier days. “Death Because Of Death” is our first interlude and takes on an almost hypnotic tribal tone; simple and repetitive before transitioning  straight into “Nero Forte”, instantly waking up the listener with more classic Slipknot riffs and up-tempo lyricism, again bridging the gap between the now and the bands early years. Another album highlight, “Critical Darling”, continues on with the “…Gray Chapter” aesthetic with plenty of key-changes, vocal switch-up techniques and allows for a variety of sensations, fluctuating effortlessly between harsh and harmonious.

​This fluctuation is a reoccurring theme throughout the whole album in all honesty; it zigs where you think it’ll zag and vice versa…”Red Flag” is a traditionally blistering onslaught, fuelled by a frantic pacing and old-school aesthetic, again harking back to the Knot’s earlier days, while interlude “What’s Next” comes across as actual elevator music! Like, seriously lads what the fuck is next? Where else can you take this? “Spiders” houses an almost Halloween-esque piano lead allowing for a generally creepier vibe, bordering on polyrhythmic in places; it’s got a subtle prog delivery, before we eventually end on promotional single “Solway Firth”. Coming full circle from the intro, we count all the killers over a typically bombastic masked-metal approach that bridges gaps between modern era and the “…Subliminal Verses” days.

Ultimately what can be said about the Iowan’ nine in 2019? Their groove-heavy, pulverising metal is still there in abundance and coupled with their nu-metal origins, thrash sensibilities and Corey’s ability to deliver a mainstream alternative anthem, Slipknot are as Slipknot as ever here but MORE. There are no real definitive hits like “Dead Memories” or “Snuff” to appeal to the wider audience…fuck no; if anything they’ve gone the opposite direction. Sure there are some great hooks throughout this record, but the presentation here showcases so much experimentation and a lack of fucks given this is arguably Slipknot’s most prog-metal album to date. It doesn’t settle for a style, not even Slipknot’s own, and that’s where it deserves praise. We all know Slipknot can and will deliver, it’s practically a given these days, but they still opted to tear up their own rule-book and go crazy. “We Are Not Your Kind” is a metaphorical middle finger to not only the fans that just want Iowa 2.0, but also metal in general. It might be more experimental to what you are used to from the Clown and co…but fuck me this is a Slipknot album and a half. Insert another coin mate, I want another go at this…[7]

Whenever an artist, PR company or record label forwards me some new music to check out, I’m always interested to see what part of the world it comes from. Often I’ve mentioned certain parts of the world being affiliated with certain scenes or styles musically, but it’s always nice to find diversity from within a town, city or general region…and today’s review highlights just that. Lund, Sweden, may not be a destination that jumps out at you as being instantly recognisable, but for any fellow Eurovision fans out there you may know that it the home of one MÅNS ZELMERLÖW, and while I would more than happily listen to Sweden’s answer to JUSTIN TIMBERLAKE for this review, we won’t be covering any pop music for now. “Thank fuck” I can already hear you say…

Lund also happens to be the home of a band by the name of THROUGH THE NOISE, and the team over at Eclipse Records forwarded me their latest album “Dualism” to check out. The five-piece (Consisting of vocalist Jowl Nyberg, guitarists Victor Adonis and Marcus Skantz, bassist Martin Lingonblad and drummer Peter Liwgren) were founded back in 2010, and in the years that followed they established themselves as more than promising up-and-comers within Sweden’s thriving metal community, especially with their 2015 debut “Fall Of Gaia”, but now in 2019 they want to well and truly stamp their name among the metalcore elite and hope to do so with these nine new tracks. Hellfire Magazine summed things up by describing the album as having ‘Interesting, surprisingly well-functioning songs’…back handed compliment and a half that! Consider me intrigued!

We open up with a track called “Shattered” and the virtually instant impact of hard hitting chords, with the duel pummelling of riffs and percussion gives this an intense start! It’s bass-heavy and subtly down-tuned but doesn’t compromise whatsoever when it comes to delivering a harsh dose of surging metal. To a degree you could say it bridges a gap between the likes of ATREYU and CHILDREN OF BODOM, but however you look at it; it doesn’t give a fuck…it just mauls. Early album highlight “Psychomachia” follows up next and we’re joined by guest vocalist Jahna Lund of DEATH BY HORSE fame. For the most part it’s more generally expected metalcore, teetering on generic with its methodical chugging and breakdown-inspired stylistics, but the clean vocals provided by Jahna allow for more melody to flow through the chorus and it’s all balanced very well.

A lot of the album does stick to a firm metalcore/deathcore formula for the most part but it does have more than a couple of points of worth. “House Of Asterion” combines up-tempo post-hardcore with subtle thrash and death elements resulting in an incredibly frenetic listen. “Secret Project” houses a touch more melodic instrumentation, with Jahna again providing backing gang-vocal harmony…the nods to Swedish heavyweights IN FLAMES are proudly on display here. Let’s be honest mind OF COURSE they were going to have a bit of In Flames in them, they’re a Swedish metal band for fuck sake! “Maktbegär” retains all of the pace and again, pummels the listener with a fine slab of scando-death-punk not too unlike the likes of KVELERTAK and MAN THE MACHETES in places, while “Meaning Through Noise” takes on an almost industrial tone, akin to the likes of STATIC-X.

Overall, while not exactly original, bearing in mind recent musical trends and the fact they come from one of the most saturated areas on the planet when it comes to alternative metal, Through The Noise have still managed to deliver a crisp and enjoyable metalcore album. The brief crossover portions work well and they’ve added enough flavour to ensure they don’t blend into genre obscurity like Homer Simpson walking backwards into a hedge row. Put Through The Noise through your speakers, as this album is certainly worth a listen. [7]

People sometimes wonder what the difference is between irony and coincidence…well if you were run over in the street, and an ambulance just happened to be passing by, that would be a wonderful coincidence. Irony on the other hand, would be getting run over by the ambulance itself and, so long as nobody dies, is much funnier. Today’s review falls under the coincidental category for me personally…let me explain.

Back at the start of the month, I took a mini vacation down to the South English coast at Torquay for a couple of days, where, to be honest, I spent 80% of my time enjoying the sun and drinking. On the way there however I made a little stop at some place called Burnham-On-Sea…never heard of it before, but all I can tell you is that it was quiet…windy as all hell and the tide had gone out for what seemed like MILES. I honestly thought Godzilla had mistaken the place for Hawaii and was about to stroll up the beach causing another tsunami it had gone that far out. Anyway my time there was fleeting and I thought nothing else of it. Today however, I decided to take a dip into my email submissions and low and behold, the first EPK I click on happens to be from a band from Burnham On-Sea! Let me introduce you to SOME VILLAINS.

The four-piece (Consisting of vocalist/guitarist Edward Graves, guitarist Luke Tozer, drummer Stu Donavan and bassist Jake Beckett) have been on the scene since their 2014 single “Loose Generation”, and with their love of everything between classic rock ‘n’ roll, indie and prog, they’ve established themselves as a group of interesting and intelligent musicians. Their 2016 EP “Lizard Teeth” highlighted their admiration of experimental prog-rock and shoegaze, with predominantly longer tracks and the influence of RADIOHEAD and SMASHING PUMPKINS shining through…but here now in 2019, they’ve stripped things back a little and focused more on a grittier rock ‘n’ roll sound for their latest EP “Outliers”. The lads asked me to check it out, and seeing as I visited their home town it would be rude not to sample some of their wares!

The EP opens up with “Masters Sun” and it really doesn’t take long at all to get into the meat and potatoes of this record…we start off with some simple alternating chords, before the track lets rip with some ballsy, hard-rock riffage. The bass is deep and rumbling almost to the point where it’s sludge inspired, but we’ve got a rich groove, and vocally here Graves’ is rather hushed and subdued. Their love for QUEENS OF THE STONE AGE shines through here given the stoner / desert rock tones, coupled with an energetic up-tempo chorus; this is simply a great rock track. EP highlight “Burn Me Down” follows up and we’re initially met some almost WOLFMOTHER-esque instrumentation; combining classic rock and indie tones…the guitar is slick and frankly gallops along excitedly. The prog influences filter through vocally as Graves’ sings in an almost polyrhythmic manner, but it’s the convivial guitar tone that makes this track; it’s just fun.

“The Skin” again maintains an up-tempo vibe albeit somewhat darker in tone, bordering on atmospheric, with more hushed vocals, slightly raspy sounding in places reminding of JULY TALK to some degree, but we’re treated to a strong solo that certainly stands out as the tracks major talking point, before closing effort “Ghosts In The Field” incorporates a more shoegaze aesthetic alongside some again, darkly tinged indie rock…the type of sound that would appeal to fans of INTERPOL and the like. All in all though, there’s nothing truly negative to say about this EP whatsoever quite frankly. While the band are clearly better when they let their hair down and get gritty when it comes to the rock ‘n’ roll, the mellower tones do naturally compliment Graves’ vocal approach. There’s no  bells and whistles here, they’re a band and they keep it simple…having stripped back to a more classic rocking approach, and by cutting the track length from their previous EP ever so slightly, they come across as more polished and clinical in terms of their presentation. Not knocking the more prog-based sound of their previous work, but this does sound like an improvement. Some Villains by name but to fair lads you’re not sounding half bad at all. [8]

There are many important questions in life…like, what came first; the chicken or the egg? What colour would Michael Jackson pick playing chess? (I jest, we know it doesn’t matter if your black or white) How much wood would a wood-chuck chuck if a wood-chuck was Chuck Norris? But even more important than all of that…who is the biggest metal band in the world? Immediately I can envisage swarms of you arguing over METALLICA and IRON MAIDEN, and to be fair they’re great shouts, but here I’m going to throw another, more than credible, and definitely deserving band into the mix; RAMMSTEIN.

These German industrial-metal titans originally formed in 1994 and ever since, all they’ve done is (Without trying to put a Nazi spin on this) conquered the world one arena, one stadium at a time. From their intense, eyebrow raising cover of DEPECHE MODE’s “Stripped”, to the beautifully haunting “Sonne”, right up the gloriously R-Rated “Pussy”, Till Lindemann and the lads have never shied away from controversy, and this can also be said for their live shows. Whether it’s boiling poor keyboardist Flake alive in a cauldron, ejaculating spectacularly into the audience via a giant mechanical penis, or generally just their unfathomable amount of pyrotechnics, Rammstein put on one of if not THE best live metal shows on the planet, and with their new technically untitled album, things are only getting bigger. With that said…let’s get ready to abuse Google-translate as we check out “Rammstein”.

We open up with “Deutschland” and in gloriously typical Rammer’s fashion; their first new track in a decade is an ode to Germany. Well, to a degree. From the steady rise in intensity of the frenetic synths, to the jolting riffs, to the eventual anthemic, regimented metal flurry, it simply excites from its very first chords. Lyrically plodding for the most part, but musically this is just captivating…it’s so good to have them back and this is a classic start. Following this then is the album’s first major highlight “Radio”…again; we start things off with some bouncing synths, before we get some traditionally crunching riffs. The balance here between the electronica, which, reminds me of old-school Moogs, and the hard rock is perfect and it’s an up-tempo little number with a seriously addictive chorus. Coming back to the topic of controversy, the track touches upon Nazi propaganda by means of censorship during the 30’s and 40’s. German citizens were subject to strict control of what they had access to during the time and here they touch upon that.

The first half of this album is quite heavy on the electronic front if I’m honest, with "Ausländer" being another stand-out track. Another up-beat offering bordering on dance-inspired, the techno elements are pulsing, while the track pounds away in a well delivered crossover style. Essentially meaning ‘foreigner’, lyrically it’s very ‘Jack The Lad’ as he sings of being a man of the world and a ladies man, heavily insinuating a sense of promiscuity. Speaking of which…”Sex” I guess you could say comes (Behave) right afterwards. More chilling synths followed by a groove-rich, almost southern-metal guitar tone and yet another brilliantly catchy chorus, it’s all about fiery passion and giving in to lust…however it’s no “Pussy”.

The second half of the album does admittedly slow down a touch but it certainly retains its talking points…none more so than “Puppe”. A dark yet equally wonderful and interesting track that’s based on an old poem; meaning ‘Doll’, it’s all hushed and subdued as Till sings of the prostitution of a sister character, while their younger sibling in care is forced to hear everything from the room next door, before the track erupts into an angry, scathing barrage of vocals, the result of a seemingly troubled upbringing. It’s a powerful track! “Tattoo” is another hard-rocking number that touches upon the duality that is the pleasure and the pain of self-expression, before “Hallomann” rounds things up in a frankly quite creepy manner. Remember when your mum and dad told you not to talk to strangers? At least I hope they did…but yeah this song reinforces that notion! Singing about picking up a little girl; no talking, just get in…presumably the van? One can assume sweets were offered? Promises of trips to the seaside, wanting her to sing and dance…this is all very questionable but still another deeply interesting track. I might be reading into it completely wrong for all I know…maybe Rammstein took Madeleine McCann? Ok I’m joking naturally, but it’s an odd one. Regardless, what we have here is an album that may have been ten years in the making, but oh how the time-off has played into Rammsteins favour; they sound fresh as a daisy. The weight of the guitars, the chilling synths, the dark lyricism…Rammstein are still unafraid to push buttons yet they continue to pull in bigger and bigger crowds. An outstanding come-back this…TO DEUTSCHLAND! [8]

Without trying to come across as that meme of Morpheus from The Matrix, what if I told you…that you could have a black metal band without the corpse paint, church burning and, let’s not be forgetting the murder of fellow band members?  Well funnily enough that’s exactly what Minnesota quintet ASHBRINGER would like you to believe!

Founded in 2015 by vocalist / guitarist Nick Stanger (Later completed by drummer Ian Sutherland, bassist Nathan Wallestad, guitarist Jackson Catton and keyboardist Cormac Piper) it didn’t take the atmospheric black metal outfit long to get the ball rolling AT ALL, as literally within days of forming, they found themselves working with Avantgarde Music and on their first US tour supporting AMIENSUS. Talk about going in at the deep end! Now, in 2019, we find Ashbringer releasing album number three; “Absolution”, their debut for the very respectable Prosthetic Records. The question is, are they truly free from all guilt and punishment?

At over an hour long, yet only consisting of eight tracks, we’re given an early indication of how this album is going to pan out, but the opening title-track provides an early surprise. With some quaintly plucked acoustic guitar, we’re off to a far mellower start than anticipated! This is eventually countered however by some seriously jarring vocals and though an interesting combination, it isn’t necessarily a pleasant one, however instrumentally it’s incredibly soothing and harmonious. The solo works really well too, and it’s a fine start. “Wilderness Walk” virtually continues in the same vain structurally, before the album begins to dissipate through its own indulgence. “Eternal Separation” Parts one and two indeed last an eternity with their prog-infused presentation, while “Dreamscape” at over ten minutes, with its reverberation  and vacant tones is enough to put even Freddy Krueger to sleep.

​Ultimately while both ambitious and clearly talented musicians, there’s something that doesn’t quite gel with the merger of such harsh vocals and melodious instrumentation. As a progressive / shoegaze record this works really well, especially instrumentally, however vocally it would be interesting to see what the likes of say, Chino Moreno of DEFTONES or Aaron Weiss of MEWITHOUTYOU could do with these tracks, but this doesn’t quite click. “Absolution” isn’t an absolute failure per se, but it isn’t absolutely fabulous either darling. [5]

IT’S BOSS TIME!!!!! No, don’t worry, my name isn’t Michael Cole and I’m not about to run commentary on WWE’s Sasha Banks (Though in hindsight that may have been a little more entertaining to be honest)…but we are of course going to be focusing our attention on the boss himself; Mr BRUCE SPRINGSTEEN. The man needs little to no introduction; one of the most successful recording artists of all time, Springsteen’s career spans decades and he has the hits and accolades to show for it. EVERYONE knows classics such as 1975’s “Born To Run”, even up to his critically acclaimed track “The Wrestler” in 2009, but now, ten years later in 2019, at the sprightly age of 69 we find The Boss still churning out records…

Not taking into account his plethora of live recordings and EP’s, Springsteen recently released his nineteenth studio album entitled “Western Stars”. A return to his solo recording style, firmly based around story-telling with orchestral arrangements, and in this instance, inspired by 70’s Californian pop music. With a rich range of themes based on American tropes such as lonely highways, and the feelings of isolation travelling vast desert spaces through the US, let’s check it out and see if this bona fide western star can still shine so far into his career...

​We open up with “Hitch Hikin’” and let it be said in advance that, the name sums up the journey through this album really quite appropriately; a seemingly endless wait for something to come and pick you up with no real guarantees. With its softly plucked acoustic yet, tinny guitar, it’s got an almost southern blue-grass aesthetic filtering in ever so slightly, before an elegant, sweeping string section gives the track more instrumental depth. Everything is soothing but here Springsteen’s voice comes across as occasionally monotonous. While a lot of this record is generally stripped back and mellow, there are a couple of points of interest worth highlighting…lead single “Hello Sunshine”  houses a tranquil, almost tropical guitar tone while more delicate strings meander through your ears. Despite its down-tempo approach and low-key vibe it’s still a positive little song and you can’t help but feel relaxed having listened to it.

“Sundown” despite its livelier tone, incorporating subtle blues elements and a more powerful vocal performance tells a sad tale of solitude and loneliness, spending the nights alone drifting from bar to bar, missing the one he holds dearest in his heart. The real album highlight however comes courtesy of “Sleepy Joe’s Café”…far more up-beat and jovial, it’s anything but sleepy as it utilises an old-school rock ‘n’ roll feel, coupled with organs and a brass accompaniment ; it’s a genuinely fun, light-hearted little track. Sadly, the rest of the album, despite Springsteen’s narrative and penchant for story-telling within his songs, comes across as a tad lifeless for the most part.

“Drive Fast (The Stuntman)” for example, despite admittedly being composed beautifully, exudes nowhere near the level of energy you’d expect given its name, leaving you somewhat disappointed. You hope for something zestful, something bold and boisterous, yet it’s everything but. “Chasin’ Wild Horses” suffers from the same issues; the title portrays something maybe a touch chaotic, but honestly he couldn’t catch a bloody cold here let alone a wild horse, before luckily, we eventually finish up at “Moonlight Motel”. Given the general pacing of the album overall, it’s both fitting from the point of the albums narrative, and ironic as having listened to the album from start to finish, you could do with putting your head down for a couple of hours. Springsteen can obviously still weave wonderful stories and concepts into his song writing, and musically there’s nothing really wrong with these tracks at all, the orchestral elements especially sound lovely, but it’s a very restrained record that struggles to warrant many repeat listens. If you prefer your music to be more easy-listening then sure you may enjoy this a lot more, but on this occasion it would appear that the boss has taken some annual leave…[4]

As hard as it may be to believe (Given some of the shit I come out with in these reviews) I do from time to time come across a new band that I actually, genuinely like. I mean it’s rare…not quite Shiny Pokemon rare…but it’s rare, and it does happen. While in recent years you may have seen me give praise to the likes of WE ARE HARLOT and AS LIONS for their absolutely scorching debuts…last year my attention was turned to YONAKA. Having discovered them supporting ANDREW WK, I was eager to check out their catalogue of music as they were legitimately great live, to then find myself enjoying their 2017 “Heavy” EP, it’s safe to say that Yonaka were a band I was prepared to keep my eye on…

This was a decision I would certainly not regret, as following some impressive festival appearances and support slots with BRING ME THE HORIZON no less, they dropped arguably my favourite new EP of 2018 by the name of “Creature”. It’s said that lightning doesn’t strike twice but the EP proved that the band were on a fine run of creative form, not only matching their previous work but surpassing it, visibly and audibly growing in confidence with each and every crowd they won over on the road throughout the year. Now, in 2019, we find the band ready to step up; hoping to live up to their own hype and expectation, as they deliver their debut full-length album; “Don’t Wait ‘Til Tomorrow”, and it’s definitely one I’ve been looking forward to. Well? You read the title let’s give it a fucking listen shall we!?

We open up with “Bad Company” though we’re in anything BUT with Theresa Jarvis and the lads…starting off with some bass rumblings and stiff percussion, it provides perfect backing for Jarvis’ multifaceted vocal approach, switching from brooding to powerful; almost angelic in places on certain high notes, with such relative ease. There’s a certain darkness to the tracks tone, yet it’s got a rich alt. pop groove, and we still hear similarities with the likes of JESSIE J and FLORENCE WELCH in its delivery, but everything’s tighter, sharper and it sounds great…a fantastic opener. “Awake” begins in a similar fashion with its stripped back percussion the only instrumental accompaniment to Theresa, but the track quickly erupts into a wonderfully infectious pop-rock number with some assertive riffs and more powerful vocals. If you’re not awake for this one I question the existence of your very pulse, seriously.

“Rockstar” is, before you wonder, not a NICKELBACK cover so it’s already got that going for it. I mean OK, the premise of the track lyrically garners obvious comparisons to the aforementioned, but this is backed up by yet another infectious, hook-laden chorus and is far, FAR less annoying. This comes across as more about hopes and dreams as opposed to focusing on wealth, not emphasising the excess; much more of a rags to riches ‘What If?’ scenario and it’s something we can relate to…it’s something we’ve all thought about. “Creature” and “Fired Up” make it to the album as select cuts from the bands previous EP’s but they slot in perfectly in all fairness, sounding just as crisp and impressive here as they did last year, before we eventually finish up on “The Cure”. Despite its initially almost trap-inspired beat, we’re treated to more of the bands enjoyable blend of light indie rock, sweeping melodies and soulful pop, ending the album on a genuine high note.

Patience may indeed be a virtue, but here Yonaka prove without doubt that sometimes you simply have to strike while the iron is hot, and Christ has the iron been hot for the Brighton-based quartet. As they continue to play new towns and cities around the UK and Europe, be it in a supporting role or with their ever increasing likelihood of headlining their own big tours, Yonaka can and will grow. One of the brightest and most promising bands on the UK circuit right now, if you haven’t already, you NEED to be checking out Yonaka for yourself, seriously, don’t wait ‘til tomorrow. [9]