OK so Summertime is upon us, or, is at least around the corner...perhaps. It’s hard to tell in Wales sometimes to be honest, seriously; it’s Wales, not ‘whales’, we don’t require this much water so regularly so can you please stop raining? I jest it’s been pretty decent recently, and that is quite possibly because I’ve been privately praying to today’s band; CVLT OV THE SVN. No, I haven’t had a stroke, that’s how it’s presented (Obviously it’s Cult Of The Sun) and I will say right now that they are personally, one of my favourite discoveries in recent memory. 

Hailing from Finland, because of course they do...all my favourite bands do...it’s a project shrouded in a sense of mystique and intrigue, as the ensemble wishes to explore the darkness with a sense of macabre, theatrical flair on their debut album “We Are The Dragon”. Released on NAPALM RECORDS, let's see just how these darkest of stars can brighten up your summer playlists. 

​The album appropriately kicks off with the title track and we’re met with a surprisingly up-beat, jovial guitar tone...this is a lot more melodic than expected but there are zero complaints with that. I had a similar experience with GHOST’s debut album; expecting some brutally dark doom metal but getting some kind of deeper, BLUE OYSTER CULT type effort. Seriously the song structure here revels in its simplicity but it’s an effective hook, which is in turn countered by the sinister, snarling vocals. Honestly, it's like the DANHAUSEN of rock songs; very nice...very evil. It meanders pleasantly enough and gets the album underway in an interesting and unexpected manner, but it’s all good. 

Follow up track “My Venom” takes things down an admittedly darker path...the initially twangy guitar leads into some seriously atmospheric, intense instrumentation, before we blend elements of thrashy punk with chilling alt-rock. We soon realise that the vocals here don’t necessarily have a lot of range or depth, as we find ourselves sticking fast to a husky, raspy delivery. While it would be fine to chastise the lack of diversity, the style is effective enough to carry the tracks, and it gives them and in turn this entire album, it’s character. 

Having established the general approach for the record, we can easily appreciate that from here on it just goes from strength to strength, with several notable highlights. “Luna In The Sky Forever” in ways reminds me of the aforementioned Ghost with its catchy electronic-tinged bassline and simple, synth-laden groove. “Don’t Be Tender Love Me Cruel” has a slower, more methodical pace that allows emphasis on the emotive guitar tones, which, coupled with the self-depreciative lyrical drawl, creates a sultry, almost masochistic offering. 

If it’s up-tempo you want then this bunch of cvlts have you covered too, as album highlight “Twilight” luckily has absolutely nothing to do with Stephanie Meyer. Nary a sparkling vampire in sight, we get a fantastically infectious dose of punk-tinged hard rock with more hooks than Leatherface’s lady-pantry. At its core, the up-tempo bass riff and simplistic chugging could be mistaken for something by, RISE AGAINST or BAD RELIGION, before the darker characteristics kick in. This is a great track. “Hellbound” keeps things nice and intense with some initially pummelling percussion and another dose of deeply self-depreciating lyrics... ”My mind is an endless well of negative thoughts...in its prime; shows me no remorse”. Relatable fam. “Whore Of Babylon” is then equally relatable (Can I get a H’oooohhhhhhhh Yeahhh from all my fellow sluts? I’m kidding...I’m KIDDING!) but the blackened metal flurry can’t help but raise more than a few horns. 

In terms of alternative music, Cvlt Ov The Svn have seemingly cherry picked some quality influences stylistically for this debut. There’s a sprinkle of black metal and gothic imagery, there’s a brilliantly fun, punk-esque hard rock quality to a lot of the instrumentation, there are almost doom inspired atmospherics and it’s all wrapped up with an almost pop music production quality, and it works perfectly! These Finns have dropped what is personally, a contender for the album of the year in my eyes and ears...believe me, I am a dragon too, and I’ve got one on my flag to fucking prove it! [9]​

Stonehenge... Göbekli Tepe... Dot Cotton; all ancient wonders steeped in rich cultural history, going back centuries, even millennia. Or, you could just say; old as fuck. Naturally you may be wondering where I’m going with THIS segue... am I about to veer off into some, Neolithically geographical Ted Talk? Am I about to roast June Brown for pretending to run a laundrette into her 90’s knowing damn well the next spin cycle might outlive her? I jest...and I exaggerate.  

Today we’re going to be taking a fresh look at a Welsh band by the name of RECLUSE. You see, I’ve known front-man Britt several years now, and that’s where the intro to this review came from. He messaged me recently asking how things were, and that he’d like to get my thoughts on the band's newest album, seeing as I’d been part of their journey since their debut...he said that I felt at least a small part in their continued story, which to be honest was quite sweet.  

I do indeed remember championing their debut album “Crooked Heart”, but when I went to back-read my thoughts on it here for references, I realised that it actually pre-dates this entire blog! My first GTGC blog post was in 2014, yet I was playing Recluse on my old radio show back in 2011/2012! In the words of Mike Bracken; “Christ I’m Old!”. With that said, let's roll back the years and dust off the cobwebs as we check out “Lay Your Darkness Down With Me”... 

We open up with the track “Stomah”, and like any normal person, I found myself Googling the word to get some context as to what the track could mean conceptually, but the results drew more blanks than the infertile department of your local sperm bank. Naturally I ask Britt what the story was, and the reply? It’s a spelling mistake from Kurt Cobain’s journal, talking about his debilitating stomach cramps, that has nothing to do with the actual songs content itself. For fuck's sake Britt. I digress...the track itself is a fine slab of fuzzy guitar and bass that pushes and enhances his rough and ready vocals; combining the early 90’s grunge aesthetic with more stoner rock and sludge elements, and it’s a fine opener. 

Follow up track “You Get Out Alone” retains this approach with the deeper, rumbling bass complimenting the higher vocal notes. This more powerful, prominent vocal performance gives the track a far more positive energy, almost channelling the likes of SOUNDGARDEN for example, really coming to life towards the tracks climax. Album highlight “Throat” then takes things back down a notch, returning to their more stoner rock influences and there are moments here that could easily befit a QUEENS OF THE STONE AGE setlist. It’s got a solid groove and the distortion and muffling on the guitars again adds ample character; not to be mistaken for lack of production quality or recording cost-cutting...this gives the track a raw, visceral sound that works wonderfully for their stylistic delivery. This wouldn’t sound anywhere near as good too crisp or overly produced.  

“The Quiet Hours” by contrast slows things right down, to more of that sludge-heavy style for a truly moody, brooding piece of alternative rock, that wouldn’t be out of place on the soundtrack to “The Crow”, and is every as bit as enjoyable as the aforementioned, despite coming from opposite ends of the spectrum in terms of delivery. That’s just one half of the album mind you...as Recluse also indulge in several spots of prog inspired writing. “Werewolves” disappoints slightly as I was expecting some bestial savagery to rip through my speakers and maul me with an intense flurry of riffs and percussion, but it’s drawn-out instrumental intro somehow manages to bridge the likes of DEFTONES with the earliest of CKY days, before some very subdued vocals bring the expectations down even further. 

The main issues here however, come from two tracks taking up nearly thirty minutes of the album's hour and three-minute run time...and how they drag. “Olympus” being the longest of the tracks here initially starts off interestingly enough, like it’s about to veer off into some bluesy country-rock, but soon descends into an extended piece of everything we’ve heard prior, and like its name suggests, is a mountain to listen to if you're lacking in the old attention department. Closing track “Le Rose Hotel” then isn’t AS long but is arguably the weakest track on the record. Another needlessly long instrumental intro makes you wonder if they were given a target of how long the albums run-time needed to be, as this is literally nothing but pointless filler at this point. We’re over eight minutes in actually and I’ve not heard a single word...remind me to never stay here, I don’t care what offers I’m presented with on Booking.com! 

Ultimately, Recluse have proven again that when they put their mind to it, they provide some of the finest modern era grunge going, keeping those sounds of the early to mid-nineties very much alive. They’ve shown growth over their three-album career to date and continue to expand their sound, though while the lengthy prog-inspired cuts aren’t for this particular reviewer, there’s definitely an audience for it and it’s a solid recording nevertheless. [6] 

So, a pig, a gorilla and a dog walk into a bar, and the barman asks, “What can I get you?” Gav interrupts, “A punchline please because I haven’t got a fucking clue where this is going!”. Honestly the cover art here looks like something drawn up for a MONKEY DUST meets BOJACK HORSEMAN crossover, but I digress.  

“Regulars” is an album by a Bridgend-based singer-songwriter named Kyle David Smith, who here goes under the moniker PAY THE MAN. No stranger to the South Wales music scene, having played for local artists such as CEASARS ROME and ICANTDIE, he’s recently released this solo mini-album exploring his adoration for acoustic indie pop. Having been tagged on Facebook by three separate people in Kyle’s posts looking for promotion of this new album, it would be very much rude of me not to. So, Charlotte, Colin and Scott...if I don’t like this, I’m personally blaming you. 

The album opens up with the title track and initially we get some jerkily strummed acoustic guitars, as he sings of a sense of stagnation and repetition that’s commonplace in life today. There’s a gradual build until he unleashes a far more raw, emotive vocal and the track reeks of self-depreciation in a fed-up kind of way. It’s quite a relatable opener. Lead single then “Situationship” has a far more jovial guitar tone, backed by the percussion here giving the track a far better sense of rhythm. Ironically the track seems to delve into the topic of romantic and emotional frustration; the typical issues with loyalty, perhaps a spot of ghosting and generally feeling used or toyed with by a potential partner. This is why I’ve personally been single for over two years now...none of this shit...but the track itself is fine. 

“The Busker” then in turn returns to a far mellower piece of sombre acoustic that in ways bridges the depressive tones of early COLDPLAY with storytelling and lyricism more akin to say, DEAF HAVANA and it’s pleasant despite the aforementioned analogy. The 8-track mini album eventually finishes up with “There’s Hope For You Yet!” and again, we get a nicely delivered dose of more upbeat, up-tempo campfire acoustic indie-folk, even channelling subtle punk elements layered throughout the track, ending proceedings on a positive note. Any prior unmentioned tracks follow a fairly straightforward formula for the genre, not offending yet not exciting anyone at the same time really. 

There’s nothing wrong with this; nothing at all, this should potentially appeal to fans of say, DAVE JAKES or JAMES VECK-GILODI as opposed to ED SHEERAN (Thankfully) and this brand of heartfelt, stripped-back acoustic delivery is completely harmless. Fuelled by life in lockdown and the resulting intoxication brought on by isolation and self-reflection, it’s about an honest a record you can find. Pay the man his dues though...he’s opened up here and it’s at least worth a listen. [5] 

What is there to say about 2020, that hasn't already been said? Within these reviews over the past nine months I've light-heartedly made reference to issues like Covid-19 and such, but let's not detract from the seriousness of the whole situation. As a calendar year, 2020 was one of the most difficult, frustrating, upsetting and confusing in recent history, and this isn't strictly down to Coronavirus...this time last year we were on the brink of World War 3! Politics has been a shambles, social injustice has been rife, the divide in both community spirit and the classes seemingly continues to grow, and generally speaking, the world is a complete mess. Luckily we've had music to keep us going, if not to keep us sane, and for that at least I am grateful. The images above showcase my personal highlights of 2020, grouped in categories covering pop, metal, EP's and general favourites, and it shows that, despite the state of the world, music flourishes. Music and the arts are SO important, as many of us learned during national lockdown, and we need to appreciate the people who dedicated their lives to creating that art SO much, because times like these prove we'd be lost without them. 

I mean, just looking at the cover art above, it's been as diverse a year as any. MILEY CYRUS embraced her inner rocker on her new album, having collaborated with the likes of BILLY IDOL and JOAN JETT. Groups like STEPS made an unexpected comeback showing they've still got it in an ever changing pop industry, as did MELANIE C. From a metal standpoint, PARADISE LOST prove they just get better with age, as they not only released one of the albums of their career, they also found themselves in the UK Top 40! Imagine that! Goth metal on Radio 1! It gives hope to newer acts like SOUTH OF SALEM who delivered a truly stunning debut album, and certify themselves as ones to watch for sure. There have also been plenty of superb EP's released over the past twelve months...especially VV. Ville Valo surprised everyone with his 3-track EP and HIM fans rejoiced at the new material, I for one certainly cannot wait to hear more from him. CHRISTINE AND THE QUEENS put emphasis on the art as their whole EP was turned into one big choreographed music video which was impressive, while I personally made some brilliant discoveries in the form of LUCIA & THE BEST BOYS and JACKIE. 

Finally then, my official albums of the year, and I was spoiled for choice to be fair. THE BIRTHDAY MASSACRE always deliver, they never release a bad album and I'm looking forward to catching up with Chibi on the rescheduled tour dates. MARILYN MANSON dropped his best album in years much to my delight, having found his last couple a little bit boring (Sorry Mazza!), GREY DAZE tugged at the heartstrings with a touching tribute to the late Chester Bennington, releasing unheard material from his pre-LINKIN PARK days, reminding us all how much we'll miss such a talented, brilliant human being. NINJA SEX PARTY on the other hand proved they remain one of the funniest groups around with their bonkers writing style, comedic lyricism and story-telling and wholesome attitude. Yes, 2020 has been a bit of a mess to say the least, but we've still got music, and as fans of that music, we've still got one another, and as a community, we need to hold on to that. With that said, below, is my official GTGC Spotify playlist of 2020, with 40 hand-picked tracks spanning the above records, and it is dedicated to my very good friend Scot 'JD' Rees, who is sadly no longer with us in body, but will forever be with us in heart and spirit. Whether he had a Jack & Coke in his hand, or his guitar, he was always laughing at something, and his energy for enjoyment was infectious. I will miss you Scot, and this compilation is for you. X

The end of the calendar year; a period of time this reviewer looks forward to annually. Not because of Christmas and the time-off work (Although the time-off is wonderful) and not because of the festive indulgence, because let’s face it I don’t need an excuse to drink, but because of the annual Winter Goth Getaway.  You may be thinking, what the hell is that? Is there some sort of alternative event that’s slipped under my radar?  

No... it’s basically myself and a group of friends, getting together every Winter, for a select live music adventure. Last year we hit London for the one-off UK date by THE 69 EYES, as well as hitting Bristol for the RXPTRS X-Mas bash...while in previous years we’ve been up and down the country to catch HIM, CKY and FIELDS OF THE NEPHILIM. It’s become a tradition and a whole lotta fun...that was until Covid ruined everything. This year, my friends and I didn’t get to go to any special Winter gigs, meet awesome new people and get ludicrously drunk, resulting in Christmas this year being a little less black...and I won't stand for that. We need some Goth damnit! And I may just have a solution. 

​Cast your mind back to 2017, and I reviewed an interesting band by the name of FLOVER. The Italian/Russian project comprising of Fabio and Kolya respectively, had released their debut album “Dark & Sweet”, and you’ll remember I made sure to point out that they more than borrowed a lot of sound and substance from the aforementioned HIM, even going as far as naming their sound “Sweet Rock” in homage to “Love Metal”. While I jested that, imitation may be the sincerest form of flattery but identity theft is a crime, it was impossible to not appreciate their sound and style in the absence of a recently separated HIM. 2020, the bonkers year that it’s been, finds them releasing their follow-up album “Songs Of Our Broken Hearts”. Let's check it out and salvage whatever goth we can... 

​The album opens up with “Secret Romance” ...it’s a bit like Secret Santa, but you already know what it is...HIM. The sultry piano-led dose of rock easily lends itself to the earlier demo-days of “Razorblade Romance”, especially with the underlying, faint synths sounding like they’ve been inspired by “Too Happy To Be Alive”, coupled with the guitar tone and key changes...this is certainly pink era HIM, and a decent start as a result. At this point we may as well start playing Heartagram Bingo...but instead of numbers we’ll be looking for riffs, song structures, vocal harmonies and parodies. Eyes down folks, we’re playing for a full house... 

“Love Beyond Death” starts with some heavier guitar work initially and it’s quite “Venus Doom”, but the chorus melodies soon kick in and it sounds more akin to something taken out of the “Screamworks...” sessions. The chugging riff is balanced nicely with the more delicate piano and the vocal crooning, and it all blends well truth be told. The albums first real highlight comes courtesy of “Love’s Scarecrow” which for all intents and purposes is a pretty straightforward track; simple structure and decent chorus hooks, but it comes to life with an impressive albeit brief solo and the track has this wonderfully energetic, climactic crescendo. 

“The Kiss Of Death” is clearly a take on “Kiss Of Dawn” not only from a titular standpoint, but even in vocal tone and sonic structure...it only slightly differs in tempo and even the wailing, scratchy guitar solo mirrors Linde’s playing on “Venus Doom”...there’s a couple for your bingo card! Speaking of...”Stay With You”...for a moment I honestly thought I’d skipped an album and started playing HIM’s cover of THE RAMONES “Poison Heart”! That opening riff is practically the same! They’re parodying other bands covers of other bands now, we’re getting too deep here, this is some inception type shit. It’s going to get to a point where riffs and musicianship aren’t enough...I wouldn’t be surprised if one of them does an Ed Gein and wears Ville Valo’s skin. I jest, of course. “Lost Souls” takes our mind off this with another simple yet effective chorus hook, even though the pre-chorus more than teases hints of “Dying Song” in delivery, but it’s an enjoyable track, before the title track goes all “When Love And Death Embrace” ...and this once again sums up our listen. 

While I can sit here and scoff at the obvious likenesses to our favourite infernal majesties, and joke about plagiarism, in HIM’s absence, Flover do a great job of keeping that bittersweet sound of romantic melancholy alive. Sure, Ville Valo did surprise everyone this year with a three-track EP, teasing more work to come at some point, but all of that is very minimal and secretive. If you lack the patience for that, Flover offer a more than adequate substitute for Valo himself, and I’m sure you can find it in the depths of your blackest heartagram to appreciate the appreciation they have for the band we all love. After all, these ARE songs for our broken hearts. [7] 

Allow me if I may, to cast your minds back...to May; a time of year I anticipate with a varying degree of excitement and self-loathing. A birthday perhaps? No... those never excite me...though statistically people who have more birthdays live longer. That’s a fact. But no, I am of course talking about, the EUROVISION SONG CONTEST.  

​I bet you’re thinking, Gav, you already covered the 2020 Eurovision Song Contest in a rather lengthy, frankly indulgent post? It was cancelled because of Coronavirus, leaving you rather irate with only the 40+ track accompanying album to review...what more could you possibly say? Well, my friends...as it happens, A LOT. You see I may or may not have overlooked the fact that, there is also a JUNIOR version of the song contest, which apparently France won this past weekend. I bet I also know what you’re thinking now; Gav...no, please? They are children?! You couldn’t possibly?!?!? That...sounds darker than it needs to...nevertheless! I am about to review, the Junior Eurovision Song Contest, 2020. Does this count as child abuse? 

While not having the 60+ year heritage of the actual contest, the junior version is itself still in its 18th year and is continuing to grow, providing an international platform for budding young artists and performers hoping to make a career in the music industry. This year the contest was meant to be held in Poland, the first time in Eurovision history a nation has held it twice consecutively, but due to the ongoing issues regarding Covid-19, only 12 nations chose to participate, and it was televised from separate national studios instead of having one live-performance final. With the slogan #MoveTheWorld, it captured a positive message of togetherness and safeguarding the future, as the younger generations look to make the world a better place. Sadly, that time will have to wait, as I’m about to review the shit out of these twelve entries... 

For the purpose of convenience, I’ll be running through the tracks in order of their album placing according to Spotify, as opposed to the actual running order of the final, so if you choose to listen, this list will at least be cohesive whether you agree with me or not, and we start with Belarus. ARINA PEHTEREVA gets us underway with the track “Aliens”, and apparently, she’s only 12 years old. Seriously...what do they put in the water in Belarus? Aside from 70% of the Chernobyl fallout. The semi-hushed, soulful pop effort with brief hip-hop elements sounds far more mature than her 12 years and it's actually an impressive vocal performance... I mean if she’s 12, then I’M an alien...shooketh I am! 

Next up we have Germany, and it marks their first ever entry into the Junior version of the contest. Well, they need something to do in the absence of the Hitler Youth, right? I jest. (Come on it’s been 75 years get over it) ...the track is called “Stronger With You” by a young lady named SUSAN. Really? Not to nit-pick here but, Susan is the least German sounding German ever... doing a weekly grocery shop in ALDI is about as German as Susan gets. I digress. The 14-year-old delivers a traditionally performed pop-ballad in a mixture of German and English, dramatic and cliched, it’s basic, safe Eurovision fodder and sadly boring as a result. She came last by the way. Take that, Susan. 

Moving on to Spain next, and the song “Palante” by a 9-year-old girl by the name of SOLEA. Apparently, a slang term for “Keep going” or, “Go for it” in Spanish, its intent is obviously positive and encouraging, motivational even, and the overall Latino/Hispanic pop grooves while stereotypical, aren’t dreadful. I mean it’s not as shit as “Despacito” ...there...praised a nine-year-old. Quickly hopping across the border then to France and we have our aforementioned winner; an 11-year-old named VALENTINA with a track called “J’imagine”. Other than sounding like Jimmy Saville’s own brand of cologne (Hey why does this smell like Rohyp....zZzZzZz) it’s performed in French, like most of the French entries, and comprises of a predominantly inoffensive, quirky, up-beat piece of sweet-pop. The track itself is nothing spectacular, but what’s funny is someone has edited Valentina’s Wikipedia page, stating that she cheated. No proof, just calling her a cheater. And I thought I was petty and bitter!? That’s actually amused me, well done, random butt-hurt person. 

We’re a third of the way through now thankfully as we head over to Georgia, to check out SANDRA GADELIA and her entry “You Are Not Alone”. To be fair, you are undoubtedly correct here as I cannot be the only one not having a good time right now. Here is the shock twist however...the piano ballad is fuelled by some incredibly and impressively powerful, emotive vocals. This has some presence and one has to tip his hat where it’s warranted. There’s a SLIGHTLY dodgy key-change which makes you question it’s necessity, but other than that, well done; an album high-light this. 

Next up we have KARAKAT BASHANOVA representing Kazakhstan, though while not as popular as Borat globally, she probably brings less shame upon her country. At 12 years old she’s currently attending a musical boarding school where she is classically training in violin and piano, which is beyond evident in the more mature, operatic / ballet composition of the song. It’s quite elegant in all fairness and again, impresses. It’s still pretty safe, your typical ballad in terms of Eurovision, but this young lady has a potentially bright future in musical theatre for sure. Jagshemash!  

Moving swiftly on to Malta next as we find CHANEL MONSEIGNEUR singing her entry “Chasing Sunsets” ...it is, undeniably, yet another by-numbers soft pop-ballad which, for the pre-teen is delivered clearly and confidently and it’s a pleasant pop song as a whole, but this is getting a little rinse and repeat by this point. It’s getting difficult to find anything of real interest...forget chasing sunsets this is more like chasing the dragon now. Also, there is a pattern forming...can our next entry mix things up a bit? Well, a bit is fitting. UNITY who are representing Netherlands here, aren’t just a young female solo artist...no, they are a group of young female artists! Did any boys enter this at all? It’s not a bad thing if they didn’t but it’s certainly interesting. Performing a track called “Best Friends”, they essentially come across as a sort of, teenage LITTLE MIX. Littler Mix, if you will. That about sums up the track. 

We’re into the final third now as we get host nation Poland and their entry “I’ll Be Standing”, by ALA TRACZ. Not to be confused with Alcatraz, but it does feel like I’ve served some sort of life sentence up to this point. It’s got an assertive chorus rich in percussion, brass AND synth elements while the young lady fleets back and forth her native tongue and English vocals, and really its quite up-beat; this is far from the worst track here. Serbia are up next and we get our first male performer of the contest...PETAR ANICIC and his song “Heartbeat”...and I’m not going to lie when I say my mind instantly went to some, Serbian rip-off of a certain 1960’s Yorkshire based police drama. I can’t imagine Serbian police letting Greengrass off so lightly for poaching though if I’m honest. Anyway, it’s another piano ballad, what a surprise. 

Our penultimate track comes from Russia with love, as SOFIA FESKOVA performs her track “My New Day” and it’s yet another, sickly-sweet pop-ballad. I mean she’s clearly got Disney+ at home going by this track...I wouldn’t be surprised if she ran into the woods to sing this to the animals quite frankly but, being Russia it’s probably safer not to. Be like Snow White, but instead of seven dwarves she’d stumble across seven prisoners of war in some forgotten gulag. Finally then, we round things up with the Ukraine’s entry; “Vidkryvai (Open Up)” by a lad named OLEKSANDR BALABANOV (Do-do-dododo...sorry I just had to). It’s more of a soulful slow jam with a touch more character than a lot of the tracks here and he’s got a uniquely blended vocal and it ends the album on a better note. 

While I praise the variety and character of the original Eurovision Song Contest, my first experience of the Junior contest hasn’t been completely encouraging. Sure, there have been one or two impressive vocal performances for the age range we’re talking about, and we can’t overlook the fact that the majority of countries pulled out because of Covid-19, but the tracks that made up the remaining contestants failed to excite or inspire. You could argue that, as children, they are having songs written for them...true, but so do the adults most of the time. The difference is, with children, you aren’t going to get ridiculous entries like LORDI...you aren’t going to have artists like CONCHITA or HATARI making bold statements, you’re going to get things pretty safe, and sadly that’s exactly what we had here. Fair play to them mind, they got up on stage and they sang for their countries, and they should be proud of themselves. Except you Susan...you came last. 

When I posted my 2nd “Unlucky Dip” collective singles review, I joked that it was weird for me to not have roasted any of them, and that I had in fact enjoyed each of the seven tracks to varying degrees. This was of course eventually proven too good to be true, when I recently reviewed the debut album by London pop-duo BEFORE SUNDAY, on the back of their inclusion in the feature. Let’s be honest they essentially catfished me with their GHOST cover! Well anyway, this next review also happens to be taken from that singles collection, but this is actually intended to be a way to make up for a passive aggressive write up I gave the band in question…

I know what you’re thinking…Gav? Apologising for comments made in a review? How much have they paid him!? Well fret not, I don’t do bribes (I’d accept the money, but write an even WORSE review then deny any transactions! #RickySpanish) but I will hold my hands up for being a dick. The band in question are JULIPER SKY and the Manchester based outfit (Consisting of lead vocalist Jamie Lambert, guitarists Dan Parker and Liam Grindell, bassist Roger Damen and drummer Ben Pursehouse) have a new track due out called “Afterglow”, which I featured in my round-up. It was a decent enough track, akin to the likes of BLOSSOMS, but I had no track to share, to music video to share, not even the artwork for the single, so I was a bit bitchy. This, believe it or not, made me feel a tad guilty, so I thought I’d revisit their newest EP, which also came out this year, and do a proper review. With that said, let’s check out “Visions Of A New Age”…what could go wrong?

The EP greets us rather appropriately with “Waves” and immediately we’re thrust into a blissfully light, delicate dreamscape of sounds and sensations. The percussion is subtle and unimposing, allowing the tinny guitars and gentle synth effects to accompany Lambert’s lulling vocals wonderfully, and it’s a sweet little start, almost KEANE-like. “Reflections Of The Winter Sun” then follows up and while not poles apart in terms of sound in the slightest, for the approach is ultimately the same, the suggestive nature of the title itself allows the instrumentation to take on an icy, crystalized tone, and while slightly lower in tempo, the musical narrative manages to set quite a scene.

Next up we have EP highlight “Magnetise” and here we get more of the soft indie aspects that appealed to me the first time I heard them…again here appealing to fans of the more soothing output of the newest BLOSSOMS record but they retain a certain pop influence that you may find in the style of say, MARK OWEN for example, before we finish up on “Heaven” and we return to the by now cemented preference for dreamy, shoegaze fuelled indie-pop, as the EP continues to meander peacefully through your speakers as it draws to a close. Overall it’s a lovely little selection of tracks, for sure, instantly accessible and tailor made for mainstream radio play given the opportunities, that I won’t and can’t deny…what I CAN do however, is say with personal preference that it doesn’t necessarily tick all of my boxes. An indie ballad can work incredibly well, look at “Yellow” by COLDPLAY, or “Caroline, Yes” by KAISER CHIEFS, hell even “Wonderwall” if you want to go there, but they’ve got a bit more bite, a bit more drive; a bit more passion. These four tracks, as lovely as they are, just lack that certain edge that could elevate them further. These visions of a new age, while promising, are a little bit blurry at this moment in time. [5]

The other day, when I shared my newest “Unlucky Dip” collection, despite my clear favourites, there was one new artist in particular that peaked my interest; I’m just yet to determine if it was for all the right or wrong reasons. Yes you may remember me including a London-based duo by the name of BEFORE SUNDAY, who alongside some selected peers through Angels PR, covered “Square Hammer” by GHOST. Now I like this song a lot and you may recall I regarded the move as nothing short of bold, but the track was covered fairly traditionally without any needless bells and whistles, and credit to them they did it justice. Here is where the curiosity often kills the cat…

Given the band and track they covered, and having known nothing about the band prior to hearing said cover, I had to ask myself, was this a potentially new, up-and-coming alternative goth pop band? Can I look forward to some modern post-punk? Hell I’d settle for some retro dark-pop! In this instance…we sadly do not get any of those things. Yes the duo who make up Before Sunday; Nick Basis and Stella Panteloudi are a straight up pop act that just happen to appreciate a little rock ‘n’ roll influence here and there, and quite frankly I’m feeling catfished. But seeing as we’re here, they released their debut album recently entitled “Anticipation”…let me just tell you that mine has gone through the floor as opposed to the roof.

The album opens up with “Living In London” which to be fair is quite a catchy little piece of social commentary; highlighting the living conditions of living in the British capital, with the general ignorance of society leaving you feel alone in a population of millions…the generally overpriced day-to-day living and the often shitty weather. They paint a pretty bleak picture but I’m sure very many can relate. The track itself is a guitar driven piece of soft rock with ample swagger and a certain vocal drawl that in some ways finds itself between JOAN JETT and MILEY CYRUS…it’s a decent opener. “Big House” then follows up and the direction changes somewhat to say the least. The rockier guitars are replaced with more of a light, soulful funk aesthetic which coupled with the core pop delivery could pass for some, KYLIE MINOGUE or ALPHABEAT.

Even though the album is only ten tracks in length, it still manages to find itself book-ended with the better tracks at the beginning and the end, with the middle sort of just, existing. “Obsessions” for example is a wonderfully heartfelt, sombre piano/synth led pop ballad with a soaring vocal chorus. “Goddess” combines those gentle ballad qualities but brings back the funk-rich guitars and marries them with some innocently sweet vocal notes, before “Devil” rounds the album off on another guitar driven, rockier high note. It’s got a certain surging urgency to its delivery when it’s in full flow and the up-tempo intensity is welcome…they left it late but we actually get some of the slightest hints at more metallic instrumentation here that could be tied in to that Ghost cover.

As I said the middle of the album is generally generic pop music…the vocals on “Unconditional” are well produced and fine, “Gone” gives off Eurovision power ballad vibes and “Closed Doors” adapts more of a random country-pop aesthetic. While there’s nothing necessarily bad here, it’s a fine pop album with some good quality clean production, I can’t get that Ghost cover out of my head and can’t help but be somewhat disappointed by this album, which is a shame because there’s nothing wrong with it for what it is. It’s got its charm and does highlight a variety of genre influences all streamlined into one collection of quirky pop, but I was hoping for something more. I don’t even know what…maybe even like, OF MONSTERS & MEN or a SHINY TOY GUNS or something along those lines, which, sadly these are not. Before Sunday? More like never in a month of Sunday’s. [5]

Remember the phenomenon that was ‘Chuck Norris Facts’? The man / minor deity can do so many astonishing yet equally absurd things, like, being able to make fire by rubbing ice cubes, or, being the only person able to kick you in the back of the face, or even being able to speak French…in Russian. I could go on (Literally I can read them for hours and laugh to myself quite contently) but it’s that last one that tediously links me to today’s band because I am unable to just, review things normally. Yes, allow me to introduce you to today’s band; L’HOMME ABSURDE.

Hailing from Moscow, Russia, yet with a French name that translates as ‘The Absurd Human’, L’Homme Absurde are a progressive post-hardcore five-piece, consisting of vocalist Alexey Slavin, guitarists Alexandr Safronov & Roman Savenkov, bassist Pavel Gorshkov and drummer Evgeny Loboda, and they’ve been gradually building their reputation since their formation in 2016. With their fusion of metalcore and melodic black metal, they hope to continue to spread their absurdity across Europe with their newest album “Belong”…but do they belong in my ears? Noob Heavy PR asked me to check it out…

The album opens up with “0” which is pretty appropriate given the way this album kicks off…it’s all about momentum, all is still as we get nothing but relaxed percussion and some semi-dreamscape acoustic instrumentation while the record comes to life, as it’s pulse strengthens,  but we suddenly find ourselves enveloped in a blanket of brutally tortured vocals and a more metallic approach in tone, despite its melodic retention. It gives us a sense of artistic drive and direction early on, for sure. First track proper then “Rot” capitalises on the surging blackened metal tendencies the band have by pummelling the listener with a barrage of semi-psychotic instrumentation. Equally melodic yet mauling; it summarises the bands sounds wonderfully.

This can be said of album highlight “Separation” too which takes an almost early post-punk direction with the initial guitars, before we break into more snarled vocals and post-hardcore riff work; this is arguably as catchy as things get over the course of these eight tracks, finding it’s home between the likes of KVELERTAK and MAN THE MACHETES. It’s up-beat and rocking, all the while groove rich and melodic, and a superb piece of modern metal. Elsewhere “Burn” and “Forsaken” continue this approach of searing blackened melodies while incorporating subtle doom atmospherics into the more traditional metal guitar work, before we eventually finish up on ”Sanctuary”. The semi-acoustic opening and soft vocals allowing for a sense of closure and finality to wind the mood down somewhat…or so we thought, as this too erupts into a visceral barrage of pained vocals at the tracks midway point, peaking with a final flurry, before the low-key instrumentation transitions right back into “0” and we appropriately come full circle, as the album essentially loops, which is cleverly done.

Overall, while Russia isn’t exactly prominent in the world metal scene in terms of household names, L’Homme Absurde are clearly equipped to throw down with some of their more established Scandinavian neighbours. Blackened metalcore may sound a touch niche on paper but there’s enough here in terms of subtle variety to at least warrant checking this out for most fans of alternative heavy music. It’s a solid album and one that could potentially find them larger audiences across Europe, and to suggest otherwise would be, well, absurd. [6]

You know when I say that I’m hopeless at keeping on top of my emails and submissions? Well ladies and gentlemen, this review is about to absolutely confirm that. Back in motherfucking JANUARY I was sent an email by the team over at Noob Heavy PR, and they brought to my attention a Canadian group called PURVEYORS OF SONIC DOOM. Now the name is pretty self-explanatory, but the email in question was to inform me that they were dropping a new double EP set; “Eyeless Void” and “Entombed Black Earth” respectively…

Given some of the artists and releases I’ve seen over the past year or so, I made an educated guess and thought to myself…I COULD cover the EP’s now, BUT, odds on the tracks will be bundled into a full length album of some sort somewhere down the line, so I’ll save myself the hassle and wait for the album. This…was a mistake. Having checked up on the duo (Consisting of guitarist/vocalist Ted Gloom and drummer/vocalist Nick Tooms) I find that no…they have not bundled things into one album…oh no…they have in fact now got fucking FOUR EP’s on the go. They keep this up and I’m going to be taken over by some sort of sludge metal mitosis…so let’s get this out of the way.

We’ll start off with “Eyeless Void” and its title track, and it’s got about as much momentum as a set of church bells before a minute’s silence. I actually thought the track was stuck on a loop, until it eventually shifts up a gear…though by that I mean it just, does the same with a couple more BPM. This is such a monotonous, deep chugging affair; it’s actually more of a pointless void. If you manage to sit through it mind at the five and half minute mark it does actually come to life a bit, but by then, really, who cares? “Rot Covered Gold” if anything is inaccurate because gold doesn't rot in the conventional sense, so there’s that…and the song itself is more of the same, thought at least we have vocals this time. Sparse, but they are there; echoed and torn in anguish like they too are lost in this void. “Flayed One” seems to showcase more urgency with the more continuous riff work and suspenseful key changes, though it ultimately slows down to more of the same, before we round off with a cover of HELL HAMMER’s “Third Of Storms” from 1983’s “Satanic Rites”. Naturally, nearly four decades on, the production will sound better…but the fuzzy, distorted barrage of sludge detracts from the rawness of the early black metal, and the slower tempo does nothing for it…

Next up we have the “Entombed Black Earth” EP and we kick off with “Sea Farers Lament” and while the intro suggests we’re going to have some cleaner, or smoother production quality, we’re soon back to normal with the same sludge-thick riffs and more of the almost vacuous vocals that sound, again, lost…or maybe appropriately entombed. It sounds like he’s singing into one of those old children’s toy microphones that make your voice all warbly and echoed for a while. “Mongrel Dog”, has certain atmospheric elements, giving off a cold, icy tone, while the title track, “Astral Witch”  and “Titan Blood” all share similar tropes and qualities, and very little differentiates either from the other. Here is where I realise, after fifty minutes of music, I should have run the review back when I was first aware of these two EP’s…now I have two more…please improve.

The third EP is “Mankind Is Unkind” and given the current state of the world with the events that are unfolding, that statement couldn’t possibly be any truer. “Old Lore” gets us underway here and there’s a brief spoken word segment about flipping over to side B, so maybe I was meant to listen to this last? I don’t know…but it doesn’t take long for those sluggish, chugging, doom-inspired riffs to take command of the track. They have perked up a LITTLE bit however, as proven towards the climax of “Bachanalian”, where they up the ante in terms of the thrashier aspects of their metal, and it’s here a pattern is clearer. Slow, lethargic sludge thick metal, quick bursts of blackened thrash and then back to the dolorous doom rich riffs. It’s practically copy and paste…speaking of which, we have the “Sonic Colossus” EP. It’s essentially just the “Entombed…” EP remastered, but they’ve replaced “Mongrel…” with a new title track…that’s all it is. That track itself has another lengthy, drawn out intro, before we randomly have a sound bite from the famous “Daddy Chill” video, where the old dude demands “What the hell is even that?!”…and that right there perfectly summarises this series of EP’s for me.

​While there are glimmers of hope and interest scattered across these four EP’s, like the switches in tonality here and there that allow some of the riffs to sound more varied, and where the blackened thrash aspects work best despite being underutilised, the vast majority of the recordings here follow too much of the same formula, let alone the recycled tracks. Yes I know that, any doom-inspired audio is going to run the risk of being slow, labouring and monotonous, but this level of rinse and repeat is the sludge metal equivalent of ED SHEERAN…now if you’ll excuse me, I’m off to have my ears syringed with a use heroin needle. [3]

OK so, back in May I debuted a new blog feature which I dubbed the "Unlucky Dip", where I take a break from reviewing full length albums and EP's, to give the singles a chance. It not only allows me to cover a wider variety of artists and genres in one swoop, but it reminds me of albums that will be coming out, and helps me clear more of my never ending barrage of emails. Last time around I was a little mean to one or two of the artists, but as I did point out, this feature IS a sort of cross between speed dating and a comedy roast. Luckily for these seven new artists I generally like all of the tracks I'm about to talk about, which is rare...unluckily for you however this may not be as much of an enjoyable read as the last one! Anyway, with that said, let's get into some music.

I'd like to kick things off with some genuine positivity and excitement. THE SOUNDS are one of the bands I can thank Bam Margera for getting me into way back in the day, and while I was happy to have them back with their EP "The Tales That We Tell" in 2017, we haven't had a full album from Maja and co in seven years!

"Safe And Sound" is the latest single, taken from the highly anticipated new album "Things We Do For Love", which drops June 12th. Originally planned for a May release but put back due to Covid-19, their blend of lightly electronic tinged indie rock 'n' roll sounds as distinct and fresh as ever here...I guess you could say they haven't missed a Tony the beat! I'm very much looking forward to this album and you can expect to find it in my end of year lists for sure.

This one was a submission from the people over at Pop Rush Music and as far as I can tell, this is a stand alone single, as there's been no mention to me of any releases to follow this up. The single in question; "Hunters & Wolves" is by an artist by the name of JORDAN LAKE. Not to be confused with the reservoir, Jordan was born in North Carolina and found his love for singing very early on.

At the age of 4 he became a church singer at his local parish and has had a passion for performing ever since. Now older and having relocated to the West coast, Jordan is writing mature, soulful and emotive pop music that in it's own ways bridges the likes of ADAM LAMBERT with RAG 'N' BONE MAN. Listen below and let me know what you think!

Well..this escalated quickly! GAEREA are a self-confessed cathartic black metal outfit from Portugal, and they were brought to my attention by the folk over at Season Of Mist. 

"Null" is the first track to be taken off their up-coming third album "Limbo" which is released on July 24th and if this track is anything to go by, the six-track 50-minute album is going to be one hell of a journey. There are European tour plans in place for the beginning of 2021, though they are scheduled to play a UK exclusive show in London on October 31st at the Nabucca, which you may want to keep an eye on if you're a fan of black and death metal, as it's part of the Subterranean Manifestation II line-up. Hopefully it goes ahead, and I'll say it again...fuck Covid-19.

This one is arguably the weakest of the seven tracks I'm going through today but that's purely on account the other 6 tracks, as this is still a fun little single and I'm actually not trying to be mean for once. 360 PHOENIX FLIP is the new (Albeit convoluted) moniker by which Mark Lovett now goes by.

Combining his love of skate-punk and artists such as NOFX and RUFIO, with his already experienced background in song production and EDM, he brings us his debut single "Pyromaniac" and the best way to describe it I believe would be, somewhere between OWL CITY and REGGIE & THE FULL EFFECT. Make of that what you will, but I like this and I look forward to what else he has in store. Maybe you'll find him in the new Tony Hawk remastered game soundtrack? At this time of writing I have no links to share with you, as the SoundCloud link was private...sorry.

Now this...this one is fucking bold. GHOST, who you may be familiar with as arguably the biggest rising metal / alternative rock band on the planet, helped cement their status with the song "Square Hammer" from the "Popestar" EP. BEFORE SUNDAY, are a London based duo who have only recently released their debut EP, yet here we find them covering Ghost...and the track isn't even a part of their EP!

Yes thanks to Angels PR, the duo have been in touch with label-mate Marianna from PROJECT RENEGADE and other talented musician friends, to collaborate on this lock-down cover. To be fair, instrumentally at least, they've done the song justice as it barely strays from the original in tone, it's quite a by numbers cover, but naturally they aren't replacing Tobias on vocals, so that's where they differ, although they've stayed true to the original video too in their own ways, taking limitations into account. It's a brave cover, but no real complaints for execution. 

In case you're wondering why there is no art work for this single, it's because the band didn't supply any jpeg files of the artwork. Plenty of photo's of the band, sure, but none of the artwork. The image included in their press kit isn't usable sadly as I was unable to separate and save it to file. Could I message them and ask for a jpeg of the image? I could, of course I could...but it's really not worth the effort.

Anyway, JULIPER SKY are an up-and-coming indie-pop outfit based out of Manchester, UK, and having already released their debut EP this year entitled "Visions Of A New Age", they continue to release separate singles. Opinions vary as to how effective and efficient this is from a marketing stand point...on one hand you can keep fresh content coming and keep up the exposure and relevance...on the other hand, and this is something I believe personally, is that it's annoying and I'd rather you just keep the material for the 2nd EP...let's be honest most of the tracks are going to end up on the debut album anyway, so many artists do it, and I just find it all pointless myself. I digress..."Afterglow" is the kind of light pop-based indie that might appeal to fans of BLOSSOMS for example. You'll have to take my word for it though as again, it comes out on June 26th, and I have no Bandcamp, Spotify or Youtube links to share with you. I might review the EP, give you a better idea.

Today then we finish up on this absolute gem, and another genuine bit of excitement. MUSHROOMHEAD have been going damn near thirty years now and having gone through a couple of line-up changes, they still have an incredibly prolific yet criminally underrated back catalog of albums. 

Having always faced criticism for being SLIPKNOT knock-offs, they never hit the heights they deserved to, but hopefully that will change on their upcoming new album "A Wonderful Life"; their first since 2014! The latest single promoting the album; "The Heresy" see's the real debut of new full time vocalist Ms. Jackie, as well a returning J Mann to bring some welcome nostalgia and heritage to their sound. The clean female vocals add a new dynamic which works really with their heavy, dystopian, underground progressive grunge metal style, and the political message of the single simply adds relevance. I cannot wait for this album, which comes out June 19th via Napalm Records.

So this review was not on my schedule…it wasn’t submitted to me as a request, nor was it generally even on my radar. Quite frankly I had absolutely no idea who the fuck these were, however, a good friend of mine Rob De Boer lovingly forwarded them to me. I’ve known Rob a few years now through mutual friends and a mutual love of HIM, and all things Jackass related, and the last time I saw him properly was when we saw CKY at Manchester. Fun night…Matt Deis got lost in the venue he was playing, and I think there was a stabbing…good gig though.

I digress…Rob has recently started up his own podcast called SETTING THE TONE, where he takes a moment to go over his thoughts and opinions of various new singles from up and coming artists, and generally discuss relevant topics in the music industry; openly sharing his views and is worthy of your support. He was sent this EP to check out and do a piece on, and wanted to know what I thought of them myself.  Now I don’t know Rob’s final thoughts on the artist, we’re a little different in our approach…but those of you who are regular readers can probably guess where this is going…

The band in question, are FIGHT THE TORNADO and I immediately hope their influences include Matt Hardy 1.0. Consisting of members Jonny Young on vocals and multi-instrumentation, and Lindzi North on vocals and…sanity maintenance? Both of whom were former members of the symphonic metal band CURSE OF DAWN (Part of me wonders if they were fired…harsh you say? Patience you must have my young Padawan) though we find them gearing up for the release of their debut EP “Maelstrom Of Thought” on June 26th. With that tornado in mind, are they going to blow us away or simply just suck? Let’s find out…

The EP begins with “Mercurial Inventions” and truth be told, the intro is actually promising…it’s got a light, bubbly electronic aura and sounds like it’s about to delve into some nostalgic synth pop…but without the slightest hint of transition we’re thrust into a barrage of progressive nu metal riffage and it’s like, where the actual fuck did this come from? You know that meme with the dog sat in a room on fire, stating that this is fine? This is the soundtrack to that image. It’s so off-kilter and jarring you can’t help but wonder if this really was intentional, and that’s before we even get to the vocals. Fleeting between snarling and angelic, though neither of them hit the mark; it’s like, I would have PERSONALLY paid for the use of autotune for you to save myself the grief of hearing this.

We follow this with EP highlight “Comfort Zone” and yes I actually said highlight there…we start off in a similar fashion combining pulsing electronica with metallic riffs but here it’s all blended noticeably better, as in, it’s actually blended. Vocally then, I want to point out that the snarls in ways remind me of NEW PROJECT and the aggressive aspects of this work, but when we get to the cleaner, melodic vocals it’s an actual dumpster fire. The chorus manages to hold a note, an albeit incredibly flat and lifeless one, but that is an achievement, trust me. The same issues arise during “Sensory Deprivation” and the title is more than fitting as I would sooner be deprived of my own sense of hearing than deal with this. How bad can this unconventionally tuned singing be I hear you ask? Well…here are just SOME ways to categorise this; a mute yodeller with a sore throat,  a wok full of spoons falling down the up-escalator like some painfully cacophonous slinky, the shared harmony of two stray cats shagging in the back lane. Not convinced? How about Wes Scantlin covering NIRVANA?

Sadly my friends, we aren’t done…the title track is an instrumental that to its credit, delivers conceptually, I’ll give it that. It goes from progressive rock and metal riffs, including a decent solo with more subtle synth work…before we introduce PAN PIPES out of nowhere, only to be followed up with alternating death metal blast beats and ambient reggaeton. I honestly can’t say ‘what the ever loving fuck’, with the adequate level of conviction here…seriously that was like a non-invasive lobotomy. If that wasn’t enough, “Atlas” kicks in with some goddamn BTEC “Tubular Bells” and I’m like, nope. I’m done. I’m out. Fight The Tornado? I would sooner gamble my genitals in a Dyson V10 Cyclone…and I can guarantee my cries of pain would hold better notes.  [2]

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

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

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

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

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

It’s strange how certain things just stick with you as you grow up…for example, let’s say…North Carolina. Random, I know, like, I’ve never been there, I don’t have any family there, but embedded in my brain, is the fact that despite being born in Tennessee, Ric Flair comes from Charlotte, North Carolina (It’s a kayfabe thing). With that in mind, when a band slides into your email submissions stating that they too are from North Carolina, you instantly find yourself shouting “WOOOOO!” and knife-edge chopping everything in close proximity. (Excuse any following typo’s as I write this with a broken hand)

The band in question, are MIRROR POINT, who hail from Sanford and Cedar Creek, NC and consist of members Marc Killian, Travis Jones and Sketchy J. They recently got in touch with me asking me to check out their debut album “Shine On” which was released earlier this year through Mokovo Records. With an apparent variety of stylistic influences, let’s see if Mirror Point can mirror The Nature Boy, and be the limousine-ridin’, jet-flyin’, kiss stealin’, wheelin-dealin’ sons of  guns I personally hope they are.

​The mini-album opens up with “Winner Takes All” and we’re immediately met with some back-to-basics riffs and the typically clean yet, slightly bourbon coated vocals that make up your classic blues rock songbooks. It plods along really quite casually, quite middle of the road really before eventually picking up in intensity, exuding a more passionate instrumental display towards the tracks climax. It takes a minute or two to warm up but it gets there in the end. Not deserving of any winners medals, but it doesn’t come last either…it’s just taking part really. Next up we have a track called “PhenoBarbieDoll” and it’s one of their local radio successes. Another melodic, hard rocking blues-based number, it’s aimed at the trappings and troubles caused by social media; the anxiety it can give you trying to keep up appearances, the expectations of maintaining your plastic lifestyle, the fear of failure and the longing for fame. It’s quite a socially relevant track that has its points, but let’s not beat around the bush here the title is terrible. “PhenoBarbieDoll” sounds like a rip off, of a SyFy rip-off, of a straight to DVD Asylum rip-off of a low-budget “Annabelle” rip-off. We actually ran out of barrel to scrape…

​Looking further into some of their outside influences however, we get to another local radio success by the name of “Is This Was This”…I mean, if this WAS is and is was it wasn’t isn’t it? I thought so. A Latin/Hispanic fuelled little love song with clear yet subtle funk elements, and a certain Mediterranean flare, but plays on regrets, second guesses, absence an emotional confusion, touching upon PTSD, yet delivered in a predominantly light hearted manner. “Just Push Play” continues with the genre experimentation courtesy of a genuinely interesting combination of soulful 70’s funk, lounge jazz and modern hip-hop with a completely out of the blue rap-breakdown. The contrast manages to work without sounding jarring or like the world’s worst Nu Metal band, and that competition is TIGHT, so credit to them there.

The remainder of the record primarily consists of more, textbook blues-based hard rock which does have its moments of instrumental appeal, but sadly does become pretty generic over the course of the album, that IS only seven tracks long remember. Sure they dabbled in a few genres to spice things up but on a scale of black pepper to Bhut jolokia, that spice is toothpaste. Collectively, “Shine On” is harmless enough and you can appreciate it’s basic blues rock appeal, I mean they’re on the radio back home so they’re climbing that ladder, and there is an audience for blues based hard rock, I mean look at BLACK STONE CHERRY…it’s do-able, just on this instance, “Shine On” isn’t even as bright as one of Ric Flair’s bejewelled robes, let alone the 16-time world champion himself. To be the man, you gotta beat the man…Mirror Point have not beaten the man. Mirror Point are more like David Flair than Ric at this point. [5]

When it comes to Irish music, it’s safe to say that there more than a handful of mainstream tropes and clichés in regards to what the country exports. As stated recently they are the current record holders for Eurovision wins (I’m still gutted JEDWARD didn’t win in 2011, “Lipstick” was TIGHT)…they also have a knack for churning out successful pop groups like BOYZONE and WESTLIFE, and they have this traditional drunken-punk aesthetic with the likes of FLOGGING MOLLY ticking off all of the stereotypes. Oh, and some little band called U2, not sure if you’ve heard of them?

Regardless of this however, Ireland of course has a much richer appreciation for music than that, and over the years has churned out some incredibly talented alternative rock bands, ranging from ASH all the way to THERAPY? and everything in between. Today’s band is very much in between, with their blend of mature indie-pop and a rough-around-the-edges, punk-inspired mind set. That band is NEW PAGANS, and they’ve recently released their debut EP “Glacial Erratic”. Comprising of Allan McGreevy, bassist Claire Miskimmin, guitarist/vocalist Cahir O'Doherty, drummer Conor McAuley and vocalist Lyndsey McDougall, they were forwarded to me by the team over at Wilful Publicity; let’s just hope their sound is anything BUT glacial…

The EP kicks off with “It’s Darker” which is promising as that is precisely how I prefer things, ranging from my humour, to my coffee, to my slaves (Just kidding I don’t drink coffee). A slightly disjointed, somewhat clunky dose of bass-soaked guitars greets us over some generally piercing vocals. There’s a certain off-key charm to it, coming across as very raw and grunge-inspired, with a rather PJ HARVEY or THE PIXIES vibe, and it’s a promising start. If it’s the rockier aesthetic you prefer then you’ll certainly find this to be an EP of two halves…”Bloody Soil” in particular is an EP highlight with its up-tempo, more energised delivery, showcasing that punk-oriented approach to their sound. The longer intro has a subtle KILLING JOKE vibe going on but it eventually erupts into a hook-laden emotive chorus and it’s wonderfully catchy. Closing track “Lily Yeats” then too has a more energetic urgency to it, but instead utilises a more melodic, indie-based rock ‘n’ roll sound which closes out the EP on another highlight, easily making you want to hear more; it works brilliantly in that sense.

If however, you do prefer to take things slowly, opting for some more subdued content, then they have you covered too, especially on the tracks “Charlie Has The Face Of A Saint” and “Admire”. The former is still guitar driven but it slows things right down to a more methodical, plodding pacing that gives off an almost, rugged shoegaze vibe, while the latter, which was appropriately released on Valentine’s Day as a single funnily enough, is a much gentler piece of soft, mature indie-pop, absorbing you into its sweet dreamscape. Ultimately here the five-piece have showcased a wonderful range of influence and direction on their debut, touching upon varied styles and managing to find their own sound amongst that, without sounding lost or desperate for identity. As stated it can be rough around the edges and raw but that’s part of the charm here. Fingers crossed their trajectory following this EP will be anything but glacial, and they are certainly a band to keep an eye on. New Pagans could one day be your new favourite band. [7]