Going back decades, arguably since its inception truth be told, ‘rock’ music was always viewed upon as bad thing; a rebellious genre that started in the early days of rock ‘n’ roll a la ELVIS' controversial hip-swinging, leading young ladies astray…punk rock was always a primary instigator of rebellion when that came about, the musical equivalent of streaking through a convent with your middle fingers proudly pointing skyward…and then there’s metal. We’re not going to be delving into all of the deep, dark sub-genres, but metal itself has always been associated with the devil and darkness, and of course bands like BLACK SABBATH and IRON MAIDEN only fueled that…but sometimes a band just feels the need to speak up; make a statement and be as brutally honest or opinionated as they can be. Here; special guest writer PETE HARRIS (petesmusic0508@gmail.com) showcases his personal picks on “5 Metal Bands That Made Their Name Attacking The Establishment”

"There are many ways to speak to the powers above. But sometimes, the best and only way to unleash truth is to do it as loudly and as aggressively as possible. Here are five of our favourite artists who knew just that — and have used the inherent aggression of metal to express rage, dissent, and criticism against the unyielding sociopolitical establishment."

Godfathers of 90’s and 00’s thrash metal; MACHINE HEAD first made a name in Europe before getting famous back home in the US. One of the pioneers in the ‘New Wave Of American Heavy Metal’ which began in the mid 1990’s and peaked later in the millennium. Machine Head dabbles with thrash and groove metal, which they’ve perfected in songs like “Aesthetics Of Hate” and “Clenching The Fists Of Dissent”. From criticising the critics who act like the gatekeepers of rock, to taking an anti-war stance in the midst of the American government’s oil-hoarding in the Middle East, Machine Head’s fans know that they mean business.

"Being able to loudly and aggressively speak truth to power is just one of the many uses of anti-establishmentarian music. As many metal-heads can attest to, listening to some quality rock and metal can prompt emotional, mental and even physical benefits as well; revelling in the violent themes of metal in in many ways, an act of anti-violence and therapeutic self-love. In fact, academically-backed research published in an article on LOTTOLAND reveals that people who regularly go to live rock music gigs are more satisfied with their lives than those who don’t. The same source also reveals that powerful music can give a 26% boost to your overall blood-flow. Keep these things in mind the next time you’re debating whether or not it’s worth it to go out and see what the newest bands have to offer…"

What are your thoughts on metal bands speaking truth to power? Were there any bands or artists you feel deserve to be in this list? Let us know what you think in the comments!

I’m going to be perfectly honest with you right now; I am officially useless when it comes to time-keeping and scheduling when it comes to this blog! Seriously, I can sit here and make notes, plan some specific reviews and posts then think, right, my free time is here, here and here, so I’ll sort out some content…what ACTUALLY happens instead however is I just find myself opening emails and forgetting about them while I’m lost, procrastinating in the annals of YouTube. Well I’m rectifying one such instance today! Allow me to introduce to you AMERICAN STANDARDS.

I was sent an email by their front-man Brandon Kellum, in which he forwarded his bands (Completed by guitarist Corey Skowronski, bassist Steven Mandell and drummer Mitch Hosier) latest album “Anti-Melody”…asking if I would be so kind to check it out! Better late than never Brandon, though I do apologise! Anyway, formed in 2011 in Phoenix, Arizona, the 4-piece share a love of all things hardcore and post-punk, inspired by big-hitters such as CONVERGE and POISON THE WELL and channelled those influences through this; their 4th album. It wasn’t without its setbacks mind you, as prior to recording, original founding guitarist Cody Conrad committed suicide, which was followed shortly after by the death of Brandon’s own father to cancer…these events, coupled with the state of the world around them pushed them towards writing the most personal album of their career, so let’s see what standards these American’s have…

We open up with “Writers Block Party” and they waste no time getting all up in your face with their blend of punk-infused hardcore rock…with their combination of intense thrashing, full of piss and vinegar, plus the weighty riffs layered over Brandon’s snarling vocal delivery, leading up to a climactic flurry, the album starts as it means to go on; with absolutely no nonsense whatsoever. “Carpe Diem, Tomorrow” follows up and it’s a touch slower in tempo with some off-kilter, almost prog-infused guitar work, bordering on djent in places, before we’re treated to an impromptu and legitimately enjoyable guitar solo which itself takes the track up a level.

Further highlights include “Broken Culture”, which at under two-minutes long may only provide a short, sharp piece of music but it still manages to include some great, groove-heavy guitar work, blunt as it is brief; their punk roots shine through here. By contrast, “Bartenders Without Wings” slows things down completely with a raw, melancholy soaked sense of vulnerability plucked straight out of the MEWITHOUTYOU playbook, while closing track “Chicago Overcoat” plunges itself deep within sludge-metal territory…methodical and with more than a touch of EYEHATEGOD and MELVINS at its core, it ends proceedings on an altogether more sluggish note. For a band that’s gone completely DIY, despite only being 8 tracks and less than half an hour in length this album shows plenty of potential. While firmly rooted in that post-punk / hardcore genre bracket they’re clearly not afraid to dabble to give some of these tracks that extra flavour (Regardless of how off-putting sludge sounds) and it’s this that will likely carry them forward, as they CAN become a little samey when they’re just rip-roaring their way through a bitter, angry track-list, though to its credit the album title doesn’t lie; you won’t find much in terms of easy listening here. [5]

As disappointing as it is, it’s not just day-to-day society that’s still behind in terms of equality between men and women in the work place…the world of rock and metal is still very much a male dominated genre of music and despite the best efforts of several high profile bands, it’s still dragging it’s knuckles to a degree…for example; Download festival (Arguably the most mainstream and high profile of the alternative rock and metal festivals) is yet to have a ‘female-fronted’ headline act on its main stage. Women in rock and metal just don’t seem to be getting a legitimate fair shot…but one young lady is hoping to change all of that; let me introduce you to DIAMANTE.

The Los Angeles-based singer found herself listening to the likes of AVRIL LAVIGNE and KELLY CLARKSON at a young age but through that soon discovered and developed a passion for classic rock, and artists such as JOAN JETT and PAT BETANAR. After dropping her debut single “Bite Your Kiss” back in 2014 she’s generated millions of streams on YouTube etc. and has recently dropped her debut full length album; “Coming In Hot”. Produced by Howard Benson (MY CHEMICAL ROMANCE, MOTORHEAD) he’s proclaimed himself that the 21-year-old is the rightful heir to the throne of Joan Jett; while Diamante herself intends to make a statement…incredibly bold, let’s see if she can back it up.

The album opens up with the title track and lead single “Coming In Hot” and within seconds you can hear the influence that Joan Jett has had on the young artist…from the gritty, attitude-riddled vocal delivery and the simple, old-school style of the guitars, this will easily appeal to fans of all that is classic rock. Do you remember when BRITNEY SPEARS covered (And I use that term loosely) “I Love Rock ‘N’ Roll”? Well this is better, considerably better…follow up track “Sound Of Us” for the most part is more of the same though the pre-chorus has some additional melody, while the chorus itself has gone big, bordering on anthemic. The guitar solo here too is a pretty decent effort and ultimately we’ve got a straightforward yet enjoyable track here. Recent single “Had Enough” directly addresses the issue of women’s rights by supporting the #MeToo movement…with a video inspired by “Thelma & Louise” and a production staff consisting entirely of women, it’s more of a statement than a hit single as musically again it’s relatively straight forward, but the message is more important than the track itself here really.

Elsewhere the record does have further highlights including “Kind Of Love” which combines bold melodies and soaring gang vocals over some catchy pop-rock hooks for a solid, enjoyable track…”War Cry” takes things up a notch with a deeper, darker core sound, almost rooted in industrial given the lyricism and instrumentation; the riffs are heavier and the overall tone of the track is a little more sinister, while “Fight Like A Girl” is predominantly more groove-heavy with another strong chorus. The album isn’t without it’s lesser points however; “Definitely Not In Love” is a completely cringe-worthy track driven by spoken-word verses, I’m definitely not in love with THIS one, while “Black Heart” harks back to those early Kelly Clarkson influences, negating the whole classic rock vibe of the album, before closing track “Lo Siento” is just a Spanish version of earlier track “I’m Sorry” and serves little to no point, adding nothing to the album in terms of quality…it would have served better as a B-Side. Ultimately the album as a whole is a decent selection of rock ‘n’ roll track’s and despite her young age she’s done well, channeling the genre’s heritage through to a new generation of listeners, bridging the gap between pop and rock well, but there’s nothing truly iconic or memorable about the record. Diamante here coming in lukewarm if anything, but there’s no reason to suggest she can’t turn up the temperature next time around. [6]

With the odd couple of exceptions, generally you’ll find that bands who have been together for a lengthy period of time usually start to mellow out at some stage in their career. Only recently I was saying this about the MANIC STREET PREACHERS who have lost some of their original punk-rock attitude in middle age…and this can be said too for artists such as ANATHEMA for example; originally a Gothic / doom metal outfit, over the years they evolved into the ambient, progressive band they are today (Check out “The Optimist” if you haven’t already). Well this can also be said about today’s band; let me introduce you to MANES. Formed in Trondheim, Norway back in 1992, they were originally part of the 90’s black metal scene alongside the likes of SATYRICON and IMMORTAL but over the years they’ve toned down into what’s been described as a bastardisation of rock, electronica and progressive jazz. The last time we heard from them was back in 2011 with what WAS to be their final album; “Be All End All”…but 2018 sees them return with the brand new album “Slow Motion Death Sequence”. Available through Debemur Morti Productions from August 24th…lets check it out…

We open up with “Endetidstegn” which more or less translates as ‘end-time signs’ and thematically kicks off the start of this death sequence on a dark, apocalyptic note. It’s slow and dramatic with minimal electronica and percussion, with vocals soaked in melancholy, though it picks up with some intense, dramatic, looming power chords and double kick drums, and the track develops a serious sense of foreboding…this album isn’t going to be a walk in the park let me tell you…and if it were, it would be at night in the middle of The Purge whilst you’re stalked by sociopaths. “Scion” follows up and it’s more of the slow, cold synths, with vocalist Asgeir Hatlen here giving it an 80’s alternative indie vibe; however its slow tempo makes the track feel like it lasts an eternity, with the repetition not helping one iota.

The album overall is fairly consistent in tone and approach, rarely veering from its path but it does have its few interesting points; “Therapism” utilises a moody, almost darkwave inspired tone…the creeping electronica occasionally pierced by assertive guitars, the use of single chords is simple yet effective and though while it does have a feeling of gradual build it never really puts it’s foot down, while “Building The Ship Of Theseus” returns to that almost post-punk, alternative 80’s vibe, aesthetically in ways slotting in between the likes of  BAUHAUS and NICK CAVE…but sadly the rest of the record struggles to capture much attention. At seven and a half minutes, “Last Resort” sums itself up nicely, as a long-winded dreary acoustic-led piece and I really would only consider listening to this as a last resort…oh how I wished this was a PAPA ROACH cover...wouldn't that be fun...“Ater” then closes the album on what is essentially an avant-garde instrumental bar some minimal lyricism, and it’s a despairingly slow one at that, the last breath of this album escaping into the ether. Conceptually, as a listener I have to agree with the album’s title here because this truly is a slow motion death sequence…for generally it’s such a dull, miserable album…imagine yourself or, someone, anyone, in a time-lapse montage, just sat there, motionless, going from young adult, to being frail and elderly, before just succumbing to time and death itself; that’s what this album sounds like and it would perfectly accompany that montage in tone, for both conceptually are as equally sad and boring as the other. [3]

For those of you living under a rock, we’re at the business end of the 2018 FIFA World Cup right now and all the talk over the past weekend was about England beating Sweden to reach the semi-finals (I must say I love a raging semi)…but while I’m not here to celebrate England’s victory (The tabloids have done enough of that) I will share my commiserations with Sweden by highlighting one of their new up-and-coming bands. From the capital of Stockholm, home to a famous lineage of artists ranging from ABBA to OPETH, comes SET BEFORE US. The five-piece (Consisting of vocalist Erik Tropp, guitarists Niklas Edstrom and Jesper Nilsson, bassist Hampus Andersson and drummer Emanuel Borgefors) formed back in 2012 and their influences are rooted in a lot of modern metalcore…on August 31st they unleash their brand new album “Vitae” via Eclipse Records…let’s check it out…

The album wastes virtually no time at all getting underway with “Untainted” and immediately we’re met with the guttural growls of Edstrom and Tropp, while by stark contrast the guitars here meander through your ears with melody and grace…the combination of beauty and breakdowns a staple of Scandinavian melodic death metal and that’s utilised well here, however abrupt it may be. “Avalanche” follows up and keeps momentum going but does introduce subtle clean vocals (Albeit sparsely) alongside a few well-placed hooks and some catchy chord progression to give the track more of a feeling of accessibility. Speaking of accessibility, both “Identity” and “Harbor” take us down increasingly more mainstream directions…the former has an instant early 00’s post-hardcore feel, like we’re listening to a band from the old Victory Records roster (Think BAYSIDE or HAWTHORNE HEIGHTS) before the latter then surprises everyone with a feisty little acoustic ballad, leading into a classic, 80’s influenced guitar driven crescendo; it really is a wonderful little track.

Elsewhere “Oblivion” capitalises on the use of gang-vocals and a hook-laden chorus to further push for a more accessible sound amidst the mauling, before closing track “Charon” opts for an emotive piano ballad to round things off, tip-toeing around the risk of becoming completely emo…had it not been for the deathly growls seemingly possessing the track halfway through…do they save the track or spoil it? You be the judge. Such ferocity does work however on the brief but brutal “Fountain Of Youth” and the groove heavy “The Eternal Fight”, but lead single “Ignite” is a touch generic and disappointing, with its fade-out serving little to no benefit. Ultimately despite some huge promise, this sounds like a band who despite the quality and confidence to deliver a decent album, haven’t 100% decided what album they actually want to deliver, or at the very least are unsure of their preferred market. There’s stuff here taken from a fair selection of alternative influences…and while an enjoyable listen, sometimes it feels they’re unsure which way to go in terms of committing to a sound, not to suggest a band must stick to one style, more so to provide consistency but, on this evidence, wherever it is they’re heading, they’ll get there...and they probably wont take long. [6]

It’s been a couple of years since we’ve heard from THIRTY SECONDS TO MARS…not since 2013’s head-turning, art-rock concept album “Love Lust Faith + Dreams” in fact, which, while at least critically praised for its experimental qualities, was a drastic switch from their established grandiose emo-rock…so why the gap? Well aside from a Guinness World Record holding tour of over 300+ dates, front-man Jared Leto returned to acting for a string of successful supporting roles, (If you exclude his attempt at The Joker in “Suicide Squad”) most notably his appearance in “Dallas Buyers Club” for which he won ALL of the awards! Seriously, he won fucking everything! Now, after their five year absence, 30STM return with yet another concept via album number five entitled “America”.

Before we delve into the music here I have to point out the concept begins with the album cover itself and the band have seemingly opted to appeal to fans of Pokemon, honestly, collectors beware Jared wants your money! Despite being arguably the worst album art of the year, aesthetically anyway, the idea was that there would be lists comprising of what makes America “America”…and along with creative director Willo Perren, 200 were made…TWO HUNDRED! Luckily that was whittled down to six, but still, do we even want ONE copy of this album let alone six? That’s what we’re about to find out…

We get underway with lead single “Walk On Water” and we’re immediately met with anthemic gang vocal harmonies, backed by a rhythmic, sultry dose of electronica…the production here is so clean and it really sounds big, it’s like Jared has been listening to a lot of IMAGINE DRAGONS for example, and if that wasn’t enough in its own right it’s a very socially-politically charged song, with the video lost somewhere between being on the tourist board and having a random stab at propaganda…but it’s a decent start to be fair. “One Track Mind” features the first of two collaborations, with A$AP ROCKY lending his lungs to this one…an incredibly smooth, low-bap style of contemporary hip-hop, it’s layered with ambient percussion and a cold autotune-rich vocal delivery, with Rocky’s contribution itself being rather minor, though the restrained rapping does add texture before the very 80’s guitar solo ends the track on a high point. An instrumental piece “Monolith” then gradually builds up with some tribal drumming and snarling electronica, before it’s intense, dramatic, almost cinematic climax…leading into the utterly anti-climactic “Love Is Madness” featuring second collaborator HALSEY. Despite its powerful, emotive chorus, it’s quite a dull, stripped back electro-pop track, it really is a disappointment, and you’d swear they were doing this on purpose…

The rest of the album…? Well…just like several of the countries amendments, there’s plenty on this record that could do with a rethink. “Rescue Me” has elements of THE POLICE and the best thing going for it is its title because it really does need rescuing…”Dawn Will Rise”…if I’m to be frank even the Sun itself would struggle to get up for this one, it’s so lacklustre, “Remedy” while at least being a half-decent little acoustic piece is a far cry from the bombastic, passionate displays we know Jared can deliver which by now we sorely miss, before “Rider” ends the album quicker than you can find the word ‘abrupt’ in the dictionary…seriously, it’s like someone put the album out of its OWN misery. OK, yes, you can’t keep a band pigeonholed and 30STM have once again tried something a little different, but in essence they’ve gone and done a LINKIN PARK. As accessibly mainstream this record is in the modern climate, it’s as though they’re OK with losing chunks of their original fan base for another chart position. Jared is lucky he’s a handsome man and he’s got young girls getting all 30 seconds to moist queuing for their records, but musically this is just lazy. Make America great again? Start small…make “America” decent first is it lads… [3]

As you’re likely to be well aware by now if you’re a long-time reader of this blog, I have bit of a soft spot for Finnish bands; there’s just something unique about their blend of Gothic, melancholia infused music, with their penchant for all things doom and gloom…and whether it’s the dark pop hooks of HIM, the symphonic bombardment of NIGHTWISH or the riff-heavy pummeling of POISONBLACK, there’s always been something personally alluring about Suomalainen vaihtoehtoinen musiikki. Today however we’re doing the old switcheroo and sampling some of Finland’s ironically less popular pop music, and a lady by the name of SAARA AALTO. If you’ve paid attention at all to my posts over the past couple of months you’ll already have picked up on the fact that Saara was this year’s Finnish entry at the Eurovision Song Contest (And was my personal favourite) but doing a little digging through the snow, we learn she’s far from a new kid on the block of ice…

Saara was born in Oulunsalo in 1987 and prior to this year’s Eurovision she was already a recognised name in some aspects as a voice actor, having done Finnish voice-overs for Disney’s “Frozen” and “Alice In Wonderland”…however singing has always been her passion and she’s actually been releasing music since 2011, having several independent albums under her belt, as well as multiple attempts at talent shows including “Talent Suomi” and “The Voice Of Finland”…even “The X Factor” here in the UK! Her trouble though was a case of that classic saying; always the bridesmaid, never the bride…coming in at 2nd place every single time. 2018 sees her try to rectify that with her first ever major label release through Warner Music; “Wild Wild Wonderland”…let’s check it out.

The album opens up with that Eurovision entry “Monsters” and honestly it’s still as fun as ever, despite being originally released in February. There isn’t really much I can add to this one from my preview of Lisbon truth be told; with the subtle electronica and temple block inspired synths, coupled with Saara’s bold, melodic vocals, with a soaring chorus this is a wonderful dance-pop tune and it still sounds fresh, a faultless start here really. “HӒN” follows up and we’ve got a really rhythmic, funk-inspired piece with brass elements, coupled with Saara’s assertive vocal presence, its brief but it is enjoyable. “Dance Like Nobody Is Watching” on face value would logically be a big, bright, colourful piece of music, focused on letting your hair down and partying but in reality it’s a sombre piano ballad, actually making it that much more powerful; a very emotive track and rich in reflection and self-confidence, resulting in an incredibly sweet listen, absolutely lovely stuff.

“My Touch” continues to pump out the dance-inspired soft pop but does incorporate subtle R’n’B influences throughout the pre-chorus, while elsewhere Saara dabbles in other cultural samples with “Walking On Nails” having a slight Spanish guitar tone to its acoustics, and bonus track “No Fear” utilises low-key classic Indian instrumentation to add character to an already up-beat, positive track. The rest of the album is pretty much consistent really…Saara’s had a decent writing team working with her for the record and all things considered this is a pretty congenial, albeit straightforward pop album. It’s got its highlights, though it does peak far too early with THAT song getting the album underway, but there’s nothing overtly negative to be said about the record in all fairness, it’s worth the listen. [7]

Over the past decade or so the UK has properly stepped up in terms of the whole culture surrounding underground urban music, ranging from hip-hop to rap, grime and alternative R’n’B with everyone from THE STREETS to LETHAL BIZZLE and recently STORMZY, all contributing to what is now a flourishing scene up and down the country. You may be wondering why I’m talking about this as I rarely if ever touch rap and it’s many umbrella terms, but, it didn’t put today’s artists off getting in touch with me via email…and being the open minded fellow that I am I decided to swap the breakdowns for the beats and broaden my musical horizons; allow me to introduce to you TOO MANY T’S. The London-based duo (Consisting of Ross Standaloft and Leon Rhymes) have been described as the UK’s answer to THE BEASTIE BOYS and have had several high-profile endorsements from the likes of ROB DA BANK and WU-TANG already, and not too long ago they released their hotly anticipated debut album “South City”…the lads asked me to check it out so the question is, how many T’s is too many? Let’s find out…

We open up with “South City Court” and it’s not long before we’re taking a nostalgic trip down memory lane (If memory lane was a dark city side-street in the wrong part of town)…this is very much drawn from old-school hip-hop with its swagger, tinny percussion and overall tone, it’s so easy to understand where the Beastie Boys comparisons come in to play it has to be said. With its crisp production yet simplistic approach it starts the album off really well. Follow up track “Sixty’s Ford” again opts for a less-is-more mind-set with a primarily percussion lead piece, with subtle electronic elements filtered through sparingly…the vocals are slick and stylistically here they’ve gone for a more jungle-infused grime track, coming off as slightly deeper, slightly darker.

There are several strong cuts spaced out over the course of the album in all fairness showcasing a variety of influences, highlighting the level of quality the UK has been churning out in recent times, “Diamond’s Gold (Ice, White & Black)” for example utilises a strong melodic hook during the pre-chorus that channels artists such as GORILLAZ while the rapping quality has an attitude to it that would appeal to fans of say, KANO or PROFESSOR GREEN…elsewhere then trilogy completing “1992 pt.3” (Which you may recognise from Camden Hell’s lager adverts) is an upbeat, brass infused piece that has a strong DIZZEE RASCAL vibe layered throughout. New single “Tearing Us Apart” is a much softer, rich, R’n’B ballad type piece that has a genuinely infectious groove, showing further diversity, before closing track “Start The Fire” rounds things up with a bold, brassy, pulsing, techno-heavy number, gradually coming down to an almost TWENTY ONE PILOTS inspired piece of alternative pop.

It’s not all bloodclart  quality though yeah you understand me fam? The ‘skits’ here are utterly pointless and serve the album no merit whatsoever, even on an artistic standpoint; “Sira’s Biscuits” and “FM Mangal” respectively as mundane as each other, if anything just highlighting the down-to-Earth mentality of the two but that’s scraping the barrel, other than that it’s a well delivered, diverse hip-hop album. Not my usual cup of ‘T’ (I’m sorry that really is one too many T’s) but definitely a recommended listen. [7]

Back in 1999, in the city of Wilkes-Barre, Pennsylvania, a young man by the name of Benjamin Burnley would lay the foundations for what would become one of America’s most popular alternative rock bands; BREAKING BENJAMIN. As the sole remaining original/founding member, Ben has overseen virtually all of the song-writing and composition amidst a series of line-up changes (And lawsuits) but has seen the band attain multi-platinum status in the States with a string of successful albums…however…due to a serious case of aviophobia, as well as hypochondria, it wasn’t until 2016 that Ben and the rest of the current band finally left the comfort of their home country to play their first shows overseas. 2018 sees them return with album number six; “Ember”…have they found new inspirations on their international travels? Let’s find out…

The album opens up with a brief intro piece called “Lyra” and it’s a delicate sounding, sombre piano-led instrumental; based in Greek mythology it represents the Lyre Of Orpheus and is said to produce music so charming that it could affect inanimate objects, and conceptually here that works for this 30 second piece of music, but as we lead into first track proper “Feed The Wolf”, all of that charm goes out the window. We’re met with a thick wall of chugging riffs as Ben delivers his duel vocal onslaught; fleeting between deathly growls and harmonic melodies as he sings of fighting temptation, and giving into the urge of man’s animalistic nature and it’s emotive despite its lag. The albums lead single “Red Cold River” follows up next and really speaking we have more of the same…the combination of his smooth, clean vocals with his intimidating metal growls showcase Ben’s admittedly impressive range, but structurally the track is quite generic and honestly quite bland, despite the ferocity of that pre-chorus…

The album isn’t without it’s highlights however…”Blood” utilises solid groove and rhythm over some well delivered hooks that make up the chorus, using Ben’s growls sparingly and it’s a lot more effective here; it’s balanced incredibly well and allows the chorus to have that much more impact and intensity, and the track stands out all the more for it, while “The Dark Of You” takes a different approach altogether, opting for a chilling power-ballad of sorts, the change of tone no less emotive but it does provide an extra level of depth and variety…though that there is the albums primary flaw; variety…or, lack thereof. Yes, as I’ve previously stated Benjamin’s vocals ARE impressive as he’s able to sing and snarl with the best of them, but here the writing behind it is far too monotonous or two-dimensional. While there are peaks and troughs of specific talking points scattered throughout the 12 tracks on offer, the idea of repeat listens is more than a touch laborious, with the album as a whole coming off as disappointingly boring and repetitive in places. Ember is quite fitting as a title really, for on this evidence, the fire’s gone out and we’re left with just a smouldering lump of used up carbon. [4]

Having formed in Blackwood back in 1986, over the past 30+ years the MANIC STREET PREACHERS have become not only Welsh national treasures, but one of the biggest bands to ever come out of the UK. Despite the departure of guitarist Richie Edwards back in 1995 (I say departure, he LITERALLY disappeared off the face of the Earth) the now trio have continued to grow and cement their legacy around the world, however in recent years their style has mellowed to accommodate middle-aged life, and their musical output has been increasingly laid-back. 2018 see’s the valley’s veteran’s return for the first time since 2014’s “Futurology” with the brand new album “Resistance Is Futile”…recorded at their brand new Newport studio, let’s see what’s so hard to resist…

We open up with the track “People Give In” and it’s a quaint little track essentially highlighting the fact that we’re all human at the end of the day…there’s a chirpiness to the track; a light, airy feel, backed but the Vulcan String Quartet and some sweeping string sections, while vocalist James Dean Bradfield sings of the up’s and down’s we endure in life and the tone here gives you a sense of ‘It’s OK…just try again’ and it’s an encouraging, positive listen. One of this album’s traits however according to bassist/lyricist Nicky Wire was that it was to capture the essence of both “Generation Terrorists” and “Everything Must Go”, with the sound designed to reflect upon that era of the band, and follow up track “International Blue” does a decent job of this…with Bradfield’s distinct vocals and wailing guitar sequences, coupled with a simplistic melody it’s trademark MSP and an enjoyable listen.

This ideology is proven further by the likes of “Broken Algorithms” which harbors a subtle sense of early punk-rock which made the band famous in their formative years; the guitars having more attitude, with Sean Moore on drums then having more of an assertive presence…the overall tone being more youthful and in typical Manic’s manner they tackle society and its flaws, while “Sequels Of Forgotten Wars” utilizes more gritty guitar and the message of never-ending conflict; “There will be no parades for the likes of us” because the war is never over, the ‘blue screen’ a possible metaphor for the government and how they conduct themselves etc, they can manipulate what they want you to see and know, keeping the war machine going.

Elsewhere “Hold Me Like A Heaven” uses everything from acoustic melodies to lulling synths and gang vocal harmonies to create a truly relaxing sonic experience, wonderfully easy listening, while “Dylan & Caitlyn” mirrors this with an orchestral-led collaboration with THE ANCHORESS, (Welsh singer Catherine Davies) her vocals adding extra character to the albums overall presentation. The rest of the album pretty much captures exactly what Wire set out to do; it’s a modern take on a sound that made the band what they are today and it’s a nice little trip down memory lane for long-time fans. Lyrically astute and instrumentally crisp as always, song writing has always been a strength of these Welshmen and here they prove that yet again, in terms of story-telling through song, they’ve always been among the best. However, despite spawning an impressive five singles, none of them are entirely memorable as instant hits when compared to the level of quality in their back catalog. Still though…13 albums in and they’re still preaching, credit to them. [6]

If you’ve at all followed the UK’s alternative scene over the past say, ten years or so, then no doubt you will have at some point stumbled upon the work of Scott Lee Andrews. The wild Welshman originally found minor fame with mid-2000’s post-hardcore rhythm thieves MIDASUNO, before forming Cardiff-based chainsaw loving noise cartel EXIT_INTERNATIONAL, but, more recently, and arguably most notably, his collaboration with GINGER WILDHEART for the third installment of the darkly psychotic project MUTATION. Very prolific and reliable in underground UK music circles, Scott has always been about the intensity, the invigorating sense of finding pleasure in noise and chaos and here we find him working on yet another project to quench his own thirst for the unorthodox. Allow me to introduce to you JAWS OF DEAF and the EP “Delicious Discomfort”…6 tracks hand picked out of around 50 that Scott’s been working on, as he prepares to drop a full length album. Now settle down and get uncomfortable as we check it out…

We open up with “Bait & Switch” which at little over 2-minutes long is the shortest track on offer here and Scott wastes no time delving into his frantic, raucous, thrashy punk roots with an absolute bombardment of messy riffs and demented screeching’s. In his own words; “I really haven’t got a clue what it means”…and that’s partly the fun of it, sometimes noise for noise’ sake is therapeutic. We follow this up with the wonderfully titled “Porno Without The Fucking” and as ridiculous as the statement is, it’s no surprise to learn it came from a YouTube comment that Scott read…intended as a derogatory slur, it’s full of oxymoronic similes, riddled with daft humour, but also a deeper meaning of how the very medication that’s meant to help you can strip you of your identity, resulting in a creative catch-22…another interesting and ultimately fun track.

“Cupid Stunts” is another brilliantly titled self-depreciating effort, with Scott using bleak humour and a wry smile as he sings with a jolly despair about his questionable decisions in life; full of melody and some surprising vocal harmonies it channels the likes of WEEZER in its overall tone and delivery, even down to the climatic key change and its possibly as accessible as you’re likely to find him on any record. Having said that, there’s also “Californian Frown” to take into account which I’ll be honest, initially reminded me of the credits sequence from “Bottom” but that’s something for another time. A bass-driven affair with wacky vocal delivery (Featuring guest vocalist Givvi Flynn), finding itself stuck between being musically designed for Exit_International but lyrically leaning towards Mutation, resulting in a quirky little, edgy indie-rock number. The final two tracks; “An Alone Wolf” is ripped straight out of “Ash Vs. The Evil Dead”; an animalistic take on grunge, before closing track “The World Looks Better From Behind” is an intentionally misogynistic play on words, but also utilises hidden depth with the idea of hindsight and nostalgia. Musically exploratory, dabbling in brass instrumentation for extra character, the drawl of Scott’s vocal harbors elements of Matt Bellamy from MUSE; elongating each note as the track is stretched towards its dying moments.

All in all despite being just six tracks in length, it more or less caters for everyone if you’re familiar with any of Scott’s previous work; it’s got the tumultuous punk-inspired tones of old, it’s got groove-heavy song writing at its core but it also retains a level of darkness brought on by his collaborations with Ginger…it’s not polished, it’s not fucking meant to be; it’s just raw, and rowdy and fun…he meant delicious discomfort quite literally. [7]

The beautiful island of Trinidad; the southernmost island of the Caribbean just a few miles off the coast of Venezuela…a colourful and vibrant place with a rich, diverse culture of exotic carnivals, and also the inspiration behind classic stories such as “Treasure Island”, to many it really is a tropical paradise, however, the steel-drums aren’t the only source of ‘metal’ you’ll hear whilst you sip your cocktails in Las Cuevas Bay, for even the Trinidadian’s know how to rock out; let me introduce you to HAIL THE HATTER. Having formed in 2015, the metal outfit started off when vocalist Jonathan Boos and guitarist Dax Carter decided that the world of rock music was lacking a sense of fun, and thus HTH (Now completed by drummer Nickolai Assam and bassist Aaron Lowchewtung) was born. Having recently released their debut mini-album “Discovering Light”, let’s see just how mad these hatters really are…

We open up with a little intro entitled “The Coming Of The Hatter” and frankly I hope he brought tissues…I kid…incredibly foreboding; it’s a spoken word piece foretelling the hatters arrival as an omen among the thunder and rain, bringing with him the imminent doom for the people of the island, before we get chants of “Hail The Hatter!”, likening him to the devil himself. It sets up an interesting concept and we’re a far cry from Wonderland here let me tell you. First track proper then is “Bone Grin” and aside from the incredibly random Arnold Schwarzenegger opening, we have a brief build towards some slick, blues-inspired hard rock. Initially up-tempo it channels influences such as GUNS ‘N’ ROSES which you can pick up in the tone of Boos’ vocals and definitely the solo towards the end; it’s a decent start…aside from more Schwarzenegger rounding it off…you’re NOT AUSTRIAN DEATH MACHINE…stop it.

Next up we have “God Bless The Beast” and we’re pretty quickly head-banging to some classic riffs and solid percussion; it’s quite nostalgic in sound for the most part, acting like a throwback to vintage NWOBHM acts such as SAXON and JUDAS PRIEST given it’s tone and even lyrically, you can hear them praise the likes of BLACK SABBATH, they’re definitely tipping their hat to their influences here. “White Walls” initially slows things down dramatically, reduced down to no more than a sluggish drawl with tired riffs mixed with brief guitar licks and gang vocals; so incredibly lethargic, that is until a brief up-tempo fill click-baits you into thinking the song is waking up, but alas it’s short lived. “Akasha”, given its name has a sense and feeling of both vacuity and freedom, with Carter’s guitars flowing through your conscious like they would through space and time itself, before we end proceedings then on the title track, and the longest track on offer here. After a long winding string-section leading into the track, we’re met with more vintage metal at nearly three minutes in, backed with some emotive, soaring vocals from Boos. It’s a dramatic number, especially with the delicate tones of the piano wrapping things up, ending the record on a high.

It’s an interesting listen all in all really and musically they’ve delivered, there’s ample to be enjoyed here for fans of hard rock, classic metal and maybe even a little prog too if you will.  The band wanted to incorporate a little ‘fun and menace’ into their sound and style but sadly they’ve not really delivered on the fun bit to be honest; given their name and such a statement, I was expecting something more off-kilter and essentially bonkers but sadly didn’t so much as smirk once, and coming from the West Indies, well…it’s just not cricket. [6]

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

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

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

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

You’re probably very well aware by now that I’ll tackle damn near anything on this blog…be it the recent return of the Eurovision Song Contest; with its multifaceted line-up, ranging everywhere between brilliantly bonkers to down-right dreadful, to even tackling things such as video-game crossover’s between IRON MAIDEN and ANGRY BIRDS…essentially I enjoy something a bit different now and again; my point being? Well today we’re looking at something incredibly bloody different as today we’ll be listening to (not looking at) DITA VON TEESE. That’s right; Dita (Real name Heather Renée Sweet) is mainly famous for tastefully wearing very little as she’s probably the world’s most recognizable burlesque dancer / model, but 2018 sees her swapping the corset’s for the recording studio.

She’s no stranger to music per se, for not only was she briefly married to none other than MARILYN MANSON of all people, appearing in a couple of his music videos in the early 2000’s, as well as for other artists, but she also appeared on the aforementioned Eurovision back in 2009 assisting with Germany’s performance on stage. Now we find her releasing her own self-titled record under the banner of “Dita Von Teese”…written by French songwriter and multi-instrumentalist Sébastien Tellier, let’s see what she’s learnt along the way…

We open up with “Sparkling Rain” and what we’re given is very much akin to the ambient sounds of a dreamscape; the soft synths and gentle electronic pop allowing for a very mellow, fluid listen…coupled with Dita’s very delicate hushed vocals, the song sparkles in its own right as it’s so light and bubbly, perfectly matching the references to Champagne thematically. It’s an interesting start. We follow up with lead single “Rendez-Vous” and the overall tone hasn’t really changed whatsoever, although we’re given a slightly subtle tinny, almost Caribbean inspired feeling to proceedings, tying in with the exotic theme lyrically. Slightly sultry, she sings of erotic romance and forbidden fruit, although some of lyrics are delivered awkwardly truth be told.

“La Vie Est Un Jeu” reveals to us the albums underlying inspirations as it’s one of a few tracks that incorporates French…again, the overall tone of the song is the same but it’s got more of a shoe-gaze feel to proceedings; it’s incredibly relaxed with its whistling and soft piano, but the fake laugh is a bit cringe-worthy and sadly, the bulk of this album is on the verge of being very copy and paste. While “Fevers And Candies” does at least have a little more go to it in terms of momentum via the chorus’ simple hook, a lot of the album is teetering dangerously on lifeless. “Dangerous Guy” has some decent rhythm going for it courtesy of some funk-driven percussion, and “Porcelain” does include Tellier himself as a vocalist which adds extra character, but the album is so stripped back for the most part it fails to really motivate repeat listens. Fair play to Dita for wanting to try something new, but this is quite acquired taste…so acquired in fact that it only charted in France and Belgium…and even then only reaching 119 and 140 respectively…Dita Von Teese? Dita Von PLEASE…stick to writhing around half naked in giant Martini glasses you’re much, much better at that. [3]

Ah West Bromwich…while it may not have exactly been a year to remember for your beloved Albion, (It’s a football thing…they came bottom of the Premier League because they SUCK!) one thing you can always be proud of, is that you spawned one of the biggest and most influential metal bands of all time; JUDAS PRIEST. Having formed way back in 1969, the band went on to pioneer not only how bands approached playing heavy metal, but also the way metal as an entire image was perceived, introducing the now-iconic look of spiked / studded leather accessories, one that we now mostly view as a cliché. Despite their advancing years, and the likes of their fellow Brummie’s BLACK SABBATH calling it a day, Priest are still going hard and 2018 sees them release album 18; “Firepower”…but are they all guns blazing? Let’s find out…

We kick off with the title track and to be fair there isn’t a lot that can be said without going through the motions really, and that sums up the song itself. We’ve ticked all the boxes here regarding the traditional duel-guitar onslaught with pummelling drums, coupled with Rob Halford’s distinctive vocals, with a slick solo or two thrown in for good measure…it’s a decent track, a proper metal track and pretty much Priest by numbers really…or, well, ANY classic metal band by numbers for that matter. Follow up track “Lightning Strike” is predominantly more of the same really…there is a decent rhythm flowing through the track despite the gruff, often blunt delivery of Halford’s vocals in places but it’s still pretty run of the mill.

It’s not all a barrage of beige however…”Never The Heroes” utilises a strong, groove-heavy intro that builds up wonderfully into a solid, blue’s-based track that is brilliant in its simplicity, and the chorus is spot on; nothing extravagant but undeniably catchy…this is a clear album highlight. “No Surrender” is a short, sharp dose of classic metal but has ample, melodic guitar harmonies  and effective hooks during its brief run-time, resulting in another enjoyable listen, while closing track “Sea Of Red” initially swaps the aggression for subtle acoustics, as we end on a blissful power ballad. It gradually picks up the pace; even incorporating symphonic elements, but the change in overall style is a welcome swap indeed and a strong finale.

Elsewhere, well, I’m afraid over the 14 tracks on offer, the majority of it is just a little bit boring. “Evil Never Dies” is amusingly fitting as you feel that way about the song itself; it just methodically plods along  for what seems like forever, it has like, one hook pre-chorus and that’s about it. “Flame Thrower” despite its name really doesn’t ignite much interest…and the chorus sounds off vocally, it just doesn’t sound right. “Guardians” beautifully played piano intro sounds absolutely noble and heroic, but it’s just an interlude and ultimately disappoints, leading into “Rising From Ruins” which is consistent but generic at best and it’s a shame. For a band approaching their 50th anniversary it’s pretty impressive don’t get me wrong, they still play with passion and Rob Halford can still hold his own vocally, credit where it’s due, they’re far more entertaining that fellow dinosaurs THE ROLLING STONES…but just like fellow Brit metal veterans SAXON they’re running the risk of merely going through the motions now. As far as traditional metal goes, it’s fine, but like most branded clothing, you’re only paying for the name on the cover of this record. [6]

Back in 2005, a little know indie band by the name of EDITORS burst into the spotlight with their debut album “The Back Room” and it just the beginning of what was to become a new era in British guitar music. Artists such as STEREOPHONICS and OASIS were still riding high in the charts but there was fresh meat on the table and Birmingham’s Editors were among the new specials on the British scene. Ever since they’ve scored numerous number 1 albums and have gone multi-platinum, with their modern blend of indie and throwback post-punk a-la JOY DIVISION and ECHO & THE BUNNYMEN, and 2018 sees them return, wind-milling their way through a sea of mainstream mediocrity via album number six; “Violence”…let’s check it out…

The album opens up with “Cold” and we’re met with a slow, subdued introduction consisting of light, repeated keys and Tom Smith’s distinct deeply melodic vocals, extra layered piano and simple percussion take the song out of first gear but thematically it’s appropriately named; very mellow, speaking of loneliness in life’s bigger picture, time will be up for us all in the end, let’s be lonely together, ghost along in life…and there’s a beauty in his melancholy that once again they’ve perfected; a good start here. “Hallelujah (So Low)” picks up next and again we’re given a predominantly steady opening; continuing with more synth, coupled with a hushed delicacy to Tom’s vocal delivery…before gang-vocals lead into an eruption of hard-hitting riffs and crunching guitar. Very much a song of light and dark but it’s balanced brilliantly.

The title track maintains the consistency going forward with its laid back, ambient approach to electronic pop music and is easily an album highlight…a song of disparity, it highlights humanities struggle to coexist in ways, growing further apart, with lyrics like “The last train will pull you through, at night the war still comes to you, it makes it harder to join the dots, the river gets wider in front of us”…the violence itself referring to the state of the world, the track then culminating in a frenzied climax, summing up the growing tensions worldwide and it’s been wonderfully done. Further highlights include lead single “Magazine” which is full of hooks and emotive vocals, as well as some wonderfully gritty guitar segments resulting in a highly enjoyable listen overall.

At just nine tracks long, there’s very little room for negativity here which is something I wish more artists would embrace when compiling track listings for finished records, but if I had to pick anything to bring this album down, it would be “No Sound But The Wind”…a delicate piano ballad and in its own right, it’s a sweet, sombre listen…BUT…it’s a re-recorded track that was once used on the soundtrack to “Twilight: New Moon” and to that I say “FUCK THAT!”…I don’t want to promote any shiny, sparkly vampire shit here! Keeping within the same tone however, the album closes on “Belong” which acts as a wonderfully sad metaphor for hidden passion, burning within but private and secluded…locked within the four walls of your own skin; a constant struggle. Overall it is a very restrained album and has nothing in means of classics like “Blood” or “Munich” but Editors have proven that less can certainly mean more. Sometimes violence CAN be the answer apparently. [7]

As you all know by now, every year I do a round up in some way shape or form, of the annual EUROVISION SONG CONTEST. Highly regarded in the UK as an absolutely cringe-worthy cheese-fest, it's no surprise we haven't won it for years, and that's without getting into the shows regular politics let alone the utter shambolic level of fuckery we've found ourselves in under the "leadership" of Theresa May and the current Conservative government...well actually no I'll blame Cameron too, the pig-poking prick! Regardless...we enter every year and hope to not come last essentially. The 2018 final will be held on Saturday 12th May and will take place in Lisbon, Portugal, after SALVADOR SOBRAL won the Ukraine 2017 competition...here I'll be taking a quick run down of all 26 qualified acts and giving my own personal individual score / opinion ahead of the live final...in order of live performance; let's begin...

1] UKRAINE: MELOVIN - "Under The Ladder". Aged just 21, opening the Eurovision Song Contest would seem like a daunting task for many, but Melovin (Real name Kostyantyn Mykolayovych Bocharov) is perfectly at home here, as winner of season 6 of Ukraine's version of The X-Factor. The track is an up-beat, rhythmic dance-pop piece which should in all honesty kick things off really well in terms of tempo and entertainment, but on record it isn't the most convincing vocal display in places and I just hope things don't fall flat for him on the night. 3/5

2] SPAIN: AMAIA Y ALFRED - "Tu Cancion". This is a track taken from Amaia Romero's album "Sus Canciones" and is a collaboration with one Alfred Garcia...sung in Spanish, it's one of the songs this year traditionally sung in the native language as used to be part of the rules before they relaxed things, and for all intents and purposes it's a soft piano ballad with elegant string sections...a lovely song in some aspects but luckily one of the boring ones is now out of the way early. 1/5

3] SLOVENIA: LEA SIRK - "Hvala, Ne!"...NE! NE! NE! We are the knight's who say...NE! *Ahem* All jokes aside, Slovenia's answer to MO / KESHA does a decent job of bringing a modern twist to proceedings. Utilizing a blend of hip-hop production and combining electronica with soulful pop, it's got a decent beat to it overall but it never truly takes off, with the chorus sadly coming across as anti-climatic compared to the level of expectancy of the track. 2/5

4] LITHUANIA: IEVA ZASIMAUSKAITE - "When We're Old". Ironically titled by the 24 year old, and despite her youth this isn't her first Euro rodeo! Having enrolled to compete in 2013, 2014, 2016 and 2017, she FINALLY get's her opportunity to represent her country in 2018. It's an honestly lovely song, focusing on Ieva's hushed, whispered vocals over a gentle piano lullaby...it's a slow one, and one that will rely on mood and emotions conveyed on the night, but it's a wonderfully tranquil track and should score well regardless. 2/5

5] AUSTRIA: CESAR SAMPSON - "Nobody But You". Always the bridesmaid, never the bride...having performed as part of backing vocals for two previous Austrian acts, Cesar finally get's his own shot. Arguably one of the first bandwagon jumpers this year, Cesar brings a fully emotive, gospel sound to Portugal with his blend of soulful pop music, hammered home by a strong melodic chorus...if you're a fan of RAG 'N' BONE MAN then expect to be giving Austria your vote this year... 3/5

6] ESTONIA: ELINA NECHAYEVA - "La Forza". The show isn't over until the fat lady sings...well as it happens Elina is far from fat and we're less than a quarter of our way through so buckle up! A classically trained Soprano, Elina brings a touch of class and vocal quality to proceedings this year, with her powerful vocal range and dramatic, operatic elements...if you're a fan of TARJA TURUNEN for example, you may want to send your vote Elina's way! 2/5

7] NORWAY: ALEXANDER RYBAK - "That's How You Write A Song". FEED. ME. MORE! Oh...sorry...wrong Ryback I was thinking about WWE for a second...but no in all seriousness, Alexander is technically a Eurovision veteran; he WON the competition back in 2009 with a track called "Fairytale"...can the young lad with the violin become a two-time winner this weekend? This funk-driven almost 70's inspired combination of tinny guitar and violin has plenty of energy, but will it be Norway or NO WAY!? You be the judge...2/5

8] PORTUGAL: CLAUDIA PASCOAL - "O Jardim". The hometown-hero as such, Claudia represents the hosts this year taking the torch from reigning champion SALVADOR SOBRAL and will be hoping Portugal can pull off an unexpected victory to retain the Eurovision Trophy for a 2nd consecutive year. Another acoustic/piano ballad, it's got quite a slow build and is honestly quite soppy, potentially risking too many similarities to last years winning song itself...they say lightning doesn't strike twice, I guess Saturday we'll find out. 1/5

9] UNITED KINGDOM: SuRie - "Storm". Oh boy...if you could find me a more fitting song for the UK for this competition I will do sexual things for you no questions asked...not only is the song already two years old and theoretically out-dated, lyrically and thematically it pretty much sums up the state of affairs regarding Britain and the EU and the whole Brexit debacle...metaphorically of course. Musically it is a decent pop track and has it's anthemic qualities but despite any positives I can't see us doing well at all this year...3/5

10] SERBIA: SANJA ILIC & BALKANIKA - "Nova Deca". There's always an entry with utilizes traditional middle-eastern tones and this track is that entry...and seriously what a long-ass intro, taking up nearly a third of the song! It's got a generally simple beat and does pick up, leading into an ultimately pleasant, up-tempo track with subtle dance tones, but it could have benefited  having more of this, less of the intro, as it's shot itself in the camel-toe essentially. 1/5

11] GERMANY: MICHAEL SCHULTE - "You Let Me Walk Alone". Another young talent with a background in reality TV; 28 year old Michael found mild success on Germany's version of The Voice in 2012, where he came third overall, before going on to release his debut album. This year we find him contributing yet another piano ballad to this years Eurovision playlist, and as you may have guessed it's another harmonious love-song with an impassioned climatic feel...again, nice but, it may get lost in the shuffle. 2/5

12] ALBANIA: EUGENT BUSHPEPA - "Mall"...I take one look at this guys name and I swear to god all I can think of is a bush-tucker trial...but my mental issues aside, here we have the first of our demographic-pleasing alternative entries. Eugent is a renowned rock performer in his home country and has actually supported the likes of DEEP PURPLE in mainland Europe, so he's got his credentials...but what is he offering here? A mellow, country-esque traditional folk-pop type piece with an acoustic lead and impressive vocals. It sounds good, I just wish I knew what he was saying. 2/5

13] FRANCE: MADAME MONSIEUR - "Mercy". France hardly needs the bad luck of performing 13th...their results have hardly been the most impressive in recent years, but they hope to change that in 2018. The ambient, synth-pop track follows on from recent success stories such as CHRISTINA & THE QUEENS and may go down well, and though there are no direct ties to the LGBT community, the whole MRS/MR approach could appeal to gender neutral's from an activist point of view...unless that's me looking far too deeply into what is essentially an annual song contest...2/5

14] CZECH REPUBLIC: MIKOLAS JOSEF - "Lie To Me". A potential favourite here depending on the right crowd...full of swagger and groove, Mikolas utilizes the southern blues inspired jazz tones of New Orleans to great effect here, rich in funk and passion, he confidently takes this track by the scruff and simply awaits the laudits of the Lisbon crowd. The recorded version does have some swearing in it, so that'll have to be edited during the final or he may find himself getting nil poi via disqualification... 3/5

15] DENMARK: RASMUSSEN - "Higher Ground". A man of many talents; Rasmussen (Real name Jonas) originally performed in a covers band, focusing on the likes of ELTON JOHN and ABBA, before he turned his attention to acting, focusing mainly on stage productions. 2018 see's him return to singing with this entry; a combination of power-pop and traditional, Nordic heritage in subtle tones. Despite the classic key-change sequence, it does lack a little oomph and falls just short of being an awesome entry. 3/5

16] AUSTRALIA: JESSICA MAUBOY - "We Got Love"...Hang on just a second let me just get Moe Sargi...'YO JESSICA MA BOI!" There we go...that's out of the way now...but no seriously Australia in Eurovision is still a thing. Yes it was novel having them there for the big anniversary show a couple of years ago but, despite not being anywhere remotely near Europe, here they are...the song itself is a generic, light, radio-pop song which wouldn't be out of place in some, teen Disney flick...it's fine but, I really don't see the point this year. 2/5

17] FINLAND: SAARA AALTO - "Monsters"...Finland you beautiful bastard of a country...as if you didn't already supply the world with some of the finest gothic metal and rock bands to ever grace the stage, you also have pop music nailed too by the looks! Saara Aalto ticks all the boxes having dueted with ADAM LAMBERT and ANDREA BOCELLI, not to mention having done voice acting for the Finnish dub of "Frozen", she's a proven voice. Here we have a sleek, electronic-pop monster in it's own right rich in hooks and mainstream appeal and it's an absolute top tune. All of the yes from me. 5/5

18] BULGARIA: EQUINOX - "Bones". Bulgaria's entry features yet another reality TV statistic in vocalist Zhana, who won Bulgaria's X-Factor in 2013...now, 5 years later we find them representing their country in Portugal with "Bones"...the haunting vocal tones and the predominantly dark-pop vibes of the song are pleasant enough, helped by its catchy chorus, but it sounds like a watered down version of "Skeletons" by 2017 Azerbaijan entry DIHAJ to me. 2/5

19] MOLDOVA: DoReDoS - "My Lucky Day". Three is the magic number as they say, and for this trio, it's third time lucky as they finally get to represent their country after failing to secure their place in both 2015 and 2016. Doritos as I shall call them from here on in, have a fun and up-beat approach this year combining modern pop with a GOGOL BORDELLO style of Oompa / alternative. 2/5

20] SWEDEN: BENJAMIN INGROSSO - "Dance You Off". One of the youngest performers at this years final in Lisbon, Benjamin started early and appeared in several Swedish musicals as a child and is hoping his performance experience can carry him through to another Swedish victory. With his soft vocals it can be said he's another JUSTIN TIMBERLAKE inspired pop-starlet but truth be told he's not of the same caliber previous Swedish winner MANS ZELMERLOW, he lacks that spark. A harmless pop song but I'm not expecting big things. 1/5

21] HUNGARY: AWS - "Vinszlat Nyar". Ever since LORDI won it for Finland back in 2006 there's almost always a rock song or two thrown into the mix to shake things up a bit and here we have that very token rock song. AWS deliver on all fronts with a strong melody and even stronger riffs for their hard rock performance, even including that cliched key-change and it has to be said it's a solid track...it wont win but it is a banger. 4/5

22] ISRAEL: NETTA - "Toy". While it's one thing to question Australia's inclusion in what is essentially a European competition, it can be said that you have to question Israel too...although politically and economically they are at least tied to the EU so there's that....anyway I digress this is a song contest not BBC Question Time. Netta Barzilai is an outsiders bet if ever there was one! A fun and up-tempo track for the most part, combining western pop influences with middle eastern traditions...it's a decent listen, that is until the random chicken noises...seriously I don't know if it's a gimmick or an affliction. 3/5

23] THE NETHERLANDS: WAYLON - "Outlaw In Em'". Real name Willem Bijkirk, he acquired his stage name after the late Waylon Jennings as means of a tribute and is no stranger to Eurovision. As part of THE COMMON LINNETS he finished runner-up back in 2014 and hopes to go one step further 4 years later. Mixing bluegrass with southern rock swagger, fans of BLACK STONE CHERRY and the like are sure to give him the nod of approval and send a vote his way. 4/5

24] IRELAND: Ryan O'Shaughnessy - "Together". Despite a lack of luck in recent years, Ireland are still the ones to beat as they've won Eurovision a record seven times since its inception, and they hope to add another victory in Portugal this year.Another TV talent show statistic, Ryan O'Whatshisface appeared in Britain's Got Talent back in 2012, reaching the final only to finish in 5th place...will he do better here? Another sweet, acoustic/piano ballad, it doesn't truly stand out as such but he's got enough Irish charm to win the voting public over...perhaps. 2/5

25] CYPRUS: ELENI FOUREIRA - "Fuego". Apparently Eleni here is the bookies favourite and I've been scratching my head to work out how and why...with her typically modern autotune-laden pop qualities I guess she'd make quick and easy money in the charts commercially, given the success of everyone from DEMI LOVATO to DUA LIPA and the like...it's decent enough pop song for what it's worth and catchy enough but, it's nothing special per se...we'll see. 3/5

26] ITALY: ERMAL META E FABRIZIO MORO - "Non Me Avete Fatto Niente"...It takes longer to say that than they'll stay in the top 10 this year if you ask me...it's emotive enough with its almost cinematic qualities in places but songs spoken in native tongue are hit and miss and never a guarantee...it might benefit from being on last in some eyes, but to many it'll be an afterthought as the audience suffers from fatigue and burnout, and it's hardly a climatic showstopper...I can't see this doing overly well. 2/5

So...there we have it...my run down of the 2018 Eurovision final! Have you heard any of the songs yet? Are you happy with your countries entry and more important;y, who will you be voting for? Leave your comments below, but for now...it's over to Graham Norton to entertain us with his commentary.

Recently, we in the UK have seemingly gone out of our way to make damn sure we’re a laughing stock in mainland Europe, with ‘The Wicked Witch Of The West-Minster’ Theresa May doing little to nothing to stop the likes of Brussels making us look like idiots on the world stage in the shadow of Brexit, and this weekend we shall see that trend continue, as we drown our sorrows in Bailey’s at the 2018 Eurovision song contest. I swear to god, given the mess we’re in we may as-actually-fucking-well submit Boris Johnson as our entry this year; we have THAT much confidence in this year’s competition! As you may know by now, every year I take a look back at the previous year’s winner to see what they’ve done with their fame and success, and today we avert our attention to Portugal’s own SALVADOR SOBRAL.

The 28 year old from Lisbon won the competition last year in Ukraine, marking Portugal’s 1st victory in like, forever…seriously…they’d never won it in 53 years, and he did so using a song his sister wrote called “Amar Pelos Dois”, setting a new points record (Having said that they keep meddling with the voting so expect this year’s winner to have like, a million points)…I went to check to see what he had released since his historic victory, only to find that he’d released…a live album. That’s it. Live versions of now two year old songs…so…with that said, let’s go back to 2016 shall we, where we actually have an album to go through…this is “Excuse Me”…and mate, I’ll judge if you’re to be excused or not…

We open up with that very title track and what is actually pleasant is the fact we find Salvador singing in English, swapping out his native tongue…musically it’s a quaint little piano ballad combined with soft jazz-lounge qualities, aided by the cushioned, slightly hushed, slightly husky vocals; in ways you could say he was Portugal’s answer to JAMIE CULLUM on the basis of this track; an innocent start this. Follow up “Nada Que Esperar” continues with the soothing jazz tones of the piano / double bass combination, and given it’s rough translation of ‘Nothing To Hope For’ you can feel the sadness in the performance, the acceptance of life’s situations per se and it’s very mellifluous in its own meager way.

The majority of the record flows at a steady and reliable pace, rarely diverting from its jazz-based roots, it’s a very easy-listening record really, the kind of album you’d find yourself putting on after a long day at work, sat and listened to with a glass of red with your feet up, and this is backed up by tracks like “Ready For Love Again”; with its delicately tickled piano and caressing, harmonious string sections, it’s a lulling album highlight. Speaking of lulling we have “I Might Just Stay Away” which at just over 6-minutes is the longest track here, and really emphasizes those lullaby-esque characteristics, sounding like the kind of gentle music that would come from a little girls jewelry box. The real highlights however come courtesy of “After You’ve Gone”, which is a short, up-beat quirky piece of jazz which was originally written in 1918 and has been performed by everyone from the aforementioned Cullem, to the late JUDY GARLAND, and “Autumn In New York”, which was made famous in 1949 by Ol’ Blue Eyes himself; FRANK SINATRA.

Overall I have to be honest, as far as Eurovision winners go, compared to some, I did find Salvador’s entry pretty damn dull last year and was surprised when he won (Although he got a sympathy vote through prior heart surgery and played sneaky political games with his refugees shirt) but going back to this previous album, I’ll admit he is capable of better things. Granted, this is a lot more relaxed than my usual tastes but it’s a decent modern jazz record with enough throwback appeal to keep fans satisfied. I will excuse you…JUST about. [4]

​Ah Kentucky, I may not be an American patriot but let me just say I damn well salute you, for you not only inebriate the world with your glorious bourbon whiskeys, but you also gave to us nomgasm’s by the literal bucket-load courtesy of your heavenly fried chicken…it’s finger lickin’ good y’all! Putting tonight’s dinner plans aside for a moment, Kentucky also has a rich musical heritage. Famously coined as the bluegrass state, it not only refers to its rich pastures, but also its blue-collar musical roots, notably blue’s based southern rock, gospel and jazz, and one of its biggest exports in recent times has been BLACK STONE CHERRY. Having formed in 2001, they’ve steadily grown into one of the most popular rock acts of a generation, regularly playing arena tours to thousands around the world thanks to tours supporting legends such as LYNYRD SKYNYRD and DEF LEPPARD, plus recently ALTER BRIDGE too…2018 sees them hope to continue their run with album number six; “Family Tree”…let’s do a little digging shall we?

The album kicks off with “Bad Habit” and we’re thrust straight into Cherry’s traditional groovy southern-rock style, there are some decent licks and a strong bass-line pushing the track, but honestly the chorus feels a little weak, and the key-change leading into the guitar solo ends up sounding just a little dull and half-arsed, resulting in a less than exciting start. First single “Burnin’” follows up and again it’s heavy on the groove and it balances being gritty while having ample melodic elements quite well, helped greatly by a much better display from vocalist Chris Robertson, this is considerably better it has to be said.

“Carry Me On Down The Road” is more or less more of the same, the instrumentation is pretty solid with some enjoyable guitar work throughout but it seems to just coast along leaving you a little uninspired…likewise with “Dancin’ In The Rain”. Featuring renowned session musician Warren Haynes, it’s pretty slick with its rich blues rock tones, especially during the chorus’ main hook and although it supplies the album’s first real highlight it still lacks a certain drive. Speaking of guest appearances, “You Got The Blues” features Chris’ 5-year-old son on backing vocals which I guess is fitting for the album’s title but, other than being quaint it’s another run of the mill offering. “I Need A Woman” continues to plod along with as much urgency as a brand new barrel of bourbon, honestly it’s in no rush, never mind a woman, pro-plus and a line of coke’ he needs, show a bit of energy! The album then closes on the title track and we’re given another strong chorus to end on a slightly more positive, encouraging note, but we’re not here to paper over any cracks sadly. The band went into the studio this time round with minimal rehearsal to capture a raw, honest vibe and in doing so this collection of songs on record at least is lacking a certain sheen. If “Family Tree” had been album number one you could say for sure that seeds have been planted and it’s just a matter of time before these blues rockers blossom, but six albums in, this hasn’t worked all too well. Bar one or two moments it’s a disappointingly boring listen. [4]

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

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

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

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

As you know I’ve been taking a look at a selection of bands, forwarded to me by the team over at Stencil and it’s resulted in a fair amount of globe-trotting; a cornucopia of cultural cluster-fucks ranging from maritime grunge to prehistoric pop-punk…last time we found ourselves in Australia covering up-and-coming metalcore mob PATIENT SIXTY-SEVEN but now we’re swapping the surfing and sunshine, for snow and uh, Siberian temperatures? Yes we’re off to Finland today, a country famous for its impressive level of Gothic metal bands, but that’s where these guys stick out like a sore thumb; let me introduce you to JOENSUU RIIHIMÄKI. Having formed in Turku, the Americana-inspired outfit comprising of vocalist Sami Joensuu and guitarist Kari Riihimäki (Hence the name, they’ve done a Brangelina) and completed by drummer Moilu Moilanen, released their debut album “Greetings From The Edge Of The World” back in 2015 but now they’re back with a brand new album by the name of “Highwater”. The question is…voivatko suomalaiset todella maata ja länsimaita?

The album opens up with “Hillbilly Falls” and initially you can’t help but think that they’re going all “Tucker & Dale Vs. Evil” on us but while it may well in fact suit the film stylistically, there’s no level of parody here. It’s very stripped back and classical in its approach to old-school retro rock and roll; simple guitar tones, piano accompaniment…in ways it finds itself blending the likes of STATUS QUO with southern blues rock. There’s a certain gruff delivery to Sami’s vocals but in places he can’t help but come across as a tad flat and it’s his vocal tone that holds an otherwise decent track down. “21” follows up immediately and we’re met with a far mellower piece of music; it’s very light with a loose, flowing delivery and really it’s quite quaint, perfect for relaxing in the sunshine on your porch, sat in the swing-chair with a bottle of Miller High Life…you forget they’re Finnish!

Elsewhere “The Ballad Of James John Belcaire” hypnotizes the listener with the sweetest of acoustic campfire ballads…Sami’s husky delivery really works here benefiting the track, which itself has a wonderfully charming, semi-medieval aesthetic, if you can imagine the days of old; of minstrels…backed by some sweet flute work, it lulls you into a sense of total relaxation and it’s a definite album highlight. “I’ve Not Heard?” reverts to the classic blues rock tones heard previously but here incorporating a subtle, 70’s psychedelic influence and you can hear THE DOORS being channeled through your speakers. Some of the tracks fail to inspire mind you; “Keep On Marching” is an incredibly slow, lifeless track…honestly it’s just boring…It’s called the blues but this is just a variety of grey's, sans kinks…“Missing Zoe. B” throws in sound bites from TV news reports and it really doesn’t suit the genre, before closing track “The Garden Road” virtually kills the album with an incredibly annoying piano loop…it’s nearly as bad as the score from “Werewolf Rising” (I’m not even going to go into that) though the passionate guitar driven climax at least tries in vain to salvage the track. Ultimately what we have here is an interesting musical culture clash, at times the Finns deliver an enjoyable, easy-listening album, but it lacks in consistency in terms of quality to warrant many repeat listens. Highwater by name but, it’s just a bit stagnant really. [5]

Continuing on this current run of Stencil PR promotional reviews, we find ourselves being deported from North America by the Trump administration and being packed off down under, I’m assuming to be fed to the crocodiles or even worse, watch looping “Neighbours” reruns…but it just so happens our next band calls Perth, Australia home; let me introduce you to PATIENT SIXTY-SEVEN. With the name taken from psychological DiCaprio thriller “Shutter Island”, the Aussie outfit formed in 2015, inspired by artists such as IN HEARTS WAKE and ARCHITECTS, and have been lighting up Australia’s local metal scenes since their debut EP “Imbalance”, released that same year. Now, in 2018 we see them return with a follow up EP entitled “Four Walls”…will it see them break out of Australia into the wider world of metal? Or will it have you smashing your head against every one of them? Let’s find out…

The EP opens up with “Selfless” and the combination of orchestral strings with disjointed electronica gives this a somewhat ominous, even dramatic tone, it could easily find itself accompanying a movie trailer…in ways it’s like a modern take on a film score from Kaiju legend Akira Ifukube, or so it reminds me at least, before the vocals kick in and we’re pummeled with a visceral metal onslaught. The aggressive and clean vocals complement each other well, coupled with the use of breakdowns and we’re left with a solid dose of metalcore; it’s a decent opener. New single “Before You Go” follows up and again, there’s electronic elements at the top of the track, somewhat mechanical sounding but not as far as going fully industrial in genre. The track then descends into more of the same in terms of brutal metal entwined with bold vocal melody and it’s enjoyable, but the abrupt ending feels more like someone pulled a power cord as opposed to providing a climax and it sounds unfinished to a degree.

​“The Void” then, after such a delicate intro is slowly engulfed by more chugging, djent-inspired riff-work, with former ATTACK ATTACK! Vocalist Phil Druyer lending his lungs to proceedings and it really is a song of two halves; the underlying looping piano offers a sweetness to offset the unrelenting metal, while first single “Callous” follows a similar formula more or less just with more focus on the heavy vocals, while the title track and “Disclosure” practically follow a rinse and repeat formula. As far as metalcore goes P67 have delivered a solid EP here. The subtle synth elements that bind the aggressive qualities has worked over the six tracks but they may want to mix it up just a little bit more by the time that full length comes just to avoid the risk of repetition, with tracks facing being lost among themselves, but, all in all there’s nothing to suggest they can’t follow PARKWAY DRIVE out from down-under and on to a wider audience. Metalcore-blimey she's a lil' ripper! [6]

I mentioned in my last post that I’d been contacted by a Stencil Magazine representative by the name of Andrew, and that he’d forwarded me a list of bands to check out. What struck me as interesting when I went through the list was that, despite being a UK based PR, the bands not only represented a wide variety of genres but a pretty varied range of nationalities too! Last time we found ourselves over in the US for a band called RUSTY SHIPP, this time we’re still across the pond but moving further north into Canada; allow me to introduce you SOUND DROWN. They too formed in 2014 after founding member Brandon Wiseman (Bass/lead vocals) went through a sort of, recruitment process for the songs he’d written, eventually settling on Drew Neathway (Drums), Nick Ryan (Lead guitar/vocals) and Justin Goss (Guitar/vocals). Initially a covers band while they found their feet, they soon began work on Wiseman’s material and back last year they released their debut EP; “Dino Droppings”…in memory of the late, great Ryan Dunn…let’s go poo diving…

We get the EP underway with “Living Song” and for all intents and purposes it’s a motivational speech; stand up and follow your dreams, live a little, don’t waste opportunities etc. The opening guitar tone is very much up-beat and firmly embedded within a pop-rock pigeonhole, with its melodic structure, but there also subtle breakdowns backing the track giving it an ever so slightly heavier edge, though its climax has a feeling of, they didn’t actually know how to round it up…it just plays on awkwardly, bringing it down ever so slightly. “(Bittersweet) Fault Line” follows up and again we’re met with that standard alternative pop-punk vibe, think NEW FOUND GLORY etc., it’s very much by numbers here in terms of tone and structure, not to say that it’s unpleasant by any means but, it is what it is. An interesting geographical take on relationships, likening the fragility and temperamental aspects of love to earthquakes…it’s…different.

The title track, the shortest piece here is an intense flurry of punk rock that’s best described as finding itself somewhere between BAD RELIGION and NOFX…it’s short and sharp and the solo is pretty damn infectious too by all accounts despite its blink and you’ll miss it feel; it’s fun and frankly you wish there were more of it! Speaking of fun…”M.E.G.I.A.L” is up next and initially you just know it stands for something but dread to think what…so when it turns out to mean “My ex-girlfriend is a lesbian” your inner-child can’t help but chuckle. The track itself is an acoustic gem and easily the EP’s highlight, you want to feel sorry for him but, really you have to point and laugh when he says “She took off with a she-Hulk”, it’s very self-depreciating, especially the line about the strap-on...absolutely brilliant. There’s no sympathy here really, no matter how unconventionally pretty the she-Hulk may or not be. The remaining tracks “Runaway” and “That One Song” are fine; the former returning to their pacey pop-punk formula, the latter having more of a progressive shoe-gaze tone to close the EP in dramatic fashion, but let’s be honest we’re still recovering from the she-Hulk…they peaked early I’m sorry. Pop-punk fans should embrace these as ones to watch as they have plenty of potential, but even in these formative years they’re clearly able to expand into other genres without creating a mess. They’d be more than welcome at SlamDunk, and someone should make that happen. [7]

A little while ago I was sent an email by a fellow named Andrew Dex and, he contacted me on behalf of Stencil, a UK PR team with their own publication in print. He said he was a fan of the blog and in turn forwarded me an eclectic mix of artists, submitting them for potential coverage on this here little blog. Flattered I of course gave them all a listen, but in the name of democracy I put the bands to a reader’s poll to see which of them you’d like given the GTGC treatment, and here we have the first lucky victim; let me introduce you to a band by the name of RUSTY SHIPP. Formed back in 2014 in Nashville Tennessee, consisting of bassist Michael Craft, drummer AJ Newton, lead guitarist Elijah Apperson and…I shit you not, vocalist Russ. T Shipp…that’s literally his name I’m not making that up and I really, really wish I was. As if that play on words wasn’t enough for you, you’ll also be interested to know that despite being totally landlocked, they are a nautical inspired band! Oh I do love a gimmick! Back last year they released their debut album; “Mortal Ghost”…and you voted, so let’s check it out.

Opening track “Sea Sentinels” gets things underway and as is tradition it’s a brief intro, initially utilising subtle, haunting tones but transitioning quickly into a grunge-inspired riff-heavy affair, musically finding itself somewhere between ROYAL BLOOD and QUEENS OF THE STONE AGE. As I said it’s brief but it’s at least an indicator of the style to come. First track proper “Treading Water” follows and what’s immediately noticeable is the complete change of tempo; still with a rich grunge influence, and vocally in places you can hear Kurt Cobain being channelled through Russ, it takes on a ballsy, up-beat garage rock tone and its rawness allows for an honestly enjoyable listen. The solo is decent too, couple that with some smooth key changes, we have an early album highlight; a good start. “Devil Jonah” is an interesting take on the old Bible tale of Jonah And The Whale; a classic story of repent, rebuttal and defiance leading to punishment and consequence…here we go more into Jonah’s psyche as opposed to anywhere near any colossal marine mammals, though the deep rumblings of the bass-heavy approach are fitting regardless.

In keeping with their nautical theme we have “SS Naronic” which is a chilling precursor to the legendary Titanic…the true story of the ill-fated Naronic, which on February 11th, 1893 had left Liverpool to cross the Atlantic to New York, only to mysteriously sink, taking with it the lives of all 74 people on board. Inspired by letters in bottles from the crew, it’s a despairing song of hopelessness and the distorted guitar qualities add to the sense of mess and struggle that the crew and those on board faced as they ultimately awaited death. Elsewhere we have “Song Of The Storms”, a brief interlude of gentle acoustic harmonies; a musical interpretation of sailing upon smooth seas, the idea of calm before the storm and it’s slotted in nicely here. There are naturally some clichés too such as “The Lighthouse” and closing track “Davy Jones” which are staples in maritime song content, but the rogue wave so to speak comes courtesy of “Caligynephobia”. The recognised irrational fear of beautiful women, here Russ sings and shouts of former young Disney starlets over an intense punk-rock backdrop and it’s utterly bizarre…I mean I’ve learnt a new word but, other than that…why? Essentially what we have here is a gritty, grunge-fuelled concept album and if you like that sort of thing, you’ll likely find something of value here but personally, I had my heart set on being jolly rogered by some ALESTORM-esque pirate rock and more naval innuendos than a Captain Pugwash marathon. Why is all the rum gone? Because I bloody drank it all…disappointed, by a severe lack of swashbuckling. [5]

Sugar and spice and all things nice; that’s what little girls are made of…but by contrast, banter, pub crawls and the occasional cheeky Nando’s…there my friend, you have the lads; the bro’s, and what bigger bunch of bro’s, than DON BROCO? The boys from Bedford formed back in 2008 and in the ten years that have passed since; they’ve become one of the UK’s most established home grown talents, on a continual ascension with each and every album and tour…from headlining the Kerrang! Tour in 2015, from slowly creeping higher up the charts with each album, and last year they played their biggest headline show to date at Alexandra Palace…2018 sees them continue on their run with their brand new album “Technology”…let’s see how up to date they actually are…

The album opens up with the title track and we’re met with a brief but subtle, percussion led electronic sample, but it bursts into this bass-heavy barrage of riffs…it’s deep, it’s got some weight behind it and it’s an interesting way to kick things off. Vocally it’s as you’d expect; clean with a mixture of harmony and swagger as is their style, blending alternative rock with indie-pop charm making for a catchy, rhythmic chorus…it’s a decent opener. The same can be said for the single “T-Shirt Song”…it’s big…it’s bold and it utilises a similar approach to our opener, mixing bass heavy riffs with powerful, melodic hooks allowing for another strong chorus, while the rest of the track balances groove and delicacy well. This is the promising sign of Don Broco on form, as is also proven elsewhere on tracks such as “¥” which follows a similar formula again, delivering a simple but infectious pop-rock master-class riddled with groove…that is until the tracks climax…which descends into a distorted breakdown and despite being brief, it can’t help but bring the track down. The exchange rate for those Yen just plummeted…

The rest of the album however…over the course of its total 16 track run time gradually loses both momentum and point…while there are glimmers of potential found in tracks such as “Everybody”, which sticks strongly to an indie-inspired core sound, slightly funk-driven and rhythmic…there’s “Tightrope” with its sweet vocal delivery and “Got To Be You” which utilises a dramatic, echoed tone to the guitars and an emotive narrative, they are sadly lost among the annoying level of filler found bulking this album up. “Come Out To LA” has a fucking awful hip-hop / R’n’B structure to it which really negates the quality of the song, like it doesn’t know what it wants to be…”Porkies” has vocalist Rob shouting his way through the track and truthfully it doesn’t suit him at all, with the track as a result just sounding off. “Something To Drink” makes you want to drink in its own right with a predominantly dull display…Don Broco aiming for Dom Perignon but reaching white wine vinegar…before closing track “Potty Mouth” which has an annoyingly abrupt ending which is bad enough after what can only be described as a discarded GORILLAZ cut, followed by what is arguably one of the worst hidden tracks ever put to record. It’s a bit of a mess frankly…so to summarise, they could have easily taken a good six tracks off of this album and condensed it down into a simple, manageable listen as strong playlist, but they opted for quantity over quality where in reality less would have definitely been more. The good thing about technology is that, if you opt to buy “Technology” on iTunes you can buy individual tracks and not have to listen to the whole thing. If you have it on CD then you’d better be prepared to smash that skip button. [5]