“That was intense, REALLY intense…well, not really intense, but pretty intense”…you may remember this quote by Chris Pontius from Jackass Number 2, when Preston and Wee-Man did the “The Bungee Jump”, but as intense as that was, it pales in comparison to the recent touring cycle undertaken by CKY. Yes the Philadelphia three-piece (Consisting of Chad I Ginsburg, Jess Margera and Matt Deis) made their triumphant return in 2017, with their comeback album “The Phoenix” (Their first in nearly a decade) and ever since the guys virtually haven’t stopped. From US headline tours, supporting HIM on their US farewell tour, covering the entirety of the Vans Warped Tour, touring with SKINDRED, playing multiple festivals, touring with NEKROGOBLIKON, they’re own UK headline tours…the guys have practically LIVED on the road for the past two years! That’s not enough though for these rejuvenated rockers…hell no, amidst all that they still managed to find time to record and release a new EP especially for Record Store Day. Let’s check it out and find out exactly why camp kill yourself are in fact “Too Precious To Kill”…

The EP opens up with “Chase Me” and as the title may suggest it’s got a not-so-subtle action-packed car chase vibe to it…the up-tempo feel, the catchy guitar licks and the brass-bursts take this back to the golden era of James Bond films if you will (Think DURAN DURAN)…there’s elements of a detective caper to this and it’s a really fun opening track. The track flows with an easy listening fluidity and really is infectious, great stuff this. “Fists To The Sky” follows up and here we have a more traditional sounding CKY musically…the imposing trademark riffs are instantly recognisable in tone and although the track has a very steady pacing, broken up by THE DOORS inspired organ-esque synths, it’s still very up-beat…doubling as not only a statement of intent from the trio regarding their come-back, but also maybe a subtle nod to Rocky thematically, given the Philly connection.

As this was a vinyl release, side-B kicks off with “One Step Ahead” and it immediately starts off darker, atmospherically speaking…the slow build leading to a frenetic chorus, with Chad belting out the lyrics against a wall of reverberated noise. He gets to fret-wank his heart out here too as he embarks on an incredibly trippy, psychedelic guitar solo and you can sense the enjoyment had in writing this one, it resonates through his playing. The final track however is the one we’ve all been waiting for…not just over the course of these four tracks…no…I’m talking over the course of the last TWENTY YEARS. Yes, for the first time ever, CKY have FINALLY given us a recorded cover of GG ALLIN classic “Bite It You Scum”. A long-time fan-favourite and a staple of their set list on the live stage forever, they finally put it to record and they’ve more than done it justice. It’s lost none of its raucous rock ‘n’ roll charm and still retains all of its raw punk attitude, while both refreshing and nostalgic at the same time. Having heard it live for all these years, we finally get a studio recording and it’s magnificent. While currently only available as a limited edition vinyl released for Record Store Day, (Were you lucky enough to get one?) I’m sure that sometime over the near future the EP will become available for download or streaming, or you should hope at least. Is this an EP you want? Is this an EP you NEED!? fuCKYea! [9]

​For many, being a teenager brings with it a sense of exploration and discovery; socially, personally and sometimes spiritually in many aspects of life…and for many of MY generation, our teenage years were fuelled by an angst-ridden soundtrack of Nu-metal rap/rock crossovers . We all remember owning the baggy jeans, flaming shirts (Remember those bad boys? Guy Fieri knows what I’m talking about) the skateboard, the spray-can for the tagging…sorry I got carried away with LIMP BIZKIT then…and discovering so many bands your parents hated not even Rachel Riley could keep up with the numbers. But while some of us MAY have grown out of that, and despite not only OUR tastes changing, but the whole world of music itself evolving, some bands still enjoy peddling their rap rock wares to newer, younger generations. With that in mind, today we’re going to be looking at Los Angeles rap-cartel HOLLYWOOD UNDEAD and their newest EP “Psalms”. Following on from the last album “V”, they intend to tide fans over with this new five-track EP while they work on a new full length scheduled for a 2019 release. The questions is, are these songs sacred as the EP’s title suggests, or is this more a pile of Holy Shit?

The EP opens up with “Bloody Nose” but stylistically it’s less of a smack in the face and more of a pace palm to be honest…for the most part a slow-tempo, alternative hip-hop offering with occasionally brooding riffs, coupled with a generally melodic chorus and pleasantly harmonic vocals. There are some more aggressive vocals leading into a bridge but for the most part it’s a generic track that doesn’t really push the boat out. Don’t worry about the title though; you won’t be needing any Kleenex after this one, it’s not POOR but it’s not exactly pummelling either. We follow this up however with clear EP highlight “Live Fast Die Young” and its soft 80’s inspired synth lead, with subdued percussion and hypnotic rhythm provides a genuinely enjoyable listen. The rapped lyrics add an extra dynamic with a change of tone and character but it doesn’t detract from the easy-listening pop-production overall; this is incredibly catchy and gets better with each listen…a solid track this.

Sadly the rest of the EP goes a little bit downhill and the remaining three tracks fail to inspire any level of investment…”Something To Believe” aside from it’s monotonous, droning vocal display offers a really supercilious chorus, attempting to sound like this grand, beautifully produced pop piece…you’d honestly be better off listening to ONE DIRECTION. “Another Level” makes early references to mosh-pits but it’s sadly not as worthwhile as past efforts by TINIE TEMPAH and EMINEM when it comes to awkwardly referencing moshing…and seriously, that chorus; when you say you’re on another level what exactly do you mean; of the fucking spectrum? It would TAKE someone autistic to enjoy this! Finally then we close up on “Gotta Let Go” and truthfully this is a bit better. An innocent beat with a happy-go-lucky tone with more melody and charm rounding things off on a quaint note. While the EP starts off decently, even the quality of “Live Fast Die Young” can’t save this from its overall sub-par quality. Sure it’s a stop-gap for the next full-length but so much of this, even though it’s only five tracks, feels phoned in. They may not literally be un-dead, but they’re definitely sleepwalking through this one… [3]

While it’s been a short while now since we’ve properly heard from Anaheim alt. rockers NEW YEARS DAY, we’ve been treated to a couple of projects from front-woman Ash Costello. Last year saw her branch out with horror-pop band THE HAXANS and their incredibly fun album “Party Monsters”…but this year, although returning under the NYD moniker, we find Ash indulging herself on what is essentially a covers EP. Occasionally you’ll find interviews and articles in magazines, revolving around the artists and songs that shaped other artists…but Ash wanted to go one better and actually record her own versions of the songs she deemed so inspirational. The result; the “Diary Of A Creep” EP…a fitting tribute, or should their new year’s resolution be no more covers? Let’s find out…

We open up the EP with the sole original track “Disgust Me” and it’s somewhat appropriate, like, you say it out loud, and the EP does its fucking best to do just that. With its hard-hitting percussion and deep, chugging riffs, coupled with Ash’s melodic vocals over a hook-laden chorus, its trademark NYD…balancing subtle gothic tendencies with a heavy, nu-metal aesthetic, getting the EP off to a decent albeit standard start. We follow that with the first of five covers…and we’re spanning a plethora of era’s and styles here. Naturally it’s fair as influence can come from all walks of life, but here, together, in this style…something just doesn’t quite gel. We begin with a cover of NEW ORDER’s “Bizarre Love Triangle” and gone are the quaint synths…gone are the soft vocals of Bernard Summer…instead we find crunching, disjointed riffs and Ash’s powerful vocal chords, backed with key changes, repetitive classic guitar licks and gang vocals. The whole thing comes across as copy and paste, looping itself as it ticks along and sadly lacks any of the originals charm.

We shift gears completely next up, as we dabble in a spot of metal via PANTERA classic “Fucking Hostile” and it kind of does what it says on the tin; the raw aggression carries through with Ash’s angrier vocals and they know how to deliver a riff, but it’s hard to see how this would go down with traditional metal fans…they’ll either respect you (Albeit resentfully) for covering it in the first place, or form a Wall Of Death that even Donald Trump would be in awe of, but aim TOWARDS the stage and trample you into the floor for doing so…they’re on thin ice here. Next up…and, oh god…we have “Crawling”…yes…THAT crawling, by LINKIN PARK. Now, let’s be honest, who hasn’t been inspired in some way by Linkin Park in recent generations? But, to attempt to cover such an iconic song is BRAVE! It totally lacks the original feel of the song, there’s no angst or passion, and sadly it comes across as really quite flat, which is a complete shame. Ash’s melodic vocals work here but as soon as the track shifts into gear, it just doesn’t compare; the pain is missing and the result is a hollow song.

The last couple of tracks include GARBAGE hit “Only Happy When It Rains”, which while originally an iconic 90’s indie rock hit, here, even aided by LZZY HALE, lacks any of the song’s original feel…not even the duel vocals here can match up to Shirley Manson and if anything just makes you cringe, before there is some level of redemption on closing track “Don’t Speak”. The NO DOUBT classic works well here as Ash really does justice to Gwen Stefani’s vocal style and with the metal touch musically it gives the track a new lease of life. Overall while it’s all well and good to want to pay respects to your hero’s and inspirations, it sometimes works better in theory rather than practice. Ash and NYD have a style and a sound that suits them, and some of the tracks covered here really don’t benefit from that sound at all. If anything I guess, it gives you a chance to go through the originals, and maybe discover some classics you may have missed, depending on your age and tastes…other than that, it’s an EP of interesting but sadly disappointing covers. [4]

It’s been a heck of a year for Brighton’s YONAKA…following on from 2017’s “Heavy” EP, the band have found themselves on some pretty impressive tours in its wake; sharing stages with the likes of reinvigorated king of partying ANDREW WK, DON BROCO and more recently playing arena’s with BRING ME THE HORIZON. The four-piece however (Consisting of vocalist Theresa Jarvis, guitarist George Edwards, bassist Alex Crosby and drummer Robert Mason) aren’t resting their laurels…and earlier this year they released not one but two, highly anticipated follow up EP’s entitled “Teach Me To Fight” and “Creature”. Have Yonaka burned through the midnight oil, or will it be the dawn of a new day for this south-coast ensemble? Let’s find out, as we check out the latter…

The four-track EP opens up with “Own Worst Enemy” and it speaks of a split-personality, battling your inner demons and confronting yourself over your own actions and choices in life. Their dark blend of sultry electronic pop and indie rock, coupled with Theresa’s semi-husky voice combines well for a groove-heavy, rhythmic track and a strong opener. The pop hooks and atmospherics bridge a nice gap for fans of say, JESSIE J and FLORENCE & THE MACHINE. The title track offers a serious EP highlight with its urbanised pop aesthetic; an almost classic disco funk rhythm with subtle R’n’B elements, along-side a catchy chorus, showcasing Yonaka’s ability to write a genuine tune.

​“Death By Love” despite having a slightly slower tempo for the most part retains that funk-based core sound and really utilises a sense of easy-listening pop production…this is the kind of track that could easily (Given the chance) get them more mainstream airplay in the current chart climate, capable of appealing to a fairly wider audience compared to many bands in a similar position.  We sadly then finish up too soon on final track “She’s Not There” and again they’ve opted for a slower, darker, slightly brooding heavy pop track to round things off. It ends proceedings on an almost cinematic vibe, with slick production, a simplistic yet conspicuous beat and minimal yet effective instrumentation; the riffs and percussion flowing effortlessly, carrying Theresa’s vocals through a brief yet hypnotic track. All in all, Yonaka have taken all that was good with their previous works and continued to build not only a sound of their own, but a name for themselves around the UK’s up-and-coming live scene. Both reliable on stage and consistently delivering quality tracks, Yonaka are certainly ones to watch and on this evidence, their debut album has the potential to be something very special indeed. You don’t follow Yonaka? You knackered…[8]

The history of CKY is, for want of a better word, turbulent…when things were good, they were great; record deals with the likes of Island and Roadrunner, the worldwide fame thanks to connections with the whole “Jackass” phenomenon, they developed an intensely loyal fan base, or, alliance…but when things turned sour, boy did they turn sour. In 2011 after the praise and acclaim of “Carver City”, there were disagreements over the bands future direction…which led to conflict…which in turn led to one of the most, bitter, if you will, separations in rock.

In the years that have followed, while CKY, after trialing new vocalists, decided to settle on their current 3-piece formation (Consisting of Chad I Ginsberg, Jess Margera and a returning Matt Deis) Deron Miller opted to go it alone, dabbling in several projects during the period. Initially in a dispute over the rights of CKY, he released the solo album “Acoustified!” which, as you can probably guess was an acoustic medley of previous works…there was the return of his prior band FOREIGN OBJECTS who resurfaced for a new album in 2015…and then we have this; 96 BITTER BEINGS. Not only a jab at arguably one of CKY’s biggest tracks itself…but the album has been called “Camp Pain”…which, mistake me if I’m wrong, is ironically similar in theme to Camp Kill Yourself? I did say things were bitter right? Let’s see what Deron (Backed by new band members Kenneth Hunter, Shaun Luera and Tim Luera) has come up with…

The album opens up with “Try It Again” and it’s both an intro AND a skit…the idea that they’ve spent ages writing and practicing only for the track to sound like absolute shit essentially; out of tune without any sense of cohesive rhythm, it’s a rib on themselves basically as it’s been a while since we’ve had any new recorded material…they’re a bit rusty. First track proper however "Still Unstable, Still At Large" charges right at you with a serious sounding, deep, chugging albeit sluggish guitar riff, before we’re greeted with the traditional, sweet synths and moogs that so characterised CKY’s original music. Deron plays and writes with such a distinct style, this brings back so many memories…and the nostalgia doesn’t stop there.

Despite being only 10 tracks long in total, it manages to cram in a fair couple of highlight tracks…in particular “The Whipping Hands” which sounds like it could have been taken right out of the recording sessions from “Carver City”. It’s got a great rhythm and an infectious bass-heavy groove, playing out nicely. “Where Were You?” offers a more relaxed, melodic track, with a primarily down-tempo approach but a chorus that harks back to the style of “An Answer Can Be Found”…before the album ultimately ends with “December Higher Power”, a traditionally slower ballad-esque piece to close proceedings, a staple of past CKY works. Some tracks are a little questionable mind you…”Megadextria” is just a recycled track from the last Foreign Objects record, “Cavalcade Of Perversion” is 90% instrumental and 10% what the fuck? Speaking of, there’s a cover of MICHAEL JACKSON’s “Beat It” thrown in for good measure…I’m not even joking. I mean they pull it off quite well but, seriously…why?!

Ultimately, at the end of the day, it’s not a perfect album by any means, but it’s damn impossible to not enjoy this. Deron has such a creative flair for solid guitar riffs and an iconic sound that’s been missed…CKY are doing fine right now without him don’t get me wrong, and I’m not about to wish for a reunion, that ship sailed, but, I will just state how glad I am to have Deron back releasing music again. There may be 96 bitter beings but, I’m not one of them…for I am simply…Bernadette Nere. [7]

Anniversaries…usually happy times shared by couples as they grow old together, celebrating their love and commitment to one another…sometimes they can be nostalgic or, historic; marking so-many years since an incident or an event…though other times they can be painful; tainted with sad memories and tearful reminders, and I’m afraid in this instance we’re referring to the latter. Yes it’s nearly been a year now since Ville Valo and HIM went out with a bang and a whimper on their, admittedly rushed, 2017 farewell tour… a whole year of knowing that the Heartagram had beaten for the last time, buried alive by its own love, and it’s a truly sad fact. However…even the most melancholic gothic-laced grey clouds have silver linings, and in this instance, after a metaphorical mass funeral of hearts, in HIM’s absence we’ve got some new projects from our favourite Finn’s! Let me introduce you to FLAT EARTH…

A Finnish super-group of sorts…HIM’s six-string maestro Linde Lindstrom and former drummer Gas Lipstick make up 50% of the band, while it’s completed by former AMORPHIS bassist Niclas Etelavuori and POLANSKI vocalist Anthony Pikkarainen, and together, over the past several months they have stripped everything back, wiped the slate clean and written a no-nonsense, no frills, no gimmicks hard rock album by the name of “None For One”. The question is, is their musical prowess better than their apparent grasp of basic geology? Let’s find out…

We open up with “Subhuman” and ironically, it’s what you’d suggest someone who DOES believe that the Earth is flat would be in terms of mental capacity…slightly sluggish in tone for the most part, it comprises of slower riffs and percussion, combining a classic rock tone with just a touch of blues metal, although there’s an incredibly subtle middle-eastern feel to some of the more melodic guitar notes. Pretty straightforward stuff but it’s a fine start nevertheless. “Blame” follows up and here we find Anthony leading the musical direction more with a primarily 90’s grunge-inspired piece, backed with Linde’s distinctive string-work…the solo here is classic Linde, his fret-work is on point and you remember here how underrated a guitarist he really is.

This combination of styles is, for the most part the very foundation of this album as a whole…the back-to-basics, guitar heavy instrumentation being the very backbone of their sound while vocally we hark back to a simpler time; clean but with a certain raw emotion and in ways, at numerous points throughout this record you get a sense of ALICE IN CHAINS meets THE SMASHING PUMPKINS, really embracing those 90’s characteristics. The title track is a wonderful example, highlighting the above point really quite well…”Noble Swine” has some intense percussion and oh how we’ve missed Gas behind a drum kit, he can really drive a track and here he does just that…also baring a light resemblance to Linde’s other work with DANIEL LIONEYE in tone, before album highlight “Limelight” carries you away with a genuinely catchy little harmonic chorus and a simplistic groove. The rest of the album is generally run of the mill hard rock but as I said, that’s the aesthetic they’ve gone for; nothing fancy or over the top…just some good honest rock, which is fine. Admittedly it CAN feel a little lethargic at times, and if anything is to blame for that it IS Anthony’s vocals…maybe it’s just because I’m not too used to them and, to some extent can’t quite yet fully separate this from HIM, but he’s no Ville Valo. I know that’s the point to a degree, but this album DOES lack in belters and could do with a shot of adrenaline really. He’s got the emotion, but lacks in power. Overall the Earth here isn’t entirely flat, but it’s only just slightly concaved…they need a little more depth next time around. [5]

This is not, the greatest review in the world; no…this is just a tribute…a tribute to a once mighty beast…whose powers have been depleted faster than Superman getting pegged with a Kryptonite dildo. Yes we’re here today to remember TENACIOUS D. Back in 2001, the comedy rock duo of Jack Black and Kyle Gass would become one of the greatest cult phenomenon’s of modern alternative music, with tracks like “Wonderboy”, “Tribute” of course and not forgetting “Fuck Her Gently”, not only bridging the gap between music and comedy, but doing it so effectively. EVERYONE would sing along to these, and the sketches that littered their self-titled debut were genuinely amusing, but alas, the laughter wouldn’t last too long…

Their follow up project “The Pick Of Destiny” (Both an album and a motion picture) didn’t do so well, (At the box-office especially) losing money and receiving mixed to negative reviews; it seemed like they’d undertaken too much…perhaps their fifteen minutes was already up? The joke seemingly already wearing thin…however to the surprise of many, they returned in 2012 with the attempted come-back album “Rise Of The Fenix”. A shot at redemption, it did get them nominated for a Grammy award for Best Comedy Album, but the quality simply wasn’t matching up to their debut and although they’d grown as musicians, they’d faded somewhat as entertainers. This leads us to 2018 and again, surprisingly, we find The D releasing another studio album’ “Post-Apocalypto”. Another concept here, it coincides with their own mini animated YouTube series (I use the term animated very loosely) following their struggles and adventures in, you guessed it, a post-apocalyptic world…but is it worth the listen?

We open up with the “Post-Apocalypto Theme” and as it acts as the animations theme song it really is only a brief jingle at best…a pacey flurry of acoustic guitar and percussion backing Jack Black’s trademark dramatic vocal. It’s up-tempo, catchy enough and easy listening,  ironically ending with the line ‘Tenacious D has got to shine’…almost acknowledging previous failures. Sadly, not only are any further ACTUAL musical highlights so few and far between, over an album consisting of TWENTY ONE tracks bare in mind…but those twenty one tracks only have a 30 MINUTE run time…this really isn’t boding well. The tracks (If you can call them that honestly) that do manage to stand out are “Hope”, which delivers a sweet little acoustic ditty that transitions its way into a power ballad of sorts…there’s “Making Love” which can be looked upon in one of two ways; either it’s a spiritual successor to “Fuck Her Gently” or they’ve simply tried to emulate themselves with shamefully recycled ideas (STEEL PANTHER much?).

The random references to Elon Musk and Richard Branson during “Take Us Into Space” push for a little bit of fourth-wall breaking but as a track it’s typical as it comes; it’s accompanying skit “I’ve Got To Go” no more than standard D shenanigans really. Finding further musical points of worth is difficult…”Daddy Ding Dong” opts for a more metal inspired piece, Jack Black does love a hard rocking riff but it’s nothing shy of ridiculous. There’s sketches about sex with cave women, a random, pro-KKK piece featuring an anti-gay march, there’s a clichéd German character, all tied in to some Donald Trump references…I mean what the ACTUAL fuck? ”JB JR Rap” has a deep, dark hip-hop synth beat and some auto tune which is probably the most interesting thing musically here which says A LOT, before we end up finishing rocking out on “Woman Time” and the reprise of the theme song. Ultimately, as an accompanying album, this really falls flat and feels more like a brief collection of sound bites AT BEST…if you’re going to invest any time in new Tenacious D material, stick to the animation on YouTube, as this really fails on record. As audio content, it not only feels rushed together, but it misses the mark entirely regarding humour…there’s nothing wrong with being crude and childish occasionally, but this is just cringe-worthy, I sadly believe the D in their name now simply stands for Done. [1]

Those of you who know me or follow this blog kind of grasp that, without beating around the bush, I’m not too up on my rap game. Sure I listen to the odd record for diversity’s sake (A bit like how Steve Hughes goes from Slayer to Enya) but ultimately my rap knowledge and awareness is sub-par at best…thinking about it that’s actually generous, I mean shit did you SEE my rapped review for the newest EMINEM record? HA! It never stops me checking out new music however and thanks to my latest reader’s poll, it was suggested that I sample some Posty…sadly I’m not on any illegal substances and this isn’t about to become the weirdest review of Postman Pat you’ve ever seen…we’re about to delve into the world of POST MALONE.

The New York born rapper has had an interesting  journey into the music industry it has to be said; one of the few rap artists who can pull off not only a fun, rock ‘n’ roll aesthetic, but remain relatively down to Earth about everything while at it, all while sustaining multi-platinum status as a rapper. I mean it’s not often you hear a rapper cite Guitar Hero and emo icons like MY CHEMICAL ROMANCE as a musical influences growing up, but despite this, Posty is now one of the biggest names in modern hip-hop and the recent mumble-rap explosion. Hammering home this point, here we have his most recent album “Beerbongs & Bentleys” highlighting both aspects of Post Malone’s crazy success story…let’s check it out…

We open up this 18-track monster of a record with “Paranoid” and for the most part it’s your typically low-fi, melodic, pop-infused hip-hop track; the slow, smooth rhythm and minimalistic instrumentation, coupled with the auto-tune laced vocal leads this to pretty standard radio-friendly stuff. The autobiographical lyrics speak of his circumstances since finding fame, always watching his back, wanting that normality but when those cheques came; people changed, and despite his accomplishments it’s given him anxiety; an interesting, character building start. The level of self-awareness continues through “Spoil My Night” too, which focuses on the opposite side of the coin, knowing he can use his new found wealth and fame to get the girl with the ‘beautiful boobies’…and that’s a QUOTE I shit you not. While not entirely bragging, he’s aware enough to know the behaviour is toxic and to a degree there’s a level of morality layered within the lyrics.

With over an hour’s worth of music to mull over there’s plenty to talk about here, and we have to talk about some of the collaborations on this record for sure…and this includes the lead single “Rockstar” featuring 21 SAVAGE. The mumble-rap qualities are all the more prominent and it’s easy to see how the modern Soundcloud rap movement helped shape artists like Post Malone. Another minimalist, trap-based track, it really benefits from the less-is-more approach with a slick beat and down-tempo groove, although 21’s vocals couldn’t possibly be any flatter…honest to god he’d better avoid Sweden, Ikea will try to sell him off as a fucking shelf unit that’s how flat he is! Another single “Ball For Me” featuring NICKI MINAJ delivers too with some sickly-sweet retro synths and benefits from Minaj’s more up-tempo lyrical pace and tone, she’s been on form in 2018 taking into account her album “Queen”, they work well together and the track compliments them both.

Posty likes to shake things up a little bit now and again mind and examples of this here are “Stay”, which is honestly a decent little acoustic-based ballad, highlighting his ability as a song-writer, while “Over Now” despite retaining the more guitar driven style, has a more subtle, alternative indie-rock feel to it, channelling those early influences. If there’s anything negative to be said here really it’s simply on a matter of consumption; there is so much to digest here and there are times where you can’t help but feel going over the hour mark was at the very least excessive. For the most part, despite the aforementioned tracks, he CAN come across as a little vocally one-dimensional and it seems he’s quite content with his overall formula…I mean it’s working for him don’t get me wrong, but 18 cuts is a couple of beerbongs too many to be honest, I’d be more inclined to call an Uber than get in the Bentley in this condition. Nevertheless, it’s an enjoyable album for the most part and I’m happy to learn that Post Malone isn’t some terribly named new sub-genre, unless he claims it as his own…I really wouldn’t put it past him. [7]

The Japanese progressive metal outfit SOKONINARU have confirmed that they will be hitting London during their debut European Tour in 2019, for a must-see one-off headline show. The tour poster via Avo Magazine specifies that it will all go down at The Underworld, one of the homes of London’s hardcore metal scene. If everything goes according to plan, you can catch Sokoninaru’s unique, harmonic, heavy, and highly technical sounds on February 12th. They will also be hitting Germany, France, Holland, and other European locations during the scheduled 13-date tour.

Active since 2011, it took a while for vocalist / guitarist Juko Suzuki and vocalist / bassist Misaki Fujiwara to get recognised in Asia’s metal scene. Nowadays however, it’s safe to say that the band has a massive global following online, evident by the 1.2 million views (October 2018) garnered by their music video Tenohira de odoru. Meanwhile, their latest video "re:program" was able to gain 150,000 views in just a matter of months. Further proof of Sokoninaru’s global fame is the fact that they also recently officially launched their own English website, a major step in the band’s efforts to appeal to overseas audiences. And seeing as Sokoninaru is now slated for a major European tour early next year, they’re bound to attract more fans of rock, metal, and good old melodic chaos.

While London and Japanese metal might seem a strange combination, there are actually plenty of historical precedents for this 'meeting of cultures'. For starters, heavy metal has its roots in the UK. The likes of Black Sabbath and Jimi Hendrix – both of which achieved global fame while in the UK – are responsible for the seminal sounds that birthed the different courses of metal and rock music, including the harmonic, heavy, and highly technical speed metal of Sokoninaru. There’s even an award-winning Japanese electronic/rock/metal band that’s based in London – Esprit D’Air have been channelling UK influences since their debut album, "Constellations".

During the last decade, Japanese culture has exploded in the UK. This is highly apparent in the UK’s wide array of Japanese-influenced media, including TV, film, music, and even online gaming. On the BBC, "The Art of Japanese Life" prompts audiences to join Dr. James Fox in examining the intricacies of Japanese art and culture. 

​Another reason of this desire for more Japanese culture is the increasing number of digital media dedicated to the country. The Japanese gaming industry is one of the biggest in the world, and its games consoles and titles dominant markets across the globe. The response to this has been that modern digital companies are now trying to tap into these growing markets to find new audiences. Online Asian games provider Expatbets has a dedicated Japanese slot game called "Sakura Fortune" that combines two parts of Japan’s heritage, the lone warrior and the cherry blossom, both of which attract millions of visitors each year. Japanese-inspired entertainment has become so big that a lot of people’s first contact with Japan’s culture is through these games, which then leads them on to discover more about the country. The European tour of Sokoninaru is a sign that western audiences are a part of this growing interest, and that music fans are seeking out more obscure parts of Japanese culture to find new and exciting talent. 

All of these factors will combine to give Sokoninaru an unusually warm welcome in cold, wet London on February 2019. In a way, it can be said that, one of the greatest proponents of modern metal will be bringing metal back home to the UK.

Words: Madison Scott

Aside from a variety of remixes and instrumental reissues, the last time we heard new music from SCANDROID was 2017’s sophomore album “Monochrome”, which firmly established the more, retro-based aspects of Klayton’s creative spark. Despite a background in more industrial-based metal with an aggrotek attitude, found in early work such as CIRCLE OF DUST, Klayton has been embracing the bright lights and bold colours of the 80’s and now in 2018, we find him already revisiting Scandroid with the much anticipated follow up “The Darkness”.

The first of a two part concept album, “The Darkness” is a collection of six new tracks, exploring the darker aspects of Klayton’s psyche, manifested within this neo-futuristic post-retro style…with “The Light” coming out in 2019, this is very much a case of Yin and Yang; opposite forces and ideals coexisting symbiotically through music. Does the warm neon glow mask something sinister, or will a blinding luminescence guide you through the darkness itself? Let’s find out…

We begin with “Into The Darkness” which, as a brief intro piece really only sets us up for the crepuscular journey ahead…a simplistic piece of sullen synths and a deep, intimidating electronic pulse, gradually building until it transitions into first track proper “Phoenix” and what a shift in gear this is. Erupting out of your speakers with a crunching, classic metal riff entwined with the trademark synth hooks, this is a style more akin to CELLDWELLER and you can feel immediately that this is a different Scandroid. While conceptually the winged creatures are completely different, this very much makes me think of Rodan’s emergence in the recent trailer for “Godzilla: King Of The Monsters”, and given the tracks almost, 80’s bad-ass movie montage tone, (I mean, THAT solo) the two could coexist brilliantly; this is entertaining stuff

“The End Of Time” awaits us next and here we find a more traditionally presented Scrandroid track musically, with it’s upbeat, dance-inspired rhythm, pop-infused electronica and retro throwbacks…what’s interesting however is Klayton’s vocal delivery here. On one hand typically clean and melodic, but there are traces of something deeper…the course yet hushed vocal elements give this track more of a darkwave aesthetic and highlights the conceptual darkness intended. Recent single “Onyx” opens up with a semi “Stranger Things” vibe and though it initially has a more restrained tempo, it picks up for a more energetic second half. Essentially the title track to a degree, the idea of this black, shiny little gemstone offering the darkness and the light, as it’s lyrically name-dropped pushing the concept home and it’s delivered nicely, before we round things up with “Red Planet” and closing piece “Out Of The Darkness”. Continuing with the more darkwave inspired approach, we’re given two primarily instrumental pieces resuming this journey through the vacuum of space and time…the former with its aura of foreboding, while the latter acts a continuation of the intro, taking things full circle.

While there are more tracks on offer here, they come in the form of four remixes (The man does love a remix) and while VOLKOR X, 3FORCE and HEXENKRAFT do indeed inject some additional flavour into some of the tracks, they’re more like bonus tracks on a mini-album than actually being officially canon, neither truly enhancing or detracting from the albums overall original quality. The six new tracks here however do take the listener on an interesting adventure as Scandroid really has channelled more an underground, alternative club influence into his otherwise nostalgic brand of new-wave synth pop, but without straying too far from the projects core sound, and it’ll be interesting to see where he takes things on next year’s follow-up. Until then, embrace your inner Sith lord and feel the power of the darkness flow through you, for the mean time at least. [7]

Social media comes under a lot of scrutiny at times…if you pay any attention to certain arguments at least, and while I can appreciate that, occasionally it can be a dangerous or questionable place (Anyone for an unsolicited dick pic or spot of grooming?) it has nothing but beneficial qualities in terms of brand marketing, exposure and communication if used wisely (Last chance for that dick pic…no?).  I say this because it’s a great place to both freely promote yourself and spread your product, and this ties in to today’s review on a couple of levels…let me explain.

Recently through sharing my reviews on Instagram (Follow me @gavthegothicchav) I was contacted by a gentleman named Michal Kosinski, who asked me to check out his music. While nothing new for the blog, it was the first direct request through Instagram specifically which I have to firstly thank Michal for. Based in Sweden, he informed me of his project named MY OWN CO-PILOT, requesting that I listen to his debut EP “Textures”…all pretty straightforward, but here it gets a little more interesting. It turns out the singer; Derrek Siemieniuk, hails from Philadelphia, Pennsylvania and already fronts a band Stateside by the name of SAVE EMPTY VESSELS. Michal upon hearing this band, liked their style and immediately contacted Derrek requesting his services and suggesting a collaboration. Curious and inspired, Derrek obliged, recording and then sending over his vocals ready to be mixed…and despite a distance of nearly 4,000 miles, social media and communication was able to bring these artists together to complete My Own Co-Pilot. With that, via some sort of, social media inception, from Sweden, via the US through to me on Instagram, let’s check out “Textures”…

We begin with “Exit You” which could mean one of two things; either we’re about to experience some form of, outer-body musical transcendence…or it shares it’s characteristics with faecal matter. Kicking things off rather slowly with some basic percussion; simple guitar notes gently plucking away, we gradually evolve into a more complete shoegaze-inspired piece with Derrek’s subdued vocals…that is until the frenetic, almost tantrum-fuelled chorus. Here we find the pair’s joint affection for early post-rock and hardcore; acts like REUBEN and SILVERSTEIN spring to mind upon hearing this, it’s a nice dynamic though not as up-tempo as preferred. “When The Missing Return” keeps this up with a much more vibrant start, the raw, garage-rock feel allowing the track to truly breath, if you ignore the vocal loop mid track…despite its prog elements it’s just filler essentially and comes off as annoying rather than artistic. The lyrical repetition is delivered in such a dull, flat manner that it really does spoil an otherwise decent track.

“This Crying” follows down a similar path itself, blending the weightier, rock aspects with some more enjoyable vocal melodies this time around, allowing it to come off as a generally more polished track in comparison, and providing the EP’s standout track. Sadly we finish up on a disappointing note courtesy of “Remembering”, which is ironic as truthfully I’d rather forget this one. Musically fine; the wall of guitar supporting a blitz of crashing cymbals provides a level of intensity, and it carries a decent rhythm leading up to its climax too, but for the most part here Derrek’s vocal delivery is arguably the blandest of the whole EP. When he’s screaming and in-your-face its fine, but sometimes his drone can induce levels of boredom not experienced since, well, half way through track two. Generally speaking the EP is a decent foray into MOCP’s debut musical adventure…this partnership has its good and bad aspects, but it’s a decent debut none the less…what’s more intriguing however, is where Michal takes this next. Was this a one-off and purely an indulgence? Will he and Derrek collaborate further in future, where they can grow as a side project, or will he take this on a new conceptual journey enlisting different co-pilots? Who knows, but until then, if you miss the early 00’s alt. rock / emo scene, then you’ll likely appreciate this pair in their current guise. [5]

If you cast your mind back to a little over a month ago, I shared a review covering an artist by the name of THE ANIX…initially forwarded to me by the team over at FiXT, it highlighted their steady expansion as they slowly build up their label roster with newer, outside artists. While musically it didn’t differ a GREAT deal from their already established acts, it was promising nevertheless…and today we’re going to be looking at another of their newest signings; let me introduce to you SOUL EXTRACT.

Originally based out of Atlanta, Georgia, Soul Extract is the creation of composer Josh Mullis and he formed the project way back in 1998! With certain setbacks however it’s taken a fair amount of time for his music to see the light of day, but now, confident and comfortable on the FiXT roster, he’s able to share his hard work and efforts through the album “Circadian Algorithm”; both his label and musical debut…let’s check it out.

The album opens up with “Project Terraform” and immediately you’re swept into a grandiose, almost cinematic musical score; intense and dramatic string elements backing a slowly emanating techno wave. It’s the kind of instrumentation that would easily find itself slotted into a Transformers movie or something akin to that….vocally switching back and forth between cleaner, synth fuelled segments and angst-ridden screams; it fits in perfectly well with the likes of CELLDWELLER and also reminds me of more local acts such as CLEAR THE AUDITORIUM. Follow up track “Decryption” takes us back to Extract’s formative years and here you can clearly hear some of that early nu-metal influence. Josh openly cites LINKIN PARK as an inspiration and you can clearly hear that within not only the vocals of this track, which are a nice homage to Chester at this point, but you can hear it within the composition and instrumentation too, with some of riffs and electronic touches sounding like they’ve come straight out of the “Meteora” writing sessions.

The nu-metal influence can also be heard on the likes of “Take Another” with the vocals giving off a subtle KORN vibe, alongside the slower, more crunchier instrumentation, mirroring artists such as ADEMA to boot. Speaking of slowing things down, “Oblivion” offers a far more chilling, mellow synth-heavy pop affair; with its anti-ballad qualities, mixing icy piano keys with a bold chorus and an orchestral climatic flurry, allows for a laid back but luxurious listen. Elsewhere “Aphotic Destiny” if nothing else taught me a new word today, however its pulsing techno perfectly suits its title, as it metaphorically submerges you into the deepest, darkest watery depths, before closing track “Singularity” rounds things off with more Celldweller-inspired, vocally raw, orchestral-tinged electronic rock.

Aesthetically this album is a nice little nostalgia trip for the most part, merging those early electro-rock influences with the more modern production value found through working with FiXT. While musically fine, if anything is to be noted as a negative it’s the track length; nothing here is under four minutes long, resulting in a ten-track album sounding far longer than it actually is. Condense one or two of these down and you could have some decent singles to promote off of the back of this, and that’s about the only real issue going forward. Other than that, it’s a fine record and nice way to maybe coax some more nu-metal fans towards the FiXT brand. [6]

​GIRL! I WANT TO TAKE YOU TO A GAY BAR! Well, to be honest, actually I don’t, BUT, I DO however want to take you on a journey, to remind you about one of the most underrated, hardest working bands on the planet; ELECTRIC SIX. I preach this practically every year, and that’s simply because, whether you’re aware of it or not, Electric Six have practically released a new album EVERY FUCKING YEAR since “Fire”, and frankly not enough people take notice!

People may naturally assume that, to be so prolific creatively, to produce a full album a year and complete all their touring commitments, it really must be a case of quantity over quality? And sure over the years, the band have dropped a lot of their overtly blatant ridiculousness, but having spoken to front man Dick Valentine, it’s interesting to learn that, despite him being very much the face and voice of the band, it’s very much a group effort. Each member of the band in fact writes three or four songs for each album cycle, resulting in a lot of time being saved and more importantly, a rich tapestry of differing styles and influences shaping each and every record. With that in mind, we’re about to delve into album number FOURTEEN; “Bride Of The Devil”…let’s get hitched…

With Dick’s typically dry-humour we open up with “The Opener” and I do like it when things get to the point it has to be said…with its subtle distortion and sludgy riffs, accompanied by plenty of vocal wails, plus Dick favouring his gritty, higher pitched delivery here, almost channelling an AC/DC-esque style, it’s an intense but enjoyable start. This actually carries through the first half of the album with some truly solid cuts from E6, keeping momentum going at a steady but satisfying pace…tracks like “You’re Toast” musically slowing things down for the most part, opting for a semi-blues rock offering, with Dick’s vocals full of piss and vinegar, to a degree akin to something CLUTCH might produce, which is always a good thing, while “(It Gets A Little) Jumpy” is a quaint little acoustic number, full of smooth melody and Summery hooks; it really is a lovely little track.

The second half of the album however….sadly; doesn’t match the same quality. It exceeds it! It honestly just gets stronger as it goes on and seriously, the band is on top form here…”Hades Ladies” saunters in with its gravelly rock ‘n’ roll vibe and deep groove; full of swagger and confidence…the title track utilises more of a simplistic synth-based hook layered within some classic rock influences, especially the brief solo which would easily please fans of THE DARKNESS for example, before album highlight “Witches Burning” delivers some classic E6 with its bluesy guitar licks and quality riff-work with an anthemic chorus…this is quality.

The album DOES drop the ball slightly with its closing track “The Worm In The Wood” as the sudden drop in tempo isn’t so much of a come-down as a let-down, with the latter half of the album getting you pumped up, hoping for an explosive climax. The tinny almost tropical guitar’s giving off an almost CHRIS ISAAK vibe which is nice, don’t get me wrong, but it can’t help but feel ever so slightly anti-climactic. Overall however that’s a minor annoyance that doesn’t take away from what is admittedly a superb album…fourteen albums in and Electric Six are still as consistent and reliable as ever, on this instance maybe even more so, as it’s one of their strongest collection of songs in a few years now…if I may paraphrase the great BILLY IDOL…it’s a nice day for a white wedding; it’s a nice day to, start listening to Electric Six again. [8]

Over the years many an artist, in rock ‘n’ roll especially, have used shock tactics or elaborate theatrics to help get themselves noticed. It’s all part of the image; the horror and excess that (Music aside) helps separate rock and metal from other genres. Many have succeeded throughout history…ALICE COOPER arguably helped start it all with his stage production going WAY back, you have the likes of ROB ZOMBIE bridging media formats by branching out into some intensely brutal horror movies…though today however we’re focusing not so much on artistic theatre, but, more of a macabre pantomime…yes we’re going to be looking at LORDI. Now instantly recognisable, their whole gimmick is based around the demonic monster costumes designed by front man Mr Lordi (Real name Tomi Petteri Putaansuu) but, despite being around for some time now, it wasn’t until that fateful and unforgettable night where they WON the Eurovision Song Contest for Finland back in 2006.

As unreal as that sounds, “Hard Rock Hallelujah” catapulted them into a mainstream audience, and their tongue-in-cheek style or horror metal has won them over a legion of fans, and they now have an impressive back catalogue of albums. Earlier this year they released their ninth; the wonderfully titled “Sexorcism”, supposedly their most controversial release to date…somebody better call Father Merrin, I think Jesus has done WAY more than fuck this lot…

We begin with the title track and it does open up like a cut from a horror movie score; really dramatic sounding and in preparation for a jump scare or intense fight between good and evil. The simple but ominous piano soon gives way though to some decent riffs and a surging hard-rock aesthetic and musically this is fine; it’s got a decent melodic hook for  a chorus too which, given, Mr Lordi’s honestly awful gravelled vocals, is quite impressive….it’s been produced really well up in Finnvox. This is far from a regular exorcism however (Is there even such a thing?) as he sings of FINGERING the demon out of her…steady on guys this isn’t the 19th century, you can’t be palming shit like this off like hysteria…did she even consent? This gimmick is backed up later by the interlude “Scg9: The Documented Phenomenon”, which essentially parodies THAT Exorcist scene with only slightly re-arranged verbiage. I really don’t know if this is a tribute or a parody…

The ridiculousness doesn’t stop there however as thematically following on from the title track we’re gifted with “The Beast Is Yet To Cum”...a nice play on words there Sir but if anything you’re promoting the fact that your own fingering skills are sub-par at best. Y’all motherfuckers need STEEL PANTHER and that’s one thing I thought I’d never say! In terms of musical highlights, it’s actually quite hard to separate any of the 13 tracks offered this time around. “Naked In My Cellar” has some more catchy synth elements and initially opens up like an early NIGHTWISH number before it delves into this rumbling, bass-heavy riff, and it’s about as clean as Mr Lordi’s vocals can probably get? It’s got a great pop chorus really…”Polterchrist” is another amusingly named track which starts off with some chilling female choir-esque vocals and more piano, before descending into a chugging, classic-metal type affair.

We eventually close out with “Sodomesticated Animal” which aside from its admittedly good name and a decent solo doesn’t inspire a great deal, while “Haunting Season” rounds things up with a generic symphonic metal effort. The trouble with this album is, everything seems to last forever, all of the songs, despite their comedic quirks, sadly drag a little and overstay their welcome to a degree. Less Lordi, more of a thick load quite frankly…a good release for Lordi perhaps like but, not something you want in your ears…the power of Christ compels you to NOT listen to this album. [4]

Unless you’ve been living under a rock for the past couple of years, or, your name is Madeleine McCann, you’ve likely heard or at least HEARD OF Columbus-based chart botherers TWENTY ONE PILOTS. While the lads have been at it for a while now, it wasn’t until 2015 that they made their big breakthrough with “Blurryface” after signing to Fueled By Ramen…but when I say breakthrough mind you I don’t just mean they got a little bit famous; HELL NO…I mean they were EVERYWHERE. In the charts, on magazine covers, on posters, you name it; you could find Tyler Joseph and Josh Dunn on it…

Not since the likes of MY CHEMICAL ROMANCE or early FALL OUT BOY had an act accumulated such an intense and loyal following in alternative circles, and their quirky concept album about metal health and personal struggles found legions of young rock and pop fans identifying with the characters and concepts contained within. Now, just a couple of years later and after a brief period of media silence, the duo are back with the hotly anticipated follow-up entitled “Trench”…another concept album following on from its predecessor with a sense of fluidity and continuity…but does it meet expectation? Let’s jump in…

We open up with the title track and things are going pretty swimmingly truth be told; fueled by a thicc (Yes thicc not thick), bass-line it surges forward with a super infectious groove, coupled with some subtly layered electronic elements, which are balanced well with Tyler’s laid back, often delicate vocals. Appearing to peter out, we get a soft piano transition, before the track re-erupts with a bassy climax with Tyler's voice tearing into an intense rage. Conceptually carrying on from the success attained by their last record; the new place he sings of, is where he finds himself surrounded by fame, and the pressures they’ve essentially put themselves under creatively; stuck in a trench battling with their own success. It’s a solid start, and really speaking so is the first half of the album in general.

“Levitate” transitions in smoothly too and here we shake things up stylistically, as Tyler embraces his hip hop and rap influences, delivering some slick bars over a classic ghetto beat. He speaks of cowards only showing up when everyone’s sleeping, suggesting that those without confidence or a set of balls don’t want the attention, only acting when people aren’t looking, but here Twenty One Pilots knew all eyes were on them in anticipation…this was always going to be make or break time and it’s been handled brilliantly, they’re very self-aware. This is backed up on “Neon Gravestones”, continuing the on-going theme of handling mental health with some very EMINEM-esque vocal delivery, though restrained it’s a well-paced hip hop ballad.

As I said the first half of the album unfolds very well, with further tracks like “Morph” which utilises a super smooth, soft-jazz R’n’B inspired chorus with brass elements, while “The Hype” harbours a simple yet effective, soft indie vibe almost plucked straight out of 90’s Brit-Pop with a very THE VERVE-esque structure. Sadly, the latter half of this new 14 track album does sadly limp over the finish line with some generally unexciting content. While the strength of Tyler’s songs does lay within his lyrics, it does help if the songs warrant listening to from an aesthetic standpoint and sadly here they don’t. “Cut My Lip” has some interesting Reggae influence and “Pet Cheetah” is just, well…I mean Jason Statham? What the fuck? Aside from that, it becomes a very flat and frankly tarnishes what was looking to be a properly strong album. The excitement generated around their return and the strength of the initial singles sold this record don’t get me wrong, fans lapped this up, and this initially looked like it was going to be a superb sequel, and it DOES start off that way, but they should have gone for a less is more approach. I know they called it “Trench” but they didn’t need to give us the fucking Mariana…[6]

GUNS 'N' ROSES' globe-spanning “Not In This Lifetime” tour will have finally come to an end in 2018, after more than two years of activity, having performed to over 4 MILLION people worldwide. For all of that time it’s been one of the most exciting things happening in rock music in recent memory, despite the fact that it’s been about 30 years since the height of the bands popularity. Excitement aside though, was the tour a fully-fledged success? Was it executed as well as possible for a mega rock revival? Having put together a review of sorts; taking into account the comeback’s roll-out, other reviews of specific shows, and the trajectory the whole journey established, we’ll take it point by point and find out whether or not these guns were firing blanks, or if these roses were once again in full bloom...Maryland's John Jameson elaborates.

​The band’s revival officially kicked off at COACHELLA in 2016, as the group sought successfully to shock fans by showing off the reunited duo of AXL ROSE and SLASH. That alone was enough to create a frenzy, who would have ever thought it possible?But it did draw plenty of attention to the show. As for the actual quality of the show, reviews were mixed. Some suggested that nostalgia carried the day, and that while the performance lacked some sort of, trademark injury, it was all-in-all a good listening experience. Others (Such as The San Diego Union Tribune) were more critical, suggesting that the band had aged and grown tame to a degree that made them less than themselves. Oddly, the LACK of dysfunctional nonsense that once defined the band was cited as a negative. All in all we’d say that given the reasonable level of expectation, it all went well - even if it wasn’t as wonderful as it could have been. Essentially, while lacking to some degree, it was still very welcome. [Rating: Just Okay]

​Back-tracking from the actual debut show at Coachella, it’s worth recalling any build-up to the Guns N’ Roses reunion too - even though there was in this case practically none. The closest thing there was to a hint or clue, came in the form of an ambiguous, seemingly random highlight reel played as a cinema trailer of sorts in December of 2015. Those paying VERY close attention to all things G'N'R may also have noticed a band-based casino slot game becoming popular around this time as well, though it’s unclear if this was a direct publicity effort from the band. Online slot sites these days tap into all sorts of themes, such that the most fun and lucrative thing about them is the variety. In this vein, G'N'R 'headlined' a game, as did MOTORHEAD and JIMI HENDRIX, and intentionally or not, this may too have played into revving up excitement about the band. However, there was very little direct or overt build-up. As successful as the tour has been, it may have been even more exciting with some kind of anticipatory energy. [Rating: Poor]

​This is the broadest category, and the one that matters most, though also the simplest to comment on. As with any band in any tour, Guns N’ Roses by all accounts had varying levels of energy from one night to the next throughout this tour. You can easily dig up reviews of specific shows lamenting the group’s lack of enthusiasm, as well as some praising G'N'R for being as good as ever. The truth of the matter is that it’s largely a matter of perspective. There are even divergent reports about the economics of the show. You may read that the shows aren’t selling out, for instance, but some of this is explained away by the fact that limited seats were available in lots of the larger venues, and the argument is offset by the fact that the show was by most any numerical degree an enormous success. Ultimately, what happened is that an aging, past-its-prime rock group took to the road for two-plus years and rocked concert venues around the world. OF COURSE they weren’t AS good as they were once upon a time. But they were still good. [Rating: As Good As Can Be Expected]

​It’s reasonable to argue that the most successful aspect of the “Not In This Lifetime” tour will in the end have been the anticipation it built up for future endeavors. While build-up for the tour itself may have been lacking, Guns N’ Roses has now set the stage for any subsequent album releases or additional tours it may be planning. The band has been fairly tight-lipped about future plans to this point, but it doesn’t take a psychic to guess that a new album will almost certainly be released in due time. And because of these last two years, there will be untold millions of fans ready to send it to the top of the charts the moment it comes out. So as for establishing potential, there’s really nothing negative to say. [Rating: Perfect]

Back in the early 2000's, Nu-Metal was officially in full-swing; a new wave of bands had been established, and the next generation of alternative music fans were about to catapult rock and metal into the mainstream. You couldn't go anywhere without seeing kids in baggy jeans skateboarding, talking about all these cool new bands they'd heard on this channel called Kerrang!...even video games and movies were getting in on the trend with a lot of soundtracks utilising the audible adrenaline rush, especially horror movies and sports games like Tony Hawk's Pro Skater; the whole thing was huge. While bands like LIMP BIZKIT were rollin' high up the charts much to the dismay of disgusted parents, and LINKIN PARK were slowly taking over the world having released THAT album...but here in Wales we could more than hold our own. With a blend of angst-ridden alternative rock, urban hip-hop lyricism and pop melody, THE KENNEDY SOUNDTRACK emerged and dropped one of the greatest yet overlooked debut album's ever to come out of the UK...now, nearly twenty years later, they're back, and I was lucky enough to have a chat with guitarist/vocalist DAVE CHALLENGER, as he looks back with bloodshot eyes, to re-tell a tale of two cities, and look ahead to a whole new soundtrack...

I’d like to just begin by taking a look back to those formative years; for those unaware of KST, give us a bit of back-story…how did you guys meet and ultimately form?

“You know that will reveal how old we are right!? [Laughs] We met around the mid to late 90s while we were in our teens at Crosskeys College in South Wales. Many schools in the area at the time didn’t have 6th forms so you would go to Crosskeys to do your A Levels or whatever else they had to offer. At the time (And I believe still to this day), they offered a BTEC performing arts course, this course had two variants, Drama or Music. The majority of us met on the music course.

In between the sex, drugs, rock ‘n’ roll, and shouting in an alcohol fuelled state at Pontypool’s Rugby lads, we’d also spent a lot of time playing music. Mainly; Manic Street Preachers, Radiohead, Nirvana or Oasis songs, before officially forming The Kennedy Soundtrack in 1999 to start writing our own stuff. One of the first tracks we wrote was “Too Much Stress”, and that version is way different to what ended up on the album. It was more of a 90’s Britpop affair with Nic’s youthful higher pitched rap over the top. Though it planted the seed for the KST to grow…”

The early 2000’s was a really interesting era in rock and alternative music…with Nu-Metal in full swing, so many bands were experimenting with genre crossover’s; the likes of LINKIN PARK and LIMP BIZKIT all taking the blueprint set by RAGE AGAINST THE MACHINE and redesigning an entire style…were these bands that you looked to as inspiration?

“Rage was definitely an influence, I remember a friend in high school gave me a black cassette tape that he’d recorded himself with the letters “R.A.T.M” carefully written in Tippex. He said “Give it a listen, there’s no samples or anything, it’s all Guitar!” I was like what IS this? I took it home and grabbed my Walkman and listened to it straight away. This was nothing like I’d never heard before and I loved it. There’s just something about those funky but also heavy riffs that just blew me away.  Up until that point I was mainly listening to U2 trying to figure out what on earth The Edge was doing then this Tom Morello guy was doing even stranger things!

Prior to RATM we were also growing up listening to GUNS & ROSES, CYPRESS HILL, N.W.A, NIRVANA and even prog-rock like PINK FLOYD, YES, and EMERSON LAKE & PALMER. Even the SEX PISTOLS, but I’m sure Johnny Lydon would not be impressed to be mentioned alongside Yes, but to be proper punk you don’t conform just to fit in. I watched an interview with him on YouTube the other day, I think he was quite disappointed with the punk scene. It’s what often happens with counter culture movements, is that they just become another box for everyone to fit into and then become main-stream. Be yourself, though accept your influences! [Laughs]”

With your gritty yet melodic rap-rock sound, you stood out yourselves in the South Wales scene…bands like CATATONIA and STEREOPHONICS had put Wales back on the map musically, but you were part of such a vibrant movement…with yourselves, SKINDRED, FUNERAL FOR A FRIEND and we can’t ignore LOSTPROPHETS as much as society wants us to…what are your memories of back then? A lot has changed in music since, do you look back fondly?
 
 
“Lostprophets! I’m not gonna’ lie, we used to listen to them a lot, as they were around a little before us. It’s a terrible thing to have happened to all the victims, and it goes to show you shouldn’t put anyone on a pedestal. He’s ruined a lot of lives including the rest of the guys in the lost prophets that have to live with it. Anyway enough of that…

I do get nostalgic listening to all those bands; it was part of us as we were developing as people and as a band. Each of us was coming to the band with our own musical background and each one of us was determined to get that into the mix.  That’s the Kennedy Soundtrack, each one of us had a Soundtrack we grew up with to add to the project. Everything from 70’s Prog, Rock, Metal, Reggae, Hip-Hop and even 90’s indie.

Cool Cymru was a term that was banded around quite a lot, though we came a little late to the party and we weren’t really part of that scene, apart from perhaps Skindred. We did play with them from time to time. Benji even did a cameo on one of our B-sides, which I incidentally will be re-released in the coming months through Spotify (shameless plug)…”

You left your mark with the release of your debut album “Tale Of 2 Cities” back in 2002, an album that’s become somewhat of a cult-classic…you delivered so many top tracks like “Learning To Let Go”, “Here 4 You” and that’s without the singles you released…it was a quality album from start to finish and at the time, arguably criminally underrated. Looking back, are you proud of the album still? With hindsight is there anything you wish you'd done differently or not done at all?

“Ha, Is it really a cult classic?  I suppose that just means that not many people have heard it, but the ones that have, love it? Well, I think that’s a good a definition! We are always proud of what we achieved, and looking back now there are things that we could’ve done differently, but it is what it is. We are certainly better musicians and performers now, older, slightly wiser. We are better than ever!”

Much to the dismay of your fans, it was to be your only album, there was and still is genuine disappointment surrounding that, what happened following the initial release and collectively what have you guys been up to during the time that’s passed?

“2002 was a pretty hectic year for us. What with recording the album in the USA and touring, I reckon we probably did around 250 gigs that year, we were pretty worn out and jaded by the end of it. By Christmas 2002 we were dropped from the record company. Shortly after that, around February 2003 we were offered a support slot on tour with STEVE-O from JACKASS. The first gig on the tour was in London’s Shepherds Bush Empire. Let’s just say that the place was full of teenage boys trying to outdo each other and the place was crazy. I remember walking onto the stage with some kids shouting “I’ve puked and pissed on your guitar!”.....I thought to myself, “yeah, whatever”.....but as I walked over to my treasured guitar on stage, glistening under the stage lights with our intro music pumping out over the PA, I picked it up and I felt it slip out of my hand a little. The rest of the guys were taking their places on stage looking similarly concerned as I was. I put the guitar around my neck to realise, that the shouts from the kids at the front of the stage were not just the sounds of youthful banter, but they had actually thrown puke onto the stage. We played for around 20-30 minutes whilst being assaulted by various bodily fluids and projectiles before ending the show wondering what the hell had just happened...

All our gigs up until that point (apart from one gig in Barry Island where we had a little scuffle with one of the local knobbers) had been fantastic experiences, playing with PINK, HUNDRED REASONS, PITCHSHIFTER and various festivals such as Reading and Leeds. But, having just lost our record label, being worn out, and the Shepherds Bush gig was the final straw. That was the last time that we played together on stage. (As of Nov 2018)
Following this we all went on to have normal jobs, leading normal lives, buying houses, raising kids etc etc. Between us we’ve been doing Drug Rehab Work, NHS Management, Stats Office Management, Store Assistants, Carpenters, Youth Workers and Bus Drivers.

While living the 9-5 we’ve still had other musical projects, such as Nic’s Hip Hop stuff;- Applied Science and Knights Of Boom. Elliot has been in almost every band in South Wales from 2003 to current day, such as The Guns, Smiling Tigers to name a couple. Myself and Elliot also performed in Ice Cold In Alex and have new project CATALYSTS. You can find these on Spotify, Apple Music etc."

Now in 2018, nostalgia is ripe and it’s an exciting time for KST fans….Recently (Oct 13th 2018) you re-released your album marking International Cassette Store Day…very much like Record Store Day it celebrates physical format and independent outlets across the country, and to mark the occasion people can now find your debut album on cassette as a limited edition for collectors. How did this come to light and who got the ball rolling to make this happen?

“Well that was serendipitous event back in the summer where I put an old demo tape of ours (Actually originally it was on mini disc but I’ve recently got into cassettes) on eBay to see if anyone would be interested in it. Pretty soon after listing, Ant from Lavender Sweep Records in Swansea messaged me if we’d be interested in releasing the demos for international cassette store day. The plan was to release the demos. As it turned out we decided to keep some of the demos and to re-release the album instead. We contacted our old record company and I must say they have been really helpful and supportive to hear that we’ve reformed. So they agreed to let Lavender Sweep produce a limited run for CSD. There are still a small number available if you are interested!”

If that wasn’t enough, you’ve also been rehearsing for some select reunion shows and have even talked about releasing a collection of B-Sides and rarities…tracks like “You Never Know” getting the deserved chance to shine…clearly the energy is positive; what’s it like having the band back together?

“It’s been fantastic! And this time we’re doing it for ourselves, by ourselves and our main goal is to create music and have a good time. We’ve succeeded at that, so we will keep surfing the new KST wave.”

With the talk of the B-Sides project, coupled with the Cassette Store Day release, the level of activity in the KST camp is exciting…fans have to ask, what’s next? Is the motivation there to maybe get together and write again? Maybe more live shows down the line? Or is this purely a nostalgia trip for the fans?
 
 “We’ve recently been in the studio with the Producer Legend that is Romesh Dodangoda. We will be releasing a single in the New Year from that session. For KST live? We’ll see how our first show in nearly 16 years goes on the 14th December 2018! It’s sold out so it seems there’s appetite for the KST. I think we just might have to think about a show in the New Year, maybe even new material. You Never Know…”

Dave, thank you so much for the chat, all the best for the up-coming projects and more importantly, welcome back!

When it comes to the UK music scene, there’s always hot-spots…an obvious one is Camden which has more quality venues than you can shake a drum stick at…Nottingham has Rock City which is a favourite among many gig-goers…Wales too has a great history of grass roots music support, but today we’ll be looking at Southampton. With its own iconic venues such as the Guildhall and The Joiners, over the past couple of years it’s produced some top quality artists such as BURY TOMORROW and of course, CREEPER, who’ve had an almost stratospheric rise to the top of the alternative rock scene…so naturally with So’ton back on the map, we’re going to be hearing about more bands looking to make a breakthrough, which brings us to today.

Let me introduce you to CANAVAR…consisting of vocalist / guitarist Deklan Webb, guitarist Jack Bowden, bassist Rowan Rashley and drummer Toby Rashley, they bring together a chaotic blend of heavy metal and hardcore punk to create an equally commanding and confident sound; so confident in fact that they totally skipped recording an EP…no testing the water for these fuckers they dove straight into a full length album! With a name roughly translating as Monster…let’s see just how monstrous they sound on “Canavar”.

We open up with the lead single “Sacrilege” and initially we’ve got this really bouncy, up-tempo punk-rock piece; the vocals are clean though very rough around the edges giving it that traditional skater-punk vibe…but this soon descends into a more traditional metal style breakdown and a crazy solo! The classic metal approach charging through, but this only leads us into the tracks climax, foreshadowing the rest of the album…Deklan switches up his vocals and sounds almost possessed such is the change in tone, the inclusion of growls being so sudden, it’s an interesting start. “Brick By Brick” follows up and while it has certain thrash-inspired elements running through its riffs there is still a pretty prominent punk backbone here; you can hear the influence the likes of RISE AGAINST or even say, ANTI-FLAG have had musically on the 4-piece, and naturally as a result it’s quite another pacey offering.

Those same thrash elements can again be heard in “Fire Inside” which for all intents and purposes sounds like the bastard offspring of some weird METALLICA / SLAYER crossover experiment from a 6-string perspective, while vocally again it bridges the gap between hardcore punk and heavy metal, absolutely full of piss and vinegar. The main highlight however comes courtesy of “Devil’s In The Details” which initially embraces a subtle MISFITS vibe while also harbouring more modern alternative rock aspects, mirroring artists like MATCHBOOK ROMANCE and the aforementioned Creeper. The rest of the album generally fleets back and forth, hand picking certain qualities from all genres listed above…there are slower cuts like “Deadly Sins” and “Moral Compass”…then there’s the less than two-minute flurry of closing track “Ready And Willing”, and while  musically they’re not reinventing the wheel or anything as such here, this is for the most part a really fun album and that’s really down to THEIR enjoyment, the band are having a fucking whale of a time making noise and it resonates. Personally I’d like to hear them focus on being a solid punk unit as it’s that area they sound strongest and more fluid musically, but overall, it’s a fine album. [7]

Beige; such a vibrant colour…it’s got so much depth and character, it’s such an interesting and thought-provoking colour…said absolutely NO ONE ever. Beige is usually only found in the unused dust covered section of the B&Q paint chart, or in the mug-shots of Burberry-clad young offenders, but more often than not it’s used descriptively as a negative, aimed at only the blandest, most unexciting things you can think of…and this is where today’s band comes in; let me introduce you to a band called SCRATCH.

Yep, that’s right, Scratch…just Scratch, what an utterly unimaginative name…people mock HIM but at least that’s representative of the occult, but Scratch? I mean, scratch what? My arse? I dread to think of the names you thought WEREN’T good enough! Anyway we’ve only just scratched the surface…see what I did there? THAT’S ABOUT AS GOOD A USE FOR YOUR NAME AS ANY! PUNS! I digress…the band consists of members Ruzbeh Irani and Avinash Lalwani, (Ruz and Avi for short) and not only are they band mates, but childhood friends, yet what DOES make things interesting, is the fact they live thousands of miles apart, in New York and Perth, Australia respectively! This however, is literally all the info we’re given…you may think they were keeping the initial email brief, but no! I’ve checked their Facebook profile AND their actual website and that’s ALL the information! Even their bio is beige! It’s like they aren’t even trying! I’m losing interest already, but, it IS their debut EP so I’ll put it down to inexperience…what’s the EP called…”Scratch”…it’s self-titled…DAMNIT ARE YOU THAT PROUD OF THAT NAME!?!?! Let’s check it out before I burst a blood vessel…

We open up with “Soak” (I'm surprised it wasn't "Sniff") and initially it’s as though we’re heading into country blues-rock territory, but it quickly erupts with a grandiose post-rock dose of tinny guitar and percussion…the vocals are interesting in the sense that, while initially weak, they are belted out in the chorus, giving the track multiple personalities. The pitch of the backing vocals in places however is excruciating, and over its five minutes it crams in a fair amount of style, simultaneously sounding like it’s lost somewhere between U2, RADIOHEAD the PSYCHEDELIC FURS, there’s a very alternative 90’s vibe to this. “Newer Things” follows up and continues the soft vocal delivery over some light indie tones, before again cranking it up for the chorus, allowing for more vigour and general energy from the instrumentation with a slightly more distorted guitar sound, it’s quite 50/50 really.

Next up we have “I Don’t Mind” and they’re happy to point out that it’s the first song they wrote as a band and that it’s one of their favourites…carrying forward the initial soft country blues tone to the guitar, coupled with the mellow vocals, it’s got that saloon vibe to it…you can picture the montage right now; the lone outlaw slowly strolling into town at dawn, drinking liquor and smoking cigars…the subtle attitude of the electric guitar creating an aura of suspense and this is easily the best track on the EP right here, before we finish up on “The Key”.  A slow, methodical and utterly lifeless track that just drones on pointlessly with a repetitive riff and a grating, brassy guitar tone, seriously it’s so drowsy…that is until the intense almost punk-rock flurry of the chorus, but sadly these elements don’t complement each other, oh no, this song just feels broken…descending into a barrage of noise at the tracks climax. Was the key in question referring to the intake of cocaine? Because this song literally sounds like they did a studio take of before and after sniffing…ultimately Scratch sound like a band with a multitude of influences, but they’ve yet to settle on an idea as to what they want their sound to be…this sounds very trial and error. Truthfully they’d make a genuinely decent shoegaze based, blues country outfit should they keep things mellow and melodic, but the jarring rock instrumentation and rough vocals don’t benefit them at all. I guess you could say that, they should…start from scratch, which reminds me…FOR THE LOVE OF FUCKS SAKE CHANGE YOUR NAME! [3]

Now, if you’re from the UK then you are BOUND to know someone, who, when you merely mention the Polish, that will go all South Park on your ass and start shouting “Dey terk er jerbs!!”…but we’re not here to highlight immigration fearing UKIP voting redneck folk, no, we’re here to talk music, and today’s band just happens to be from Warsaw, Poland; Let me introduce you to THE FREUDERS. The four-piece (Consisting of vocalist / guitarist Tymon Adamczky, guitarist Olek Adamski, drummer Jacek Lodi Piatkowski and bassist /programmer Maciek Witkowski) got in touch with me via email and asked me to check out their newest EP by the name of “Omniform”…the tracks have been described as being 4 atoms, distances apart but ready to collide together to exude the powerful force that is this EP, emanating in a metaphorical black hole, sucking you in to the music. That’s a pretty bold statement! Where did they produce this; the fucking Hadron Collider? Let’s check it out…

The EP opens up with “Rhino” and just like the hulking animal itself the idea is that it charges at you with its duel socio-political message of combating terrorism and the idea of lady justice; the government’s that live vicariously through her via means of war and conflict…an incredibly deep track that musically takes on a morose, grunge-fuelled post-rock tone channelling influences such as AFGHAN WHIGS. Mostly spoken word, but thankfully it does come to life for the chorus salvaging something at least from a listening perspective; it’s a decent start. “Alter Ego” follows up and it’s like a constant battle between warring split personalities, like Tymon is speaking of the allowed consumption of his one side by the other, almost singing to himself, but again, aside from an bold yet fuzzy, classic-rock guitar solo at the tracks climax it’s still just another slow, monotonous offering for the most part.

“Brotherhood” continues this approach with another sluggish, grunge-based, mostly spoken work piece, only offering slight melody with the brief chorus…slightly droning, even layering what sounds like whale-song inspired instrumentation within the latter half of the track, allowing for a somewhat shoegaze experience but it still feels and sounds lazy, before closing track “Shipwreck” takes you on a nihilistic journey through the zombified mind of a sailor going through the motions at sea…fed up of his Captain’s seemingly endless quest, the voyage at sea becoming bleak, the repetition pushing him to almost breaking point…the mantra of “we sink – we drown” the only thought seemingly keeping him going, veering off at the end like he secretly wishes to end his existence in the cold sea below. With the grunge elements still driving the music there’s also subtle prog influences here too and at points you can hear the bands appreciation of TOOL creeping through, giving us the EP’s only other notable point of interest really.

Mind you with that said it, doesn’t take away from the fact that, overall, the seventeen minutes of music that makes up this EP is arguably some of the dreariest you’ll likely hear all year…even instrumentally, aside from a few interesting guitar licks and ideas, it’s just a really lacklustre listen, both uneventful and unexciting. They may share a name with Sigmund Freud, historically possibly the world’s foremost leading name in neurology and psychoanalytic research, but even he would struggle to find motivation here, sadly this EP really is that boring. [3]

“Are they human? Are they wolves?” – Wait, what? This is going to be fucking great I can already tell let me read some more of this… “Their looks may be deceiving and even comical at first glance, but they have incredible brain power and a superhuman physique”…I just did a legit LOL. In case you’re wondering, this isn’t the plot synopsis to some low-budget Lycanthrope movie; it is in fact the back story to one of the biggest bands currently tearing up the Far East! If I may, allow me to continue; “Such superb abilities enabled them to carry out the planet’s most challenging top secret missions, and made them untouchable by the world’s fearsome and powerful leaders including Genghis Khan, Attila the Hun, and Ivan the Terrible.”…this is incredible…this is absolutely incredible, let me just compose myself for a minute.

The band in question is MAN WITH A MISSION and the Shibuya based 5-piece (Consisting of vocalist Tokyo Tanaka, guitarist/rapper Jean-Ken Johnny, bassist Kamizake Boy, drummer Spear Rib and DJ Santa Monica) are collectively one of the most relevant and loved rock bands in Asia today, selling out arena’s all over the continent, having racked up millions of streams and views on platforms such as Spotify and YouTube…but over the past year they’ve been broadening their horizons and have reached out further afield. Some of you may recognise them from their tour slot supporting DON BROCO recently but  now in 2018 they’ve released their first international album; the appropriately titled “Chasing The Horizon”. The question is are these wolf men leading the pack, or just barking mad?

The international release itself has a couple of exclusive bonus tracks for those of us outside of Japan, which includes “Mr. Bad Mouth”, “The Anthem” and “Brave It Out”…the former is a well-worked combination of pulsing, bass-driven electronica and an up-tempo, rocking chorus which in places resembles the likes of FOZZY, but that’s really not a bad thing, while the latter uses a more R’n’B / rap-inspired approach to its verses with the guitars and synths layered throughout, “The Anthem” sadly click-baits you into expecting something big and bold, but what you DO get is a morose ballad type track which is very anti-anthem if anything…though it’s message is positive so it’s not all bad, just a tad disappointing.

The rest of the album features a selection of singles that MWAM have previously released and to be fair this is quite an impressive repertoire…”Take Me Under” for example is wonderfully infectious piece of synth driven alt. rock with plenty of melody  and sing along qualities…”Dead End In Tokyo” has the additional appeal of having FALL OUT BOY front-man Patrick Stump on the writing credits, which makes sense when you listen to it, it’s got that certain distinction in tone…sticking to pop-culture references, wrestling fans may recognise “Break The Contradictions” from NJPW’s recent G1 Climax, the track being selected as its theme; with all of its clap-along charm it’s a really enjoyable track, before “Dog Days” give-off a more drum & bass vibe for a really up-beat slab of rhythmic techno. The only real downside I can find really is “Freak It!” which features the Tokyo Ska Paradise Orchestra…the brass-sections coupled with the progressive jazz elements don’t really sit too well with the almost stop / start pacing of the track and really it just comes across as a failed experiment. All in all for an international debut it’s a shame…a shame because they’re actually a really good band underneath the furry gimmick and ideally we could have heard more of them sooner, and their back catalogue is well worth exploring. Definitely a recommended record, why couldn’t we get these guys instead of fucking BABYMETAL?!?!?! [8]

Today we’re going to be looking at an artist from the lovely folks over at FiXT. Now, it’s been a while since I’ve covered any of their releases, not that they don’t get in touch, but when they do more often than not it’s usually singles and remixes (So many remixes) that I generally don’t cover here, but, FiXT in case  you may not know from past reviews, is the brainchild of producer extraordinaire Klayton of CELLDWELLER fame (As well as SCANDROID, CIRCLE OF DUST and even FREQGEN, honestly the man doesn’t sleep) and they specialise in studio-based experimental crossover music, primarily focusing on bridging rock and electronica…and while Klayton has those four projects of his own on the roster himself, slowly but surely they are expanding, gradually adding more outside artists to the mix. Recently they asked me to check out a brand new member of their roster by the name of THE ANIX so naturally, I obliged and…here’s what I discovered.

Formed in 2001 by Los Angeles based artist Brandon Smith, The Anix was initially a band-orientated project playing live shows up and down LA before their debut album “Demolition City” dropped in 2008…this led to a stint on CLEOPATRA Records and several more albums, but they remained relatively underground to the wider audience. Now in 2018, The Anix is signed to FiXT as a one-man project in which Brandon himself takes the role of composer, producer and mixer and he’s recently released album number six; “Shadow_Movement”, his FiXT roster debut…let’s see if it takes him out of those shadows and into the spotlight.

The album opens up with “Race To Nowhere” which sets us up with the albums concepts of a dystopian cyberpunk universe…a glorified intro piece, the lyrics simply repeat “Out in the end, racing to nowhere I’m gonna crash through” over futuristic, ambient techno and it does the job of setting the listener up for a journey, serving no purpose other than basically providing deus ex machina for the records overall concept. First track-proper “Fight The Future” however gets going then with a sultry dose of dark synth pop and deep electronica…it’s quite methodical and quite cold, with the majority of Brandon’s vocals delivered in a hushed manner aside from the chorus which provides more melody. In ways it’s easy to see why Klayton signed The Anix as this sounds incredibly similar to something Scandroid would put out…I won’t lie at first I thought it WAS Klayton on vocals for this too!

Over the rest of the albums 15 tracks what becomes apparent is that this is an album of two halves, with the first half providing much better results and lead single “This Machine” being a particular highlight.  Much more up-tempo it initially takes on an almost EISBRECHER-inspired tone, before it marches on with an infectious, percussion led dose of electro-rock, spitting out all of the hooks. Incredibly rhythmic, this machine is well oiled and fires on all cylinders, great stuff this. “Come Back Down” goes down a similar path but is generally softer, though loses none of its rhythm or groove, opting for pop-based production qualities, it’s really rather catchy. “Interchanger” and “Overdrive” again go for the easy-listening retro-pop vibe and the similarities to label-mate Scandroid are prominent once more, but that’s not detrimental, while “Open Fire” has subtle touches of electronic icons DEPECHE MODE with its deep fuzzy synths and general tempo; it’s for the most part deeper and you can’t help but want to hear what Dave Gahan would do with this.

The second half of the album however sadly tapers off and you can’t help but debate that age old conundrum of quantity vs quality. With a handful of tracks resorting to no more than instrumental pieces, such as “Clouds” and closing track “Strategy X” being so short compared to the rest of the track list, it makes you wonder if they really NEED to be there at all. The former is just filler, all grey and overcast, allowing no light, while the latter is less strategy x, more strategy exit; swiftly evacuate my eardrums please, you serve me no purpose or enjoyment. Other tracks like “Ghost” disappoint too with its low-fi trance tones and repetition, asking are YOU a ghost? I don’t know let me go ask Scooby-Doo…that’s how seriously I take this track, while “Pendulum” just makes me wish I was in fact listening to PENDULUM, which would be much better. Overall while not perfect per se, it’s nice to see a fresh face on the FiXT roster, as variety is the spice of life after all. Granted a lot of this does already sound a lot like Scandroid at times like I’ve already said, but it is Brandon’s debut on this label and maybe he’s just trying to fit in while still doing his own thing, I mean, an annex itself is something only a LITTLE different after all. [7]

The rock ‘n’ roll lifestyle…very much akin to that of any Santa Carla vampire really; you know…party all night and all that malarkey…well it turns out, a couple of UK bands didn’t get that memo last year! Maybe it’s just coincidence but both YOU ME AT SIX and today’s band, DEAF HAVANA (Despite charting favourably) pretty much underperformed and underwhelmed with their previous albums “Night People” and “All These Countless Nights” respectively. They may have been children of the night but oh what music they DIDN’T make…well this year both bands are aiming for redemption with swift follow-up records. I’ve already covered YMA6’s new one “VI” over at www.allabouttherock.co.uk but here I’m going to be looking at Havana’s new LP entitled “Rituals”.

Written with a fresh, interesting approach; here we found front-man James Veck-Gilodi throwing out the usual Deaf Havana rule-book to jot down no more than just some potential song names first. He would then write songs according to those titles, fitting the lyrics and music around those ideas and concepts, with the band then completing them in the studio once satisfied. The end result? The 13 tracks we have right now making up “Rituals”…let’s check it out.

The album rather appropriately opens up with “Wake” and while a completely separate body of work it’s still as though there’s this redeeming narrative that both aforementioned bands are focusing on; the morning after the night before, referencing the previous albums. No more than a 40 second intro with the words “You can fall” repeated in a choir-esque fashion…very hushed but slowly climbing in volume and presence, before cutting off and leading into first track proper “Sinner”. An incredibly jovial track combining elements of soft indie-rock and boy-band pop melodies; an incredibly light-hearted take on James’ own personal past experiences; a song of admittance and acceptance delivered with a very British stiff upper lip, but it’s very easy listening and enjoyable.

This general tone musically carries through the album fairly consistently…even conceptually as far as the single-word song titles. “Holy” utilises a subtle, underlying funk-inspired feel coinciding with the already established indie-pop vibe, backed with more choir accompaniment courtesy of the London Contemporary Voice Choir…”Worship” too with its percussion-driven acoustic tones and minimal synths makes for a very laid back listen, which can also be said for “Fear”, while album highlight “Pure” is rich in rhythm and delivers a simple yet effective chorus, even teasing at James’ grittier vocal qualities, highlighting his passion as a singer.

Some of the tracks do plod along, barely escaping 2nd gear towards the end of the album mind, with “Heaven” again utilising the help of the choir, providing gospel-inspired gang vocals over a generally slower, stripped back track, while the albums longest offering “Saint” makes you wish you had the patience of one. God it’s so slow and boring…I mean it’s touching, but boring…and who really wants to feel bored when touched? I’m getting off topic now…ahem…that sadly too leads us into the closing track “Epiphany” and it’s here I had a sudden realisation; this track is also sadly a bit dull, as well as feeling abrupt and almost unfinished. “Rituals” as a whole isn’t bad; it’s got its pleasant pop qualities, James is still a fine story-teller, plus it’s got more energy than its predecessor…and credit to them for experimenting with their entire approach to writing this time around. The only thing I will say is that know James can properly belt out the vocals when called upon with grit and conviction, he’s done so in the past, and this album again does lack some of that edge…other than that it’s a decent album. Now if you’ll excuse me I have my OWN rituals to sort out…these puppies aren’t going to sacrifice themselves…[6]

“Lifestyles of the rich and the famous, they’re always complainin’, ALWAYS complainin’”…oh such was the folly of youth in 2002, when a young  and hopeless pop-punk band by the name of GOOD CHARLOTTE, was suggesting robbing peoples mansions to give them something to complain about. Fast forward several years however, and this same band (Now rich, famous, multi-platinum selling artists themselves ironically enough) was complaining that they felt the music industry was trying to control their image and ideas, so needed to go on hiatus…boo-fucking-hoo you might say…pot calling the kettle black much? Regardless of how you look at it, there was indeed a period of silence between their 2010 album “Cardiology” and their comeback album “Youth Authority” in 2016 and individual circumstances aside; it was an interesting concept having Good Charlotte back in any capacity…

A lot had changed musically in those six years…gone were the days of their emo-inspired alternative pop-punk, that ship had sailed and the genre itself had been scaled down to little more than a meme to some people, so where did the Maryland rockers fit in? They still retained their trademark alternative core sound, but they had further embraced more of that pop-based production value; less angst, more musical maturity but frankly, despite the long gap, the albums reception was underwhelming if anything…2018 sees them look to put that behind them however with the cobwebs now dusted off, and they found themselves itching to get back into the studio. The result? “Generation Rx”…let’s check it out.

The album opens up with the title track and at this point I must point out that the Rx is a nod to the opioid crisis in the US; it’s a medical term associated with prescription drugs and suggestively a great start; are drugs a prerequisite to find enjoyment in this album? Luckily no, but it does give in an indication of the socio-political elements fueling the direction of the record. Essentially a glorified intro track, it’s very minimal with gradual piano, vocal harmonies and overall hushed tone, lyrically referring to the void that is prescription medication; a black hole of addiction that’s there in front of you, yet so difficult to see and ultimately avoid. First track proper then “Self Help” transitions in smoothly, continuing this narrative and begins what is arguably now just an 8-track mini-album. With its scorching vocal opening it takes things up several notches with it’s intense, up-tempo kick start, and it’s got a pretty infectious hook too…couple that with an enjoyable, no-nonsense riff approach, this is some decent alt. rock and much better.

Given the fact that they’ve opted for an almost less-is-more approach to this record, the highlight’s here give the album a genuine sense of solid consistency it has to be said…”Shadowboxer” has a simple but effective groove carrying another strong, melodic chorus leading up to an almost anthemic climax, before “Actual Pain” delivers an actual potential hit. Utilising more synth-pop elements in places, gang vocals and harmonies it’s no wonder this was the lead single, great stuff this. Elsewhere tracks such as “Better Demons”, with its opening monologue and underlying nihilism reflects the darkness sewn throughout the album but again it’s delivered with some great hooks, while we’re treated to a surprise collaboration with ARCHITECTS own Sam Carter on the track “Leeches” which adds additional weight and depth.

Despite all these positives there’s always room for less impressive offerings even on shorter track lists and here, they come in the form of “Cold Song”, which is just a slower guitar ballad which would have been better suited to like, NICKELBACK or even COLDPLAY…hell the chorus could even pass for a WESTLIFE track…Jesus…before closing track “California (The Way I Say I Love You)” very nearly goes down a similar path, and I’m surprised to know that this wasn’t written by Anthony Kiedis! I jest…real talk though, drop those and maybe the intro and this could go from a decent album to a strong EP! Ultimately Good Charlotte are still tweaking things musically and still gone are the days of their bombastic eye-liner clad punk vigour, but here they still manage to entertain for the most part. I’d avoid getting the prescription though, paracetamol are only 20p a pack in Wilko you tight bastard… [7]

Now as you’re probably very aware by this point, I don’t really cover much (If any) rap music within these pages, so you’d be right to assume that, it’s not an area I have a great deal of expertise in. I see and hear artists like DRAKE who just mumble their way through life delivering THE most boring tracks you could hear outside of shoegaze and stoner doom metal…seriously how is he so popular? Forget “Hotline Bling” I’d rather block your number AND make myself deaf just to be safe. KANYE WEST is just Kanye West there’s no real explanation for that man, words genuinely evade me, and then there’s guys like 6IX9INE who look like they’ve held fucking Picasso at gunpoint and demanded “Make me famous!”…not even Bob Ross could find happiness in that shit…it’s like he fell asleep and a kid drew on his face in permanent marker and he hasn’t realised yet.

Anyway I’m getting of track now…on my last reader’s poll, despite my lack of knowledge of rap both musically and culturally, you voted for me to check out “Kamikaze”, the surprise new album by EMINEM…and this got me thinking. How am I going to fairly review an album with my own sense of conviction when I have absolutely no idea how to approach it in the first place? The answer is, truthfully, I can’t…but what I can TRY and do is be creative with it. So with that in mind, and forgive me for what you’re about to read, I’m going to attempt to write a RAP, about Shady’s new record and use that as my review. I may or may not pull this off, I don’t even know if this has been done before, but, here we go…somebody give me a sick beat…

“Don’t call it a comeback, it’s more like a revival…that was the plan at least but like a priest he only prayed for survival; cast out out-cast and left in the shade, Shady was left in the dark, like a shadow of his former self and the contrast was stark…you can take your Skylar Grey’s and your Beyonce’s and all collaborations…all your Ed Sheeran’s and your Pink’s and think Marshall tried a bit hard to get over, too many over estimations? High expectations? You could say we had plenty but the feedback on the last tracks left Shady’s blood boil fucking higher than 4:20. It was slim pickings for positives with critics shitting on legacies putting slim way past his prime and about as relevant as any of Kim’s last pregnancies…all these new kids on the block they were part of the issue; grandpa Mathers didn’t matter no more his new material was more like old scar tissue…Lil Pump, Post Malone, Cardi B, on the throne; a new generation of hip-hop was now on-top and wouldn’t throw him a bone but this got under his skin, he’s got a bone to pick with EVERYBODY; if there’s anyone it’s NO ONE who can claim to call him nobody and so with that in mind, you can all go fuck the revival…he’s in the cock-pit cocked back kamikaze aimed straight for his rivals…

We open up with “The Ringer” but he aint dead, there’s no love-lost for no one, there’s only one Shady and he’s brighter than ALL those that think that they outshone THIS rap god; lyrically spitting bars like a machine gun but don’t mention Kelly, “Shots Fired” but didn’t even hit the mark on this album, that’s how relevant YOU are son…with a slow beat and a stop start to the tracks pace Slim puts you ALL in your place and this is just song ONE, unlucky for you we got thirteen to get through we’ve only just begun. “Greatest” is an oxymoron; as he raises the bar with his own  bars and his blistering lyrics, but musically this loop is just lazy and just encourages cynics…making his point on the poorest of choruses, but that’s the whole point that he’s making; his songs slaying even with beats weaker than osteoporosis. “Stepping Stone” is much bigger on melody and humble beginnings, the have’s and the have not’s and why with hindsight that he’s swinging for the young blood, who all swung at him first, this aint about cheap heat like he had with the Moby’s and the Fred Durst’s…he’s learned from his mistakes and he’s making amends but Eminem equals longevity while you’re nothing but trends.

Elsewhere you’ve got a title track bordering on cartoonish but to overlook his statements just makes you look every bit the more foolish; it’s kamikaze for a reason kid and he’s nose-dived, nose to nose with his foes and there’s no remorse as his rap thrives…more Oompa Loompa than Oompah though musically insane it harks back to “The Eminem Show” guess who's back, back again, but if you don’t want the nonsense then he's no longer Mr "Nice Guy", until Jessie Reyez wraps her vocal chords around this rap and you think THAT was your best try? Honestly man it's like she autotuned herself so sound like that time when her own fucking cat died... 
The album in general though is militant, and these millennial rappers just got Court Martialed by Mathers and the message is fucking simple you don’t fuck with the rap god…form is temporary but class is far more than some gold plated iPod, you material rappers couldn’t rap your way out of wet paper bag and honestly? That’s odd; you make comments on the condition of Em’s relevance, lacking any understanding and any sense of benevolence but you’re just wasting time just as much as you’re wasting his oxygen, Slim Shady’s the grand oak tree and your no more than an acrogen...the disdain is toxic like a stain on all rap, a bit like “Venom” at the end of the album coming straight off of the soundtrack…it lacks a purpose or conviction, and legit don’t belong, leave that shit for a B-side or just the special edition, there’s no marvel to THIS song…overall I'd give the record a score above six but that's a bit strong." [6]