Africa as a whole is an incredible place…whether you’re in awe of its vast array of wildlife seen on various nature documentaries, or in dismay at some of the struggles of poverty and hopelessness outside its main cities, it truly is a fascinating and diverse continent from coast to coast. One thing that isn’t often discussed however is Africa’s alternative music culture; we can all recognise and associate traditional instrumentation, rhythmic and expressive with a lot of woodwind and percussion as seen in film and TV footage, but that’s all a cliché, there’s plenty of stuff you’re not going to hear or see on National Geographic, and that’s where today’s band comes in; let me introduce you to LELAHELL.

Formed in Algeria by vocalist Reduoane Aouameur in 2010, they quickly took to the Algerian extreme metal scene until finally releasing their debut album in 2013, “Al Insane…The (Re) Birth Of Abderrahmane”; conceptually based on the divine Muslim name closest to Allah. 2018 sees them return with the 2nd part of the concept via the album “ALIF”; the first letter of the Arabian alphabet, symbolic of beginnings, as Abderrahmane takes his first steps in a new life, akin to a child learning to walk and speak…let’s check it out.

The album kicks off with “Paramnesia” in a very literal sense as immediately we’re met with a flurry of double-kick drums, leading into rumbling bass riffs and intense, chugging guitar. The build while gradual still manages to sound heavy without yet truly letting rip, until Reduoane’s vocals kick in and his guttural grumbling’s allow the track to become a barrage of death metal which is impressively sustained throughout. The occasional guitar lick incorporates subtle African tones which break up the technical brutality quite well, providing a decent if not slightly regimented start. “Ignis Fatuus” follows up and right away we’re subject to more up-tempo, thrash-inspired speed metal and for the most part the vocals take on more of a rasping snarl; full of piss and vinegar highlighting an anger and bitterness fueled by false hope.

The rest of the album really speaking then, delivers mostly more of the same over its ten-track run time…bar a couple of select notable points. “Insiraf / Martyr” utilises an off-kilter poly-rhythmic approach that takes influence from the realms of prog-metal…”Adam The First” while sounding incredibly sludgy does have an wonderfully frenetic guitar solo that breaks things up nicely…”Thou Shalt Not Kill” is a great orchestral-led piece full of rich strings sounding almost cinematic, but sadly it’s no more than a 30 second intro / interlude track which is a real shame, as its sense of drama and suspense is honestly intriguing, before closing track “Impunity Of The Mutants” rounds things off embracing some semi-Nordic darkness courtesy of blast-beats and sinister guitar tones, something fans of say, IMMORTAL or early SATYRICON would appreciate. Overall from a technical standpoint Lelahell have to be applauded as for the most part they sound crisp, there’s some solid production here and it’s all aided by the fact renowned death metal sticks-man Hannes Grossmann (HATE ETERNAL / NECROPHAGIST) has recorded drums for them, though they aren’t a one-man team. If you prefer your metal as harsh and unforgiving as the Sahara desert at midday with nothing but your own piss to drink, you’ll likely appreciate this and it’s extreme metal nuances…if you’re looking for more melody in your metal then this isn’t likely going to do much for you. [6]

The UK music scene in the 90’s was an interesting place to be it has to be said…less of an exotic cocktail and more of a dirty pint if anything. At one end of the spectrum we had a rising popularity in girl/boy bands, spearheaded by the likes of SPICE GIRLS and TAKE THAT…at the other end we had the dawn of a new era of darkness by means of the freshly malformed CRADLE OF FILTH and MY DYING BRIDE, and somewhere in the middle of it all, MR. BLOBBY managed a Christmas number 1, I shit you not. The main talking point however was always Britpop, which was of course famously established by the war between BLUR and OASIS, but at the turn of the century when tastes all changed, bands either sank or swam…Blur front-man Damon Albarn however didn’t just swim, he evolved, grew legs, left the pond and changed the concept of performance art as we knew it…he created GORILLAZ.

Consisting of fictional members 2-D, Murdoc, Noodle and Russel, the “group” existed entirely in animated cartoon form and was spawned from Albarn’s growing appreciation for electronic and world hip-hop music, and they made their breakthrough in 2001 via their self-titled debut album and the mega hit “Clint Eastwood”, never looking back, only growing in success with further singles along the road like “Dare” and “Feel Good Inc.” until their eventual hiatus. 2017 saw them return with 26-track behemoth “Humanz” but 2018 sees them back already with the follow up album “The Now Now”…the question is, is it the good good?

We open up with the album’s lead single “Humility” which features famed jazz-guitarist George Benson and what we’ve got is a quirky little, low-fi synth pop piece…laid back in approach combining ambient funk and subtle reggae influences for a very fresh, Summery vibe. This is backed up by the music video, inspired by the Santa Monica lifestyle; carefree and easy-going, and it speaks of the inner struggles of failed romance and yearning, though not entirely serious with Jack Black doing, well, Jack Black things. It’s an OK start…follow up track “Tranz” however is a completely different kettle of fish. Whilst simple in structure and approach it’s got a definite, retro electronic tone musically combining the simplicity of KRAFTWERK and the edgier, darker tones of DEPECHE MODE, all the while utilising some really catchy pop hooks and it works wonderfully, this is easily an album highlight.

Sadly however, highlights over these 11 tracks exist in much the same way Harambe does; i.e. he doesn’t, not anymore anyway (RIP you majestic beast). “One Percent” harbours soft synth melodies that wouldn’t feel out of place in a scene from “Stranger Things”, while “Lake Zurich” is another up-beat, primarily disco / funk-driven instrumental for the most part and it has to be said, on the track “Hollywood”, it’s always good to hear a bit of SNOOP DOGG (Even though the guy will work with almost anyone, refer to my old COREY FELDMAN review for that)…the rest of the album however sadly lacks any real sort of momentum. “Idaho” is structured very much like a dreamscape which would not only put you to sleep, but the sheep you were counting too. “Fire Flies” strikes me as purely ironic and cruel as I’ve literally just reviewed an OWL CITY album and this track actually makes me miss that, before closing track “Souk Eye” rounds things up with some more dreary pop. Damon Albarn is a talented song writer and creator, that’s not in question, but there were days he used to write with a sense of positivity and fun, with more LIFE…lately this project sounds like he’s either half asleep or stoned, or both…honestly, take the W’s off of the album title and it’ll be more appropriate. [3]

When it comes to bands succeeding from day one, there are few in recent times who can honestly say they have hit the ground running as hard as FLORENCE + THE MACHINE…the London-born group fronted by Florence Welch dropped their debut “Lungs” back in 2009 and really haven’t looked back since. Multi-platinum sales, Brit Awards, Mercury Prize nominations…and that was just the debut! This form continued as both follow-up records “Ceremonials” and “How Big, How Blue, How Beautiful” each respectively gave Florence a hat-trick of Number 1 albums and the accolades kept coming…however the style was slowly but surely changing and they were in time becoming more refined…and this leads us to 2018 where Florence released album number four; “High As Hope”. Self-produced by the band themselves, let’s see how the machine is operating these days…

The album opens up with, (Or at least tries to) “June” and I say that because there’s at least a 14 second delay between the start of the track and you being able to actually hear anything, and I honestly don’t know what this aims to achieve, coming across as more of a production error rather than having any beneficial point within the song. When the song IS flowing however we get a piano led, restrained little track, gently accompanying Florence’s instantly recognisable husky, sometimes warbled vocals. It does have a slight, climactic flurry but it’s abrupt ending spoils that completely. Were the spare 14 seconds meant to be this side of the song, instead of being empty? Here it just sounds incomplete; a poor start.

Lead single “Hunger” then follows and admittedly this is much better; with a more up-beat rhythm its sounding far more positive, with encouraging lyrics and a gospel-inspired clap-along accompaniment, coupled with soulful backing gang-vocals, this is Florence as we know her and she’s so easily capable of writing songs that simply ooze with joyousness; this being one of them. This is reinforced by the track “Patricia” which again has all of the classic F+TM traits, wonderfully blending soulful pop with energetic indie…the string sections and bold chorus allowing for a dynamic listen and again it allows for an enjoyable song. Florence has always had subtle gothic tendencies mind you and here it’s showcased by the ultra-moody “Big God”…the almost haunted, deeper tempo with its sultry tones and slow-build gives the album extra character overall and is a definite highlight.

This albums primary flaw however, is in fact how stripped back it actually is…as despite only being ten tracks long, it feels a lot longer because of the level of restriction, with an almost shoegaze appraoch utilised. “Grace” whilst on paper is an appropriately titled graceful little piano ballad, it feels incredibly drawn out, and as assertive as Florence is vocally the track fails to hold attention, so too do the albums closing tracks suffer similarly, with “The End Of Love” and “No Choir” rounding things off in lacklustre fashion. Yes the point of this album was a more personal, raw recording and that does indeed resonate through Flo’s vocals throughout, her ability as a performer can’t be questioned, but taking this direction has denied us the proper banger's we all know the band are capable of…there’s no rush and excitement of “Howl”…there’s no drama and climax of “What The Water Gave Me” and there’s no feisty attitude of “Kiss With A Fist”…instead, while we have a well matured album, it’s pretty much just Florence…the machine seems to be on standby. [5]

​I’m going to share something with you right now…I love sloths. I happen to have a weakness for three-toed sloths as I find them absolutely adorable and If I could afford it I’d happily fund their conservation in Costa Rica etc…hell if it was legal in the UK I’d buy one myself and let him hang around my garden, I want a pet sloth somebody make that happen! However, while I aren’t lucky enough to get to cuddle one of these moss-covered fuzzy bastards I can in fact LISTEN to some sloths from the comfort of my own home; let me introduce you to THE SLOTHS. Formed in Los Angeles WAY back in 1964, these pioneering rockers may not have been around for long initially, but their calibre of rock ‘n’ roll has had people digging through the archives and old record collections, subsequently re-discovering The Sloths, embracing all of the nostalgia and classic charm. Very much like the animals their named after, it’s a case of better late than never I guess as slowly they’ve garnered credibility…let’s see if they can cling on over 50 years later with the vinyl re-release of “Back From The Grave”…

We open up with the track “Never Enough Girls” and immediately my mind goes in the direction of sloth ‘rape memes’ but I have to compose myself amidst images of dragons and pudding…a tinny-sounding little track, very much of its time; blues inspired rock ‘n’ roll with a slight proto-punk edge. With influences ranging from THE ROLLING STONES and CHUCK BERRY it’s very easy to see where they’re coming from, but also you can see where bands like THE RAMONES took inspiration from too. “End Of My Rope” follows up and again here we’re given more of that original blues heritage with some rich harmonica licks (Even going as far as a solo) and you can easily picture yourself sipping whiskey at a bar in Tennessee while this plays…so far so good. Speaking of solo’s we’re further treated on the tracks “Lust” which utilises an up-tempo, surfer-rock vibe allowing for a fun little piece, and also “Gotta Get Fired”, which by contrast is a slower, bass-driven, groove-heavy number which takes extra influence from the likes of THE DOORS.

The rest of the album, while subtle in its variety, does mostly retain a consistency and level of quality throughout which truth be told results in an all-around enjoyable listen…”Haunted” is thematically self-explanatory in its pained ballad approach; which somehow bridges a gap between the tenderness of ROY ORBISON and the spooky tones of THE MISFITS…”Before I Die” returns to the bands blues roots but here we’re given a slight, country / rockabilly twist, before the initial album rounds off with their most infamous track “Makin’ Love”, which during its initial release over 50 years ago was deemed too controversial for airplay on many US radio stations but is incredibly tame by today’s standards. If I’m to pick at anything really it’s the main single “One Way Out” which has a primarily spoken-word approach that reminds me of “Monster Mash” for the most part in its structure and delivery but it has a pretty weak chorus sadly. The European release does have a bonus track by the name of “I Survived” but it’s really nothing to rave about, actually the weakest sounding vocal quality on the album, sounding more like a demo than anything. Ultimately, for a band that only had an initial run of 2 years, it’s impressive to see their legacy not only living on but how much excitement a little nostalgia can provide! Granted this may be helped by the fact that original vinyl’s have gone for as much as $6000 online but that’s beside the point…whether they are back from the grave or, being the sloths they are they’ve literally just taken this long to get here, it doesn’t matter, rock ‘n’ roll never truly gets old. Roll on the year 2066 for the new album! [7]

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

As a music reviews blogger I’d like to say or at least think that I’m fairly open minded…I’ll cover the majority of genres, but one thing I have to address is my own potential false advertising. My whole tongue in cheek gimmick is that I’m a Gothic Chav; an abomination of dress sense and the self-proclaimed outcasts outcast…but truth be told, I sadly don’t really cover a great deal of Goth bands within these pages (As much as I’d like to at least) and I can’t say I’ve ever truly considered attempting to form words about a Ministry Of Sound compilation, so I need to fix one of the two…Goth it is then! With that said in all seriousness, let me introduce you to MGT…far from a new kid on the block, Mark Thwaite as his birth certificate states is a seasoned veteran when it comes to alternative/Gothic rock music…in the early 90’s he was a guitarist for THE MISSION but he’s also worked alongside legends such as GARY NUMAN and PETER MURPHY and he’s a respected name in post-punk…back in 2016 he released “Volumes”…a collection of songs with a variety of collaborations, most notably a brilliant cover of ABBA hit “Knowing Me, Knowing You” with Ville Valo of HIM…this year he returns with a much anticipated follow up entitled “Gemini Nyte”…is MGT the MVP? Let’s find out…

The album opens up with the lead single “All The Broken Things” and immediately we’re met with the classic guitar tones that defined the 80’s new-wave / post-punk movement…the gentle melody wrapped around a subtle melancholia that defined the era and laid the foundations for so many Gothic rock bands in the years that followed. Vocals are provided by Ashton Nyte of THE AWAKENING…returning from the last album but what’s different here is that he’s the sole collaborator, making this feel more like a complete album as oppose to a playlist. The continuity is most prominent on “The Reaping (Reprise)”…the song making a second appearance re-recorded but without feeling like lazy filler, it better suits this album stylistically and feels right at home here.

Elsewhere highlights include “Armageddon’s Sideshow” which again perfectly captures the emotions and memories of the likes of SISTERS OF MERCY, but with a modern twist; Ashton has an ideal baritone vocal that carries the despair that this genre so thrives upon, but the music is up-beat, lively and energetic, while by contrast, “Tear The Sun” has the same level of throwback nostalgia, but it’s a much slower, morose yet hypnotic piece, more akin to his time with The Mission…combining elements of alternative rock with shoegaze. What’s also a pleasant surprise is another cover…last time we had ABBA but here we go full synth-pop courtesy of THE HUMAN LEAGUE and their hit “Love Action (I Believe In Love)”…it stays loyal to the overall tone of the track and is delivered incredibly well but it adds enough grit and attitude to separate itself from the original. The album isn’t without its lesser moments however; as “Atlanta” comes across as pretty slow and repetitive, providing a dreary and boring listen sadly, while “Everything Undone”, utilises a 50/50 approach combining sultry DEPECHE MODE inspired electronica with surging GOTHMINISTER-esque guitars in the chorus…not awful per se just, indecisive. Overall the album is solid from start to finish, this sole-collaboration with Ashton gives the album a sense of completion instead of feeling like an experimental project and they work well together, this is nostalgic without feeling forced or cheap, with their passion for this genre worn proudly on their sleeves. If you feel at home at alternative club nights like Slimelight or Spellbound then I’m sure MGT will make it into your playlists with this album. [7]

Do you remember back in 2013, when FALL OUT BOY shocked the world and underwent what many called a renaissance? Their surprise come-back album “Save Rock And Roll” was not only a glorious return to form, chock full of tunes but it was also a mission statement…if you caught them live on that tour, the title track, ironically a moving ballad, was a call to arms…the stage production would show black and white images of icons such as Freddie Mercury, Sid Vicious, Kurt Cobain and many more, as if to say don’t let the music die, literally save rock and roll from the music industry…and everyone thought that this was the beginning of something special; a resurgence in rock music across the board, and in many ways it was…just…not for Fall Out Boy…after the 50/50 reception of follow up album “American Beauty/ American Psycho” which many described as a mishmash of songs lacking real direction, we find them in 2018 dropping another new album by the name of “M A N I A”…this one was delayed because they themselves felt it was rushed…was it worth the wait?
 
We open up with the first single “Young And Menace” and…this is an interesting direction to say the least. After a seemingly dreary, slow build to the track with sombre tones and an impassioned, angst ridden feel, we descend into a totally distorted, techno riddled breakdown of a chorus…it’s positively shapeless…it’s like the chipmunks dropped acid and hijacked a SKRILLEX sample…it’s honestly fucking horrendous! Luckily the follow up track is far more recognisable as the FOB we love and expect…”Champion” has a similarly slow intro but the guitar here is gritty and in ways reminds me of early KAISER CHIEFS…there’s more attitude here and despite the clear pop-production it’s got enough of that early emo-rock feel to stand out as a brand new classic and is bound to go down well live, this is much better. The same can be said for “The Last Of The Real Ones”…an up-beat energetic number with a really enjoyably catchy hook and huge sing-along chorus, this is massive FOB by numbers and the level of quality we recognise…

The trouble though is that, besides these two undeniable tunes, the album falls right back onto its arse and leaves the listener thinking, what the hell are FOB trying to achieve? “Stay Frosty Royal Milk Tea” just feels like they picked random words out of a hat…granted the message is one of today’s cut-throat culture, the competition for stardom and the spotlight with a really obscure reference to the 1994 US figure skating scandal (And I thought I made weird analogies) but again they opt to utilise a pulsing, bass-driven EDM foundation for the track…”Hold Me Tight Or Don’t” and “Sunshine Riptide” both jump on the bandwagon regarding Caribbean structured pop, tinny guitar, the subtle steel-drum tones and rhythm…it’s something a lot of mainstream artists have done recently so in all likeliness it’s a dig but it still doesn’t make it worth listening to, even ironically. “Heaven’s Gate” has this soulful, gospel inspired blues tone, before closing track “Bishops Knife Trick” ends proceedings on a predominantly lulling note…and another random reference; this time to “Alien”. A song of journey; torn between the feeling of freedom to explore and knowing where you call home, in ways summarising the album from a creative standpoint really rather well. FOB in ways here simply come across as oxymoronic…their save rock and roll gimmick went out the fucking window let’s be clear on that, and this album is almost a parody of itself. It sounds like the band are ribbing mainstream pop culture but the joke flew over everyone’s heads as it just blends in with the very thing they are ribbing…”M A N I A” in ways just reminds me of “Insania” by PETER ANDRE…he thought he had something new, something fresh and exciting but, it wasn’t. [5]

Ah the fond memories of English literature class in school…sat for an hour going over “Of Mice And Men” by John Steinbeck, taking it in turns reading paragraphs about farm work, mentally disabled men, stroking puppies to death, racism, manslaughter, accusations of rape (Did I mention STROKING PUPPIES TO DEATH?) while the teacher tries to force her interpretations upon you as if she wrote the damn novel herself?  Luckily I don’t have to pay George and Lennie another visit (Well, George, spoiler alert, Lennie dies mwahahaha) but we are going to be looking at OF MICE & MEN…formed in Orange County, California, back in 2009, the metalcore-mob have gradually established themselves as one of the biggest up and coming names in alternative metal with an ever growing and ever loyal fan-base, but, this is rock ‘n’ roll damnit and nothing ever goes according to plan! "The best laid schemes o' mice an' men / Gang aft agley" after all…and in this case, it involves former vocalist Austin Carlile. He suffers from Marfan Syndrome which affected his lungs and he was forced to step down from vocal duties…yet the band went on with bassist Aaron Pauley taking the helm and they’ve just released their first album without Austin; “Defy”…let’s check it out…

​We open up with the title track an initially it’s like the band have gone all BLACK STONE CHERRY with a slick, groove-laden approach with their riffs and general tone, but we’re soon reminded of their metalcore roots with some raw, aggressive vocals, but it’s not the be-all and end-all…new front-man Aaron provides some wonderful clean vocals too and the chorus here is huge; it’s a well-balanced track and gets the album underway with a bold and positive note. “Instincts” follows up with another well balanced track combining pummelling metal qualities with another infectious pop-orientated chorus…it’s really the best of both worlds and it appeals to several demographics, the solo is pretty bold too which only adds further character and it’s another impressive effort…so far so good it has to be said!

The only issue however, is that very contrast…as realistically it’s hard to pinpoint what OM&M are actually aiming for with this new record…album highlight “Back To Me” is a wonderfully melodic, almost anthemic rock track with so much passion coursing through it, which can also be said about “Unbreakable” which despite its riff-work clearly has a lot of pop production behind it given it’s catchy delivery, so too with “Forever YDG’n” and it’s infectious hooks layered within the breakdowns and again, a huge chorus…it’s like a band in transition really. This is confirmed by some 50/50 efforts such as “Warzone”…easily the heaviest track on offer here with its sharp dose of brutality and intensity, but its countered by closing track “If We Were Ghosts”…for what it’s worth a generic rock ballad. While the album itself is a strong one, there’s nothing wrong with the music here whatsoever it’s an enjoyable listen from start to finish, it’s as though the band are at a crossroads…it’s a lot more accessible for casual fans but I can imagine original fans finding this weak…I guess in ways it’s down to this; are you a man or a mouse? OM&M are somewhere in between right now…where do you fall? [7]