Do you wanna be in my gang? It’s my gang, yes that’s right, mine…my gang. I’m the leader of my gang, I am! OK, OK…I’m not REALLY GARY GLITTER, but if I may I would like to touch upon the subject of sexual abuse in music…maybe touch upon was a poorly chosen expression…although I DID ask…you gave consent…right? I digress…I’m facing a backlash before I even get to my point…and that’s not a reference to my penis…FOR FUCK SAKE GAV STOP!

Start again…sexual abuse, or even the accusations of sexual misconduct, whether found to be guilty or not will not only potentially ruin a person’s career but also ruin several lives. The sad thing is it’s a far more common occurrence in music than virtually anybody would care to accept as happenstance. On one end of the spectrum, you’ve got Ian Watkins and let’s be fair, the less said about him the better…don’t get me wrong I fucking miss LOSTPROPHETS but…no, just no. Then there’s cases surrounding the likes of WILLIAM CONTROL, and despite the shit storm surrounding him, all I can gather is that at worst he’s just a terrible husband and a serial cheater. It doesn’t matter if those girls gave consent mate, you still destroyed your own marriage, just hope you had a decent prenuptial in place!

Then we come to the likes of Austin Kerr…the former SET IT OFF bassist was another name to be subjected to allegations and accusations of sexual misconduct and as a result he was ejected from the band back in 2015. Was he guilty? He admits his behaviour wasn’t 100% acceptable, but denies any abhorrently wrong doing…so that’s up in the air…HOWEVER…what would this mean for Set It Off? Despite the negative press they continued to make music without him...but, the question is what did it do for their reputation? They HAVE gone backwards in the Billboard charts, but is that in correlation to all of the trouble surrounding Kerr, or have they simply just dropped a below-par album? Let’s find out as we check out their newest offering “Midnight”…

The album opens up with “Killer In The Mirror” and you can’t help but wonder if this is a confession or they’ve just been reading the newspaper…a song of apparent reflection, it speaks of solitude and the acceptance of circumstances…music is a cut-throat business and you have to take a look at yourself first and foremost. You have to look yourself in the eye and tell yourself you want this, because there are people trying to put you down; this is an unforgiving business and it’s kill or be killed, as much as we’d like to think otherwise. This industry will eat you up as soon as you put a foot wrong, and this song touches upon not only that dog-eat-dog world but in ways mirrors the situation with Kerr. The fuzzy guitar tones, along with the subtle hip-hop/reggaeton inspired instrumentation provide a solid groove and it’s ultimately a fine opening track.

Sadly, the remaining fourteen tracks…that’s’ right, fourteen…really don’t offer a great deal of diversity throughout the record. “Lonely Dance”, aside from being something you’d expect someone who plays Fortnite to do, may harbour certain Latino / Hispanic qualities with its guitar tone and backing brass segments but it’s pretty generic alternative pop-rock. “Go To Bed Angry” may sound like optimum wanking circumstances but it’s still just another dose of harmless pop…granted the additional vocals from WAYFARERS add an extra dynamic but it’s a only minor improvement, and that generally sums up the album as a whole.

“Dancing With The Devil” may utilise deeper vocal effects but that’s really all they are, effects…musically we’re in the same boat; the vocals may be deeper but the track is still shallow. “For You Forever” does have some catchy throwback 80’s synth-pop vibes and provides an album highlight aesthetically but it’ll take more than neon to light this album up. “Raise No Fool” does an amuse with it’s ironic ending…lyrically stating “Won’t let you leave me hanging” but then cuts the song abruptly short, leaving the listener hanging themselves…I see what you did there you edgy bunch of bastards! The only REAL change comes in the form of “Unopened Windows” which is sadly the most boring of the tracks on offer here…the piano ballad coming so late on it’s on the verge of being anti-climactic.

Overall while I’ve been quite sarcastic here the album isn’t completely AWFUL by any means…the innocent charm of the pop-inspired melodies is hardly offensive and it’s a generally easy listening record. It’s all mixed and produced well and has a ton of commercial viability…what’s annoying is that over fifteen tracks, there’s very little if anything to differentiate at least fourteen of them and they all blend into one quotidian collection of songs. Nothing truly positive stands out here and it’s a shame because they can clearly write a tune or two, it’s just that on this instance they all more or less sound the same, and by the same what I really mean is the same as FALL OUT BOY because fuck me does this album wish it was a FOB album…but that’s a whole new kettle of fish. Midnight? Goodnight… [4]
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Many reviews and, not just ones I’ve shared here, highlight some bands and genres by the evolution of certain scenes for example, like a specific style in or around a localised area of the world; such as the thrash metal boom of the Bay Area, San Francisco, or say, the grime movement in London…but if I were to ask you to name me the first band that comes to mind when you think about Omaha, Nebraska…the majority of you are going be double checking where the fuck Omaha even is let alone have quick fire knowledge of it’s clearly thriving music scene!

Don’t get me wrong, Omaha’s got its fair share of famous names and faces, ranging from Marlon Brando to Fred Astaire but it’s not got a rich history in alternative rock music by any means. Sure there are some bands you MAY have heard of at some point, such as 311, THE FAINT or THROUGH FIRE, but they’re hardly household names now are they? Well, to be perfectly honest, neither are today’s band…not by a long shot. Allow me to introduce to you, THE SCABBY GHOULS.

A relatively new outfit; the four-piece (Consisting of vocalist/guitarist Denise Hazard, lead guitarist Louie Hazard, bassist Alex Steffens and drummer Nathan Christensen) specialise in all-things that are horror punk, and while they’ve already supported the likes of DOYLE, their style is more akin to the cheesy entertainment of classic B-Movie horror, as opposed to the more serious sound of say THE MISFITS or early AFI. 2019 finds them releasing their debut self-titled mini-album…so let’s pick at this scab and see what oozes out of it shall we?

We open up with “Body Surfin’” and we’re immediately met with some deep bass-driven rock with an initially spoken word approach, before the frenetic punk aesthetics kick in. It goes from a weird combination of BOBBY PICKETT and THE B-52’s into some modern SIOUXSIE AND THE BANSHEES type of darkened proto-punk amalgamation. The title track backs this up further especially with the vocal performance during the near spoken-word chorus, delivering that classic spooky vibrato, though instrumentally heavier in places allowing for more of a Misfits influence to shine through.

Speaking of musical influences, a band that gets nowhere near enough credit in female punk rock is TSUNAMI BOMB and there are moments of their influence dotted throughout this album, especially their earlier works such as “The Invasion From Within” EP; Emily Whitehurst (Or Agent M as she was known) deserves more recognition as a voice in modern punk rock, and there are subtle nods to her sprinkled over this record.

As is expected with this genre this is all over and done with in a relatively short period of time, with the seven tracks presented here clocking in at just under twenty minutes, but they’ve left some gems for last it has to be said. “Road Ragin’” is a wonderfully relatable, up-tempo slab of fun, simple punk rock. The typically common / everyday situations of rushing around early in the morning, late to be where you need to be, can’t find your keys, can’t find your right clothes, hampered by slow elderly drivers; it’s a wonderfully basic concept but delivered with the right balance of frustration and comedic charm, before we round things up with “Knife Fight”. Another pacey dose of frantic punk rock; the rhythm and hook of the chorus is simply infectious, and though the brief psychotic wailing's of the guitar come across as spasmodic, it’s still a fine climax.

While creatively and stylistically they aren’t as volatile as MURDERDOLLS for example, and nowhere near the bleak, black sense of humour of early TYPE-O-NEGATIVE, but they do have a certain quirkiness to them, which should appeal to a variety of post-punks, alt. rockers and Goth’s alike. There wasn’t a LOT of horror presented here truthfully, other than some zombies and a pun-heavy ‘Nightmare On Elm Street number’, but its early days yet for these Nebraska new-comers…just keep picking at that scab; their nostalgic blend of rock and cartoonish retro horror themes will bleed out eventually. [5]

South Wales has always played an important role in the UK’s music scene; be it the love and support for traditional grass roots venues such as Fuel in Cardiff, or the old TJ’s in Newport, but more importantly the bands themselves that have emerged from the valleys and beyond that have helped put the area firmly on the map. BULLET FOR MY VALENTINE may be riding high at the moment as one of the UK’s biggest modern metal exports, but there’s a bit of a transitional period in play right now as many if not 99% of the biggest names from the area have called it a day. Luckily however there’s always a group of plucky up-and-comers aiming for that brass ring and willing to pick up the ball to run with it…which brings us to today’s band; HOLDING ABSENCE.

Fresh off of the back of his previous band, FALLING WITH STYLE, vocalist Lucas Woodland helped form Holding Absence (Who are completed by guitarists Scott Carey and Chris Smitheram, bassist James Joseph and drummer Ashley Green) as a means of truly delving into his song writing capabilities. With an emphasis on love; its nuances and the  roller-coaster of emotions that accompanies it, their initial singles garnered them much critical praise and the adoration of fans very early on. Momentum grew as they released their split EP with LOATHE and the acclaim kept coming, so in 2018, they began working on their debut full length album. Now, here in 2019 we find that album finally released after much anticipation, as the Cardiff quintet declare that this is…”Holding Absence”…

The album opens up with “Perish” and it’s a bleak start as we find ourselves confronting the heaviness of mental health and its effects on relationships…with over a minute of introductory resonance, it sets a sense of tranquility with its flowing soundscapes before the apropos breakdown, a nice instrumental metaphor for a fragile state of mind. This is mirrored by Lucas himself as he switches from lulling, morose clean vocals to a blistering onslaught of intense shouting amidst a barrage of riffs, and its solid slab of alternative post-hardcore. “Your Love (Has Ruined My Life)” continues with the theme of seemingly depressing song-titles as it also seemingly repeats a similar formula; a soothing intro segment, albeit drastically cut, leading into a wall of noise that transitions into more clean vocals, before a soaring chorus. It’s lyrically where the song stands out as Lucas digs deep into his own level of self-awareness, with an acceptance of his own emotional state; he is an impassioned performer, credit where credit is due.

Speaking of depressing there are a couple of tracks that should come with a repeat prescription for Citalopram in all honesty; “Marigold” is a sombre piano ballad that’s as cold as it is cathartic…and however sweet the admittedly emotional performance is, with its numerous floral references there’s very little blossoming here…which can be similarly said of closing track “Wilt” (Plant related segue for the win). The longest track that’s presented, at near seven minutes, it speaks of the helplessness of watching a love wither away…a heart wrenching story of appreciating the love for its original beauty, like a bouquet of flowers, but those flowers will eventually die and there’s nothing you can do about it. Completing the hat-trick of heavy-heartedness would then be “A Godsend” which again, with its morose tone and low-fi, shoegaze inspired delivery leaves the listener almost despondent.

It isn’t ALL doom and gloom however, this isn’t a MORRISSEY record for fuck sake, and that’s reinforced by album highlight “Like A Shadow”. A sharp dose of angst-ridden, punk-inspired post-rock…it’s got a great rhythm and an infectious chorus hook full of pop aesthetics that you simply can’t help but move to, this is incredibly enjoyable stuff this. “To Fall Asleep” too, despite its heavy message of wanting support through life’s darkest periods is a wonderfully up-beat dose of melodic alt. rock, likewise with “Monochrome” which would easily appeal to fans of artists such as TAKING BACK SUNDAY for example. Ultimately as one of the UK’s hottest rising prospects, they’re showing plenty of promise for big things to come. This may only be their debut and it hasn’t been out long, but their fan base is a loyal and enthusing one, and is growing with each gig and festival slot, no matter how big or small the stage. Raw and passionate, they have all the talent to help lead a new generation of Welsh artists into the spotlight. Just…cheer up lads though yeah? [7]

Now, it WOULD ironically take some sort of deal with the devil to actually accomplish what I’m about to propose to you here but, just go with me on this…imagine you managed to, I don't know, dust off the old Ouija board to summon the spirits of both ROSIE HAMLIN and AMY WINEHOUSE, somehow harnessed their combined vocal capabilities, incorporated that with the suddenly resurrected rock ‘n’ roll musical style of the 50’s and 60’s and, oh, sang about satanic rituals while you’re at it? I wouldn’t blame you if you assumed I was four days into a three-day weekend of abusing multiple substances all the while binge watching Nostalgia Critic videos (That’s half right, I’ll let you speculate which half)…but in principle, there actually does exist such a twisted creation…a creation even Mary Shelly would tip her quill to…let me introduce you to TWIN TEMPLE.

The duo, comprising of Alexandra and Zachary James, formed in (As they say with a slight case of tongue in cheek) the City Of Angels, only recently really in 2016, but have caused quite a stir among the alternative community in the brief time since. While you would typically associate the idea of Satanism in music going hand in hoof with genres such as black or death metal, here the pair argue the case that maybe the devil doesn’t have a ‘type’ and that maybe he loves a slow jam as much as the next bloke…or…biblical outcast, and so using the classical sounds of soul, blues jazz and doo-wop, they spread the message of feminist Satanism, and tackle topics of oppression while fighting for free will against dated ways of thinking in society. How are they doing this? Well with their new album of course! So with that in mind, let’s check out the smoothly titled “Twin Temple (Bring You Their Signature Sound…Satanic Doo-Wop)”…I feel like I’ve just summoned something just SAYING that out loud…Venite incipere!

We open up with “The Devil (Didn’t Make Me Do It)” and it’s a quaint little slice of social commentary and tackles the idea of perception; with lyrics about 8-Balls, playing pool, beer and what not…the idea that gambling and alcohol etc is the work of the devil and leads to further sinning, but here they defend him claiming he gets a bad rap, it’s not all his fault at all! There IS a sense of poignancy however as Alexandra references the 27-club, making the point whilst doing her best Amy Winehouse over some subtle jazz and soft blues. You make your own choices in life, but some of us do have our demons and we need to hold ourselves accountable; it’s a touching nod. “Lucifer, My Love” then goes head on into a world of Satanism but done in the most romantic manner possible. There’s no bombastic sense of theater or hedonistic rituals of sacrificial bloodshed…instead there is a sweet love song about how Alexandra genuinely loves him. The ceremonial candles likened to a candle-lit date, and she even asks if he prefers blue denim or a red dress? A rib at the expense of both gothic and heavy metal clichés…despite its pacing as a slow-dance track it’s really quite comical, in a good way!

The rest of the album continues to tackle the concepts of tortured romance, adultery, corruption and revenge fuelled by love and loss; “I Know How To Hex You” dabbles in a little black magic as the scorned woman gets back at her ex for objectifying her, all delivered with a smooth dose of Americana, while “Let’s Hang Together” goes down the route of taking marriage vows very literally, with emphasis on the till’ death do us part bit, so long the lovers both go out at the same time…morbidly romantic you may say. There are two instrumental pieces making up run-time in the form of “In Lvx” and “In Nox”, representing night and day and other than acting as an interlude and closing piece respectively, they contribute little to what is essentially an 8-track mini-album really.

Overall, while musically it won’t be exciting very many people in the heavy metal community, it IS a refreshing change, in both pace and style. Where it lacks in instrumental heaviness it makes up for in its message and entire point…its MEANT to stick out like a sore thumb because the duo are challenging preconceived and already existing ideas and norms, and really they’ve succeeded, all the while managing to not make any sort of mockery of their Satanic principles. The Goths will get behind this for its quirkiness, and if you’re fan of the “Dreamboats And Petticoats” era then you’ll likely enjoy this too, just, look past the nods to the occult and don’t play it for your grandma...the next time you visit you may find her hailing Satan and finger painting with her cats blood in between cups of tea. [5]

Everyone loves a mystery; something to wrap your grey matter around and one of the most infamous mysteries of them all, is the case of Jack The Ripper. His horrific murder-spree across London in the late 19th century is known around the world and is arguably the most notorious unsolved crime case in history, and despite numerous theories and arguments claiming to have it cracked, to this day still, nobody knows his (Or her) identity. While the ripper case may have captured the imaginations of many artists over the years, such as SCREAMING LORD SUTCH or MARY KELLY (One of the very first reviews on this blog as it happens, way back in 2014), it wouldn’t be the only unsolved murder to influence something musical…have you heard about The Bodominjärvi Murders?

Back in 1960, Lake Bodom, situated near Espoo in Finland would become synonymous with an almost Friday The 13th style massacre, as four teenagers who were camping near its shore, were brutally attacked in their tents. Three of them died with multiple stab wounds and blunt force traumas, while only one survived with severe but non-fatal injuries. The survivor in question, Nils Gustafsson has faced charges in the years that have passed, but there has never been enough evidence for a full conviction, and the case remains unsolved. History lesson over, and though while not a well-known cold-case here in the UK, metal fans will instantly recognise the name and make the connection to one of Finland’s finest melodic death metal exports; CHILDREN OF BODOM. The Finns have been peddling their extreme yet elegant metal, inspired by those killings, since the mid 90’s and here still in 2019 they’ve released their 10th studio album “Hexed”…let’s cast our ears upon it, as it tries to cast it’s spell upon us…

The album open’s up rather impatiently if I’m honest with “This Road”, and what I mean by that is for once there’s virtually no introduction or build up; it’s straight into the fucking riffs and there’s no messing around here. It’s classic COB with Alexi snarling his way around every syllable while the subtle keyboards sift between the relentless onslaught of crunching guitar and percussion. There IS melody here but it’s minimal, almost an afterthought, and in places it stylistically takes on an almost SLAYER-inspired tone; an unforgiving start this. If you WERE looking for more melody mind you then “Under Grass And Clover” has you covered as the synths are FAR more prominent…the track is incredibly up-beat and it’s got a great, simplistic instrumental hook, while the track as a whole takes on a more power-metal sound overall…it’s a definite album highlight.

“Glass Houses” continues the pummelling with more frantic fast-paced metal delivery amidst Alexi’s traditionally raspy vocals…the title track utilises more of that old-school trash metal influence in both its intro and general delivery, somewhat alternating with spats of almost symphonic metal. “Platitudes And Barren Words” is a genuinely superb piece of catchy, synth-driven metal; arguably as accessible as this album gets especially with some of Alexi’s less-aggravated vocals being on offer, while “Kick In A Spleen” provides one of the most equally specific yet random song titles I’ve ever come across…I mean, why the spleen? Who’s spleen is it exactly? And if anything, why not use a knife or other instrument? Let’s be honest a spleen is a pretty fucking obscure target! Why use your foot?! We’re talking Chuck Norris levels of precision here!

​The rest of the album is pretty much by numbers and it’s hard for that to not come across as derogatory…while a lot of bands over time find themselves applying a copy and paste formula from album to album, depending on their longevity of course, a lot of them become stagnant. COB do have their style and aside from the recording and production quality here compared to their early days, their writing style is more or less the same, they have their little niche…BUT…such is with COB, their style IS very much their own and distinct in its own right, and few bands manage to blend the same level of chaos and charm as these feral Finns. “Hexed” doesn’t exactly leave the listener entranced, but it’s undeniably a quality metal album from start to finish. Now that that’s listened to, who fancies a camping trip in Espoo? I know of this beautiful lake…[7]
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If you pay any attention to the Chinese zodiac, you’ll know that 2019 is the year of the pig, and while many are celebrating the prospects of wealth and good fortune (According to traditional beliefs that is, personally I just double-up on my bacon) there’s a group of musicians on the other side of the world with an entirely different set of animalistic beliefs; let me introduce you to YEAR OF THE LOCUST. The New York based five-piece (Consisting of vocalist Scot McGiveron, bassist Fred Serrell, drummer Dusty Winterrowd and guitarists Tyler Hensley & Cody Hyde) dropped their debut album “Devolver” back in 2016, and with the ballsy-brand of hard rock riffs they found themselves supporting the likes of SALIVA, HOOBASTANK and PUDDLE OF MUDD. 2019 sees them return with their brand new self-titled EP; “Year Of The Locust”…will these new tracks see them devour all before them, or are they just a plague on rock and metal? Let’s find out…

The EP opens up with “Stay Alive” and immediately you can hear a marked improvement in the production quality here…everything sounds cleaner compared to the album prior. The vocals are clear and more polished and the instrumentation sounds crisp so we’re already off to a promising start. The song itself is superb; a simple yet steady beat and progression of riffs, embracing the slow build leading into an infectious, hook-laden chorus of powerful vocals. It’s impassioned and poles apart from anything offered previously, coupled with the frenzied solo, it makes for a brilliant opening track. “Line Em Up” follows on and it’s got a tough task ahead of it, but it takes on a slightly more southern-metal tone instrumentally, with its distinct guitar driven groove and subtle vocal drawl…fans of BLACK STONE CHERRY and THEORY OF A DEADMAN will likely get a kick out of this; no nonsense, fun rock ‘n’ roll.

As most bands of this genre do, they aren’t opposed to dropping a ballad or two either, allowing for a change of pace and to showcase their varied vocal and musical ability, and here that comes by means of “Whispers In The Dark”. A slower, tender piece of soft rock that’s big on melody and emotive vocals…with its key changes and sensually flowing solo it’s teeters on soaring power pop without quite having you reach for the lighters, before closing track “Sorry” rounds things off with another dose of chugging hard rock. A decent track but spoiled by the inclusion of random spoken-word segments. They sound jarring and hinder the flow of the track, coming across as forced and would have been better suited to an intro monologue or interlude to set up the track.

Overall in the three years that have passed between releases, YOTL have come a hell of a long way…their song writing and playing have come on in leaps and bounds and the sound quality improvement in terms of recording and production is doing them all of the favours. Gone is the grainy instrumentation and raw vocal performance, despite being only four tracks long, this makes the album feel more like a demo! Whatever the band have done differently is paying off, and if this is their direction then it’s an exciting and promising one, as their next record could feature some absolute tunes. It's the year of the locust they claim, and it’ll take more than pesticide to stop this lot! [8]

When I utter the word ‘Gothenburg’, I can guarantee that you’ll know what I’m referring to…you’ve got this already haven’t you? Fucking damn right I’m talking about the Crazy Frog! No honestly, before I get into this review I have to remind each and every one of you that we collectively allowed the Crazy Frog; that…irritating, frankly cancerous, poorly animated and apparently Swedish cunt-nugget to not only be a thing, but ACTUALLY TOP THE CHARTS! I’m ashamed of us as a species. I digress…I just found out that the Crazy Frog did indeed originate in Gothenburg and had a mild PTSD episode.

I say this though with relevance as taking this seriously now, Gothenburg as we all know it is, for want of a better description, a Mecca for all things melodic death metal. Everyone from AT THE GATES to AVATAR have emerged from this epicenter of Swedish metal, which bring us to today’s band, and arguably one of the biggest of them all; IN FLAMES. Over their near thirty-year career to date they’ve delivered some of the finest melodic death metal albums to ever puncture our ears, from their seminal work on “Colony” which paved their way back in the 90’s, through to the Billboard bothering successes of “Reroute To Remain” and “Come Clarity” especially, In Flames have always been a reliable source of maelstrom…until recently that is. Back in 2016 the band released “Battles” and despite being a decent record generally, it irked many fans with its sense of pop-record production. Can they redeem themselves in the eyes of those same fans? 2019 sees them return as they channel their inner Stanley Ipkiss on “I, The Mask”…let’s check it out.

The album opens up with “Voices” and after the brief, slow build of a repetitive guitar fill that gradually rises in pitch and key, we find ourselves immersed in the familiar sounds of their heavier riffs and subtle synth elements. Vocalist Andes Fridén delivers a particularly run of the mill performance, switching from his usual raspy snarls into a more melodic vocal for the chorus. It’s a fairly standard affair, textbook In Flames in 2nd gear for the most part though Bjorn Gelotte’s solo is a nice inclusion; it’s a safe start. The title track follows up and to be fair this picks up the pace aplenty and there’s a lot more urgency here; with it’s almost thrash-based musical approach coupled with a hook-laden chorus it provides the listener with a truly up-tempo, enjoyable track and gets the album underway properly.

Elsewhere highlights include “(This Is Our) House” which combines anthemic gang vocals and a hard rocking rhythm with almost prog-inspired key changes, which includes Anders vocals; ranging from soaring melody and an emotive clean delivery to a sudden baritone, giving the track additional character. The band haven’t completely left behind the accessibility of the more pop-orientated production from their previous record however…”We Will Remember” despite its crunching hard-rock riffs carries with it a predominantly euphonious tone and it’s really easy listening, before the sudden surprise that is our closing track “Stay With Me”. This is essentially a power ballad and totally juxtaposes the album altogether…with the acoustic guitar, sweet harmonies and Anders surprisingly impassioned, heart-wrenching vocal display; it’s unquestionably a beautiful track and is in its own unique right, the best thing on this record.

Overall over the course of these twelve tracks, the album itself isn’t poor; it’s just for the most part In Flames by numbers. The Swede’s have always been able to deliver the goods over a 13-album discography now and I guess you could say there is the safety of familiarity within their brand of metal, which they do well…but it’s when you’ve got tracks like the aforementioned ballad, it makes you wonder why they haven’t done MORE of that? This is exactly the kind of track that builds bridges between not just genres but audience demographics, and dare I say it, mainstream success? The idea of a 30 year old melodic death metal band delivering such a genuinely sweet song is a mind-blowing concept, but In Flames have ALWAYS been a quality outfit…if anything just genre pigeon-holed. If the likes of BRING ME THE HORIZON can switch from death-core to getting a number one UK album in a country run by chavs and TOWIE outcasts, then on this evidence, In Flames are EASILY capable of being a lot more successful in the eyes of the wider mainstream audience. It’s just a shame it’s preceded and ultimately weighed down by the middle of the road metal before it. [6]

It only seems like yesterday when we were talking about WEEZER, and quite frankly that’s because it may as bloody well have been! Yes back in January, less than two months ago, Los Angeles emo / post-rockers Weezer dropped a surprise self-titled covers album dubbed the “Teal Album”, given its cover art. A fine a medley of covers it turned out to be, that included everything from TOTO to TLC, but it was all filler, merely biding time for what would be announced as their SIXTH self-titled album, dubbed the “Black Album”, which was released at the beginning of March.

Having six self-titled albums is bold and ambitious for any artist, not even KORN can compete with that! But, let’s break it down…going as far back as 1994 we’ve gone through everything from blue, to green, red, white, teal and now black…either Rivers Cuomo is trying to assemble his own league of fucking Power Rangers or he’s been on the Skittles again! Fuck the rainbow Rivers, focus on the music! I digress…with this, the “Black Album”, have they gone heavier; darker? Have they channelled their inner METALLICA to let rip and deliver an album soaked in the maelstrom of metal misery? Well the answer is, not quite…let me explain…

Opening track “Can’t Stop The Hustle” has an almost Hispanic tone to it combined with brass elements and an almost 70’s funk charm, and it speaks of a general down to Earth, working class lifestyle…lyrics about managers slacking, selling lemonade, higher education and avoiding drugs; it’s a bit of a jab at the idea of the modern celebrity and the idea of instant fame and success. It’s all about the work ethic which is something Weezer have put in for nearly 30 years now, never compromising, always true to themselves…admirable in context but it’s a somewhat flat opener musically. “Zombie Bastards” follows up and sonically it’s a bit of an oxymoron as there’s nothing threatening about this at all. Amidst it’s jovial indie-pop tones it speaks of society and normality; everyone conditioned to a certain way of life, a bland existence if you will and the song challenges the idea of that; suggesting you dig a little deeper, there’s more to life than this, there’s more to life than being a brainwashed zombie, and it’s both a dig AND encouraging.

Elsewhere the album more or less maintains a calm, easy listening vibe over the remaining eight tracks…”High As A Kite” takes on a soft, JOHN LENNON / THE BEATLES vibe, and it’s touching as it mentions drifting off like lost balloons, flying like a beautiful bird over a piano led ballad; the idea of freedom and escaping society and the pressures of everyday life; it’s a sweet song backed by a sweeter Mr Rogers inspired video. Album highlight’s “I’m Just Being Honest” and “Too Many Thoughts In My Head” stand out with their up-beat delivery…the former again utilising infectious indie-pop tones and a simple hook, while the latter is again, up-beat and makes the most of Rivers impressive high notes, in places coming across not too unlike BRONSKI BEAT toward the tracks climax, if only briefly. While not intense, the track ends in an enjoyable crescendo and it’s a pleasant listen overall.

The remainder of the record as I said more or less delivers in a similar fashion…”Piece Of Cake” is pretty straight forward with it’s sweet, laid back delivery, “The Prince Who Wanted Everything” does undertake a more 70’s inspired glam-rock aesthetic not unlike T-REX for example, before closing track “California Snow” runs the clock down with some primarily lethargic and repetitive soft rock. Ultimately I think that this album is a bit of a rib on today’s market and industry generally…the very idea of a ‘Black Album’ conjures up the idea of heaviness, as I mentioned Metallica previously, we’re inclined to think that way; we expect a darkness, a deep resonance accompanying the weight of the music, but Weezer here have trolled us all as it’s one of the softest sounding albums they could have delivered. The song writing and story-telling has clear depth, but we were expecting something much meatier, and the band KNEW this. I’m not knocking it for its lack of heaviness, or grit, but credit to Weezer they played me here and still managed to make me bob my head to the majority of this album. IS IT as good as the covers album from January? No, because of the quality choice of songs they covered, but this is a decent little happy-go-lucky record. Still after all these years you really can’t knock Weezer’s hustle…[5]

Birmingham, as we all know, is the spiritual home of heavy metal and the myriad of alternative genres that followed it, but it’s not the only city in the UK with serious rock ‘n’ roll credentials. Yes today we’re going to be turning our attention to Sheffield and to be fair, its home to several big-name artists itself, spanning from all walks of rock and metal culture, having spawned everyone from DEF LEPPARD to BRING ME THE HORIZON over the years…and while the latter are at the very peak of their career riding high with chart success, infiltrating the mainstream, their contemporaries aren’t too far behind…enter WHILE SHE SLEEPS. (That sounds creepier than intended…)

The five-piece (Consisting of vocalist Lawrence Taylor, drummer Adam Savage, bassist Aaran McKenzie and guitarists Sean Long and Mat Welsh) have been going strong since 2006 and over that time they’ve steadily established themselves as one of the UK’s hottest up-and-coming metal acts. With their last album “You Are We” receiving heaps of critical praise and breaking into the UK charts, all eyes were wide awake in anticipation for their eagerly awaited follow up, and the lads delivered at the beginning of March with album number four; “SO WHAT?”…if I may paraphrase MEGADETH for a second…so far, so good…so what’s in store for us here? Let’s find out…

The album opens up with “ANTI-SOCIAL” and while initially ticking off the clichés with the police sirens and dogs barking, planting the image of troubled neighbourhoods over at the bad side of town, it soon descends into a flurry of almost djent inspired metalcore riffage. Lawrence’s vocals are initially hushed before a bold yet simplistic chorus of ‘I’m not anti-social, I’m anti-bullshit’…the almost nu-metal tones of the instrumentation carry a sense of vitriol and as a whole the track is brimming with piss and vinegar. The disdain for the current state of society, awash with corruption has become too much and here those sentiments are hammered home, especially in the incredibly powerful accompanying video; this is intense stuff. “I’VE SEEN IT ALL” initially follows up with some crazed fret-wankery, before  bellowed gang vocals are layered within the groove-heavy slab of hard rock, giving the track a prominently anthemic feel.

The title track again utilises a rich groove, coupled with duel vocal / guitar harmonies over a hook laden chorus, which can also be said for “THE GUILTY PARTY” and album highlight “SET YOU FREE”…the former, another up-tempo offering with a blistering chorus and more gang vocals, while the latter doubles down on the pop-production quality. The clean vocals are much more prominent and there’s a fun, almost pop-punk tone to the chorus and it all flows so smoothly, before the album eventually closes up on “GATES OF PARADISE”; another fine blend of mauling metalcore and melody, even including some almost rap-inspired vocals towards the breakdown. There was a lot of hype and anticipation around this record, and I will gladly point out that it IS a quality modern metal record; the riffs, the aggression; it’s all on point, just as the softer moments are and it’s a well-balanced album overall. The metalcore aspects themselves ARE growing tired truth be told, there’s only so many screamed vocals and breakdowns you can hear before you begin to feel you’ve heard all of it as many bands apply a copy and paste formula, but there’s enough here to warrant repeat listens, switching up JUST enough to keep their sound fresh.  They aren’t quite on the same level as their fellow Sheffield residents BMTH right now commercially, but the music speaks for itself, and this is an album well worth checking out. [7]

Black metal; arguably the most perceived to be evil of all the extreme metal sub-genres, and a genre that’s been the subject of A LOT of controversy over the years…while its origins may lie in England thanks to VENOM and the album that practically named the entire movement; “Black Metal”, the bulk of it can be found in (You guessed it) Scandinavia etc. It’s here that the genre picked up its notoriety with cases of band mates murdering each other as well as convictions for hate crime, bands using ACTUAL images of suicide victims on album covers (See MAYHEM’s “Dawn Of The Black Hearts”) and if that wasn’t enough, several churches have legitimately been burned down!

But, let’s not dwell on those crazy Scandinavian bastards for now, as black metal reaches further afield than that, and one of the genre’s most prominent bands can actually be found in Greece. Yes, today we’re going to be focusing on ROTTING CHRIST. Formed in the late 80’s, they were one of the first black metal bands to form out of the Mediterranean region and have been an iconic and influential force for many an underground band ever since, and 2019 sees them release their brand new studio album “The Heretics”, Their first in three years. Let’s all skip church together and find out what the Greek’s have got in store on album number thirteen…no I said SKIP church not set fire to….never mind…

The album opens up with “In The Name Of God” and its spoken word intro is incredibly damning and profound, pointing out the overall hypocrisy of mankind. While many of us today denounce the idea of any religion, the very concept seems archaic while we create our own miracles; yet we still are able to pick and choose our own deities as they suit us…war and death in the name of God not out of true belief, but out of convenience. Musically the track has a rigid, militant tone which suits the aura of the track completely and it’s an intense start. The album then to its credit just keeps getting better and better…”Vetry Zlye” manages to balance pummeling percussion and Sakis scorching metal vocals with some beautifully melodic guitar, along with the sweet, cleaner vocal notes of Russian singer Irena Zybina. The two complement each other brilliantly and it’s an infectious piece of metal! Speaking of infectious, “Heaven And Hell And Fire”, despite it’s obvious metal aesthetics carries a great guitar hook layered within another up-tempo melodic metal offering, this is all very good stuff!

This is further backed up by album highlights “Fire God And Fear” and “The Sons Of Hell”…the former starts with another spoken word piece amidst the quaint chirping of birds, like it’s the introduction to one of the levels on “Dungeon Keeper”, but swiftly descends into a wall of blackened metal riffage, and THAT solo? It’s superbly executed and slicker than a bowl of extra virgin olive oil! The latter embraces a more traditional heavy metal style, evident in the wailing guitar notes and more methodical approach instrumentally, before “The Raven” utilises more soaring guitar harmonies while Sakis recites the works of Edgar Allan Poe.

There are some minor hiccups mid-album…such as “I Believe”, which combines a spoken-word Greek monologue with an unrelenting wall of noise as the frantic guitars are played on loop in the background, and it gives you a little bit of a headache before it fades out, while “Hallowed Be Thy Name”, although commanding and ominous in tone, does suffer from a case of repetition. Although to be fair, these flaws are minor in the grand scheme of things. “The Heretics” has showcased Rotting Christ’s ability to incorporate melody and an accessibility into their otherwise crushing sound, something which was lacking on “Rituals”, resulting in a wonderfully smooth listen. Putting aside the gimmicked elements of early Catholicism with the ritualistic or ceremonial chanting emitting from the backing vocal samples, this is a really strong blackened metal concept album and if you’re unsure of making the jump from traditional metal into something more dramatic and intense, then this is actually a brilliant segue record. It’s as easy-listening as extreme metal can get but it loses none of its credibility. Forget rotting, Christ sounds fresher than ever. [8]

I’d like to take a minute to just talk about collaborations and the idea of the ‘Supergroup’. I know I’ve covered some examples in the past; just look up my reviews on artists such as THE 69 CATS and FLAT EARTH etc…but the very idea of the ‘Supergroup’ has lost a lot of its charm and appeal in recent years, and that’s mainly down to the current chart trends. Over 25% of the current UK singles chart contains a feature or collaboration, and the idea of artists working together on records isn’t really that much of a big deal anymore. While we may have had MCBUSTED recently…gone are the days of THE HIGHWAYMEN or, VELVET REVOLVER. But today’s artist hopes to restore faith in the entire concept; let me introduce you to EVI VINE.

The London-based, soundscape weaving, progressive post-rock doom outfit, which are fronted by Evi herself (But also includes bassist Matt Tye, drummer David ‘GB’ Smith and Korg/synth operator Steven Hill) have recently released their newest album, “Black // White // Light // Dark”, through Solemn Wave Records. Nothing special you’re thinking thus far, however, the album was recorded live in the studio with an assortment of guest musicians that really do peak your interest. With members of THE CURE, FIELDS OF THE NEPHILIM, FAUST and GOLDFRAPP all contributing to the record…this truly is an alt. rock ‘Supergroup’ project! Let’s check it out…

The six-track mini-album opens up with “I Am The Waves” and after some brief guitar fuzz we’re slowly dipped into a mire of miserably depressing instrumentation. The doom influences are beyond evident as this is so dense and bleak, though not heavy; the musical equivalent of a black hole absorbing all light around it. Vocally hushed, almost whispered in parts…singing “I am the waves; I am the ocean”…hopefully acting as a calm before the storm, as this body of water lays still, waiting to surge and crash around you. We follow this up with “Afterlight” and while initially more up-tempo with more groove and rhythm, the percussion and guitar’s take on more of that progressive influence. The beat and majority of the structural melody is off-kilter and disjointed, resulting in a somewhat trippy little track, though vocally there’s hardly any change.

Despite being a short album in terms of track listing, they make up for it in track length with “Sabbath” and “Sad Song No.9”…the former does, to its credit, give us our first taste of a proper riff and you hope that despite it’s near ten-minute run time, it’s finally waking up…though those hopes are dashed soon afterwards as once again we descend into a bleak, abyssal depth of damning boredom. When the guitars pick up, the intensity breathes SO much life into the instrumentation and you can’t help but be left wondering why couldn’t they maintain those heavier doom qualities? The instrumental climax is energetic and enjoyable but frankly it’s too little too late, while the latter then, being over eleven minutes long feels like the equivalent of watching a sloth complete the London marathon in real-time…congratulations are in order but I never want to have to watch that ever again.

The other remaining tracks “My Only Son” and “We Are Made Of Stars” sadly do nothing to balance the mood whatsoever and while there are sweet vocal displays and elegant string sections in the former, as Evi sings from the heart about a close friends suicide, it doesn’t rescue this record from its own pit of despair. With the talent surrounding this album, while not intending to have certain expectations or, typecast anyone creatively, you’d at least HOPE that here you’d find a decent to good alternative rock album with diverse ideas ranging from original post-punk to modern Goth-pop aesthetics…couple that with the progressive doom elements, and you allow for a really dynamic and interesting listen. Sadly what you DO get is comparable to a narcotics prescription; as you’ll likely find yourself bored into a deep slumber instead. It’s ambitious, it’s artsy and it’s atmospheric I’ll give it that, but from getting excited at the list of personnel, to listening to the finished product, it really is a case of day and night. Maybe the album’s title itself was trolling me all along? Speaking of, the album is that dull it practically used the same artwork as one of ARCHITECTS previous records; I mean they couldn’t even make an effort with THAT it would appear! All in all a disappointingly boring listen. [2]

Seattle, Washington may be famed for its contributions to grunge when talking about alternative music, but there’s more to the Emerald City than miserable vocals and despondent guitar tones…sometimes other genres are allowed to raise their, UGLYHEAD if you will? Yes Uglyhead are the brainchild of sound engineer / producer Jake Alejo, and while in their formative years (With Jake being the primary member using only session / backing musicians for certain shows) they only really got airplay on late night college radio shows, it wasn’t too long before he got picked up by Automation Records for his 2007 debut. With more label backing, some additional EP’s and even finding a soundtrack placement on “Greg Hasting’s Paintball 2” for Wii, Xbox and PS3, he soon gained more and more momentum. 2019 finds Jake continuing on his path of noise experimentation with the brand new EP entitled “Disembodied” (Scheduled for release April 26th), collaborating with PIG / JULIEN-K percussionist Galen Walling…let’s check it out…

The EP opens up with a double-barrelled head-fuck of “Here But Not Here” and “There But Not There”…the former offering a light, synth-driven lead countering off-kilter programming and percussion over some raspy, manipulated vocals. The tone is dark despite the subtle joviality of the electronica as he sings of ghostly apparitions, and it’s quite the creepy opener, while the latter transitions into some vocal distortion and an up-tempo instrumental fill. There’s  a lot more urgency to this track and you get more of a feel for the industrial influences…some of the wailing is hard to differentiate from twisted sampling, with the dark dub elements and a certain EDM vibe, blended well with gothic techno. Overall a decent if not expected start…

The title track then takes on a much more, sinister, subdued pace as it skulks along sounding as if musically trapped somewhere between vaudevillian MARILYN MANSON and early ORGY aesthetically…the hypnotic tones allowing for the conceptual outer-body experience as is the theme of the EP, and while not the most entertaining of tracks musically, it’s moody and atmospheric in its own right, and really wouldn’t feel out of place on one of “The Crow” soundtracks. Sadly then we’re given “Too Real For Love” and it’s here the EP starts to struggle on the home stretch…over seven minutes long, the deeply foreboding synths can only maintain their aura for so long and it’s not long before this track seems to just drone on miserably, until closing track “The Funhole” (I’m not even kidding) literally takes up the arse-end of the EP; another slow, off-key pulsing piece of warbling electronica, and echoed, barely discernible vocals.

Jake may have aimed for transcendence with his blend of deep alternative techno, but his proposed outer-body experience sadly stays very much within the confines of your skull, resulting in a headache upon sitting through the whole EP. Things started off really quite promisingly, all things considered with this genre of music, but the last two tracks sadly leak one out the aforementioned funhole and soil the EP. Regardless of what the opening tracks suggest, unless you're a fan of say, ALIEN SEX FIEND for example, it’s neither here OR there. [3]

We’re going local again for this installment of the Wreckord Collection, as we turn our attention to COLIN JAMES MACFARLANE. Not just a cog in the local independent music scene, he is a Jack of all trades and generally more of an all-round entertainer, dabbling in solo work, fronting the band BREAKDOWN FACE, conducting interviews with other bands, making gig diaries, dabbling in hip-hop/rap songs (Consider him a dairy free Vanilla Ice) and making comedy skit videos on his YouTube channel. Here, in his own words, he talks us through some of the records that inspired him and had the biggest impact on him creatively…

Back in the early 2000’s, Matt Willis, Charlie Simpson and James Bourne or, BUSTED as they were collectively known, were on top of the world. The Essex-based pop-punk trio found themselves all over the charts with two consecutively successful albums, which spawned hit singles about sexual exploits with air hostesses, hitting on your great, great, great granddaughter in the future and, oh yeah; the Thunderbirds. But, while many rock and metal fans viewed them as immature and commercial tripe, it can’t be denied that they were a gateway for many younger fans into guitar based rock music…something which would ultimately disband them.

Charlie made no efforts to hide the fact he really preferred harder, grittier rock music, and eventually he found himself leaving Busted to go his own way with FIGHTSTAR, who to their credit more than held their own on the UK alternative scene. This was in 2005, and while Charlie was opening up pits at underground rock venues…Matt became the king of the jungle and dropped an honestly really good solo album, while James took all of the knob jokes ever written with SON OF DORK (Dork being a slang term for penis, as well as being a socially inept person…he was just one big socially inept penis). However, as the saying goes; never say never, and it would only be a matter of time before there would be a reunion…granted it would take eleven years, but the boys in Busted returned in 2016 with the album “Night Driver”. Adopting a more mature musical approach, it wasn’t QUITE like having Busted back as we remembered them, but, hopefully they can make up for that on “Half Way There”, their brand new album for 2019. The question is; where are they heading?

We open up with “Nineties” and thematically at least it sets the tone for the entire record; this is an album of deep reflection, of reminiscing and truthfully it’s really touching and relatable. Singing of fond memories; they mention ditching school and listening to SMASHING PUMPKINS and playing guitar to OASIS…even transitioning from NIRVANA into a ‘na-nana-na-nana” vocal pre-chorus. For many in their age group it hits home and makes you think how times have changed, and it’s a sweet, nostalgic track. Speaking of, “Nostalgia” sums things up wonderfully…with its up-beat, positive guitar tones and subtle FOO FIGHTERS vibe this questions their very ethos…lyrics like “Do I even want you back?” seemingly questioning their very existence as a band, in a self-aware manner that is, given the period of absence, why risk tarnishing their legacy? Why risk it all for a cash-grab per se? Also in a seemingly apropos manner its Charlie repeating the line “I was doing just fine”…as if to suggest did this NEED to happen at all? This is deep stuff given the joviality of the track itself, but brilliantly executed.

The theme continues with the likes of “Reunion” which is another album highlight and more of the recognisable up-beat guitar driven pop…and really it’s quite passive-aggressive in ways. Masked under a school reunion shtick, they subtly hint at how things have turned out and how things may or may not have happened differently and there’s traces of melancholia layered within another entertaining pop-rock track; to be fair their song-writing is on point.  “All My Friends” takes on a similar approach showcasing the differentiation between us and them, taken in context over the years and how they have grown as people, and in ways the title track speaking of being halfway to obscurity, hinting at the flame only burning for so long, before “It Happens” takes you on another nostalgic journey going over the lads background and how you should never give up on your dreams…their hard work and success story laid bare to inspire future musicians to carry the torch so to speak, ending the album on a wonderfully poignant note.

To be fair, Busted were never renowned for being poets or philosophical from a musical or even lyrical perspective, but in their later years it’s clear they are very self-aware and recognise that times have changed. Despite being a new, fresh album, the feeling is very much one of remembrance and former glories. That’s not to say that any of this new material is irrelevant by any means, they’ve touched on a lot of deep personal issues here…the real question is does it even matter in this day and age? The answer is yes…if Busted were to truly call it a day following this, there would be absolutely no complaints and that’s not a derogatory comment. They’ve been there, they played the arena’s, they sold the albums, they made it…but they changed as people…and while looking back may make you proud of certain accomplishments, it shouldn’t define them.  Nostalgia is one thing, but credibility is more important, and I think, given the vibe from this album, it’s something Busted recognise. Does it have the hits of their early years? No…does the album however capture everything it needs to, to provide closure? Absofuckinglutely. If this is Busted’s swan-song, then credit to them, what a way to go out, this is a really well executed album.  It might be called “Half Way There”, but I think Busted have come full circle, and they can go out with their heads held high. [8]

Lansing, Michigan; the very heart of Michigan State and a pivotal player in the US educational sector, housing a plethora of universities, law schools, medical schools and more…but what are they like with metal? That’s where today’s band comes in…let me introduce you to HEARTSICK. Having formed nearly 20 years ago, through a love of progressive metalcore and amidst the NWOAHM boom, the four-piece (Consisting of vocalist Alfonso Civile, guitarist Jerred Pruneau, bassist Waylon Fox and drummer Justin Robinson) have over time built a strong following stateside with their intense, unforgiving live shows, supporting big-hitters such as FEAR FACTORY and HATEBREED. As they unleash their newest album “Sleep Cycles”, we have to ask, can the lads from Lansing school US on the metal? Let’s find out…

The album opens up like Corey Graves’ wife with a track called “Affair” and it’s not long before we’re met with Alfonso’s visceral snarls, curling themselves around some deep riffs; the metalcore style prominent, as it switches up between subtle gang-vocal melody for the chorus and being instrumentally itching for the imminent breakdown. It ends abruptly but generally it’s a fairly standard though enjoyable metal track; a decent start. “Hate Anthem” keeps up the momentum with its primarily more thrash metal inspired sound; the tempo and intensity are all turned up a notch and in ways this harks back to early SLIPKNOT in its delivery; a proper head banger of a track this.

Given the quartets admiration for metalcore however it’s not always a swift smack in the mush as they are more than capable of incorporating ample melody within their instrumentation, especially on the latter half of the album. “Slave Labor” in particular with its hushed atmospherics, whispered vocal delivery and soaring, emotive chorus, almost combining anthemic indie rock with chilling metal aesthetics; it’s quite hypnotic. “Her Heart” is another and again, with the soaring clean vocals it adds diversity to their audible assault, while single “Love Letter” embraces a more sombre, chilled out post-rock approach, appealing to your inner emo with their own take on a heartfelt rock ballad; a genuinely touching track.

​Ultimately “Sleep Cycles” is a fitting title as one minute it’s crushing and aggressively vibrant; wide awake and alert, but they know how to reel it back and soothe you too without managing to make you dose of completely, and they’ve balanced this out really well over the course of the thirteen tracks. Currently unsigned but, it’s hard to see why quite frankly (Unless it’s by choice of course), Heartsick know how to make you feel the feels and this is a solid record all in all…[7]

Despite the gimmicky premise of this blog, I sadly don’t cover a great deal of Gothic artists within these pages. The odd black gem, or, lump of coal if you prefer, will pop up, like A PALE HORSE NAMED DEATH earlier this year for instance, but Goth bands that I DO come across, new ones at least, are few and far between. Luckily however, as it happens, while covering a compilation piece for DEWAR PR just recently, I stumbled across today’s band; let me introduce you to HER DESPAIR.

The five-piece (Consisting of vocalist J, guitarists Dan and Jord, bassist Vikki and drummer Lee) hail from Berkshire, and have been building a name for themselves on the UK alt. rock circuit since their 2015 debut album “Hymns For The Hopeless”. With their penchant for mixing modern melancholia with traditional post-punk aesthetics they’ve quickly grown an impressive underground following. Just last year they released the much anticipated follow up to their debut; a new EP by the brilliant name of “Mournography”…let’s see if we get a kick out of this cadaver…

The EP opens up with “Blaspheme With Me” and right away we’re greeted with a blend of melodic guitar and surging yet sensual riffage…vocally J has a depth to his drawl but it doesn’t go as far as complete baritone like other Gothic rock and metal artists. The two aspects combine well and in ways it can be said it combines the likes of ENTWINE and THE CRUXSHADOWS… a lengthy opener at five minutes but it’s still a great start. “Valentine’s Mourning” continues along the same vein but is a touch more up-tempo and has more of a pop aesthetic with its hooks and overall rhythm. Lyrically steeped in sadness and loss but musically it’s such an uplifting track, a typical yet welcome oxymoron, really fun track this.

We slow things down next for “Within Tragedy” and it takes on a far more elegant tone; the sweeping orchestral elements of the synths really set the mood here while the rock aspects of the track chug along casually, giving it weight and carrying the track forward. If you are all about the slow burn and the melancholy then look no further than closing track “In The Arms Of A Sadist”…at seven minutes plus it embraces a clear doom influence from the likes of MY DYING BRIDE and simply oozes despair, which is very fitting given their name it has to be said, though it’s countered by the previous track “Damnation Tonight” which incorporates more harmonious keys and more groove-heavy goth ‘n’ roll, balancing out the EP perfectly.

Essentially what Her Despair do here is bridge eras in Gothic music; sounding crisp and fresh with their song writing and production, while also channeling the original bleak charm and quality of the likes of Goth godfathers  SISTERS OF MERCY and BAUHAUS. This, alongside their debut confirm that they are one of the brightest (Or should that be darkest?) rising talents on the Goth scene. If you’ve been wanting some quality Goth, stock up on the Kleenex because you’ll be getting off to “Mournography”. [8]

DEWAR PR is a PR company based out of Ontario, Canada, run by CEO Curtis Dewar. Specialising in all that is hard and heavy within the music industry, Dewar champions all of the underground genres such as sludge, stoner rock and other sub-divisions of heavy metal, allowing them the platform and opportunity to reach out to new set of ears worldwide. You may already be familiar with a couple of their clients through my recent 'My Wreckord Collection feature', but if you really want a taste of what Dewar has to offer, then look no further.

“Dewar PR Presents” is a brand new, FREE TO DOWNLOAD sampler compilation album, consisting of seventeen tracks by seventeen different artists, showcasing the variety of metal you can find within their catalogue of bands. Whether you like the groove-heavy hypnotic drones of sludge lords FALSE GODS….the traditional sound of old school thrashers TOMMY CONCRETE, the classic, sensual darkness of Gothic rockers HER DESPAIR, or even the sweet vocal harmonies of DUST PROPHET, there is sure to be something for you over the course of this record. Curtis himself says;

“I’m pleased to release the latest in our series of compilations! This is the fifth year of Dewar PR being in operation and I’m excited to have the chance to work with great new bands.  Download the compilation and support (with money) any of the bands that you enjoy! If you’d like more information on promoting your next release with Dewar PR, please email me at dewarpr@gmail.com!”

Follow the link below to download the sampler…did I mention it’s fucking FREE?!?! Get on it!

Track List:
1] FALSE GODS – “They Who Speak To The Lost”
2] OWL MAKER – “Witches”
3] TOMMY CONCRETE –“Leith Punk Flat”
4] HER DESPAIR – “Blaspheme With Me”
5] GORM – “Beyond Black Rainbow”
6] CHAOS SYNOPSIS – “Sixteen Scourges”
7] ALICEISSLEEPING – “Scary Mary”
8] RITUAL EARTH – “Solar Ecstasy”
9] DEATH ON FIRE – “Witch Hunter (Remix)”
10] VESSEL – “The Dreaming”
11] BLESSED BLACK – “Stormbringer”
12] STUMP TAIL DOLLY – “Regret”
13] ALLFATHER – “By Sword By Famine By Plague”
14] DUST PROPHET – “The Big Lie”
15] ARCHARUS – “Erebor”
16] RIFT – “Lift To Ash”
17] DESERT KINGDOM – “Unleash All Hell”

As February 8th 2019 was officially Dydd Miwsig Cymru, or, Welsh Language Music Day for those of you requiring English...I thought that I'd go local for this next installment of My Wreckord Collection. Today we catch up with one Mr Zac Mather, drummer of Pontypridd-based alternative rockers CHROMA. The currently unsigned trio have been making a name for themselves in and around Wales' live music scene since their debut self-titled EP, and continue to come on leaps and bounds through their work with Horizons, even garnering accolades at the Cardiff Music Awards. Here, Zac gives us a quick run down of five albums that helped shaped him as a person and a musician today....

Metal fans are a fickle lot aren’t they really, let’s be honest…I mean go on social media and browse through the comment sections of any established music outlet. Pick an article, any article, and I can guaran-damn-tee you’ll stumble across any number of elitists proclaiming [Insert Band Here] are not metal enough or, they aren’t metal at all, or they sold out. Some of the memes can be funny don’t get me wrong, but for a collective of supposedly like-minded people, putting specific genre’s to one side for a moment, rock and metal fans can be some of the most narrow-minded and often childish music fans in the world…and this brings us, to BRING ME THE HORIZON.

Formed in Sheffield back in 2004, Oli Sykes and the lads have been raising more eyebrows than The Rock since their debut “Count Your Blessings”…their early energetic deathcore assault was ambitious, and their youthful vitriol and intensity was applauded, but the recklessness and inexperience that came with it drew criticism. Over the years that have followed however, BMTH have gradually toned down their initial brutality, becoming a household name in UK metal in the process, and also one of the fastest rising bands in recent times…but there’s only so far you can really get in metalcore; so in 2015 the band decided to split opinions even further. “That’s The Spirit” was a total departure from their original sound as they’d now started incorporating more electronica and pop production…alienating some fans and metal purists, but finding themselves riding high in the UK charts. Some people don’t like change, but the band are now bigger than ever as they continue down this path, releasing their latest album “amo”…the Marmite of the UK metal scene, or under-appreciated genius? Let’s find out…

The album opens up with an appropriate forewarning entitled “I Apologise If You Feel Something”, and while already a well-executed anti-ballad, it also doubles down as an ironic jab at their critics. A case of sorry / not sorry as they continue to explore new sounds and arrangements, moving further away from their heavy roots, emphasised by the soft, echoing synths and hushed vocals; a cleverly confrontational start. This though is followed up by lead single “Mantra” and the lads are back on anthemic form. Keeping in line with the previous albums sound, the vocals are clean, there’s all of the groove and an incredible hook through the chorus. Despite the heaviness of the lead riff and the pounding percussion at times this is polished with a rich pop production quality and it sounds HUGE.

It’s this type of production that upset so many metal fans last time around, and unluckily for you things haven’t changed a bit this time round either…”Medicine” is oozing the influence that LINKIN PARK had Oli growing up as it blends rock and electronica with a subtle R’n’B vibe, it’s easy to imagine Mike Shinoda guesting on this one. “Sugar Honey Ice & Tea” returns to a more guitar driven core sound but retains the accessibility of the bands recent musical direction, and though while ironically “Heavy Metal” again has some surging guitars it’s far from abrasive.

The majority of this record is comprised of a band happy to experiment and explore; with the album unafraid to shake things up stylistically. With the sweeping, elegant string sections of closing track “I Don’t Know What To Say”…the trance / hard house qualities of “Nihilist Blues” bringing out your inner raver, and the dark, low-fi grime influenced street ballad that is “Why You Gotta Kick Me When I’m Down?” all take the band on different musical directions and it makes for a roller coaster of a listen. Even though on face value BMTH have stayed on this, mainstream path, the evolution is still there for all to see…they have no shame in trying new things, toying with new styles and crossovers and frankly that’s how it SHOULD be. Too often we’re hypocritical of the current scene we’re meant to uphold…band does the same thing over and over? Boring, stagnant, dull…band changes up their sound as they grow as artists? BOOOO traitor! You sold out! You’re meant to be a rock band! Bring Me The Horizon in their current guise might not be for everyone, I totally get that, but what’s wrong AT ALL in one of our own going out there and fucking owning it? Nothing, that’s what…well done lads, shots have been fired. [7]

When you think about bands and their longevity, you’ll be forgiven for making a B-line to the classic-rock generation, and those artists that have been together since whichever year BC they formed out of single cell organisms, (I’m looking at you Rolling Stones) but we sometimes forget that time moves on, and, as a result, some bands get lost in the nostalgic shuffle. This brings us to WEEZER. The Los Angeles based alt-rockers formed back in 1992 and we need to remember that, that was nearly thirty years ago now! Thirty years ago still feels like the 70’s! Granted while they aren’t exactly old-timers, their consistency and reliability over the years has been impressive, and coming back to present day, they’ve surprised us all again….

​Every now and again a band will release a cover-song that’ll slot into an album as a bonus track, or, for an EP for example, but Weezer have gone all the way down that rabbit hole, and delivered a full length covers album dubbed the “Teal Album”. Their fifth self-titled album and their twelfth studio album overall, it started life as an innocent cover of “Africa” by TOTO, but it’s snowballed into the collection of tracks we have before us right now. With that said, let’s go undercover and scope this album out…

It opens up with that Toto track and to be fair, there isn’t a LOT to differentiate this track from its original. The soft synths remain; the gentle percussion and River’s clean, melodic vocals are a pleasure as always. There’s an extra layer of guitar thrown in to the mix to give it a little more character but overall it’s a pretty by-numbers cover. Next up we have the TEARS FOR FEARS classic “Everybody Wants To Rule The World” and again really, they haven’t done a great deal to it…other than hearing Rivers own distinct vocal the tracks delivery more or less remains unchanged in style, in tone and tempo and, to a degree you could argue that, again, bar from some additional guitars, this could essentially just be Rivers doing karaoke.

There are a couple of occasions where the tracks do actually feel like covers; “Sweet Dreams (Are Made Of This)” being an early example…the EURYTHMICS anthem, naturally, originally voiced by Annie Lennox, sounds different with male vocals and here it’s presented in a good way, unlike the god-awful attempt by MARILYN MANSON, though the synths are still pretty copy and paste. We do manage to shake things up on the surprise inclusion of BLACK SABBATH classic “Paranoid” as guitarist Brian Bell takes up lead vocals…why you may be asking? Well…it turns out he can do a pretty fucking decent Ozzy impression so again, it’s like a karaoke track, though I will admit the modern production value and crisp guitar solo breathe new life into this legendary piece of metal history. A-HA classic “Take On Me” gets a turn too and again, with Morten Harket having such a distinct vocal, it’s interesting to see Rivers wrap his chords around it but it’s clean, clear and he does a brilliant job hitting THOSE high notes.

Arguably the most talked about track though will be “No Scrubs” by 90’s has-been R’n’B unit TLC…long-forgotten one-hit-wonders, this is the kind of thing that can revive a career with media interest so thanks Weezer…thanks a fucking bunch, last thing we need is a TLC reunion tour, it’s bad enough with THE SPICE GIRLS. Ultimately though, at only 10 tracks long it’s not a bad listen by any means, the production and mixing are all good, as are the majority of selected songs themselves, but despite the odd, brief, minimal twist, they do for the most part, just sound the same, and there isn’t a lot of additional character offered; there are no extra quirks. It’s like, how can I put it...when you buy a CD full of old Christmas songs, but they couldn’t afford the licencing or the rights for the original artists, so they just got some session singers to get as near to the original sound as possible. That’s what this album sounds like. Having said that…just be grateful they didn’t pick anything by Mariah Carey. [6]

Back in 2010, Gothic music, no, ALL of music, lost someone truly gifted and remarkable. Yes, on that April 14th, the not-so jolly green giant Pete Steele of TYPE-O-NEGATIVE passed away, somewhat ironically, due to heart failure aged just 48. Initially we had to double check, as not only was their previous (And as it turns out final album) entitled “Dead Again”…the album itself was brought to everyone’s attention through a hoax, suggesting Pete’s passing on their website, via a macabre but not unexpected marketing ploy by the band. Sadly this time wasn’t to be a dark humoured joke tying into a promotion, this time it was for real…Type-O-Negative were no more.

Luckily for fans, and in loving memory of Pete Steele, original Type-O drummer  Sal Abruscato (Up until 1993) wasn’t long in allowing this new source of mourning and melancholia to fuel his creative juices once more, and stepping aside from his other band LIFE OF AGONY, he formed A PALE HORSE NAMED DEATH in 2011. With their first two albums (“And Hell Will Follow Me” and “Lay My Soul To Waste”) receiving praise and critical acclaim, it’s only natural we get excited to know that the third, despite the five year gap, was still on the way. In early 2019, they returned with “When The World Becomes Undone”…let’s see what Sal and co have been sitting on all this time…

The album begins rather fittingly with “As It Begins” and really it’s just a brief intro piece; the church bells, the weeping woman, a continuous, haunting drone…it’s really quite ominous as it seemingly sets you up for a  ritual, or, something far worse and sinister, but the transition into the title track is a little disjointed. It lacks a clean flow as it switches up into this, chilling piano led piece, while Sal’s lyrical delivery and vocal tone hints at a disturbing, nursery rhyme-inspired track. The percussion initially seems stuck on a loop, with little in the way of tonal progression, like the CD was skipping, if it wasn’t for the subtlety of the bass, before we eventually get underway with some classic sounding, deep, dragging riffs. At near seven minutes it keeps in tradition with the drawn-out doom metal influences, but there are a few tempo and key changes to keep it ticking over, improving as it progresses.

It’s not all ENTIRELY doom and gloom mind you, as there’s still room for a tune or two amidst the misery. “Love The Ones You Hate” being a prime example…the classic guitar slides, the almost “My Girlfriends Girlfriend”-esque delivery harking back to classic Type-O, adding both hooks and tempo to proceedings. While not the most melodic of vocalists, the whole thing takes on an almost grunge-like yet, hypnotic tone, thanks to Sal’s musical direction, and it makes for a clear album highlight. The same can be said for “Lay With The Wicked”, “Fell In My Hole” and “We All Break Down”…the former with its darkly sensual opening, embracing the seductive yet, again, haunting aesthetics of the deep harmonies. A slick guitar solo makes for an even more emotive listen and it reeks of gothic lust, while the latter maintains the low-tempo, dreary appeal of classic doom-inspired goth, with more subtle nods to “October Rust” musically as we head towards the tracks climax.

Granted, it’s not a perfect album…”Succumbing To The Event Horizon” is only marginally longer than its own name; no more than a brief instrumental interlude in the loosest possible sense, while “The Woods”, which despite being longer, doesn’t have much more of a point, though conceptually you could say it harks back to the tribal tones of “Fay Wray Come Out And Play”, before closing track “Closure” returns to the church bells, weeping and organ music as the album goes full circle. All in all, we have to accept that there’s only so much you can get from a doom-based record in terms of appeal, and in a world without Pete Steele this will always have to be your next best choice. Both sonically and aesthetically on point, APHND and Sal deliver a fine slab of sadness here as they’ve clearly found themselves musically; this is more polished, crisp and cathartic too as it provides respectful throwbacks to Sal’s formative years with Type-O-Negative. In a world of post-metalcore, mumble-rap and grime, it’s refreshing (Or should that ironically be rotten?) to find there’s still a place for such wonderfully presented woe…a great gothic-metal album and a great start to 2019. [8]

​As some of you will know, Nu Metal was my thing; when I was first introduced properly to this crazy world of rock and roll, it was Nu Metal titans such as LINKIN PARK and LIMP BIZKIT that got me hooked. Now, while we all know the current situation surrounding Linkin Park, and Limp Bizkit are doing a TOOL and taking forever to release their anticipated next album, we have to turn our attention to today’s band and remind ourselves that, we still have it good!

PAPA ROACH have been going impressively steadily since their iconic debut “Infest” back in 2000, and while the genre they helped take over the world with, faded to nothing but a cringe-worthy memory to some, they’ve kept evolving and maturing musically, managing to stay relevant all the while still retaining their own sound. Just under two years since their last album “Crooked Teeth” broke into the Top 20 Charts on both sides of the pond, Jacoby & co are back already with album number ten; entitled “Who Do You Trust?”. The more important question is, can WE keep trusting them to put out solid albums? Let’s find out…

The album interestingly opens up with “The Ending” and we’re greeted with a dark, ominous synth driven affair that leads into Jerry Horton’s traditional, crunching riffs. Jacoby enters the fray with some smooth hip-hop inspired lyrical delivery, before the dual approach of vocal harmonies and visceral screams, leads us onto a simplistic yet catchy chorus. It again shows how well Papa Roach are able to blend styles and ideas to create something truly unique to them; a strong start this. Lead singles “Renegade Music” and the title track then take us further into the meat and veg of the album as a whole. The former, again, dark in tone and rich in political overtones, which allows subtle elements of the likes of RAGE AGAINST THE MACHINE and even BEASTIE BOYS to trickle through.; it’s all empowering and a well-executed, anti-establishmentarian call to arms. The title track, aided by its tongue-in-cheek video refers to the idea of ‘Fake News’ and again, with a guitar heavy, jarring style, speaks to AND for the people against certain people in government.

Speaking of heavier sounds, the brief bombardment of “I Suffer Well” is an interesting yet entertaining slab of hardcore punk…over in less than two minutes, this is a Papa Roach we haven’t felt for a long time and proves they still have it in them to tear it up twenty years in, and it’s quite refreshing. We all know Jacoby is a big softie at heart though and they are more than capable of tugging on the heartstrings of even the most rugged rockers. “Problems” in particular hitting far harder than any goodbye kiss with its level of emotion, self-awareness and brutal honesty…and sadly it’s painfully relatable. Luckily “Feel Like Home” lifts the mood with its soft indie-rock tones and vibrant, optimistic production, despite Jacoby’s trademark, oxymoronic lyrical delivery; contrasting the up-beat style of the song.

Overall, though the album as a whole doesn’t contain ‘hits’ akin to their early years per se, the focus is on the bigger picture, and that picture is of a band who have matured in sound and are comfortable and confident in their ability to deliver a genuinely quality album. Do I trust Papa Roach? Every single time…[7]

Idea’s and plans are great when they work out, but sometimes life throws little curve-balls at you causing delays in getting to your overall destination or goal. This is the case for London progressive metal outfit KHAIDIAN; originally formed in 2010 by founding members, guitarist John Tyrell (Formerly of INTERLOCK) and bassist Joe Perunal (MORTAD) it’s fair to say it’s taken them a little while to really get the ball rolling.

After initially completing their line up with vocalist Andy Hutton, having consciously made a point to avoid all of the expected ‘screamy / growly’ vocals, and drummer Paul Fowler, everything was set for them to release their debut album back in 2016…however, Paul then  decided to up and leave throwing a massive fucking spanner in the works. This led to a year of frantically searching for an able replacement but finally, in 2018, they got what they were looking for in the shape of GRAVIL’s own Kris Perrin. Now, in early 2019 the band are FINALLY ready to try again, as they unleash their long-awaited debut “Penumbra” onto the world. The question is, was it REALLY worth the wait?

The seven-track mini-album opens up with “Pearls Before Swine” and we’re greeted with the deep-rumblings of the djent inspired riffs, coupled with an almost up-tempo thrash metal intensity…though it’s balanced by the subtle but icy synths layered within the tracks tapestry, while Andy’s vocals carry the bulk of the melody with their promised, clean delivery. Recent single “Dominion” continues in the same fashion with its poly-rhythmic, off-kilter riff offerings; the progressive influences shine through here and fans of the likes of MESHUGGAH and TOOL will likely appreciate this one.

“Thrive” delves deeper into the bands electronic influences as it incorporates a more subtle techno / light industrial vibe within the tracks intro, being used sparingly then throughout the course of the track, giving their sound extra character but not detracting from their overall prog-metal sound. The same can be said for “Sense Of The Spherical” as it continues to add more layers of instrumentation…with the synths providing a more hushed, atmospheric tone, while the pacing and general style of the track allows for more, almost dub-qualities, before closing track “Dramatic Professions Of Martyrdom” rounds the album off as it started; up-tempo and harder hitting, before essentially just meandering off.

The initial question was, was this all worth the wait at the end of the day, and truthfully it’s a bit 50/50. While musically and instrumentally the band are clearly on fine form; they’ve taken a djent-inspired prog-metal blueprint and melded it, albeit minimally, with other styles and pulled off a decent prog-metal album…it’s oxymoronic that the band CHOSE to eschew any potentially clichéd growled vocals, as really it’s the missing ingredient. While I’m not suggesting they COMPLETELY change their sound just to include all dem’ snarls…but the added aggression would have elevated at least some of these tracks. Penumbra by name, and that’s appropriate as it’s a shadow of what it potentially could be. [5]

There have been a few times where, while talking about musical backgrounds, I’ve referred to areas and places that seem to just, almost mass produce a certain level of quality, relevant artists over time…like, Birmingham in the UK for example. Today however we’re not going to be examining any parts of the UK, as instead we’ll be jumping across the pond to the US and focusing our attention on Detroit, Michigan. Going as far back to the 50’s and 60’s and the likes of MC5, THE SUPREMES and STEVIE WONDER…all the way up to more modern successes like EMINEM and THE WHITE STRIPES, Detroit has always had its finger on the pulse when it comes to music, and today's band want to include themselves on that list…let me introduce you to FLOAT HERE FOREVER.

The three-piece (Consisting of vocalist/guitarist Darrell Bazian, drummer Nick Marko and vocalist / bassist Samantha Easterbrook) initially came to light in 2016 with their debut EP “The Owl”, which was then swiftly followed up by the “Inexhaustible” EP just a year later. Fast forward to the present though, and the band aim to see-in 2019 in style, having released their debut full-length album on January 1st. Samantha sent me an email kindly requesting me to review it, so, let’s press play and together we shall all “Tour The Ruins”…

We open up with the track “Cars Crashing” and hopefully this doesn’t sum up our imminent listening experience…the deep, fuzzy riffs and coarse vocals, coupled with the up-tempo delivery and off-kilter breakdowns gives this an overall, punk-inspired post-rock feel. The dual male / female vocals providing additional depth and variety too and it’s a pretty decent start it has to be said. I wouldn’t go as far as a car crash though; this is at the very most just, clipping a wing mirror. “Wasps” is up next and here musically they’ve gone for a similar approach, with the energetic, up-tempo, angst ridden pop punk tone, though turning ever so slightly prog-based as the track meanders into a purely instrumental second half climax. It’s the punk aspects that truly comprise the albums meat and veg however, as it’s made up of multiple short, sharp doses opposed to more elaborately structured songs.

​The raw vocal approach to “California’s Burning” allows it’s frustrations and sentiments to shine through the tinny guitar, despite the mostly repetitive lyrics. In many ways it reflects many of the victims of the devastating fires in 2018, like, what can you really say? Such was the magnitude of the blaze. While we’re on the topic, “Quick Burn Fire” offers the listener a truly infectious chorus hook, with Samantha taking over lead vocal duty, allowing for a lot more melody, with the guitars too sounding cleaner and clearer. Further album highlight “Gradients” turns the distortion up again and really gives us a riff-heavy barrage of thick guitars and muzzled vocals, in many ways harking back to early CKY, while “Pilot” has this, happy-go-lucky indie rock ‘n’ roll vibe, providing a fun, up-beat listen.

There are a couple of off moments over the course of the 14 tracks however…”Addax”; a sombre little instrumental primarily consisting of ambient guitars, fades into nothing without the slightest of points, and it’s named after a large North African antelope…making all of the sense. “Plasmodium” being another one…insect bacteria apparently, but sounds all soft and quaint…because nothing says beautiful like malaria right? The rest of the album just consists of the same, brief punk-based indie rock, and while musically enjoyable, nothing REALLY grabs your attention. The 30 minute play time doesn’t allow you to connect with the songs, resulting in no more than a collection of somewhat entertaining, albeit short, generic tracks. Float here forever? I can already do that with Pennywise thank you, and he has balloons too. [5]

While the end of the calendar year is typically filled with Top 10 favourite lists, editors picks, playlists and compilations, review requests do still slide into your DM’s like the thirstiest of thots…and though while initially preoccupied with deciding which album gets the coveted top spot, I don’t like to leave any stones un-turned, which brings us to today’s review. Just before Christmas, I had an email from a gentleman by the name of Tommy Olsson and he asked me to check out his band LONG NIGHT. The three piece (Consisting of Tommy himself on guitar, second guitarist Arni Sorlie and vocalist Osten) have recently released their newest album; “Barren Land”, and it becomes my first official review of 2019. Let’s see if it really is as fruitless as it makes out…

The album kicks off with “East Of The Sun West Of The Moon” and we immediately get that early 80’s post-punk vibe…the subdued vocals over the hypnotic percussion and rhythmic guitars giving off an indie-esque melancholic tone, harking back to the likes of THE MISSION. The low-key melody compliments the dreary gothic tones well and despite being a generally lengthy opener, it satisfies and it’s a strong start.  “The Night’s Ablaze” continues the album with another similar, early post-punk effort albeit more up-beat with more of a general hook and vocal melody…the bass line though simplistic carries the track and there are elements here that would appeal to fans of KILLING JOKE for example; strong stuff this…brilliant.

The early proto-goth vibe is solidified by standout track “It’s All Gone” with its sombre yet melodic guitar; the track as a whole slow enough to capture the torment  and pain, but still up-tempo enough to create a truly entertaining nostalgic bubble…all of the hooks yet all of the throwback simplicity, this is what long-time fans long to hear. “The Rain Still Falls” returns to that overdone lengthy delivery; properly embracing the gothic tendencies but also utilising darker indie-rock elements as found in the likes of EDITORS or SPECTOR…before the rest of the album descends into a disappointing crawl. “On A Little Snowy Field” being a prime example…it’s that slow you could have mowed the field itself and regrown it, waited for it to snow AND built a snowman before the song finishes. “Black River” drones on for over seven minutes with some minimalist, middle-eastern inspired instrumentation, while “Cold Light” returns to those brooding, dreary indie tones, though it does deliver on the vocal front; very much exuding passion, almost drawing sympathy from the listener.

Overall, Long Night have delivered well enough here, and their ability to recapture the early sounds and tones of that original, goth-rock aesthetic is impressive. A perfectly fresh throwback to the genres formative years, they’re definitely a band for all of you OG goths to check out. Some of the tracks are a little flat, there’s a fine line between moody and boring, with some of the tracks needing a little more bite, but “Barren Land” is certainly showing signs of life. [6]