So back in September, I covered the BATS IN THE ATTIC weekend up in rainy-old Morecambe, and thoroughly enjoyed two nights of Gothic, post-punk, dark-wave, new wave, old-school, skipped-school and too cool for school alternative bands, all coming together under the vague but vehemently celebrated Gothic umbrella. One of these bands, quite frankly have barely LEFT school by the looks of them, but when I tell you that they were one of THE highlights of the weekend, you may just rub your eyes in disbelief and smudge your Maybelline. Yes, today we’re going to be revisiting SOCIAL YOUTH CULT... 

The nostalgic, Newcastle Upon Tyne based force majeure (Consisting of vocalist/guitarist Shaun Greer, guitarist Holly Moore, bassist Jack Stephenson and drummer / vocalist Alex Thibaut) impressed everybody as a live band, especially the older bands playing the weekend, with their raw, authentic modern day take on traditional post-punk. Honestly it was like a time capsule; a fleeting glance at the dawn of darkness, when the very concept of alternative music in any capacity was less than a glint in even Franz Waxman’s eye. Since then, bassist Jack’s been in touch via email, and has very kindly sent over their upcoming debut album “The Lighthouse”. With it being released on Sunday, November 2nd at the Whitby Weekend, let’s check it out, and shine some shade on one of the scenes most promising post-punk prospects. Now having said all that, as we press play..."I bid you velcome"... 

The album opens with “Venus”, and while it lacks the smoothness of a lady's shaving product, it cuts just as close with its darkly foreboding bassline and methodical yet intense percussion. You can hear a lot of the influence from KILLING JOKE in the instrumentation alone here as it relentlessly chugs along, almost bullying the listener into acknowledgement. It plateaus early with riff repetition, with only Shaun’s occasional vocal spikes giving this more than a one-dimensional character, but it’s hypnotic in its own right, and it’s the aura that carries this song. With Venus being the Roman goddess of love and victory, lyrically this is up there with the most vampiric, Poe-influenced, one night stand anti-ballads I’ve possibly heard. It’s like, taking a walk of shame through a graveyard; dressed to kill but feeling like death warmed up, yet still smirking at the quality of the head (stones). It’s likely deeper than that but...facial value. 

Follow up track “Close To Nothing” somewhat tackles mental health issues...the weight of the world, societal and romantic defeatism, and hanging on by a thread. Lyrics like “Artery beating, moments fleeting, I’m so tired of this thing in my chest” channel a sense of emotional fatigue; they’ve weighed up the pros and cons, and suicide is not off the table. There’s reference to overdose, and it’s a deeply pained track delivered in a manner that would make BAUHAUS proud. It’s slow, it’s hurt and it’s a wonderfully delivered acceptance of sadness. 

Next up we have “The Man In The Photo”, and while Chad Kroeger isn’t available to look at this for us, we’ll try not to laugh at it ourselves. Tying this back into BAUHAUS, this could easily be a nod to “Dracula”, as in Bram Stoker’s novel, Jonathan Harker is greeted at the castle by a grey-haired individual with, long, sharp fingernails, and seeing as vampires in general have no reflection, it’s safe to assume that, daguerreotype cameras of the time, which like old mirrors, used silver, would render an image of the vampire non-existent. It fits conceptually.  

Lines like “He hurt his head but not too much” could refer to Harker’s mental breakdown or his attempt of twatting the Count with a shovel in his coffin. Regardless, it’s a slow, methodical song with deep bass and a plodding delivery and is an incredibly nuanced way of suggesting you read “Dracula”. I’m not going to lie I would have much rather have read that in school than “Of Mice And Men” or “Why The Whales Came”. I’d rather watch “Nosferatu” in braille wearing oven mitts but there you go... 

Closing title track “The Lighthouse”, could be a nod to Scottish and Irish coastal folklore, with Celtic spirits such as the selkie, but there are many ghost tales of babies appearing before lighthouse keepers, amidst storms or tragedies. A harbinger of doomed fate, or a curse, it’s a classic maritime haunting trope...coupled with the fact that there’s a lighthouse in Whitby, where Bram Stoker took inspiration for “Dracula”, as his ship, The Demeter, ran ashore there, and it’s all tied in nicely within its own conceptional nuance. Musically...there’s little to no change. 

Ultimately, we find ourselves in a position where we of course must praise SOCIAL YOUTH CULT. The sounds and styles they’ve recreated here are over forty years old, and despite the modern music landscape evolving as it does with technology and trends, they’ve truly nailed that authentic, original sound of Goth’s formative years. Modern indie bands like IST IST and NAUT utilise elements of post-punk, vocally for example, but are polished, they write hooks, there’s an element of catchy song writing to their craft...this is SOCIAL YOUTH CULT's only concern.  

I’m going to sound ungrateful here, but while I absolutely applaud the commitment to the style and sound of those early proto-Goth days, which let’s all agree, the band have nailed, it never stopped bands like JOY DIVISION releasing tracks like “Love Will Tear Us Apart”...for example.  

As on point as your sound, proficiency and delivery are, for a stylistic throwback, you could have at least put ONE slightly more energetic or accessible track in there. Old-school folk get it, don’t get me wrong, it’s applauded and appreciated, but you can’t really rely on old folk...old folk tend to die sooner. You need to at least try to cater for fledgling bats who are discovering post-punk, Goth and alternative options. New generations need that gateway-Goth. 

The fact that they are as young and fresh as they are and are delivering songs of this nature and quality within such a truthfully dated genre, they have my utmost praise and respect, but for a youth cult, they’ve seemed to have overlooked their peers in favour of their pensioners. “The Lighthouse” may be a signal, a beacon of hope for modern day Gothic music, but a lighthouse is only useful when there are ships in the vicinity. As genuinely good, as authentic as they are, live at least...they need to find a way to incorporate and further encourage a younger audience. Shaun, Holly, Jack and Alex might appreciate early post-punk, and I’m with them, …yet while in principle they bring a youthful presence to such a niche genre, none of the eight tracks here truly excite.  

“The Lighthouse” will perk up old ears, for the nostalgia, but they’ve pigeonholed themselves as almost a novelty. They can coast along, be it East or West, but for a young band, they’re shackled with their own dedication to heritage. As a debut album, it’s impactful from the viewpoint of that nostalgic quality, it does grab your attention, there’s no denying that, however, they run the risk of becoming a stagnant gimmick, with life imitating art as opposed to the saying.  

Do I want them to sacrifice their core values as a band? Absolutely not...do I want them to reach further than an old-school audience and help maintain the longevity, and continuity of post-punk and beyond? Of course! And here’s the dilemma. Goth’s might be the visual embodiment of depression 90% of the time...but we like something to dance to as well when the mood takes us. “The Lighthouse” highlights a lot of things, sub-culturally, but Goth needs a spotlight for a new generation, and as decent as this album is, it’ll live in the shadows so long as SOCIAL YOUTH CULT prioritise the past sonically. I really wanted to enjoy this album...I really did; but I’m not from Jonestown and not fully sold on this cult quite yet. I’ll stick to my actual wine, not the grape Kool-Aid for now. [5] - Words: Gavin Griffiths

ANDREW PERER wrote this book on Kevin Shields and MY BLOODY VALENTINE, and I'll be bloody damned — it's actually pretty good. And you're already asking yourself: "Why in the name of all that is holy would I want to read about some Irish dude getting a guitar so he can sound like a Boeing 747 sobbing into a pillow?" Ah, but calm your pint, buddy, because it appears that this isn't some hack Wikipedia cribbage scribbled between benders.

​Perer's been digging on this ground for decades, searching out everyone from one-time band members to sound guys still cringing at the word "reverb." He's found the lunatics who heard Shields warping his guitar into sounds that kept grown men in their shoes for hours, so "shoegaze," but I still envision it sounding like a lads' support group for dudes with wonky ankles.

Some of them are being told here for the first time, and you get the sense that it's because no sane human being had the endurance to follow half of Shields' orbit. Let's be honest: MY BLOODY VALENTINE's career is what a band would do with time travel but only reversed to leapfrog over deadlines.

Three albums. Forty years. I have heard buskers in Camden shell out that many albums in the time it takes to miss paying rent. But the three that they did release? Each one falls like a brick through your lounge window at 3 a.m. — frightening, inconsiderate, but somehow lovely when moonlight reflects off the splinters. "Loveless" (1991), the album everyone says is God sneezing slowly, is handled with the reverence it is given.

Perer not only buffs Shields' halo, but introduces us to the fellow and his cash-burning record company like a pyromaniacal accountant, scaring Island Records and engineers who likely still drink bourbon for breakfast. The book dispels the urban myth and presents us with the chaos for what it really was: half-genius and half-sheer and complete madness. "Loveless" isn’t the only era covered. Andrew Perer also chronicles the long, strange quiet period.

The "Are they dead or abducted by aliens?" decade, when Kevin Shields supposedly was working, maybe, or maybe just hiding in a cabinet with fifty guitars and a fear of sunlight. And he charts Shields' fill-in activities: production, remixing, inserting himself into Sofia Coppola soundtracks as some sort of musical vampire. Creeping around, messing about, returning with something that makes you wonder whether the guitar is an instrument or a weapon.

What I adore is that the book does not give anyone a free ride. It's not a gushy fan epistle. There are the breakdowns, tantrums of brilliance, the utter perversity of a band that created the most ground-breaking album of the '90s and then more or less coasted for a decade like they'd simply popped out to pick up some milk.

If you care about music history, this is a no-brainer.

If you merely wish to discover how one obstinate Irish boy rewired the way we hear sound, music, and guitars which can emulate dying engines, then this book is well worth your time. But if "shoegaze" to you is all about crashing around drunk and staring at the ground, then maybe hold the colouring book.".

Good book, good author. I still don't get it, why it would take twenty years to write three records, but now that I've read this, I nearly respect the sheer obstinacy of it. But then I spent three months putting in a shelf. Shields spent twenty years learning to tune a guitar. Maybe we're not quite so different, then. Words: Matt Denny.

"On May 1st...I thought that was IT...I was at PEACE with this being my last show. But little did I know...when I got into that room with the guys, everything changed. It wasn't just about saying goodbye; it was about being reborn with music. And, we had two rehearsals, and the show...and from the moment we started playing music together, I realised this was just the BEGINNING. How to disappear, and never be found? That's a great question...let's find out..." - NIKKI SMASH

The very first aspect that draws your attention when you experience "The Art Of Disconnect" is not the music itself, but rather the overwhelming presence of the crime scene surrounding it. This scene is as unyielding and raw as a live performance can possibly become. You find yourself confronted with a stage marked by bootleg stains, suggesting a chaotic past, with the lighting intentionally dimmed to levels reminiscent of those found in an interrogation room, creating a chilling atmosphere.
The band's name looms in the air like an unsettling admonishment, echoing the title of a missing persons alert for Madeline McCann: HOW TO DISAPPEAR AND NEVER BE FOUND. It's absolutely crucial to understand that this is beyond a mere confession; rather, it works as a highly powerful testimonial that counts.
Listening to this live album is like flipping through case files past midnight, every song another recorded interview, another blacked-out paragraph, another witness who claims to have seen but can't quite get it right.
It commences with a composition entitled "Enthusiasm And Fumes", which possesses an energy and presence that could almost be mistaken for an alibi—it's subdued, assured, and has an aura that seems almost rehearsed. The lines on guitar charge forward, reminiscent of suspect testimony that can't quite be trusted, while vocals envelop you in a way reminiscent of how a cloud of cigarette smoke suffuses a room when you have that uncomfortable sensation that the detective is openly lying through his teeth. By the point that the band runs through the song "Blueprint For A Breakdown", a malevolent chill has permeated.
Within the context of their creative world, the theme of disappearance manifests itself as both a profound tragedy and a grotesquely twisted form of artistic expression. And that's where The Art Of Disconnect's brilliant trick lies: it's not a concert that you listen to; rather, it plays out like a procedural thriller. You don't applaud between numbers in appreciation but painstakingly keep notes in the margins of your mind, circling particular words and phrases that could potentially have a deeper relationship.
With this novel event, the audience become the jury while the band become suspects. And then there are the songs, the evidence in this complex trial. Some numbers clearly have a guilty appearance while some could provide a reprieve; but both of these remain bathed in an insurmountable level of doubt and uncertainty.
By the closer “Deadhead”, you realise the title was never about stagecraft at all. It was a manifesto. To disappear and never be found isn’t just the band’s name, it’s their verdict.
If NIKKI SMASH hadn't been intercepted in the act of making his audio or video recording of his last crime, then he most likely would have gone completely out of sight and would have never been discovered or found again.

When the gavel finally came down, the number written on the record was 8.5 out of 10. Not justice. Not closure. Just a verdict that feels temporary, like any good mystery, one that's infuriating in all the right, terrible ways. Words: Matt Denny.

"The Art Of Disconnect" Is Available Digitally October 24th. Physical Pre-Orders Open Now.

"It Can’t Rain All The Time" (especially in Scotland) is a title wrapped in an enigma,  trapped in a rumour and sealed by a whisper.

SILVER DOLLAR ROOM haven’t made an easy listen. They’ve built a shrine out of damp stone and broken glass, then dared you to kneel on it. Every track hurts, and that’s the point. This isn’t comfort—it’s a reminder that the rain never really stops. Subjects such as male suicide, destructive relationships, class divide, addiction, poverty, wealth, and greed make this a record that’s lyrically jarring but delivered in RADIOHEAD, SMASHING PUMPKINS, MANIC STREET PREACHERS, and STONE TEMPLE PILOTS type fuzz.

At the heart of the album is "Monsters". This track tackles the harsh reality of the Rochdale Scandal in which calling schoolgirls liars was easier than doing actual police work.

John Keenan’s tearing his throat raw spitting venom at the filth who let Rochdale burn. Every riff’s another brick lobbed through their office windows, every drum hit’s another skull cracked against the kerb. FUCK THEIR EXCUSES, FUCK THEIR FAKE APOLOGIES!. It’s a boot in the teeth of authority, screaming YOU KNEW, AND YOU DID FUCK ALL!
You don’t listen to this album, you survive it. You crawl from underneath it bruised, bleeding, but laughing because at least someone’s still got the balls to scream while the rest of the world nods off. SILVER DOLLAR ROOM aren’t here to be liked, they’re here to haunt you. "It Can’t Rain All The Time" is the sound of the storm breaking your windows in, and if you’re not soaked and shivering by the end, you weren’t listening.

Score: [7.5] — Louder than the lies, but not yet loud enough to bury them... Words: Matt Denny.

The album "It Can't Rain All The Time" is released independently on September 13th

(Ruffling through some legal documentation) Are we sure we can cover this? I mean I’m open to music of all kinds; wobble boards and digeridoo's included, but this seems like a push even for us! (Double checks email) Oh...oh ok my bad...It’s WOLF ALICE, not ROLF HARRIS...sincerely my bad. Untie that kangaroo, we’re going in a different direction, change of plan, hop along Skippy, simple misunderstanding...untie that kid too! (Behind the scenes commotion) Look just let the kid go! Give him some sweets and a fiver and get him gone! Jesus! OK a tenner we can stretch that, just get rid! Sorry folks...technical difficulties...Matt stop trying to box that kangaroo! 

WOLF ALICE, who originally formed in London as an acoustic duo, have over the years cemented themselves as a decorated and critically acclaimed outfit, fleeting between shoe-gaze indie-pop, folk, and grunge influenced dreamy post-pop. They’ve won Brit Awards, iTunes Awards, a Mercury Prize, NME Awards, and been nominated for countless others in their career...and 2025 finds them hoping to add to their list of accolades and accomplishments, as they release their latest album “The Clearing”. The question is, are WOLF ALICE going to have us howling like “Dog Soldiers”? Hit us for six and leave us equally discombobulated as disembowelled, or are they going to be like the twink puppers from “Twilight” and leave us equally devoid of rationale and respect? All will be made clear when we press play... 

We open up with “Thorns”, yet the soft piano keys and string instrumentation are about as sharp as a wet sponge covered in butter. And as a Brit, not even I would put that in a sandwich. It’s a metaphor really for the therapeutic process of art and song writing; the thorn representing the thing that’s irked and inspired you to create, but then the guilt of feeling like you’re able to extort gain from the experience through song. “Ooh I must be a narcissist, God knows that I can’t resist, to make a song and dance about it...”. It’s like, they’ve channelled real life situations into song, but there’s a nagging doubt of pretentiousness demeaning them and they can’t win. It’s almost a case of damned if I do, damned if I don’t, and it’s a damning insight into an artist's psyche; fake and fortune, or sincere and struggle? The industry higher-ups are the real thorns in the side of every artist...you’re either marketable or you’re maligned. It’s actually a beautiful intro... 

We follow this up with first promotional single “Bloom Baby Bloom” and we’re immediately met with a more upbeat, jovial piece of music. However again it’s a song of defiance. “Do I have to make you sit on your hands? Fucking baby, baby man, do you want me to show you who I am?”. These lyrics scream strip-club etiquette, and it’s like they’re saying, keep your greasy hands off, we’re the artists, and we’ll do what WE want, what WE are comfortable with...there maybe money involved, you may have requests, personally, professionally, but we’re doing the creating, and keep your mitts to yourself. I want doesn’t always get. There’s a great drum track and a funk-filled rhythm underlying this track, some powerful vocal projection. This is a middle finger to executives and really anyone in your life who believes they have control over you. They don’t. You do you, and bloom. 

Closing track “The Sofa” is also a promotional single and it’s a deeply reflective track...a very personal track, about normality really. Dreams of reaching California, living in North London, accepting a sense of stability as an outcome while dreaming of living in LA, laying on the sofa watching reruns, knowing there’s this passion inside you that longs for this, but while it may not be on the cards just yet, don’t quash your dreams. Things might not be as you want right now, but it doesn’t mean things are going bad, or wrong. Being sprawled on the sofa may seem like a defeatist attitude but use that time to better yourself mentally; to rest, regroup and plan your next move. Do whatever it is that makes YOU happy and prepare for a wildly adventurous future on your terms. Self-preservation is not laziness.  

Album highlights include tracks like “Passenger Seat”, which incorporate those string elements with a lightly bluesy country number, and the easy-going acoustics with the simplistic drumbeat provide perfect backing for Ellie Rowsell’s harmonious soprano vocals. It’s short, it’s lulling and outright pleasant as a listen. “Bread Butter Tea Sugar” on paper isn’t the recipe for a good snack let along song, but it’s got a decent bounce to it, with some piano driven, subtle glam pop that harks back to the late 70’s and again, the strings are prominent, carrying the vocals elegantly. Joff Oddie provides a lovely little guitar solo too adding and extra dynamic, but the track ends far too swiftly.  

Penultimate track “White Horses” has a little more drive and distinction, a little more bass within its acoustic presentation, and it carries with it a folky, country swagger with a solid groove and rhythm. It’s a simple but enjoyable track that in ways could pass for a modern-day JEFFERSON AIRPLANE. Piano ballads like “Play It Out” are sweet, innocent in the hushed vocal delivery, which is quite popular now with the likes of BILLIE EILISH, but it’s a deep song of motherhood, or sadly lack thereof. Ellie is pushing herself creatively and striving for her career but questioning her own biological clock, and the conflict it creates as the music supplants motherhood currently. There’s inner turmoil here and this is raw, honest song writing.  

All in all, “The Clearing” isn’t an obliteration. It isn’t about some hot naïve indie band full of piss and vinegar looking to go all out to make a name for themselves, with an album full of anthems and floor fillers, that’ll be forgotten about because DJ’s will ALWAYS play THE KILLERS and ARCTIC MONKEYS regardless, this clearing is more a case of clarity of mind; a deeply introspective, personal record that SHOULD touch you. It SHOULD resonate with real life struggles. It’s about identity and self-worth, self-respect as much as it’s about self-doubt. WOLF ALICE here haven’t cried wolf...they’ve let the wolf in, fed it and made peace with the conflict that balances life. The eleven tracks here may not be instant radio hits, but oh my, Grandma...what great songs you write. The wolf looked at me stupid, clearly, I’d been drinking again, and proceeded to eat me alive. We’d have been better off with Rolf Harris... [6]. Words: Gavin Griffiths.

Tickets for the upcoming live tour, and more information, can be found via the links below. 

They say that nice guys finish last...nice guys get walked over, nice guys get overlooked; but not every nice guy is arguably the hottest property in rock and roll right now. Finish last? (Firstly, that’s the gentlemanly thing to do). Some nice guys are just truly getting started, because they are beginning at breaking point...sick and tired of the snapped synapse that is the music industry. Sick of the disconnect between corporate greed and the common man. Sick of the bullshit. They want to make the world better... 

Artists with good intentions DO come and go...BOB GELDOF tried the whole “Band Aid” thing, and it was literally like putting a Hello Kitty plaster over a glioblastoma. Forty years later Bob, you’ve re-released the same track more than once with fresh line-ups, gradually getting less Christmassy and more cringeworthy, (Which is a good thing to be fair as you were the musical equivalent of colonialism to an extent) and yet mosquito nets to this day still save more mosquitos from dying of aids than your aid does saving children dying of starvation. DAVID DRAIMAN, I hope your label and PR team leaves you dangling like your stupid fucking chin tusks, for personally signing missiles that’ll undoubtedly kill civilians you tactless cunt. Down with the sickness? You’re just down in everyone's estimations. U2 once hacked us to give us a free album on iTunes...hacked is a strong word, sorry...let me rephrase that; RAPED. U2 forced an album on us without consent, I guess that’s how The Edge gets off? I digress... 

Jokes aside, today we’re here to appreciate and learn about YUNGBLUD. Real name Dominic, Yungblud has never shied away from controversy or criticism, be it in his early image and fashion sense on stage, or the sheer honesty of his song writing, to even starting up his own festival to ease the chokehold on extortionate organizers, and, from his emergence on “21st Century Liability”, this Yorkshire-born youngster has grown into one of the most vitally important artists in rock and alternative music. He champions the people, he’s an empath, he cares about community...he cares A LOT, and not many so unashamedly put the people first. 2025 found Yungblud scoring another number one album with “Idols” ...and before we jump into this headfirst, BILLY IDOL once said “Rock isn’t art, it’s the way ordinary people talk”, so let’s talk... 

The opening track “Hello Heaven, Hello” is a beautifully ballsy move at just over nine minutes long. There's no short, sharp introduction to this album, we dive straight into the grandiose with an ambitious indie-rock opera, and you know immediately this is going to be something different, something special. It’s a journey of self-discovery, and he’s asking if you’re along for the ride. It’s a track about finding your truth, your identity and the tribulations you persevere through; the ambitions you nurture and the goals you aspire to in the face of negativity and adversity. Amidst an up-beat indie rock core sound we have wonderfully arranged orchestral pieces, hard rock riffs, vocal vitriol and a true longing for life. We take elements of QUEEN, “The Rocky Horror Picture Show”, BLACK SABBATH, OASIS, THE VERVE...it’s truly a modern rock masterpiece. Yungblud proves you don’t have to play heavy to go hard, as the emotions and eccentricities here are raw and real. This is a superb song... 

This transitions wonderfully into “Idols Pt.1” and there are almost James Bond elements here with the string instrumentation. We’ve got another track about diversity and emancipation. Girls and boys are irrelevant here; a gender-fluid ideology of who you really are at heart, and who you aspire to be...it’s a pained track about acceptance and empowerment. We can be our own idols; we can look into ourselves to find strength and belief and we shouldn’t let other people suffocate our dreams. Everyday people, believing in themselves and it's a sweet little melodic indie-pop number. 

This then blends wonderfully into the single “Lovesick Lullaby” and the Brit-Pop elements really shine through here. It gives off BLUR “Park Life” vibes with it’s almost narrated verses and light guitar notes, coupled with the simplistic, melodic chorus hooks. The switch between electric and acoustic guitars, the backing gang vocals; it all amounts to this brief but brilliant little track full of character, tackling self-doubt and insecurity. It’s like Dom is having fun with his own vulnerability and personality and acknowledging stifled yet tumultuous emotional dilemmas.  

We go straight into the sombre next as we have one of the most emotionally hard-hitting tracks you’ll hear this year, or ever, courtesy of “Zombie”. A truly heart wrenching track about coming to terms with loss, protecting your loved ones from hurt, mental health, and knowing time is precious. It’s about loving unconditionally in the face of hardship and truly knowing that there are people out there that care. There’s a genuine sense of sadness oozing from the guitars here that tearfully carry Yungblud’s tender vocal delivery and it’s a genuinely beautiful ballad; easily an album highlight. 

Similar can be said for personal album highlight of mine “Monday Murder”, which carries this jovial, melodious acoustic led guitar tone. It’s light, airy and houses an almost blissful ignorance to the chaos of the world, an apathy to the conflict. It’s touching in its melancholy to the point it acts as a prayer for healing, and a yearning for change. We could go on further about the enormity of the emotional aspects of this album, with simply stunning tracks like “Ghosts” and “War” too, but we’d be here all day. Go and appreciate the album for yourself, not just take my word for it. 

YUNGBLUD here has delivered not just a number one album, with some attention-grabbing singles like a pop star, with a cool image...he doesn’t ACT cool, that’s just Dom. He’s delivered an album so raw in genuine emotion, so real and relatable in lyricism, so undiluted in its undeniable passion for growth and togetherness, he’s cemented himself as a Bonafide 21st century rock star.  

His aura, his honesty, his dedication, his presence, his charm, his down-to-Earth character...he is legitimately the modern-day rock star the genre and the community NEEDS. “Idols” speaks to every single one of us; we have an idol locked away in all of us, our best self, be it emotionally guarded by walls from trauma, or a lack of confidence, or doubt...this album is a rallying cry for everyone of us to live. Truly LIVE. In just a few short years, his attitude and passion for not just performing, but the people, has seen Yungblud go from a 21st century liability, to absolutely essential listening. [10] 

Every now and again, a band will come along and even if not outright revolutionise the industry, will flip it upside its head. They make such an impact, that people have no choice than to sit up and take notice. It doesn’t matter what genre they fall under; that’s an afterthought. What matters is the connection they create with their audience, how they break the status quo, and how that band ascends from being A band, to being THE band. There are plenty of examples of such boundary pushers over the decades...even if we stick to the UK for the sake of this write-up. 

Whether it’s THE BEATLES or BLACK SABBATH, either super-popularising the idea of rock ‘n’ roll or the latter creating heavy metal out of it...whether it’s SEX PISTOLS or SPICE GIRLS, bringing unashamed, gritty, socio-political realism to punk or bringing “Girl Power” to the forefront of pop music...the UK, despite its small size, has always punched above its weight. This isn’t about chart success and streams, this is about artists who despite everything, became icons. These artists stood for something. Alright sure the Spice Girls were manufactured, but the reason they were was valid, and by fuck did it work. “Girl Power” wasn’t just a gimmick...if you enjoyed a “Brat Summer” last year with CHARLI XCX, well you can thank Baby Spice and co for that inspiration. People forget.  

But what happens when over the years, sounds, influences and ideas have blended beyond genre boundaries? What happens when the genre gene pool has become a metaphorical punch bowl, where you can add in whatever you want to create something unique, or even undeniable? It might not be to everyone's preferred tastes, but a lot of people are going to drink it. That’s where today’s band comes in; SLEEP TOKEN.  

Formed in London in 2016, the anonymous masked and cloaked outfit, fronted by Vessel, (A characterised ideology) released a couple of EPs before originally being picked up by Spinefarm Records, and have gone from strength to strength, to strength. In just a decade give or take, this alternative ensemble has sold out tours, gotten to number one in the UK album charts and have just recently headlined the Saturday of Download festival. That’s no mean feat let me tell you. KORN headlined the Sunday for the first time in their career this year, and they’ve been around since 1994! So, what’s the hype around this new cult of Sleep Token? Well, we’re about to attempt to find out...in theory, in practice and maybe even in vain. Nevertheless, now aligned with RCA Records for album number 4, this, is “Even In Arcadia”... 

The album, on face value at least sort of follows up thematically from 2023’s “Take Me Back To Eden”, as Arcadia itself refers to ancient Greece, and its own area of natural, peaceful beauty; simplicity, contentment and harmony. Vessel is clearly looking to write, and perform in order to channel himself, for a sense of purity and togetherness from not only his own sense of self preservation and worth, but his audience wanting a safe space too. He’s an incredibly poignant lyricist, so let’s get into that.  

Opening track “Look Into Windward” laments of an inner turmoil; facing the struggles or challenges of success, creation and identity. Instead of sailing with the wind, which let's admit outright, the band very much are in terms of success, Vessel see’s things differently. He’s sailing INTO the wind, pushing against the flow, any sense of natural order and fighting an uphill battle. From the very first verse we get a sense of tired tribalism. “Will you listen, just as my form starts to fission, losing this war of attrition just as I drift away”. Vessel is growing, evolving and wants to drive the art forward, and this could be interpreted as a frustrated acknowledgement of the division they create between fans of alternative music. They can’t escape an endless, thick air of negative criticism surrounding them from certain demographics. 

Lines like “I’ve got eyelids heavy enough to break diamonds” highlight Vessel's tiredness of it all, while the hypnotic, almost mystic repetition of the line “Will you halt this eclipse in me?” is the pained cry of an artist just looking to bare his soul, and not be overwhelmed and overshadowed by cynical and sardonic gatekeeping. All this is delivered with a wonderfully lulling, poetic often orchestral timbre, balanced by a fleeting bombardment of heavy riffs and percussion, really hammering home the metaphor of sailing against the wind. Potentially. A lengthy but lovely opener. 

The title track, “Even In Arcadia” starts off with the gentle tickling of a xylophone, almost like a windchime; quaint and peaceful, before this genuinely beautiful, flowing piano instrumentation wraps itself around your ear drums like a comforter. Vessel’s vocals here perfectly match the emotion of the track, softly crooned with a subtle vibrato, allowing an essence of vulnerability, as he sings of uncertainties in life. A deeply personal and private track of penance, but as the Gods sharpen their blades, he knows he still has wrongs to right and, there’s a powerful feeling of inner conflict and readiness for the battles that still lay ahead. As the track escalates, the added violins provide stunning orchestral accompaniment to an already opulent track, and it’s simply sublime. In places there’s an air of CELLDWELLER here at its most atmospheric and cinematic, and it’s easily an album highlight. 

Promotional singles like “Caramel” celebrate the unity and togetherness Sleep Token have amassed in their incredibly devout fanbase. Vessel is asking here for everyone who understands and appreciates, to follow...to literally stick to them like caramel. It’s going to be a messy journey, there will be obstacles, there will be hardship, but the key is unity. Lines like “Right foot in the roses, left foot on a landmine” highlight the almost trepidation felt, juggling success and criticism, just as “Wear me out like Prada, devil in my detail” showcase the cut-throat trend-based, fashionable aspects of the music industry, and how they face it head on. The personal battles don’t stop there either, as we have lyrics like “Can I get a mirror side-stage? Looking sideways at my own visage, getting worse, every time they try to shout my real name just to get a rise from me”. People are too obsessed with the who and the why...and they ignore the what and the when. What’s important here, is you have a band producing quality music, with a real deep connection with the fans, and many people want to dissect instead of digest, and play sleuth instead of living in the moment.  

Depth of song writing isn’t the main issue with Sleep Token thought...it’s their approach to music in general. As an alternative band, they’ve picked up momentum within the pages of say, Metal Hammer and Kerrang! etc, but because they aren’t primarily a metal band, or a rock band, they generate a lot of heat, especially in social media comment sections and posts. Sure, they are pigeonholed within such categories because of the fact they do utilise some truly crushing metalcore instrumental breakdowns and fills, but it’s part of a bigger picture. They incorporate a plethora of inspirations from acoustics, to orchestral, to contemporary pop, to indie, to hip-hop, to jazz, trap and R&B... they aren’t afraid to mix it up, bolder than the vast majority, and it works. 

​The issue Sleep Token have, is that, I believe, they’ve fallen into a trap of being the modern equivalent of Nu-Metal. Think about when LIMP BIZKIT became huge, Fred Durst was rapping over down tuned guitars and heavy tracks, bridging genre gaps. Really pissing metal fans off, because they became HUGE. LINKIN PARK did the same on albeit a more serious note, but the combination worked, and the sales of “Hybrid Theory” speak for themselves. Times have changed, styles and tastes have changed, but what Sleep Token are doing is blending genres, just like those aforementioned bands, and doing fucking well by doing so, because they write good songs, and people are relating. Old school metal fans don't like that, too many years of headbanging and warm cans of Red Stripe to be cognitive of evolution. How dare bands that don't fit into their idea of whatever the fuck they think is correct succeed. The absolute audacity! 

I’m not saying this as a new fan, there are elements to this that I am personally not a fan of, for transparency, but I respect the fuck out of Vessel and the band for doing what they are doing, the way they want to do it. Ignore the mystique of the masked personas and the cult-like charms they invoke, that’s been done to death let’s be honest. What matters is this lot have captured something special in the way they write and incorporate multiple influences, to mould this honestly captivating narrative in song. Time will tell how long they can keep the masks on, how the industry will affect their integrity and how far they can truly go within this gimmick and concept, but for the mean time, let’s simply appreciate Sleep Token for what they are. Young, talented songwriters and performers who are on top of their game. Black Sabbath just bowed out in spectacular style in Birmingham...and like it or not, Vessel may very well be the new Prince Of Darkness. These aren’t to be slept on. [8] 

Back in 2022, everything was coming up Milhouse. Despite Russia playing real-life Risk with Ukraine, Queen Elizabeth II going from her platinum jubilee to an oak coffin, additional incidents of Russia trying to penetrate Ukraine, a monkeypox outbreak (As if coming out of Covid wasn’t bad enough), further issues of Russia deep inside Ukraine, more US school shootings (That’s a given), Pakistan floods, the world's population reaches 8 billion too many and...believe it or not, more Russia making a mess in Ukraine...despite all that, there was quality new music to enjoy, unless you were in Ukraine. Too busy balls deep in ballistic missiles to hear the radio. The Russians were coming...hard. Hnnng. 

I say coming up Milhouse ironically of course, as 2022 was another shit-show, let’s be honest, but we ARE going to revisit Mulhouse, a far-eastern region of France, (See my tedious link there?) where we reacquaint ourselves with today’s band; SEXBLOOD. Dubbed the French Manchester, or Franchester as I called it, we discovered that Mulhouse, was an industrial town/city with a rich history in vehicle engineering and locomotives. With museums dedicated to each respectively, it’s only natural, they developed their own dreary indie/post-punk scene, just as Manchester had done with JOY DIVISION and THE SMITHS, for example. 

Following on from their 2022 album “Teach Me To Cry”, which I highly recommended, Sexblood are back with their follow up album “Intimidating Visions”, but are we going to get mad for it? Il n'y a qu'une seule façon de le savoir... 

We begin rather menacingly with the track “I Choose To Live In Hate”, and it's got this, deep, slowly chugging riff that gives off early, proto-doom vibes, accompanied by subtle icy synths, and even brief horn elements towards the tracks climax. It builds for this genuinely creepy yet fantastical piece of instrumentation, and it sets a darkened tone very early on. Vocally we have a sort of, hushed, lightly warbled, husky drawl that pays homage to the likes of Carl Macoy, or Andrew Eldritch, non-discernible at times, but this is a mood. There’s a bitterness to this; a sense of self-spite, politicism and despite the vocal quality being occasionally blurry, it has its Gothic charm. 

​We follow this up with our first album highlight; “Time Is Running Out”, and the band utilize the universally recognised sound of a heart monitor slowly flatlining to kickstart this one. It’s a trope and has been incorporated into tracks previously by the likes of TYPE-O-NEGATIVE on “Life Is Killing Me”, and ZEROMANCER’s “Dr. Online” for example, but it does help set a certain narrative, adding character to the composition. We’re greeted then with simplistic percussion, wonderfully light melodies and more nostalgic 80’s post-punk sensibilities. The guitar work coming out of the chorus reminds of “Temple Of Love” for example, as Abel De Beauvoir sings of mortality, and the choices you make as the sands run down. Moral questions and self-reflection, as you look within yourself as death looms, and it’s thought provoking. 

Further highlights include “Doctor Death”, which houses more of the same, catchy post-punk aesthetics instrumentally; clap-along percussion, prominent basslines, nicely layered synths and plenty of hooks that would leave Slimelight swaying away like a coked-up colony of bats. Speaking of things hanging, the song is about Harold Shipman, who had over 200 confirmed victims, making him one of the world's most prolific serial killers. But, sometimes, you’ve got to make a bunch of vulnerable, elderly patients overdose in order for Goth bands to write funky songs about you twenty years later, no? PhD officially stands for posthumous dance along. (Look I know he was just a GP, but I committed to the bit, OK, deal with it). 

It’s safe to say that Sexblood haven’t veered too far from the formula that they established on their debut. “The Meat Wagon” has a wonderfully bass-driven level of dark funk with icy-synthesized elements that’s VERY SISTERS OF MERCY in places. “Out Of The Dark” houses an edgier guitar tone that bolsters their classic post-punk delivery for a more rocking, energetic track. “Walpurgis Night” is an ode to Germanic Catholicism, warding off witchcraft and other priorities such as, whooping cough. (You can deep dive that one yourselves I’m not going into over a thousand years of religious history here). Bonfires are lit to deter evil spirits, unlike here in the UK, where we light bonfires on November 5th in memory of Guy Fawkes, who was THIS close, to burning down Parliament, where all of the real evil spirits congregate.  

There are some lesser tracks, in all honesty, but they don’t spoil the album as such. “The Dust” is quite a slow, methodical piece that just, creeps along with a sense of spookiness within the synth presentation. I’m not saying it GATHERS dust, but you get the idea. The title track is a little underwhelming sadly. With its name you’d expect something a little more intense, more akin to the aforementioned highlights, but it's really quite mellow and casual. It’s about as intimidating as the current wave of youths wearing balaclavas, carrying glorified purses riding E-Scooters, listening to 21 SAVAGE or any other generic excuse for a rapper. Less wannabe gangster, more underage gimp. They round things off with an incredibly disquieting version of the French nursery rhyme “Maudit Carillonneur”, which I believe means “Curse You Bell-Ringer". From morn till’ night he rings the bells, tormenting those within hearing distance, driving them insane. Or something, I don’t know it’s in French, it’s probably just Quasimodo frantically pulling the cord in the disabled toilet at Notre Dame. 

Essentially, what Sexblood have delivered here is another fine mortuary slab of old-school Gothic rock. They very effortlessly keep that post-punk sound alive and well, breathing fresh life into such a niche genre, without sounding dated, or out of place. Goth as a term is multi-faceted, and you will always find people lean certain ways to what they believe Goth represents, be it musically, visually, stylistically, hell even architecturally and historically, but in terms of no-nonsense, mood-driven, aesthetically macabre yet melodic alternative music, Sexblood are keeping the genre alive and well. I can’t say I’m intimidated, but I CAN say that I am continually impressed by Sexblood’s output. A murder in the bleu, blanc rouge morgue if you will? Très bien. [7]
 
​

​Certain things are simply made for one another, and rightfully go hand in hand, can we all agree? Like, Jack and Coke for example. If I could get endorsed by Ol’ Uncle Jasper, believe me, I would. I’d happily pickle myself in your Tennessee tastiness HMMMMMMMM (Makes Shayne Topp horny face)…*cough*, sorry I got carried away there. Moving on. Another example would be pineapple on pizza. Before you try to cancel me, get yourself a ham & pineapple and add some freshly sliced jalapenos, make yourself a spicy Hawaiian then apologise to me AND Canada, when you learn it’s the best damn pizza in the world. (Look I know Canada produced Justin Bieber and Nickelback as well but, swings and roundabouts, alright?) A fairer example, however, would be punk and politics, and this ties us into today’s band; GREEN DAY. 

Now, punk rock at its core, has always been very anti-establishment in its principles, it’s message and its purpose, going back decades to its very conception. Ranging from the likes of DEAD KENNEDYS and SEX PISTOLS, and in more recent era’s artists like PUSSY RIOT, to name just a select few. There has always been a voice for the people. People don’t always listen, don’t get me wrong, that’s why the US Presidential election campaign is a joke, and the UK’s populous seems to comprise of utterly braindead sadomasochistic fuckwits, that seemingly WANT themselves and our nation to be thoroughly buggered in every taxable way possible. Rishi Sunak is not my Prime Minister. 

Where do Green Day fit into this? Well in their lengthy career, they’ve established themselves as one of the biggest names in the punk/pop-punk genre, with “Dookie” firmly putting them on the map thirty years ago, before “American Idiot” completely reinvigorated them during the second Bush administration. They wonderfully blended social commentary with deeper agendas and it catapulted them to a status of one of the biggest bands of the new Millennium. So, what happened? They peaked.  

Everything they’ve done since, has failed to live up to the pop-culture impact and success of “American Idiot”. Commercially, granted, their name carried them, and they’ve charted well since, but fans haven’t been overly impressed. Be it the all-filler, no killer trilogy that was “Uno”, “Dos” and “Tre”, for example, in which the band very clearly had ideas above their station yet no real direction, or the incredibly phoned in “Revolution Radio”, and we can’t forget the absolute shit-show that was “Father Of All Motherfuckers”. Green Day seemingly turned into a band without cause, or even relevancy. Can a group of fifty-something punks not even so much as cling onto, but reclaim their youthful, vitriolic drive on latest album “Saviours”? There’s only one way to find out. 

We open up with “The American Dream Is Killing Me” and it would be hilarious, if a polka-dot clad Dusty Rhodes was dishing out Bionic Elbows here, but we aren’t that fortunate. Lyrically it IS a powerful song, and it's a damning indictment on what is very clearly an illusion. For what feels like forever, we’ve all been sold on the American dream. You go there to prosper; for opportunity, for wealth, for success, but, with lines like “People on the street, unemployed and obsolete”, and “My country under siege on private property”, it’s more of a capitalist nightmare, as the working and lower classes, the true people of the country are being increasingly overlooked, and abused by the very home they are meant to feel so undeniably patriotic and proud of. When Billie Joe Armstrong sings “We’re paedophiles for the American dream...” you know it’s a problem, likening such a sickening perversion to the simple want of a better-quality life. The only trouble here? Its their own sound. This song is just so happy-go-lucky, and bounces along with just this, too-ironic, juxtaposing frivolity, you forget the seriousness of the subject matter, because you’re just bopping along to a fun piece of pop-punk. 

Tracks like ”Look Ma, No Brains!” touch upon a sense of arrogant ignorance that a lot of people view Americans as having, with opening line “Don’t know much about history, ‘Cause I never learned how to read”. There’s a lack of awareness and self-reflection within America it feels, and this is a decent slab of social satire. One of the main promotional singles was “One Eyed Bastard”, which resulted in Ofcom being inundated with zero complaints, as Cyclops’ don’t exist outside of Greece, so they’re safe. Controversial for all of the wrong reasons, it’s been alleged that they heavily plagiarised P!NK of all people for the main riff, and the resemblance is uncanny to be fair. The song being “So What?”, which, I’d imagine is exactly what Green Day thought when writing this. It’s also got shades of “Holiday” in tone and presentation, just slowed down, so they’re even riffing off their own material, almost sounding recycled, or lazy even. 

We have a subtly punk-infused indie-pop ballad in the form of “Suzie Chapstick” which reminds of THE LIGHTNING SEEDS or WEEZER in its soft semi-acoustic strumming, while “Living In The 20’s” gives us arguably the albums edgiest track in terms of tonality. It’s got some nice crunching guitar, back to basics but delivered with more bite and attitude. This is more like it, and easily one of the albums highlights. The title track “Saviors” is ironically self-depreciating. We thought Green Day were intending to BE the saviors here, and that, that was their mission statement; to save face by saving their scene, this new generation; giving us a reason to deviate from the norm. Instead, it’s more of a defeatist attitude, basically stating that hey, we’re no spring chickens, where are the kids that are up in arms, where are the kids with dreams to make a stand? Where are the kids that want to make a difference? They are the future, THEY will be the saviors, and it’s essentially a rallying cry. Again, however, given the way the band write songs, it’s too despondent...it’s like, they’ve given up, and are just asking, even hoping, that more people make their voices count. We finish with some “Fancy Sauce” and sadly this isn’t the least bit sexual. It’s quite a sluggish track, but lyrically nods to the video for “Basket Case” in places, almost coming full circle in the bands story arc.  

Ultimately, here we have a case of the right messages, purpose and sentiment driving these songs lyrically, but Green Day do what Green Day do, and their almost whimsical style of song writing negates any of the seriousness they intend with the points they are making. Yes, you are a multiplatinum, absolutely massive band in name and appreciation, but if you’re going to take jabs at society, the government, the establishment, your countries situation and way of life...you've got to sound like you mean it man. You can’t be like, let’s call out the bullshit but make you want to dance to it at the same time. The messages they try to portray are sincere, don’t get me wrong, but there’s absolutely nothing about them here musically that says, we need to be angry, we need to be pissed off and we need to do something about a lot of things. The only thing they are saving here is their own airplay value and income. Green Day might be saying some of the right things here, but it is severely lacking conviction. The American dream isn't killing you...you're just slowly killing yourselves with mediocrity.  [5]

Let’s tackle some new music, shall we? My last couple of posts here have essentially been me indulging in my own sense of teenage nostalgia; briefly looking back at my own personal growth and evolution in music over twenty years, but this is GTGC not AVGN, as we can’t keep going back to the past, and I’d certainly rather not eat the rotten asshole of a roadkill skunk, regardless of the beer I was downing it with! (If you know, you know) We must keep our ears to the ground; listening out for fresh new tunes. Or just use the internet...that’ll be easier. With that being said, let me introduce to you today’s subject of review; a Scottish artist by the name of DEWAR. 

Kirsty Dewar is a Falkirk-based singer-songwriter who has been in the game for fifteen years now, and has worked with a plethora of huge names in pop music, ranging from RONAN KEATING to the SUGABABES. Kirsty got in touch with me through LinkedIn, generally asking about my written content. I supplied her some links, and she was kind enough to trust me with a review. Trust is a strong word; this genuinely isn’t foreshadowing. I promised her a write-up for her latest release; “Rudiment” which came out on September 1st, and despite not being my usual cup of tea, it would have been rude for me to ignore her. Let’s check it out... 

We open up with a track called “Alone Again” and it really sets the tone for a generally heavy-hearted listen. It starts with this plodding, anguished percussion and the saddest, softly plucked, echoing guitar strings, and the tracks vibe is one of true pain and longing, before we even get to Dewar’s vocals. She sings of a loneliness and love-loss, facing life's challenges on her own again once more, and she sounds genuinely defeated. This is very emotive stuff. 

Following this we have “Waste My Time” which has more of a funk-based, groove-rich approach instrumentally, despite having a similar tempo. There’s more of a swagger and defiance to her vocal delivery in the chorus here, and it’s a more attitude-fuelled track all in all. “The Show Is Never Over” retains elements of funk but houses more of a soft, 80’s pop aesthetic with her clean, semi-soulful vocals, and the retro aspects work well. 

So far so good but generally safe, do we have any highlights here that stand out? “Wolves” has a wonderfully gritter indie vibe to the chorus, it’s quite bold and assertive, carrying some lovely vocal hooks akin to MACHINE HEART at times, with a lyrical vulnerability, and more prominent guitar in places that inject life into the track. “To See You” is arguably our choice pick here, as the piano, low-key synth aspects and percussion allow for a simple yet effective pop ballad. It’s easy to see that Dewar has previously worked with Sugababes, as it would easily befit the likes of them, ATOMIC KITTEN or GIRLS ALOUD for example in terms of its tone, layered vocal production and presentation. Not as energetic perhaps but it works. 

We round the album off with “Dance In The Shadows” that has more of the hushed vocals over soft piano; very percussion driven and it’s the kind of track that fans of RAE MORRIS would appreciate, before we aptly close things with “This Chapter”. It’s primarily more of the same, and ultimately, we end as we started. That’s not strictly a negative comment, but there is an aspect of this album that is primarily formulaic, bordering on one-dimensional over its run-time. 

Sure, here on “Rudiment” Dewar delivers a fine collection of softly emotive, ballad-driven indie pop, with funk, folk and soulful influences sprinkled throughout, giving it enough character to be pleasant, but nothing truly jumps out at you, aside from a few key changes or vocal hooks. I guess the title here is fitting in that aspect as, at its core principles, this is a pretty straightforward, no-nonsense album that revels in its own simplicity. It's not overtly flashy, it’s not ground-breaking, but it is contemporary as a lot of artists like MYLEY CYRUS, BILLIE EILISH and LEWIS CAPALDI etc are all peddling powerfully emotional pop ballads. Dewar has a good quality vocal projection and has plenty of confidence in her singing and song writing, but other than fleeting moments here and there it sticks to its own unwavering path creatively, resulting in a mostly mimetic listen. I guess you could say rudimentary, my dear Watson...[6] 

I’ve said it before but, when we think about alternative music in South Wales, we automatically go to Cardiff and the valleys feeding the capital, as let's be honest, we’ve been spoiled for choice. From Merthyr Tydfil and THE BLACKOUT, who have just recently reformed ahead of Download, (Their hometown comeback show sold out quicker than you can ask Sean Smith S’appenin? Purely ironically) to Blackwood and the MANIC STREET PREACHERS, down through Pontypridd and the LOSTPROPHETS. Granted that last one is a sheep so black not even the most woke Welshman would associate...but, I digress.  

However, what about Newport? TJ’s was often cited as one of the best live venues to ever exist in the UK, they’ve given us Diverse Vinyl, the UK’s largest source of new vinyl records, they’ve given us FEEDER, there’s a whole lot of gas left in SKINDRED’s helicopter, and, we can’t be forgetting those comedic rap terrorists GOLDIE LOOKIN’ CHAIN. It’s 2023 now; your mother could very well have that penis. Newport has been overlooked let’s be fair, and today’s band are hoping to grab some attention for Wales’ third largest city. Let me introduce you to CRISIS TALKS. 

The three-piece, consisting of vocalist David Lloyd Chapman, guitarist and peddle wizard Mark William Squire, and drummer James Clement are preparing to release their debut album; “Heavy The Heart”, on June 15th. David got in touch with me recently asking me to attend a launch show, at the Little Taphouse; Newport, but I was sadly double booked. The least I could do however, would be to agree to give the album a listen and a little write up. The question is, will I be having crisis talks with myself after listening to this album? Let’s find out... 
 
We open up with the track “Dancer”, but truth be told I’m not moving a muscle. OK that’s a little harsh. We’ve got a solid dose of classic, riff-rich hard rock, with some rather funk-laden bass and assertive percussion, leading this admittedly rhythmic track. Vocally here David is interesting as, he finds himself somewhere between Daron Malakian and Benjamin Kowalewicz tonally in places. It’s got a mellow transitional section which keeps things interesting, and ultimately, it’s a decent start. 

Follow up track “Dark Cold War” houses a far grittier, angst-riddled feel, with groove aplenty in the bluesy, hard rock instrumentation and off-kilter, semi-prog inspired delivery. Slicker in production too, despite the slightly stop-start approach vocally, and again we have another similarly placed mellow filler section dividing the track. That intro though, minimal but very effective; catchy simplicity. 

Sticking to the meatier offerings, we’ve got “Submission”, and we have some light and subtle 90’s grunge aesthetics at play, amidst a back-drop of almost tribal percussion, and some of the albums cleanest, melodic vocal displays. As it progresses, we again find them groove-rich in presentation, so credit to the trio for their consistency. “Undone” has a more vibrant, almost indie-inspired alt.rock vibe to it, and here, especially vocally, it reminds in parts of PLACEBO. This is certainly an album highlight. David, on purpose or not here, has this nasally twang that pays homage to Brian Molko in the sincerest way, it’s actually more entertaining than Placebo’s newest album. It wouldn’t sound out of place on “Sleeping With Ghosts” frankly. 

Speaking of spooks, “Ghosts” champions a far softer, acoustic approach from the three-piece initially, but does descend into flutters of more metallic fret-work, while “Monsters” takes that acoustic influence and channels the likes of JEFF BUCKLEY, which is praise indeed. Not as tortured poetically, not as vulnerable vocally, David isn’t quite that open book, but this is damn close. Finally, then we finish up on “Soundcheck”, and we’ve got ourselves a lovely, sombre guitar ballad, with emotive instrumentation and a legitimately moving guitar solo. 

When I walked into this album, I didn’t know what to expect. Without wanting to shit on my own doorstep, a lot of the more “local” artists that have come my way haven’t left me truly inspired. Take my recent PENNY RICH review for RIFF YARD MEDIA for example. But, while this album isn’t perfect per se, there’s plenty of character and style here to ensure these succeed live, there’s already that certain raw quality to these tracks, and they are bound to translate well in a live setting.  

The song-writing capability and conception is there artistically, I just think they need the chance to get out there more, and truly hone their sound, as there is a lot of potential in this trio. The only crisis talks need to be about growth, commitment and dedication, as these three could do well for themselves among the current wave of UK festival regulars. “Heavy The Heart” is an emotional, back to basics rock record with some good ideas and, the only fresher thing coming out of Newport right now, is the heroin. [6] 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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