If there’s one thing that can help you invest interest in something, whether it’s to do with a movie, or a character, or in this case a band; it’s an interesting back story...and few back stories are as intriguing as the formation of THE KING’S PARADE. If you cast your mind back to 2017 you may remember I’ve already covered the English 4-piece (Still consisting of Olly Corpe, Sam Rooney, Tom English and Chris Brent) when they released their “Haze” EP, where I discovered they’d actually formed on a cruise ship around Hawaii…

Yep…no cheap rented rehearsal rooms or jam sessions in your mates garage for this lot, they used to play shows aboard the ship as a means of practicing and tightening as a band, honing their craft as they travelled; not technically on the road per se but it’s one way I guess to get that vital stage experience, and it’s far more glamorous than playing to 3 people down the local pub! The EP itself (While not their debut) was a fine sample of soulful indie pop and could have easily tapped into the buzz around RAG ‘N’ BONE MAN’s success at the time…so let’s see what they’ve done in the time that’s passed.

As it happens, they’ve released not one, but two EP’s since we last caught up with them; last years “Woman” EP and now new to 2019 they’ve released another by the simple title of “Mad”, so they’re seemingly going for the little and often approach. The question is though, how mad are we talking exactly? Where is the context? Let’s find out as we get the EP underway with the title track. It’s got a quite stripped back vibe with initially minimal instrumentation and smooth vocals, combining low-fi indie with a shoe-gaze aesthetic and it’s incredibly mellow. The chorus does have a bit more oomph behind it as the guitars get bigger and bolder and the vocals become much more impassioned; it’s a decent start.

The EP continues then with “Mistakes” and again here we’re given a mellow, minimal piece of music with emotive vocals carrying the song…a reflective little track about life lessons in love, and learning from the inevitable mistakes we will all make at some point or another; quaint but not much different from the opener really. “20” again takes a similar approach but at least incorporates subtle country-guitar in the tracks climax, and although that’s hardly a drastic departure from their usual style, it’s enough to make a noticeable difference to the listening experience. We then finish up on the closing track “Good Excuse” and it’s a good excuse as any for me to admit that my interest has sadly waned by this point. Another slow, minimalistic soft indie-pop piece with tenuous soulful elements layered within.

The disappointing thing here isn’t really about this EP to be quite frank; it’s about the band themselves…in the couple of years that have passed since, despite still managing to write lovely, twee little songs with butter-wouldn’t-melt melodies, they’ve seemingly made little progress if not gone a bit backwards. Their earlier material was at least a bit more enthusiastic and the soulful elements of their writing was just that; soulful…I’m not saying that they went all-out gospel and could raise the roof, (They ain’t no ‘Sister Act’) but their sound at least had more energy. It’s that very energy that draws you in as a listener; both motivating and uplifting…here we get none of that.

Despite this though the bands core sound and writing style has remained more or less the same, and over the course of a couple of EP’s, they’ve essentially released one album spread across three years. Despite the tonal differences between these and previous tracks, if shuffled together they could all easily make up one cohesive record and no one would really guess it was a compilation…a bit like ED SHEERAN’s music in some aspects. This EP may very well be “Mad”, but this reviewer on the other however is just sad. [3]
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Joe Strummer once famously sang that he'd fought the law, and the law won…well as it happens, today’s artist ALSO fought the law, quite regularly in fact, but decided enough was enough and ditched the court rooms in favour of clubs and venues. Let me introduce you to BENNY BASSETT; based in Chicago, Benny was in fact a lawyer for several years, before he decided to pack up his briefcase, cried objection at his own life, and set out on the road to become a musician. A bold move if ever there was one, as if there’s anything more cut throat than the judicial system, it’s the music industry, alas, Benny was not put off and over the past three years he’s spent his time travelling thousands of miles up and down America, playing over 450+ shows, adding new chapters to his life story. This April, Benny releases his brand new EP entitled “Words For Yesterday”…a reflective collection of songs to summarise his life to date. He emailed me recently and asked me to check it out, so let’s do just that.

​The EP opens up with “Window To Forever” and for the most part it’s a sombre, calming indie-pop ballad. An acoustic-led track, it’s charming as it speaks of an uncertainty; not knowing what the future holds but reminding you that, you need to take the chance sometimes. Mistakes can be made for sure, but you need to grow and take risks. The chorus is more up-tempo but the track overall is soothing and it’s a pleasant little track. “Live Where You Love The Sky” follows up and it’s another soft ballad but carries with it more of a subtle country tone. A song of optimism and following his own self-reflective journey; it encourages you to appreciate life for everything it is and do what makes you happy, embrace the selflessness of contentment and be grateful for all you have, so long as you follow your heart.  A philosophical piece as Benny really does practice what he preaches, with the song coming off as very autobiographical, but the hope and belief in his words is enthusing.

Benny isn’t a complete softie however, as proven on “Down Below”…swapping the acoustics for a grittier dose of harder, blues-based rock, there’s a sharper edge here musically but it’s still got a rich vocal harmony and a solid groove. It’s a welcome change as it provides a clear EP highlight, allowing for more swagger and attitude and no doubt this is a stand-out track in his live shows, entertaining stuff this. “Find A Way” switches things up immediately with a bassy, funk-driven piece with retro organs / synths layered throughout the track and it’s quite soulful in its own right, with a brief though enjoyable solo to boot, before the closing tracks sort of taper off with sadly less interest. “Building A Future” is arguably the EP’s weakest offering…the wood-block style synths carry another sickly sweet indie-pop piece but it does descend into a sense of repetition over the chorus, before “From You” closes the EP with another hushed piano ballad.

Overall Benny has proven himself to be a decent song-writer as his lyrical delivery carries you along the EP pretty effortlessly…the melodies flow well and he conveys his story with a softness that absorbs you into each song, resulting in a generally easy, laid back listen. A solid collection of pop songs overall though truth be told a couple more tracks like “Down Below” in future wouldn’t go amiss, sometimes you just need something to move to, but really speaking it’s a fine EP indeed. He’s still brave for quitting his day job to do this, especially such a well-paid and stable one, but he has both a commitment and an ability to make this work, and his debut album should be an interesting listen. Words for yesterday maybe…but more importantly; words to watch out for tomorrow... [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]

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]

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]

Finnish music it would seem, is undergoing a little bit of a renaissance…just last year we saw the revival (And what a revival it was too!) of original 80’s Goth-rockers MUSTA PARAATI thanks to Jyrki Linannkivi of THE 69 EYES, who helped them rock ‘n’ roll-back the years to deliver some sorely missed traditional post-punk, but this year we’re going back even further. Back in the late 70’s a group of musicians who would be simply known as the AGENTS began their highly collaborative career, acting as a backing band for several successful Finnish artists, and though while consistent throughout this time, having released a plethora of recorded LP’s, they’ve never really had the spotlight on them outside of their home country…until now.

VILLE VALO needs no introduction; the former HIM front-man is one of the most iconic performers in modern alternative music and since HIM disbanded, I guess you could say he’s been a…free agent? Cue the collaboration! But it wouldn’t be the first time, oh no…HIM fans will be aware that back in the late 90’s before the love-metal maestro’s hit the big time, Valo had already performed with Agents a handful of times on Finnish TV…but now, twenty years later, we find them together again as Valo’s career comes full circle as they release their self-titled album “Ville Valo & Agents”. To paraphrase CHER…do you believe in life after love metal? Let’s check it out…

The album opens up with “Kirstinkulma” and what we have really is an elongated intro track; purely instrumental here, it showcases the bands original style and tone with the stripped-back surf rock and blues-pop influences…with a subtle ROY ORBISON inspired sound in places. It’s very easy-listening and really quite sweet sonically. The first track proper then is the first of a couple of revisited tracks for Valo by the name of “Ikkunaprinsessa”, which essentially means ‘The princess in the window’. Not to be mistaken with anything you might find in the window of his dad’s Helsinki sex shop, it’s a romantic little tale about someone who sets their eyes on a model in a shop window and falls in love. A simple story but it’s got such a jovial tone to it, with Valo here sounding smooth as ever. Singing in his native tongue, he makes Finnish as much an art from as a language. “Paratiisi” is another which means ‘Paradise’ and it’s got soft, Mediterranean elements to the guitar here and both tracks sound vibrant; the fresh recording quality has done them justice.

It’s worth pointing out here that the bulk of this record comes in the form of re-recordings, with Valo putting his spin on tracks originally performed when the Agents were collaborating with RAULI SOMERJOKI, a Finnish songwriter who passed away in 1987, with “Kuihtuu Kesäinen Maa” being a great tribute for example. An incredibly mellow track, Valo allows his dulcet tones to weave their way around the song, bordering on the point of becoming a lullaby was it not for the instrumentation. There’s a sense of clarity to him that he was lacking on the last HIM record and he seems audibly more relaxed, healthier even. There are two English language tracks presented by the way of “Rockin’ With Enzio” and “I Told You So”…neither of which have Valo on vocals. The former houses a subtle 70’s glam-rock tone musically, which may appeal to fans of say, T-REX, while the latter harbours a more country-based blues aesthetic; both of which equally refreshing on the ears from a musical and linguistic point.

To be quite frank, this is more of a project than a new band or, real fresh start for Valo post-HIM…a little like his solo single “Olet Mun Kaikuluotain”, he just fancied a change. The songs have been rerecorded and produced well, and Valo’s hushed vocal harmonies are tailor made for Agents musical style, they complement each other wonderfully.  If any HIM fans were hoping for something more like the guys have done in FLAT EARTH then they’ll be disappointed, the whole idea was for Valo to step AWAY from the noise and the heaviness that came with being in HIM; he’s exploring new avenues creatively and allowing himself the freedom to do so. Sure the Finnish itself might put some people off too, but it really isn’t aimed at the same demographic of Heartagram enthusiasts he’s been used to for the past twenty five years. If you’re a fan of Valo’s then naturally you’re going to check this out, long-time fans will already be familiar with his history with the Agents, but don’t go into this expecting his trademark baritone, soaring vocals and wailing guitar solos…you will be massively let down. [6]

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....

​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]

Back in 2015, HORIZONS got in touch with me to cover a live show in the Redhouse, Merthyr Tydfil, covering a variety of up-and-coming Welsh artists, including THE PEOPLE THE POET, HOUDINI DAX and GABRIELLE MURPHY (Check out my review here). That's what Horizons do, and do damn well if I'm honest; they champion blossoming undiscovered Welsh talents, and together with the BBC and special showcase promotions, they've continued to do over the past couple of years. If ever there's been a more fitting name for a project it would be Horizons, as just like the Sun rising on a new day, so too do fresh-faced artists get the opportunity to shine.

​2018 Saw Horizons take a new batch of bands and artists under their wing, and along with BBC Wales, together they worked on something special, and it involved the iconic ROCKFIELD STUDIOS. The studio, situated in Monmouthshire, was founded in the early 1960's and became the worlds first residential recording studio, but that's not all it's historic for. It didn't take long for Rockfield to start churning out the hits, and I don't mean that lightly. Rockfield has produced a number of incredible albums cementing many a bands legacy, from the MANIC STREET PREACHERS and OASIS in the 90's...going all the way back to QUEEN and "Bohemian Rhapsody" in the 70's...even HIM shaped their gothic-rock masterpiece "Razorblade Romance" in this brilliant little Welsh beauty!

Starting this week on BBC Two, you can see for yourself first hand who Horizons have been working with, courtesy of two mini-documentaries highlighting a select batch of artists, who are not only going to be getting the chance to perform original tracks right there in Monmouth, but will also cover some of the legendary artists who have previously recorded at the Welsh studio. Covering a variety of styles and genres, you'll hear the reggae-inspired tones of ALEIGHCIA SCOTT...the quirky indie-pop funk of Welsh speaking three-piece ADWAITH and the harder hitting swagger-ridden rock 'n' roll of HIMALAYAS. With the first show airing at 10:00pm on Tuesday, January 15th, followed by the second on January 22nd. Both shows (Running time 29 minutes) will be available on the BBC iPlayer for repeated viewing following their aired time on TV. Do check them both out, and check out some of the freshest Welsh music out there today.

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]

Well well well...what can I say? 2018 has been and gone; some of it was awesome, some of it was interesting, some of it was amusing and a lot of it was spectacularly shit...however, one thing that's consistent is the sheer volume of music and art created around the world. 2018 saw me cover my usual rock and metal albums...there wasn't a lot of goth...but I dabbled in some pop, in some rap, in some hip-hop...that's not including that which I checked out for the team over at All About The Rock...ultimately 2018 has kept me on my toes musically and I'm sure that my Top 20's, no matter the category, can show you that. 

From Eurovision bangers courtesy of Saara Aalto...to heavy metal swan songs a la Machine Head. From returning Welsh rap rock renegades The Kennedy Soundtrack...to returning Finnish goth godfathers Musta Paraati. From crossover WWE Superstar Elias...to young crossover Stranger Things superstars forming Calpurnia...you name it there's been something for everyone in 2018 and I like to think I've covered a fair unbiased amount of it. After over 200 albums and EP's, the above gallery showcases the best of the best of 2018 and I hope you agree with my overall picks. Below you'll find the link to the GTGC Facebook page, where you can find my lists in their entirety (Including the bonus WORST 20 OF 2018) and my official GTGC 2018 Spotify Playlist, and I hope you enjoy listening to it as much as I enjoyed compiling it. Here's to 2019 and all of the new music coming our way...some of it will get the GTGC treatment, and you know you're looking forward to that. Peace out bitches...WUBBA LUBBA DUB DUB!!!!!!!!!!!!

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

When you casually commit your time to reviewing bands, what CAN happen is that, you’re so invested in the to-do list in front of you and going through emails that, you tend to miss a certain amount of stuff going on in the scene around you, and end up missing the boat with some artists. This is exactly what happened with today’s band…THE HUNNA. The Hertfordshire based quartet (Consisting of vocalist Ryan Potter, guitarist Dan Dorney, bassist Junate Angin and drummer Jack Metcalfe) formed in 2015  but have quickly garnered a level of hype among young alternative fans, with appearances at Reading & Leeds Festival and backing from BBC Introducing, and their debut album ”100” broke into the Top 20 too…from what I understand. This year saw the band release their hotly anticipated follow up album “Dare” and it’s here they entered my ears for the first time…let’s see how it went…

Now I’ll be honest…I judged a book (Or CD sleeve in this case) by its cover and it’s safe to say I was a bit…wrong. With the classic ‘Parental Advisory’ logo, the misty, back alley at night background and perception of gang-mentality I went in to  this expecting something along the lines of like, the alternative hard-rock stylistics of EIGHTEEN VISIONS or ATREYU and maybe you could say I was expecting too much? The album opens up promisingly with some fuzzy guitar and a gradually building opening verse, before it erupts into this genuinely catchy, soaring melodic chorus. It’s got a great pop-hook and an infectious groove and though while the track does end on a more breakdown-inspired instrumental segment, this is far more up-beat and up-tempo than I was expecting, but it’s a decent start nevertheless.

This overall tone is continued on tracks like “Fever” which again is an incredibly light-hearted affair which utilises a strong indie-pop feel; more melodic guitar tones and big on chorus, in ways akin to the likes of YOU ME AT SIX in delivery, while “One” easily reflects the bands affection for artists such as KINGS OF LEON, it’s so easy to imagine this played in the same set as “Sex On Fire”, the influence is quite clear…which I guess can also be said for “Summer” too. Closing track “Y.D.W.I.W.M.” (Which stands for ‘You Don’t Want It With Me’…I was relieved to not have to play some sort of Mock The Week type guess the headline game with that let me tell you) does utilise more of that fuzzy, bass-heavy guitar tone, almost grungy and more resembling of artists such as DRENGE which makes for a grittier listen, but this is generally as heavy as it gets.

​Several of the tracks opt for a considerably lighter feel such as the FOALS inspired “Babe, Can I Call?” which is a sickly sweet love song, “Lover” is a morose anti-ballad that’s both powerful and bold while trying to tug on the heart strings, while “Mother”, arguably the weakest track on the record plods along, ending on a repetitive note, really making you hope he was put up for adoption just to end YOUR suffering. Ultimately while there are some decent pop-rock cuts on “Dare” with a fair share of infectious melodies and enjoyable choruses, I really was expecting something with a bit more substance….ideally the hunna gunna’ wunna’ dare to show more fighting spirit next time around as, though while I’m not expecting a sudden switch to anything remotely metal, their songs really could do with a bit more attitude. [6]

That awkward moment when your girl asks you over for ‘Netflix & Chill’ but the Netflix is so good that the chill doesn’t happen…this, my friends, is what happens when you discover “Stranger Things”. Only two seasons strong, the Netflix original has garnered one of the strongest cult followings in recent TV history with its throwback 80’s tones and quaint sense of pop-culture nostalgia, combining sci-fi and low-key horror with classic teen-flick vibes, all wrapped up in homage to the likes of Stephen King. One of its main strengths is it’s incredible young cast and today we’re going to be focusing on one in particular; Finn Wolfhard. Now still only 15 years old the Canadian has shown some incredibly impressive acting chops not only with his drama and emotional skills in Stranger Things, but also in the remake of the aforementioned Stephen King’s “IT”, where he got to embrace a more comedic role and pulled it off brilliantly.

This isn’t Cinemassacre however and  we’re not here to review movies, but luckily Finn is a young lad of many talents and it’s here I’m going to point you in the direction of a band by the name of CALPURNIA, which he somehow finds the time for between film and TV! Founded in Vancouver just last year by Finn (Who’s on guitar and vocals) plus drummer Malcolm Craig, the band is completed by guitarist / vocalist Ayla Tesler-Mabe and bassist Jack Anderson, and they have already released a debut EP of original content entitled “Scout”. The question is, at their young age, do we find ourselves with another HANSON or heaven forbid, AARON CARTER? Let’s find out…

The EP opens up with a track called “Louie” and to my surprise we’ve got this restrained, stripped back, blues country type piece, but it also utilises a subtle, almost Caribbean tone; rich in its tinny-guitar and lulling ambiance. It’s an unexpectedly mature sound (Unless it’s been inspired by Spongebob) and nowhere near the energetic, colourful indie-pop I was expecting. The rawness of the track is hammered home by Finn’s vocals which here sound their weakest from a production perspective, but it only adds to the tracks character, really embracing the original feel for minimalist bluegrass. “Wasting Time” maintains the overall tone musically but here we have a little more of that energy I expected, embracing more of an early rock ‘n’ roll feel and it’s got a genuinely solid guitar solo to boot; this is much better.

“Greyhound” is a twee, melodic, up-beat track that’s disguising a certain sadness, as the story finds our character following a break up, travelling to a show alone after buying two tickets, you can feel his disappointment…the accompanying video too has a simple but effective message portraying everyone in life has a different path, but it’s all about the journey in the end as life always tends to work out eventually. Lead single “City Boy” returns to that raw, bluesy tone but has a simple but enjoyable chorus with gang vocals and happy-go-lucky vibe. “Blame” and “Waves” then round off the EP with a quirky, up-tempo indie piece and a more, relaxed, shoegaze inspired track respectively; the latter allowing Ayla to take a more prominent role vocally. Ultimately as I said previously the sound they’ve gone for is far more mature than what could have been expected and I don’t mean that with any sense of detriment…there’s zero sign of any commercial manufacturing here and it shows it’s not just a PR ploy to make Finn even more famous, this is about a BAND, not just Finn and that needs to be highlighted. They’ve written this EP the way THEY wanted it, and while it’s a little rough around the edges, if it’s something they want to stick at, working around Finn’s acting schedule, they have all the genuine potential to be a solid blues rock band; the talent is already there it just needs a little fine tuning. Let’s just hope Finn’s not eaten by a Demogorgon or some shit in Stranger Things season 3, or this project might find itself upside down too. [5]

Word of mouth can be a powerful tool (Crying ‘rape’ being a prime example) and it used to be the backbone of the alternative music community if you will…long before the days of the internet, you’ve heard of how rock and metal fans would have to swap mix tapes and records etc. to keep up to date with what was happening in music, relying on your good friend or source to learn who was up and coming, who was the next big thing, who just dropped a sick EP…well those days may seem like a distant memory, but word of mouth can still introduce you to some wonderful people. Take today’s band for instance; SECOND SELF.

The Cheltenham based 4-piece (Consisting of vocalist Simon Bond, guitarist Janek Davies, bassist Barny Barnfield and drummer Pablo Rodriguez) got in touch with me personally after mutual friend and 50 BELOW PROMOTIONS booker Robert Tite (He puts on some sweet gigs and I wholeheartedly encourage you to go check them out) suggested me, as they were looking for reviews. They’re preparing to release their debut self-titled EP and have kindly asked me to give it a listen…full of second self-worth or should they have second-guessed my handling of it all? Let’s find out…

The EP opens up with “Never Coming Home” and it combines a certain nostalgic, classic hard-rock approach with underlying funk-inspired qualities…it’s all about the simple groove here as the bass carries this track forward, coupled with Bond’s emotive vocal display…this sounds like they’ve taken parts of INCUBUS and merged them with the likes of IN SEARCH OF SUN for a truly bluesy opener; it’s a decent start. “Stepping Stones” goes for a similar approach in ways but it does utilise more consistent guitar melody, so while keeping in theme with the track previous we also get throwbacks to artists such as IDLEWILD from that early 2000’s post-indie scene; clean vocals and hooks but not afraid to throw a riff down where needed.

The opening to “Falling Backwards” has a more subdued feel with the relaxed drum-fill and the bubbly guitar tone, before it delves into this, angst-ridden blend of early emo and post-hardcore…a bold vocal display coupled with some passionate instrumentation allows for an enjoyable, emotional jaunt, before closing track “Eat Your Horse” goes all Tesco ready meal on your ass. Arguably the weakest track on offer, it’s here you notice most that it’s the band’s debut recording and production isn’t 100%, there are a few rough patches which will naturally improve with time but here you can feel the scruffy, demo-quality if you will…ultimately however for a first offering you can clearly hear that there’s promise here from the quartet. With just a bit of polishing you potentially have a solid blues-based hard rock unit in Second Self as instrumentally they’re on the right path, and the vocals will only improve with confidence and experience, once they’ve found their groove by the next record fingers crossed. Second Self? Maybe a case of first the worst, second the best as they say… [5]

I want you to cast your minds back just for a moment, to the year 2009…what a weird year in pop music that was. LADY GAGA exploded onto the world’s music scene with her debut album / virtual hit-factory “The Fame”…inspiring young women everywhere to dress like absolute twats…weeks before his massive come-back tour, MICHAEL JACKSON passes away from accidental overdose, making sure you double-checked your own prescription or else you too would be moonwalking to the morgue (On a serious note that was a bit unexpected)…SUSAN BOYLE became a thing, no really, that actually happened…and a little known artist by the name of OWL CITY would dominate the airwaves with THAT song “Fireflies”…seriously it was everywhere, like a synth-pop plague, going 19x platinum worldwide…you must remember, surely? I digress…following the immediate success of Owl City’s (Real name Adam Young) debut, he seemingly faded away…but he didn’t disappear. In addition to having worked on numerous film soundtracks including “The Croods” and “Wreck-It Ralph”, he now returns with his SIXTH studio album; “Cinematic”…shall we see what owl the fuss is about?

The album kicks off with “Fiji Water” and such is the innocent charm of the simplistic electronica I honestly thought this was inspired by the ‘Human Music’ from "Rick And Morty"…I honestly wouldn’t be surprised if Jerry wasn’t singing this himself! Jokes aside, it combines the unsullied tinkling’s of a baby’s cot mobile stylistically with the sickly sweet vocals…the chorus is catchy enough and this is harmless pop music with some pleasant little hooks; a pretty safe start. Speaking of choruses, “Montana” delivers well with what could musically find itself at home on LINKIN PARKS’s “One More Light” album, naturally he’s no Chester but aesthetically it wouldn’t feel out of place, you can easily imagine Shinoda accompanying this.

Despite being known for the easy-listening electronica, there are a couple of tracks that utilise a more guitar driven approach…”Be Brave” being the first offering. Initially a delicate piano led piece, it takes advantage of the slow-build and gradually becomes this emotive, emo-rock track and it’s genuinely enjoyable as it kicks into gear. “Firebird” then swaps the piano for the acoustic strings and again, the hooks on this chorus are pretty infectious, allowing for a clear album highlight. This too can be said for “Lucid Dream” which when it gets going embraces a total European dance-pop characteristic…in the right hands a potential floor-filler this. By contrast then, the cutely titled “Not All Heroes Wear Capes” is a wonderful little tribute to his father via an acoustic ballad; equal parts nostalgic admiration and present-day appreciation.

While the tracks I’ve highlighted have their own charms and attributes…we can’t ignore the fact that, at eighteen tracks long…this is a lot of synth-pop to get through and given the very often butter-wouldn’t-melt level of innocence within the vocals and poppier-than-thou electronica, it can become overwhelming to the point of nausea. “House Wren” for example is just so incredibly corny, lyrically it makes my ears cringe…”Winners Never Quit” ironically made me want to abandon this review but I’m in too deep now…this might even make Charlie Sheen quit and he INVENTED winning! Aside from some alternate versions of tracks, the album officially closes on the title track and essentially it’s like an excuse to use a lot of movie-themed metaphors and analogies…no more. Essentially here, Owl City haven’t really changed one iota…their sweet electro-pop is still on the verge of troubling diabetics…while they can clearly still produce infectious, radio-conquering tunes, this album in its entirety is for want of a better word; excessive. [5]

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

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

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

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

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

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

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