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]

Some of you may be thinking, Gav…how many reviews can you shoehorn references to Covid-19 into? Well…my friend, as it happens, as many as I want. You see while a lot of you are crying over 2020 festival season being buggered into next year, I’ve got my own agenda. I’m not saying I don’t enjoy festival experiences, but I am instead honestly quite reclusive, so one of the things I personally look forward to every year is the EUROVISION SONG CONTEST.

Long-time readers will know I usually cover the show in some way shape or form, be it a run-down of finalists, covering past winner’s releases, or even just live-Tweeting the event…this year, I can’t enjoy this. This year I couldn’t look forward to sitting in front of my TV on the rare occasion I do, to watch Graham Norton sarcastically bury a plethora of countries. This year I couldn’t respectfully raise a glass of Bailey’s to Sir Terry Wogan during song 9, (Who am I kidding it’s a bottle of Jack). This year I couldn’t even get annoyed by the very political voting system I expect each and every fucking year as if it’s some shocking conspiracy. Covid-19 brought an end to all of that…and for that…I despise you, even though you’ve given me two months off work paid. 1st world problems, yes, but still. Alas…what I CAN do at least is channel my inner Jim Bowen, and have a look at who could have won, as Eurovision still at least released the 41-track CD of each countries entry. With that said…Good Evening Rotterdam! Open up, and let’s shine a light on the performers to see who gets 12 points….

​I’m going to preface this by stating that no I am NOT going to be analysing every one of the 41 entries as frankly I don’t even think lockdown is long enough for me to do that, but I will mull over my personal highlights, and as usual, the Eurovision double-album does things alphabetically, so we start with Albania. Their entry is “Fall From The Sky”, performed by ARILENA ARA and it’s one of two primary Eurovision tropes…heartfelt ballad, or fucking bonkers. This one falls into ballad category and as an opening track it’s a fairly safe one. The light piano allowing Arilena’s emotive, powerful vocals to really shine and there’s a dramatic intensity to this performance; a wonderful start. If you enjoyed that ballad however, hold on to that thought because you’re going to get sick of them over the next say, I don’t know… album? 

Armenia’s entry “Chains On You” by ATHENA MANOUKAIN tries to modernise things with some middle-eastern inspired trap and mumble rap…as far as the genre goes it’s fine, it’s the kind of thing you’d find Charlie Sloth spinning, but it’s not for me. Australia are still participating even though their initial anniversary guest spot was a few years ago now, and their entry “Don’t Break Me”, performed by MONTAIGNE is…another pop ballad. Granted the modern production and bold yet husky vocals find her somewhere between say, DUA LIPA and SIA in some ways, and it’s not bad. Onion Bhaji are up next…sorry, no, Azerbaijan are up next with “Cleopatra” performed by EFENDI and we get more middle-eastern / Egyptian musical influence, before leading into more Western pop stylistics…up until the part where they start summoning demons and shit…honestly that’s what it sounds like. Seriously, I thought my desk was going to start floating or my eyeballs were going to bleed!

Let’s see what else we have here…Belgium’s entry “Release Me” by HOOVERPHONIC in its own ways sounds like a BTEC version of BILLIE EILISH doing a Bond Theme…that’s the best and only way of describing that, you’re going to have to get way off of my back about that one. Skipping ahead now but keeping a colour scheme it’s Germany who have the next real highlight with the track “Violent Thing” by BEN DOLIC. Sadly the track is about as violent as two kittens having a pillow fight…I was expecting this year’s rock entry or something but we get another up-tempo pop offering. It’s got some brass elements and a bit of funk, and an impressive high note, resulting in quite a catchy little track, but it’s not what I was hoping for. Speaking of getting my hopes up, I ALWAYS look for Finland’s entry since LORDI won it in 2006, and this year, their entry “Looking Back” by AKSEL was…meh. It’s a pleasant indie-pop piece with ample melody, nothing like Lordi, or even SAARA AALTO from 2018; disappointing this one I’m afraid, you let me down Finland.

Next up, we have the United Kingdom…and as a Welshman, you might think I’m going to be biased here, that I’m going to sing praises to our entry as if they’re God’s gift to mainstream music…well I can assure you, that you are wrong. JAMES NEWMAN is our entry for this year with the track “My Last Breath” and I would sooner give up my last breath than have this song win the competition, despite it making things logistically easier for me to attend in 2021. Another copy and paste type of emotional male-led pop song akin to anyone from JAMES ARTHUR or SAM SMITH or any generic bollocks like that…it’s just so bloody boring! Georgia on the other hand, do somewhat peak my interest…”Take Me As I Am” by TORNIKE KIPIANI is, admittedly, lyrically fucking awful, let me make that clear, but the deep, electronic tinged moody indie tones easily mirror the styles and sounds of say, IMAGINE DRAGONS or AWOLATION etc, and this is arguably as dark as things get this year.

Skipping eagerly ahead now as we’re still only about half way here, we get Ireland and honestly…this would have been a contender for the competitions winner to break their own record, securing eight competition victories. “Story Of My Life” by LESLEY ROY gives off some serious KATY PERRY vibes…it’s a bouncy, light-hearted absolute banger of a pop anthem. Sure there’s repetition, a little instrumental monotony and some childish qualities but this is the kind of track you’d understand being all over commercial radio this Summer time…never mind the political voting, Covid-19 potentially robbed Ireland of this year’s win! Do they have any contenders however? Why in fact yes they do, and there is some STRONG competition from Iceland, and who some may say are favourites to win; DAðI FREYR with the song “Think About Things”. A synth-rich, full on disco-funk driven indie track…it is so simple in execution with the most basic of hooks, so much groove in so little effort, this is superb.

Jumping forward then we have THE ROOP with their entry “On Fire” for Lithuania…and it’s another basic pop track with pulsing electronic elements, dance-pop qualities with all of the synth laden hooks, it’s not as good as past winners such as MÅNS ZELMERLÖW for example but it’s along the same vein and personally I enjoy this, it’s arguably my favourite, despite some questionable vocals in places…and the video is as stated above; fucking bonkers. The rest of the album sadly doesn’t really throw up many particular highlights or memorable tracks, other than “Uno” by LITTLE BIG representing Russia. The “Skibidi” outfit had my attention going into the competition don’t get me wrong, but they’ve done better. Granted they’ve likely been heavily censored but still! SKIBIDI WA-PA-POW! The video does make me laugh mind…it’s all in the knees fam.

Romania come in with the track “Alcohol You” and I thought I was being offered a pint in broken English to be honest, so imagine my disappointment when ROXEN starts warbling her moody, sultry vocals…a slow, albeit grandiose track , though KORPIKLAANI drink better to be fair. Serbia rock up then with “Hasta La Vista” and the name alone has me hooked…have HURRICANE been sent from the future by Sky Net to secure Eurovision victory? In short…no…imagine someone installed LimeWire on the T-800 and the sheer amount of internet aids rendered it out of order. I’ll be very surprised if you’ll be back. Eventually then, and finally, we find ourselves at Ukraine, listening to “Solovey” by GO_A, and luckily, we conclude the album on an unorthodox yet enjoyable note. The traditional native tones of the vocal performance and woodwind elements coupled with a solid dance-pop aesthetic allow for a genuinely soothing and fun listen…I mean I haven’t got a fucking clue what they are saying but I like it!

After all of that, it really is heart-breaking to know that, given Eurovision’s six-decade legacy and tradition, none of the above entries will be able to represent their respective nations and try to put themselves in the history books. Granted some of these songs work better as a stage performance with character and gimmicks as opposed to straight up audio content, but that doesn’t detract what would have been an entertaining evening of live entertainment and multicultural acceptance of diversity. I know I rant and roast but I honestly enjoy the Eurovision Song Contest…I look forward to it every year, and hopefully it comes back all guns blazing in 2021. Where…who knows…no country has ever done two in a row from winning, so will Holland get to host again on a technicality? We can only wait and see…until then, Europe, you’re a beautiful bunch of bastards, for the record, I didn’t vote for Brexit I voted remain…and as far as Covid-19 goes…nil pois.

So…why are there so many unsolved murders in Idaho? Because there are no dental records and everyone has the same DNA! Now that I’ve broken the ice and offended a state of nearly two million people, let’s talk about today’s band. (For the record I found that joke on an actual website, dedicated to jokes about Idaho, I didn’t make it up, that’s an actual thing…apparently Idaho legit sucks?) Anyway while you may be familiar with the likes of Jake Pitt from BLACK VEIL BRIDES or even Aaron Paul from “Breaking Bad”…there aren’t THAT many popular culture icons to come out of the Gem State. Well SICK WISH are hoping to change that.

The 4-piece (Currently consisting of Bret NeLson on vocals and bass, drummer Jonah NeLson, guitarist Craig Macomb, with Edward Dunn on synths and backing vocals) initially came to be in 2015 when they released their initial demo “Animals”, but five years later, they’ve released their newest collection entitled “Goodbye Sun Hello Moon” via Hi Fi Mantra Records. Are these nocturnal creatures? Do they prefer THE BRAVERY’s remixes? Is Lunala their favourite legendary Pokemon? I doubt any of these will be answered as we hit the play button.

The album opens up with “Never Been Never Become” and by that principle, in the same vein, I never cared, never will. OK that’s not strictly true, I am at least listening to it after all…anyway, the track initially opens with a launch sequence countdown you may hear in some black & white science fiction movie, allowing the listener to expect something intense, dramatic and fiery once the track kicks in. Sadly however, when it does get going, it’s about as underwhelming as the Challenger Space Shuttle disaster; all the build-up, to essentially just, fail…hard. It’s blend of soft vocals and melodic alt. indie in ways likens it to maybe DIIV or THE CURE but that’s giving it too much praise.

Promotional track “Midwinter” which is then somewhat mellower in overall tone, does continue with the same style of melodic, indie-pop that while admittedly harmless and inoffensive, fails to really encourage the listeners investment; it’s so safe. Granted, it doesn’t have the anti-climactic countdown shitting on it, so it’s got that going for it at least, but it’s still run of the mill. Things do however pick up on “Translation Lost”, which houses a hungrier sense of instrumentation; there’s more of an edge here and even though subtle, you can pick up on certain early post-punk stylistic influences filtering through. More up-tempo and ultimately more enjoyable, this is much better. “CHD” too can be appreciated for its more up-tempo delivery, in ways more frenetic too. Purely instrumental, it bridges a gap between surf-rock, post-punk and early synth-wave for a fun little burst of energy…ironic really as CHD is essentially Coronary Heart Disease…I mean, let’s be honest, narrow arteries are TIGHT!

The rest of the album, well I’m afraid all four tracks of it fail to inspire or excite. From the title track, all the way through to closing track “So Strange”, we’re subject to more of the safest, least imaginative and repetitive blend of light melodic indie there is to ingest. Of course the songs all sound fine with their easy listening aesthetic, they don’t sound BAD per se, but there is very, VERY little to distinguish these tracks from each other and the end result is half an hour of monotony. The instrumental tone barely changes, the vocals barely change if at all…they honestly come across as the gentle indie-pop equivalent of AC/DC here, because this all sounds the same. Sure it’s a decently produced record as a whole, but quite frankly, Goodbye Sick Wish, Hello whatever album I’m going to review next…you didn’t convince me lads, Idaho still sucks apparently. [3]
​

If you cast your mind back to 1992, you may remember Sega as one of the biggest, most influential names in home gaming consoles…Playstation wasn’t even a thing yet, so while Nintendo of course had Mario, Zelda and Metroid, their biggest competition came from the likes of Sonic, Alex Kidd and other, obscure and forgotten characters. One such unlikely hero, would have his own pretty successful series of games, where he would complete underwater puzzles, communicate with marine life, use cunning to eventually travel through time to rescue his loved ones by defeating aliens…was this some sort of, early Aquaman game?! Actually no, I’m talking about a fucking dolphin; Ecco The Dolphin, to be precise…

If you remember Ecco you’ll likely remember the games difficulty, comprising of underwater mazes, and the limited oxygen supply which was realistic for the time, but it also had some stunning 16-bit graphics and a wonderfully composed soundtrack of ambient, retro synth-wave and light electronica, perfectly encapsulating the cool, underwater atmosphere…well as it happens, if you take the core elements of that mood and aesthetic, add some percussion and a little attitude, oh, and make the dolphin wear eyeliner, you may as well have today’s artist; EKKO THE STRANGE. (I really need to calm down on these segue’s, fucking hell)

Ekko The Strange was formed very recently in and around Warsaw, Poland, by C Bock Vermeer, who had previously done a 10-year stint in American post-rock outfit REVOLT REVOLT. Wanting to escape these trappings, he traveled the world looking for inspiration before eventually settling in the Polish capital to complete the brand new mini album “Haunting Me”, courtesy of Hi-Fi Mantra Records. At only eight tracks long with a half an hour run-time, it’s a brief blast from the post-punk past. Ecco was a difficult game…so let’s see if Ekko is a difficult listen.

We open up with “Noc Shift” and it sets the tone for the record as well as sets your expectations low from very early on quite sadly. Yes it has some deep, fuzzy electronica that gives off this pulsing, almost hypnotic vibe, but it’s as monotonous as it is deep, with very little of any interest happening over its run time. Given its simplicity, and the repetitive loop that it’s on, I’d say at best this could be one of those pre-set practice pieces that come built into keyboards (True story, I have a Yamaha keytar that has “Last Christmas” by WHAM built in that I enjoy more than this), I can’t see any other practical use for this track. “Soft Decay” then improves so much with the mere presence of vocals and the sound takes on a whole new direction. There’s a darkness to the track that channels the likes of BAUHAUS and JOY DIVISION in an eerie, simplistic, indie approach , allowing for ample atmosphere, sounding like it’s been plucked straight out of the early 80’s, and this works well.

Continuing in this vein is “Transylvania Found Me” and it harbours those same despondent musical influences; maintaining its steady, cold electronic rhythm  while also incorporating a certain, retro-futuristic vibe akin to say, ALIEN SEX FIEND, combining the past with the future for a synthetic mind-fuck. “Mutante” despite its instrumental nature provides the albums only other highlight, sounding like it’s crept right out of a horror movie soundtrack, with its hollow, chilling keys and atmospheric delivery…you can picture the black & white b-movie now; you’re being stalked by the creature, the alien life form, he gonna eat yo’ ass! This is what’s playing in the background. Other than that, the album fails to inspire…

The few tracks left, are fairly monotonous…”Future Mirrors”  despite some almost, Arabian instrumentation fails to inspire despite the cultural appropriation,  while closing track “Ekkos Of A Dead World” is literally depressing. Remember the bit from Monty Python’s Holy Grail where they cry ‘bring out your dead?’ Imagine that with no humour…just pile on the corpses that died of boredom because of this track. Musically, this is the Covid-19 equivalent of counting cadavers only less entertaining. Is there an audience for this? Possibly there is…but with a death toll already in the thousands, we don’t need to add suicide to those statistics. Forget haunting me, I’ma call Zak Bagan to exorcise this record…it’s reached its final destination; hell. [3]

Dave Grohl is the most wholesome of rock stars, honestly he’s a good egg, and during these unprecedented times, we can all take a page out of the book of Grohl and channel the track “Times Like These”; we can learn to live again…we can learn to love again. Or (And I can’t stress this enough) not, as this next review goes to show that it’s also times like these where, I in fact regret diving into my email submissions. Honestly, you know the original music video for that very song where they are throwing a pile of shit off that bridge? I’d sooner yeet MYSELF off the bridge than listen to this next record…but I will try and be fair.

I’m all for firsts here…I’ve listened to and reviewed plenty of different genres in the past, everything from blackened death metal to K-pop…but never have I ever come across an album classified as ‘Jewish folk-pop’…until now. YERACHMIEL who was originally based in New York, recently moved to Israel where he has fully immersed himself in the culture and traditions of his religion and heritage, and he uses these influences and inspirations to fuel quite the prolific musical career it would seem! “Off The Derech” is his 6th studio album; a collection of 21 original songs which he’s asked me to check out. Truth be told I’d rather bath with my nan, but out of respect and I guess curiosity…let’s give this a whirl.

The album opens up with “Great To Be Alive” and having been on lock-down for five weeks now, this sentiment is already testing my patience. The track itself is admittedly a pleasant little dose of melodic soft-rock; the loose guitar play and light piano combine well to give off a certain late 80’s / early 90’s feel…you could maybe bracket it alongside the likes of JIMI JAMISON for example, but the levels of positivity here are borderline sickly. This positive energy is also incredibly abundant in the track “Temple”. It’s starts off as if it’s the intro theme to some cheesy 1970’s family sitcom, but it oozes its loving message of faith and togetherness to point where you feel like you’re watching Songs Of Praise trying to be edgy. I have my fingers on MY temples…and I require co-codamol.

One thing I will say for Yerachmiel mind is that he isn’t afraid to dabble in crossover genres…I mean the last thing you’ expect to find in an Israeli recording studio is reggaeton or ska, but that’s exactly what you find on “7th Wonder” and “Your Name Be Praise”.  The former is as though BOB MARLEY got so fucking high one day he woke up in the middle east, with its brass-based low-fi instrumentation, while the latter houses more of a subtle, indie-based core sound akin to say, UB40. It’s honestly an interesting mash-up I’ll give it that. True highlights however are sadly minimal and frankly hard to point out…”Earth Is Trembling” does have a solid, up-tempo, oompah rhythm which is both fun and energetic, despite it's damning opinion of mankind. “Tears In A Falling Rain” combines a soulful, funk aesthetic with the more traditionalist middle eastern percussion, while the string instrumentation on “Stay True” borders on country bluegrass.

It’s a confused album quite frankly, and over the course of the twenty one tracks here it’s as though he’s thrown whatever he could at the wall just to see what stuck, and to be honest  I don’t think he cared if something stuck or not. There is a lot going on here and we can all really respectfully say that, this track listing can do with a bit of a cull. I’m not suggesting we go all Nazi and wipe the album out entirely, that would be in poor taste even for me…but the album doesn’t need to be THIS long, especially with so many of the tracks already suffering from repetition. Off The Derech? I must be off my rocker to have believed I might enjoy this one, this really isn’t my cup of Wissotzky. [2]

​Back in 2017, the gothic rock community found itself in an official state of mourning. You might think, well, nothing fucking new by there? But, we had a legitimate excuse for our smudged eye liner. You see, everyone’s favourite romantic-rockers HIM, were officially no more. Yes following the departure of long-time drummer Mika Karppinen (Gas) and the appointment of Jukka Kröger (Kosmo), plus the fairly lukewarm reception of “Tears On Tape”…there were a lot of mixed feelings within the HIM camp…and a lot of uncertainty. Over this period, one thing eventually led to another, and after a series of farewell shows, the Heartagram had seemingly stopped beating. Tears were no longer merely on tape, they were on the cheeks of thousands of distraught fans across the globe…and it hurt.

Granted there were other projects that trickled out from certain members of the band…we got a fantastic 3rd installment from DANIEL LIONEYE courtesy of guitarist Mikko Lindström…as well as a couple of the guys forming FLAT EARTH, but it just wasn’t the same. What was Ville Valo up to? As the voice of HIM, he naturally carried the most intrigue, and while he did tease some activity with the release of the Finnish language single "Olet mun kaikuluotain", as well as reuniting with former collaborators THE AGENTS for some more traditional Finnish classics…he’s been incredibly quiet, almost suspiciously quiet…until now. On March 20th, 2020, Ville, under the new moniker of VV, surprised everyone by dropping three new tracks on an EP entitled “Gothica Fennica Vol.1”. With a modified Heartagram on the cover…was this what HIM fans had been craving for so long? Tissues at the ready folks, this might get emotional.

We get underway with ”Salute The Sanguine” and as the soft, near synthetic guitar melodies meander through your speakers, you can’t help but feel overwhelmed with, dear I say it…a foreboding sense of impending happiness. This is in its own right fitting as the delicate tones of not only the instrumentation but Ville’s voice hark back to albums such as “Screamworks…” and “Dark Light”; there’s a vulnerability to his voice that adds heaps of sentiment. Conceptually an interesting one, as sanguine is essentially a colour, or pigment used in a lot of centuries old artwork and self-portraits, resembling the shade of dried blood. It’s as if he’s looking back fondly on his career as if it had been dusted off having been locked away, appreciating the memories and what they gave him, with each scar a story, but knowing too that he isn’t the same man as before. This ties in nicely to the modified Heartagram…for like the music accompanying it; it’s a little HIM, but it isn’t, though it’s still beautiful.

Next up we have “Run Away From The Sun” and again here we’re immediately met with Ville’s gentle croon over more soft rock guitars and mellow acoustics. Another smooth and melodic offering, this is accessible as any of HIM’s lightest works as though Ville has embraced more of an indie-pop aesthetic, while retaining his core, lyrically melancholic writing style, allowing for those distinct HIM tropes. Speaking of, closing track “Saturnine Saturnalia” is the most HIM-sounding of the three tracks presented here and while not specifically raucous or rocking, it carries with it a distinct aura of hurt and emotional torment, mixing Ville’s honey coated vocals with a more sombre dose of doom and gothic stylistics. It’s got more prominent riff work and sounds like it could have come from one of the old “Venus Doom” demo sessions, fitting in with the likes of “Cyanide Sun” aesthetically, allowing for a deeper, ever so slightly darker listen.

If I may come across as selfish for a moment, sadly, these are the only three tracks presented here but while naturally wanting more, we have to be grateful of a couple of key things. To start, Ville is once again releasing music in any capacity, that’s the main thing, but the fact that the Heartagram has returned and his music is more akin to the styles and sounds of old is not only heart-warming, but brings with it hope. He’s clearly finding his feet again, and despite being only three tracks long, having been away for three years now, “Gothica…” is an effortlessly good start. The fact too that it’s merely volume one hints at more music down the line, and if these three tracks are anything to go by, we’re in for a fucking treat. Never mind the sanguine, Ville Valo, we salute you and welcome back sir! [10]

As it’s now 2020, my New Year’s resolution is to focus a lot more on email submissions from bands and record labels/PR companies, when it comes to my review content on this little blog. I’m not for one minute suggesting I’m going to actually succeed in this…remember that scene from Bruce Almighty when Jim Carey is bombarded with prayers? That’s pretty much me as I attempt to juggle listening time, writing time, working full time and, oh yeah, occasionally 3, maybe 4 hours sleep if I’m lucky…nevertheless, I continue.

Today’s review is the beginning of my resolution, but we do have to go all the way back to DECEMBER 2018…I mean I had to get Time Team to dig this one out! Let me explain. Yes on December 4th, 2018, I received an email from a Norwegian pop group by the name of SECRET TREEHOUSE, who were typically doing their rounds, promoting their upcoming single “Fear Of Frogs”, which was to be taken off of their debut album “The Big Rewind”. Now as you’re aware I don’t generally review singles, so, I thought I’d save the email and keep checking back and forth over the coming weeks, awaiting the album. A couple of weeks did pass…nothing…a couple of months then passed yet still I found no album, the Secret Treehouse really were keeping this album a fucking secret! Fast forward to December 2019 however, and while I’m going over my end of year lists and clearing out some emails ready to start afresh, I stumble upon that saved email, having completely forgotten by this point and after a quick look, I discover they have in fact FINALLY released that bloody album! With that said, and regardless of how out-dated this review now actually is, here are my thoughts on the frankly ironically titled “The Big Rewind”.

The album opens up with that initial single “Fear Of Frogs” and to be fair it starts things off really quite promisingly. A song about the fear of unintentionally misleading someone in love, it gives off a rich 80’s synth-pop vibe with some incredibly catchy melodies, over Anja Bere’s velvety smooth vocals. In certain ways it combines the likes of OF MONSTERS AND MEN with ROBYN and THE CRANBERRIES, resulting in really quite a pleasant track. The same can be said for “Too Young” which also houses more of this pulsing electronic style although it isn’t quite as up-beat.

A lot of the record combines elements of indie, with a more shoegaze pop aesthetic, resulting a very easy listening album overall…”Wrong Hands” is a really chilled ambient piece of indie that slowly builds to some wonderfully emotive guitar, getting better and better as it winds up to its gentle crescendo. The title track manages to sound soft yet simultaneously bold, being able to pull off the sort of radio ballad COLDPLAY would churn out, while more recent single “Do You Remember” has a more lulling tone, in places giving off an almost subtle LOU REED vibe, before closing track “Hero” rounds things up with a delicate little acoustic piece, emphasising the sweetness of Anja’s hushed vocal notes.

The question I have to ask myself is, considering I was made aware of this album back in 2018…was it actually worth waiting until 2020 to review it? To a degree, no…but that’s not a direct knock on this record. Fans of this sort of dreamy pop soundscape will appreciate the tenderness and tranquility that makes up the bulk of this record, despite the initial single suggesting a far more up-tempo, retro-pop direction. It’s not a bad album by any means, and what Secret Treehouse do they do well, but it’s hardly The Simpsons Treehouse Of Horror. With their second album due to drop sometime in 2020, maybe I’ll get around to reviewing it in around two years or so…somebody remind me though yeah? [5]

2019 has like most years, been a strong year for new music. It doesn't matter what genre we're talking about; it's been a year of triumphant returns, exploratory and experimental albums and EP's and an overall win for you and me, the consumer. Over the past 12 months, in between changes in my personal life with relationships and employment, undertaking a completely new job with no prior training or background, I've still done my best to keep on top of new music, more specifically my reviews, despite my own mental health which I don't really talk about much. With all of that said, I've still managed to listen to a total of 274 brand new EP's and albums in 2019 and out of all of those, I've managed to whittle down that number to a categorised series of Best Of lists. Ranging from EP's specifically, to pop music, metal and my own personal favourite releases of the year, I've managed to expand my listening experiences and broaden my horizons to allow myself to grow as a reviewer, and these albums sum that up quite well in my opinion. While I've already shared these lists on social media, such as my Twitter ( @GavinJGriffiths ) my Instagram ( @gavthegothicchav ) and my Facebook page ( www.facebook.com/GTGCReviews ) I wanted to give a more in-depth look at my choices for the year, and my individual scoring of each record...essentially doing a Dave Meltzer star-rating system for each individual track. I hope you find my choices interesting, and as usual, I've compiled my official Spotify end of year playlist which I've included at the bottom of this post for your listening pleasure. Here's to 2020 where all of this starts again...until next time...have a happy new year, and, A LITTLE BIT OF THE BUBBLY! 

20] KILO KISH - "Redux" EP - 1.60/5
19] HEAVY LUNGS - "Measure" EP - 1.60/5
18] NAUT - "Semele" EP - 1.66/5
17] INTERPOL - "A Fine Mess" EP 1.80/5
16] POPPY - "Choke" EP - 1.80/5
15] SODOM - "Out Of The Fontline Trench" EP - 1.80/5
14] YUNGBLUD - "The Underrated Youth" EP - 1.83/5
13] BENNY BASSETT - "Words For Yesterday" EP - 1.83/5
12] 8MM - "Heart Shaped Hell" EP - 2.00/5
11] MILEY CYRUS - "She Is Coming" EP - 2.00/5
10] CATHEDRAL IN FLAMES - "Children Of The Blackest Hole" EP - 2.20/5
09] SKYLAR GREY - "Angel With Tattoos" EP - 2.20/5
08] SUN ARCANA - "Just Another Dream Away" EP - 2.20/5
07] PALAYE ROYALE - "Massacre, The New American Dream" EP - 2.25/5
06] YEAR OF THE LOCUST - "Year Of The Locust" EP - 2.25/5
05] RXPTRS - "I" EP - 2.40/5
04] LIL NAS X - "7" EP - 2.50/5
03] HAWTHORN AVENUE - "Wildfire" EP - 2.50/5
02] HER DESPAIR - "Exorcisms Of Eroticism" EP - 2.50/5
01] SOME VILLAINS - "Outliars" EP - 2.75/5

20] P!NK - "Hurts 2 B Human" - 1.53/5
19] BASTILLE - "Doom Days" - 1.54/5
18] TOM WALKER - "What A Time To Be Alive" - 1.57/5
17] BILLIE EILISH - "When We All Fall Asleep Where Do We Go" - 1.57/5
16] EMMA BUNTON - "My Happy Place" - 1.60/5
15] POST MALONE - "Hollywood's Bleeding" - 1.64/5
14] BLACKPINK - "In Your Area" - 1.66/5
13] KERLI - "Shadow Works" - 1.66/5
12] MIKA - "My Name Is Michael Holbrook" - 1.69/5
11] ALICE MERTON - "Mint" - 1.81/5
10] SIGRID - "Sucker Punch" - 1.83/5
09] LEWIS CAPALDI - "Divinely Inspired To A Hellish Extent" - 1.83/5
08] MARINA - "Love + Hate" - 1.87/5
07] DAVE - "Psychodrama" - 1.90/5
06] BUSTED - Half Way There" - 1.90/5
05] WILDWOOD KIN - "Wildwood Kin" - 2.10/5
04] WILL YOUNG - "Lexicon" - 2.16/5
03] JAMES BLUNT - "Once Upon A Mind" - 2.18/5
02] HANTE. - "Fierce" - 2.23/5
01] SCANDROID - "The Light" - 2.28/5

20] KHAIDIAN - "Penumbra" - 2.00/5
19] INCITE - "Built To Destroy" - 2.00/5
18] LEACH - "Hymns For The Hollow" - 2.00/5
17] SWALLOW THE SUN - "When A Shadow Is Forced Into The Light" - 2.00/5
16] HEARTSICK - "Sleep Cycles" - 2.07/5
15] CRYSTAL LAKE - "Helix" - 2.08/5
14] AS I LAY DYING - "Shaped By Fire" - 2.08/5
13] KILLSWITCH ENGAGE - "Atonement" - 2.09/5
12] FALLUJAH - "Undying Light" - 2.10/5
11] AFTERLIFE - "Breaking Point" - 2.10/5
10] THROUGH THE NOISE - "Dualism" - 2.11/5
09] KAAMOS WARRIORS - "Ikuisen Talven Sarastus" - 2.12/5
08] ABIGAIL WILLIAMS - "Walk Beyond The Dark" - 2.14/5
07] AMON AMARTH - "Berzerker" - 2.16/5
06] MEGADETH - "Warheads On Foreheads" - 2.20/5
05] SOILWORK - "Verkligheten" - 2.33/5
04] DEMON HUNTER - "War" - 2.40/5
03] CORRODED - "Bitter" - 2.41/5
02] ROTTING CHRIST - "The Heretics" - 2.41/5
​01] CHILDREN OF BODOM - "Hexed" - 2.45/5

20] RISKEE & THE RIDICULE - "Body Bag Your Scene" - 2.33/5
19] DEMON HUNTER - "Peace" - 2.40/5
18] THE DIRTY YOUTH - "Utopia" - 2.40/5
17] DREAMSTATE - "Primrose Path" - 2.40/5
16] THE WRAITH - "Gloom Ballet" - 2.41/5
15] NORTHLANE - "Alien" - 2.45/5
14] D-A-D - "A Prayer For The Loud" - 2.45/5
13] PAPA ROACH - "Who Do You Trust?" - 2.50/5
12] SUM 41 - "Order In Decline" - 2.50/5
11] IN FLAMES - "I, The Mask" - 2.50/5
10] WHILE SHE SLEEPS - "So What?" - 2.54/5
09] BAD RELIGION - "Age Of Unreason" - 2.57/5
08] LINDEMANN - "F & M" - 2.69/5
07] WEEZER - "Teal Album" - 2.75/5
06] MOTIONLESS IN WHITE - "Disguise" - 2.81/5
05] RAMMSTEIN - "Rammstein" - 2.90/5
04] YONAKA - "Don't Wait 'Til Tomorrow" - 3.00/5
03] LACUNA COIL - "Black Anima" - 3.18/5
02] THE 69 EYES - "West End" - 3.27/5
01] BLAQK AUDIO - "Only Things We Love" - 3.33/5

We live in a world where everything seems to be, well, for want of a better word; fucked. The USA is, in many cases, devolving rapidly as a country socio-politically when it comes to human rights. Between deportation issues, police brutality and abortion debates; it’s becoming less ‘united’ by the day. Speaking of the US, mass shootings! Popular as ever apparently! We’ve got Boris Johnson this side of the pond, who, for all intents and purposes is like, an Everyday Value version of Donald Trump, despite his privileged upbringing, and he’s attempting to questionably force the country through a geo-political trade clusterfuck. The Amazon rainforest is STILL on fire, which is far more important than Notre Dame burning but hey, it’s only trees so that’s fine I’m guessing? It’s not like we need to, you know, breathe? People continue to watch Love Island, reaffirming the rise in mental health issues and for some reason, McDonald’s named their new burger the “Double Quarter Pounder”…guys…I don’t know if you noticed…but two quarters makes a half? It’s…it’s literally a half pounder. I thought it was just failed students that worked there who need to whip their dick out just to count to eleven, turns out their marketing team struggle with maths too! Alas, when we’re faced with all of this…we need a beacon of hope, and a message of reassurance and positivity…and that’s where THE MAINE come in with their new album “You Are OK”.

The Arizona-based alt. pop-rockers have been around since 2007 and have built themselves a loyal following over the years. After early tours supporting the likes of GOOD CHARLOTTE and THE ACADEMY IS…, 2019 welcomes them back with their 7th studio album, to remind everyone one that, while there’s a lot going tits up in the world, you’re doing alright. So without further ado let’s cast out any negativity and realise that we are indeed OK. The album opens up with a touch of macabre courtesy of “Slip The Noose” and it’s about a special encounter, leading to salvation and safety. That special someone that manages to let you see and think clearly, preventing you from doing something you’ll regret is so invaluable in life, and it’s delivered with an up-beat dose of happy-go-lucky indie-pop. It’s got some light riffs, some strings and some solid drum fills, yet manages to retain a sort of, MARK OWEN pop-vibe vocally.

“Numb Without You” lyrically highlights a juxtaposition of feelings and emotions that all flourish at once during a relationship; both negative and positive…and like marriage vows typically state, “For better or worse”, it means life and love will have up’s and down’s, but it’s testament to your character how you overcome the worst bits to flourish in the best, and this track champions that very mind set. With more string accompaniment, we’re given a sweeping emo-inspired pop anthem with soaring gang vocals and it’s got an impassioned chorus. Album highlight “Heaven, We’re Already There” takes that formula and refines it to deliver a much more intense, hook-laden synth-tinged, emo-rock banger that, in places reminds of KIDS IN GLASS HOUSES during the chorus and it’s an absolute belter of a track this, really well done.

Elsewhere, “One Sunset” with its energetic, tinny guitar tone and gradual build to a beaming chorus makes it impossible to not tap your foot and bob your head along to this, another fun, bubbly track, while “Tears Won’t Cry” retains that guitar tone and has certain, modern boy band charm akin to artists such as THE VAMPS or the like. “Flowers On The Grave” does allow for a bit of a come-down however ,with a 9-minute-plus acoustic driven pop ballad with some lulling piano…it DOES liven up courtesy of some rockier sequences and progressions, but overall the track ebbs and flows between sounding highly animated and anti-climactic at the same time. Despite this, the album as a whole just oozes a positive, enthusing simplicity resulting a genuinely easy-listening feel-good record. Like I mentioned earlier, the world is on its arse at the moment, and times are testing…but you need to be reminded that you’ve got this…you’re doing alright…you ARE OK. Unless you voted Conservative…you’re not OK…fuck you. [7]

People sometimes wonder what the difference is between irony and coincidence…well if you were run over in the street, and an ambulance just happened to be passing by, that would be a wonderful coincidence. Irony on the other hand, would be getting run over by the ambulance itself and, so long as nobody dies, is much funnier. Today’s review falls under the coincidental category for me personally…let me explain.

Back at the start of the month, I took a mini vacation down to the South English coast at Torquay for a couple of days, where, to be honest, I spent 80% of my time enjoying the sun and drinking. On the way there however I made a little stop at some place called Burnham-On-Sea…never heard of it before, but all I can tell you is that it was quiet…windy as all hell and the tide had gone out for what seemed like MILES. I honestly thought Godzilla had mistaken the place for Hawaii and was about to stroll up the beach causing another tsunami it had gone that far out. Anyway my time there was fleeting and I thought nothing else of it. Today however, I decided to take a dip into my email submissions and low and behold, the first EPK I click on happens to be from a band from Burnham On-Sea! Let me introduce you to SOME VILLAINS.

The four-piece (Consisting of vocalist/guitarist Edward Graves, guitarist Luke Tozer, drummer Stu Donavan and bassist Jake Beckett) have been on the scene since their 2014 single “Loose Generation”, and with their love of everything between classic rock ‘n’ roll, indie and prog, they’ve established themselves as a group of interesting and intelligent musicians. Their 2016 EP “Lizard Teeth” highlighted their admiration of experimental prog-rock and shoegaze, with predominantly longer tracks and the influence of RADIOHEAD and SMASHING PUMPKINS shining through…but here now in 2019, they’ve stripped things back a little and focused more on a grittier rock ‘n’ roll sound for their latest EP “Outliers”. The lads asked me to check it out, and seeing as I visited their home town it would be rude not to sample some of their wares!

The EP opens up with “Masters Sun” and it really doesn’t take long at all to get into the meat and potatoes of this record…we start off with some simple alternating chords, before the track lets rip with some ballsy, hard-rock riffage. The bass is deep and rumbling almost to the point where it’s sludge inspired, but we’ve got a rich groove, and vocally here Graves’ is rather hushed and subdued. Their love for QUEENS OF THE STONE AGE shines through here given the stoner / desert rock tones, coupled with an energetic up-tempo chorus; this is simply a great rock track. EP highlight “Burn Me Down” follows up and we’re initially met some almost WOLFMOTHER-esque instrumentation; combining classic rock and indie tones…the guitar is slick and frankly gallops along excitedly. The prog influences filter through vocally as Graves’ sings in an almost polyrhythmic manner, but it’s the convivial guitar tone that makes this track; it’s just fun.

“The Skin” again maintains an up-tempo vibe albeit somewhat darker in tone, bordering on atmospheric, with more hushed vocals, slightly raspy sounding in places reminding of JULY TALK to some degree, but we’re treated to a strong solo that certainly stands out as the tracks major talking point, before closing effort “Ghosts In The Field” incorporates a more shoegaze aesthetic alongside some again, darkly tinged indie rock…the type of sound that would appeal to fans of INTERPOL and the like. All in all though, there’s nothing truly negative to say about this EP whatsoever quite frankly. While the band are clearly better when they let their hair down and get gritty when it comes to the rock ‘n’ roll, the mellower tones do naturally compliment Graves’ vocal approach. There’s no  bells and whistles here, they’re a band and they keep it simple…having stripped back to a more classic rocking approach, and by cutting the track length from their previous EP ever so slightly, they come across as more polished and clinical in terms of their presentation. Not knocking the more prog-based sound of their previous work, but this does sound like an improvement. Some Villains by name but to fair lads you’re not sounding half bad at all. [8]

As hard as it may be to believe (Given some of the shit I come out with in these reviews) I do from time to time come across a new band that I actually, genuinely like. I mean it’s rare…not quite Shiny Pokemon rare…but it’s rare, and it does happen. While in recent years you may have seen me give praise to the likes of WE ARE HARLOT and AS LIONS for their absolutely scorching debuts…last year my attention was turned to YONAKA. Having discovered them supporting ANDREW WK, I was eager to check out their catalogue of music as they were legitimately great live, to then find myself enjoying their 2017 “Heavy” EP, it’s safe to say that Yonaka were a band I was prepared to keep my eye on…

This was a decision I would certainly not regret, as following some impressive festival appearances and support slots with BRING ME THE HORIZON no less, they dropped arguably my favourite new EP of 2018 by the name of “Creature”. It’s said that lightning doesn’t strike twice but the EP proved that the band were on a fine run of creative form, not only matching their previous work but surpassing it, visibly and audibly growing in confidence with each and every crowd they won over on the road throughout the year. Now, in 2019, we find the band ready to step up; hoping to live up to their own hype and expectation, as they deliver their debut full-length album; “Don’t Wait ‘Til Tomorrow”, and it’s definitely one I’ve been looking forward to. Well? You read the title let’s give it a fucking listen shall we!?

We open up with “Bad Company” though we’re in anything BUT with Theresa Jarvis and the lads…starting off with some bass rumblings and stiff percussion, it provides perfect backing for Jarvis’ multifaceted vocal approach, switching from brooding to powerful; almost angelic in places on certain high notes, with such relative ease. There’s a certain darkness to the tracks tone, yet it’s got a rich alt. pop groove, and we still hear similarities with the likes of JESSIE J and FLORENCE WELCH in its delivery, but everything’s tighter, sharper and it sounds great…a fantastic opener. “Awake” begins in a similar fashion with its stripped back percussion the only instrumental accompaniment to Theresa, but the track quickly erupts into a wonderfully infectious pop-rock number with some assertive riffs and more powerful vocals. If you’re not awake for this one I question the existence of your very pulse, seriously.

“Rockstar” is, before you wonder, not a NICKELBACK cover so it’s already got that going for it. I mean OK, the premise of the track lyrically garners obvious comparisons to the aforementioned, but this is backed up by yet another infectious, hook-laden chorus and is far, FAR less annoying. This comes across as more about hopes and dreams as opposed to focusing on wealth, not emphasising the excess; much more of a rags to riches ‘What If?’ scenario and it’s something we can relate to…it’s something we’ve all thought about. “Creature” and “Fired Up” make it to the album as select cuts from the bands previous EP’s but they slot in perfectly in all fairness, sounding just as crisp and impressive here as they did last year, before we eventually finish up on “The Cure”. Despite its initially almost trap-inspired beat, we’re treated to more of the bands enjoyable blend of light indie rock, sweeping melodies and soulful pop, ending the album on a genuine high note.

Patience may indeed be a virtue, but here Yonaka prove without doubt that sometimes you simply have to strike while the iron is hot, and Christ has the iron been hot for the Brighton-based quartet. As they continue to play new towns and cities around the UK and Europe, be it in a supporting role or with their ever increasing likelihood of headlining their own big tours, Yonaka can and will grow. One of the brightest and most promising bands on the UK circuit right now, if you haven’t already, you NEED to be checking out Yonaka for yourself, seriously, don’t wait ‘til tomorrow. [9]

What do you get, when you combine a love of classical prog-rock, centuries old medieval mythology and a generous portion of haggis, neeps and tatties? Aside from one incredibly psychedelic episode of Ready Steady Cook, it stereotypically brings us to today’s band; let me introduce you to CULANN. The unsigned five-piece (Consisting of vocalist/guitarist PJ Kelly, drummer Sean Kelly, guitarist Greg Irish, bassist Calum Davies plus Ross McCluskie on the keys) formed in Irvine, Scotland several years ago and made quite the initial impact on the Scottish rock scene! With praise from several regional radio stations following their 2012 self-titled debut, they found themselves winning the ‘Best Rock’ category at the 2013 SAMA’s (Scottish Alternative Music Awards) and have been growing ever since. Appropriately named after an ancient Celtic/Gaelic smithy, it’s fitting that they’ve already forged their anticipated follow-up album “The Great Ecumene”…and the lads have asked me to give it a listen! So let’s crack open the Irn-Bru and check it out!

The album opens up with “Evonium” and once again the band highlights their appreciation and interest in history, stories of old and Celtic heritage, as the word is the name of a purported ancient city, which is said to have stood where Irvine is now. The track itself is initially really quite jovial and up-beat, combining light riffs, subtle poly-rhythms and a bright, bubbly piano lead, while vocally PJ harbours a clean, emotive indie-rock tone. The swift key-changes and solo flurry emphasise the bands love of prog however, and it all combines to create one genuinely interesting track. “Event Without Experience” follows up and while continuing with the up-tempo approach they’ve opted for a more guitar-driven track here; it’s sounding that much grittier and ever so slightly more chaotic, though it’s not heavy.

The first real album highlight however comes courtesy of “Brewing Of Ale” (Of course I like the track that in some way shape or form involves alcohol)…starting life as a sweet little acoustic number it soon evolves into a fully-fledged folk-rock ballad, and although still housing those prog-elements it’s the folk qualities that shine through, especially with the prominence of the Scottish accent here; it’s delivered wonderfully. “All Reverie” continues the feel-good factor with a more simplified, melodic pop-rock number and it’s just an enjoyable, easy-listening effort, which can also be said for “Aegis”. Generally more of the same; but ever so slightly more pop-punk in tone, giving it that ever so subtle edge…it’s another stand-out track.

There are some solid funk-elements incorporated into “Man Alive” adding extra flavour to their fundamentally prog-approach but that, along with the solo and the seven minute plus run time, means this one does come across as a little indulgent in places. The title track practically echoes its own name; essentially describing the entire known inhabited land mass, meaning Ecumene sadly seems to go on forever, sounding mostly sluggish throughout, before we eventually finish up doing a bit of shopping back in Cardiff. I jest; “Queen Street” closes proceedings with another folk-inspired acoustic-led ballad…quaint but anti-climactic. Overall mind you, it’s easy to see why Culann hit the ground running following their formation; with a knack for a clean melody, lyrical storytelling and well-executed instrumentation, it certainly seems unjust that they’re still currently unsigned.  Prog-rock IS more of an acquired taste, just like the aforementioned haggis, but it’s certainly worth a try…[6]

Just like heavy metal itself, post-punk and the conceptual origins of Goth-rock can be primarily traced back to the UK…whether it’s CABARET VOLTAIRE or THE CURE, SISTERS OF MERCY or SIOUXSIE AND THE BANSHEES, Great Britain knew how to get its Goth on! However, like with a lot of new genre’s or, evolution's in popular music, post-punk was very much of its time and found itself culturally confined to the late 70’s and 80’s. Mind you, while production quality has improved over the years, and Gothic music gradually became a touch heavier, darker and bolder, despite becoming even MORE of a niche genre…that love of the original post-punk aesthetic has never dissipated. Several indie and alt. rock bands continue to take influence from post-punk to this day, which brings us to today’s band; DEW.

The German three-piece, consisting of vocalist (I Think, going by photos) Mike Antibody and…two others (I’m honestly having a stab in the dark here; their social media is minimal at best, and I don’t speak German) got in touch with me not too long ago via the GTGC contact form, sending me a Bandcamp link. It was suggested I give their 8-track mini-album “DEW-STORTION // DEW-MORGEN” a listen, so, on the anniversary of Ian Curtis’ death, let’s set the mood for melancholia and find out what this alternative krautrock collective has to offer…

The album opens up with “Zuerst Maschine” which basically translates as ‘First Machine’, and it fittingly starts with some industrial / mechanised backing noise, before ripping into some pacey, regimented percussion and up-tempo riff-work. A nostalgic nod to the origins of the genre; fusing those industrial elements with the early proto-Goth sound, all the while housing a decent melody, which balances the semi-scratchy vocals well…the vocals appear a touch overpowering in places with some of the instrumentation drowned out, but for a self-recorded and produced record it’s an entertaining start.

“Menschenfeind” or ‘Misanthrope’ too provides a wonderfully up-beat dose of reverberated post-punk, with more intensity in its delivery; having a certain punk-heavy simplicity that would appeal to fans of say, early BAD RELIGION. If it’s throwbacks you were after though, look no further than “Umgekehert Kontrovers” which roughly means ‘conversely controversial’ and it delves deeper into the genre’s origins audibly. The tinny, slightly-off key guitar with deeper, darker atmospheric tones harks back to those early days of JOY DIVISION, sounding like it’s been plucked straight out of the era itself; thematically it’s been wonderfully recreated to its credit.

There are one or two lesser tracks offered up but they don’t exactly ruin the album so to speak…”N.I.W.E.S. (Nicht Ist Wie Es Scheint)” or ‘Nothing As It Seems’ is a predominantly slower more lethargic track, with arguably the albums weakest vocals; there’s a bleak drone to them at times, all the while sounding pained and shouted as opposed to sung. Technically then, there’s nothing WRONG with “(…)-?!” per se other than its name…I mean seriously I can’t pronounce that in fucking English let alone German! Am I to literally call it “Left Bracket Ellipsis Right Bracket Dash Question Mark Exclamation Mark” or just guess some sort of bilious guttural noise? Pronounce it like I’m actually vomiting into the microphone? Fuck knows…before we then finish up on “Die Lösen Sich Ja Selber Auf” or, ‘They Dissolve Themselves’ which again, is appropriate as the album dissolves into a brief, quirky bass-heavy outro track, ending the album on a rather abrupt note.

The combination of using the German language lyrically, and playing a style and genre that’s nostalgic and underground at best isn’t going to find DEW a great deal of commercial viability, but post-punk, as dated as it is by today’s scene’s standards has always had a loyal cult following, which should in all honesty accept DEW with open arms. Their sound has been brilliantly crafted to be right at home among those early 80’s playlists and could easily find themselves mentioned alongside the likes of THE DAMNED. DEW haven’t reinvented the wheel, but they are due some recognition. [6]

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]