So what’s YOUR favourite type of knot? Is it a Half Hitch? Perhaps a Bowline or a Sheet Bend? Of course not, we all know its SLIPKNOT, and with bloody good reason! The Iowan nonet started life in the mid-to-late 90’s and from day one they practically turned the world on its head, over time becoming arguably the biggest modern metal band on the planet. Between the mystery of their masked persona’s and the brutality of their early crossover genre-mashing, it didn’t take them long to get noticed, and they helped revolutionise alternative music as we know it. Sure, there have been trials and tribulations along the way, but the band have always bounced back stronger than ever…proven emphatically on their last album; 2014’s “.5: The Gray Chapter”.

Following the death of bassist Paul Gray, the band found themselves in purgatory, and the resulting album was both the closure of one chapter of Slipknot, a nod to Paul and an appreciation of everything preceding it, but also the beginning of a new era; a rebirth, and all signs pointed towards a brutal, unrelenting future. What exactly did that future have in store? Well aside from keeping things ticking over with festival appearances and a live album, the band did initially return in 2018 with a rare stand-alone single “All Out Life”, reminding fans that they were still very much active creatively, with the track itself acting as a rallying cry, encouraging everyone to live in the now and not dwell on the past. This only got fans excited for what was to come…and what came was this; “We Are Not Your Kind”. What direction were Slipknot heading in in this new chapter of their storied career? I challenge you to all-out fucking listen with me…

We open up with “Insert Coin” and we’re greeted with a strangely ominous intro-track fuelled by semi-retro arcade style synths that meander gently, as the instrumentation washes over you with a calming motion. It’s as though we’re on the title screen here getting ready to press play and dive into this brand new game as Corey says in a chilling manner “I’m counting all the killers..” and it’s an interesting start. First track proper then “Unsainted” gets the album underway properly and what an opener…from the initially haunting children’s choir it gradually builds in atmosphere and intensity until it explodes into a frenzy of blistering vocals with pummelling riffs and percussion. It carries on from the previous album in terms of delivery; blending visceral verses with a clean, hook-rich chorus. It’s a powerful track.

From here on in however, the album gets VERY interesting…recent single “Birth Of The Cruel” slows things down with a more methodical riff and plenty of tinny percussion. Vocally clean for the most part until Corey lets rip during the chorus segments, countered by Sid Wilson’s trademark scratching harking back to the bands earlier days. “Death Because Of Death” is our first interlude and takes on an almost hypnotic tribal tone; simple and repetitive before transitioning  straight into “Nero Forte”, instantly waking up the listener with more classic Slipknot riffs and up-tempo lyricism, again bridging the gap between the now and the bands early years. Another album highlight, “Critical Darling”, continues on with the “…Gray Chapter” aesthetic with plenty of key-changes, vocal switch-up techniques and allows for a variety of sensations, fluctuating effortlessly between harsh and harmonious.

​This fluctuation is a reoccurring theme throughout the whole album in all honesty; it zigs where you think it’ll zag and vice versa…”Red Flag” is a traditionally blistering onslaught, fuelled by a frantic pacing and old-school aesthetic, again harking back to the Knot’s earlier days, while interlude “What’s Next” comes across as actual elevator music! Like, seriously lads what the fuck is next? Where else can you take this? “Spiders” houses an almost Halloween-esque piano lead allowing for a generally creepier vibe, bordering on polyrhythmic in places; it’s got a subtle prog delivery, before we eventually end on promotional single “Solway Firth”. Coming full circle from the intro, we count all the killers over a typically bombastic masked-metal approach that bridges gaps between modern era and the “…Subliminal Verses” days.

Ultimately what can be said about the Iowan’ nine in 2019? Their groove-heavy, pulverising metal is still there in abundance and coupled with their nu-metal origins, thrash sensibilities and Corey’s ability to deliver a mainstream alternative anthem, Slipknot are as Slipknot as ever here but MORE. There are no real definitive hits like “Dead Memories” or “Snuff” to appeal to the wider audience…fuck no; if anything they’ve gone the opposite direction. Sure there are some great hooks throughout this record, but the presentation here showcases so much experimentation and a lack of fucks given this is arguably Slipknot’s most prog-metal album to date. It doesn’t settle for a style, not even Slipknot’s own, and that’s where it deserves praise. We all know Slipknot can and will deliver, it’s practically a given these days, but they still opted to tear up their own rule-book and go crazy. “We Are Not Your Kind” is a metaphorical middle finger to not only the fans that just want Iowa 2.0, but also metal in general. It might be more experimental to what you are used to from the Clown and co…but fuck me this is a Slipknot album and a half. Insert another coin mate, I want another go at this…[7]

Back in November of last year, I found myself once again collaborating with the team over at FiXT, but instead of their usual offerings, consisting of Klayton’s multi-faceted musical projects, they’d asked me to turn my attention to the labels growing roster of original artists. In particular, I’m referring to an artist under the name of SOUL EXTRACT…originally formed back in 1998 and now consisting of sole-composer Josh Mullis, it wasn’t until late last year where we finally saw his debut album come to light! Having finally settled with FiXT, Josh was allowed the freedom to experiment and explore his love of crossover electronic rock, wearing his adoration of LINKIN PARK firmly on his sleeve, and as a result, “Circadian Algorithm” was a decent album that was ultimately worth waiting for.

As you may know however FiXT is a primarily studio-based operation, with their roster of artists rarely hitting the road…which means in 2019 we find Soul Extract ALREADY releasing their follow up album; “Filaments”. Honestly it’s like a bloody bus service! Wait ages for one and then two come along practically the same time! All jokes aside, Josh was naturally enthused and motivated following the long-awaited release of his debut, which meant he made a swift return to the studio to work on the 14 new tracks we have today. Let’s check it out…

​The album opens up with “Rigor Mortis” and initially, with its subdued percussion and sporadic string notes it comes across as almost cinematic, as if from the opening moments of a film-score, but the riffs soon kick in and we’re given an industrialised slab of post nu-metal, laced with techno. It takes a while to get going but when it does, it’s a decent opener. A little stiff and regimented in delivery as its name suggests but it’s far from lifeless. This is then followed up by early album highlight “Victim Of Yourself”…combining more layered electronica with a crunching, classic metal guitar riff, instrumentally it’s as though someone’s tried to give say, PANTERA the remix treatment, but as the chorus kicks in we’re given a more mainstream hook; fellow FiXT artist CELLDWELLER having a clear influence here vocally too.

​These influences can also be heard on the single “Redshift” and also “Ember” further down the album…the former again focuses more on the electronic aspects with rich, angst-ridden vocals amidst alt. rock instrumentation, bridging a gap between Klayton and Chester Bennington, while the latter takes on a more later-day Linkin Park aesthetic, which fans of say, “A Thousand Suns” and “Living Things” would appreciate. “Roentgen” on the other hand houses more of dub-inspired core sound, balancing the rockier aspects, which combined with the string section allows for a powerful and emotive track. This could easily appeal to fans of “Immersion” era PENDULUM in ways. Elsewhere while the album is far from awful by any means, nothing really stands out to make this a must-listen record. The interlude / set-up instrumental “Frozen Shadows” is pointless as a stand-alone track for example, and the remix of “Superheroes” is better placed than the original here really, it’s shorter and more enjoyable.

There is a deluxe edition of the album with 14 purely instrumental tracks on a bonus disc, but to be perfectly honest the tracks aren’t exciting enough to really warrant that…unless you’re a hardcore fan, there’s really no need for that whatsoever. With that said, it’s a decent electronic rock record, if you’re a fan of the aforementioned artists then you’ll likely appreciate most of this album, but there isn’t enough of a step made between this and the debut. All of the tones and influences are still there clear as day, but nothing really leaps out at you here to demand your attention. While not ALL filler, “Filaments” does sadly leave you feeling hungry for more…[6]

​There are plenty of little things in life that I appreciate; like, having two kidneys for example, one simply wouldn’t be enough to handle my love of Jack Daniel’s in all honesty, but one thing I actually do appreciate; is a band putting in the hard work to make their dreams and aspirations come to fruition.  As it happens, one such band would be FOREVER STILL.

Hailing from Copenhagen, Denmark, the four-piece (Consisting of Maja Shining, Mikkel Haastrup, Rune Frisch and Inuuteq Kleemann) are really anything BUT what their name suggests. From day one and their 2013 debut EP “Breaking Free” they’ve gone above and beyond to ensure they do things as they want and how they want. From booking and arranging all of their own tours with no agents, to doing all of their own photo shoots for promotion and record covers, and even filming their own music videos, they manage virtually every aspect of their career themselves, and it’s paying off. Over the years they’ve had opportunities to support the likes of CHILDREN OF BODOM and LACUNA COIL on tour, and have signed a record deal with Nuclear Blast. 2019 saw them release their newest album entitled “Breathe In Colours”, and you suggested I check it out on my last poll, so let’s do just that…

The album opens up with “Rewind” and initially we’re greeted with a slightly industrialised barrage of riffs and mild distortion…there’s a subtle crackle to the sound quality in places giving the track a rustic character, before we erupt into a chorus of powerful, soaring vocals. In ways Maja finds herself somewhere between Lacey Sturm of FLYLEAF and Sharon Den Adel of WITHIN TEMPTATION and her delivery is bold and assertive, drawing you in as a listener; it’s a solid start. “Fight!” keeps things going with a predominantly Nu-Metal inspired affair…the guitar tone coming straight out of the early LINKIN PARK repertoire, backed up by the harder vocals and climactic ending. This is full of piss and vinegar and it’s a very enjoyable listen.

The rest of the album in all fairness is pretty damn consistent and to be honest doesn’t really put a foot far wrong if at all. “Is It Gone?” utilises a more symphonic metal ballad style with a strong power-pop influence, allowing for a very melodious track with honey-sweet vocals, which can also be said for “Pieces”.  Another soft, dramatic effort, it mixes a solemn yet powerful vocal display resulting in an incredibly deep, emotionally testing track. “Survive” has a more metallic approach with harder riffs and an increased level of intensity, with the screamed vocals providing a deeper, angst ridden delivery. There are some questionable high notes on “Do Your Worst” which is ironic as it seems Maja did just that, something seems off about these vocals in places, like it was hurried or something and they settled for it, but she doesn’t hit those notes as well as she may think.

The end of the album though is very much worth the wait however…beginning with a stripped back version of “Is It Gone?”… A straight up piano ballad, it totally differs from the previous version, providing a deeply emotive and mournful listening experience, channelling the likes of EVANESCENCE in ways; it’s a pained track and you can literally feel every note. The real album highlight however comes at its very end, courtesy of a cover of the LOU REED classic “Perfect Day”. It manages to sound tender and touching while retaining a strong guitar sound during the chorus, though it’s delightfully done, as though the track was tailor made for Maja. This cover works incredibly well for Forever Still and I can see this going down brilliantly live. There may not be any tracks that leap out at you here, but to be fair they blend into each other pretty well…and though while the quality in terms of consistency and production value is fine, don’t expect to single out any massive tunes. They’re on the right path however…and you can expect some anthems from this lot in the future. [7]

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

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

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

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

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

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

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

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

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

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

You may remember a short while ago; I managed to catch up with David Challenger for a chat about all things THE KENNEDY SOUNDTRACK, and got the guitarist to talk about the past, the present and the possible future for the Welsh rap-rockers. Having only recently reformed for the first time since their debut album run in 2002, nostalgia has been ripe within the KST camp, with the band re-releasing that same debut; “Tale Of 2 Cities”, especially for collectors on cassette store day, as well as playing a come-back headline show in Newport. However, with the cassette proving incredibly popular, and the show itself being a sell-out, it would be foolish to pass up on such an opportunity, given the fresh interest in the band. The result; they are not only riding the wave of nostalgia, but they’re owning that son of a bitch Kelly Slater style…and in the wake of all the excitement, they opted to treat long-time fans with a new compilation of B-Sides and rarities, together for the first time on one album…so with that in mind, let’s check out “B-Sides”.

We begin with “You Never Know” and WHAT a way to kick this album off! Originally available on the “Bloodshot Eyes” single, it perfectly encapsulates all that was good with the early nu-metal era of alternative rap rock…the fuzzy guitar distortion, the deep bass lines, the up-tempo delivery…sharp, angst-riddled lyrics and a huge hook-filled chorus, full of melody and harmony. The instrumental-heavy climax genuinely gives you goose-bumps as it filters out with one last flurry of noise and passion and it’s perfect. Firstly this belongs on the actual album, and secondly this deserves to close proceedings, end on a high note, y’know? It’s got that vibe to it…fucking brilliant stuff. We follow this up with the Melodic Mix of “24-7” and while it retains the original rap-heavy approach of the album version, here we find David taking over on vocal duties for the chorus instead of Nic Harvard and it gives us a fresh take on a classic. It’s still full of piss and vinegar but the inclusion of cleaner vocals softens the track, rendering it both freshly interesting but no less enjoyable compared to the original.

Elsewhere we have “Wide Awake” which features a brief guest vocal from SKINDRED front-man Benji Webbe. His inclusion is minimal at best, really, only offering what can be described as Caribbean Scat? I mean that as in the Scat Man (Bee-dap-bap-badda-boop), not as in, shit…please be aware of that, thank you. The song itself is a primarily mellow acoustic ballad and aside from a mid-track tempo-change of Nic’s low-key hip-hop input, it serves as a wonderfully sweet ballad, showing the Welsh quintet were more than one-trick ponies. “Bring Me Down” ironically picks things back up again with a grittier, riff-driven guitar sound before some sleek, classic hip-hop lyrical delivery, in ways harking back to the likes of PUBLIC ENEMY (Think the early Tony Hawk soundtracks), while promotional single “Proud” really gets going in proper KST fashion…really emphasising their status as the valley’s answer to LINKIN PARK…few UK acts truly embraced the nu-metal movement like this lot and despite a genre saturation, their background and tastes allowed them to still sound unique and exciting, which still holds true to this day.

​At only nine tracks long, it’s over far too quickly…alternative versions of “Yourself” and the aforementioned “Bloodshot Eyes” make an appearance, and if anything can be picked at really it’s the deep cut “E.M.B.”, which with its funk-driven instrumental style and almost 70’s guitar-tones sounds more out of place than anything else, but let’s be honest, this is the kind of sound you light up for, if you know what I mean? You do dabble in the devils lettuce, don’t you? Essentially, as was discussed with David, The Kennedy Soundtrack are happy to be back and they’re excited to be playing music again…while at the same time, long-time fans are even happier to have them back themselves. Somewhat of a cult band given their brief original run, but now is THE perfect time to discover KST, or even give them another chance. Hopefully we’ll have new music in 2019, and they’ll be killing music all over again. [8]

If you cast your mind back to a little over a month ago, I shared a review covering an artist by the name of THE ANIX…initially forwarded to me by the team over at FiXT, it highlighted their steady expansion as they slowly build up their label roster with newer, outside artists. While musically it didn’t differ a GREAT deal from their already established acts, it was promising nevertheless…and today we’re going to be looking at another of their newest signings; let me introduce to you SOUL EXTRACT.

Originally based out of Atlanta, Georgia, Soul Extract is the creation of composer Josh Mullis and he formed the project way back in 1998! With certain setbacks however it’s taken a fair amount of time for his music to see the light of day, but now, confident and comfortable on the FiXT roster, he’s able to share his hard work and efforts through the album “Circadian Algorithm”; both his label and musical debut…let’s check it out.

The album opens up with “Project Terraform” and immediately you’re swept into a grandiose, almost cinematic musical score; intense and dramatic string elements backing a slowly emanating techno wave. It’s the kind of instrumentation that would easily find itself slotted into a Transformers movie or something akin to that….vocally switching back and forth between cleaner, synth fuelled segments and angst-ridden screams; it fits in perfectly well with the likes of CELLDWELLER and also reminds me of more local acts such as CLEAR THE AUDITORIUM. Follow up track “Decryption” takes us back to Extract’s formative years and here you can clearly hear some of that early nu-metal influence. Josh openly cites LINKIN PARK as an inspiration and you can clearly hear that within not only the vocals of this track, which are a nice homage to Chester at this point, but you can hear it within the composition and instrumentation too, with some of riffs and electronic touches sounding like they’ve come straight out of the “Meteora” writing sessions.

The nu-metal influence can also be heard on the likes of “Take Another” with the vocals giving off a subtle KORN vibe, alongside the slower, more crunchier instrumentation, mirroring artists such as ADEMA to boot. Speaking of slowing things down, “Oblivion” offers a far more chilling, mellow synth-heavy pop affair; with its anti-ballad qualities, mixing icy piano keys with a bold chorus and an orchestral climatic flurry, allows for a laid back but luxurious listen. Elsewhere “Aphotic Destiny” if nothing else taught me a new word today, however its pulsing techno perfectly suits its title, as it metaphorically submerges you into the deepest, darkest watery depths, before closing track “Singularity” rounds things off with more Celldweller-inspired, vocally raw, orchestral-tinged electronic rock.

Aesthetically this album is a nice little nostalgia trip for the most part, merging those early electro-rock influences with the more modern production value found through working with FiXT. While musically fine, if anything is to be noted as a negative it’s the track length; nothing here is under four minutes long, resulting in a ten-track album sounding far longer than it actually is. Condense one or two of these down and you could have some decent singles to promote off of the back of this, and that’s about the only real issue going forward. Other than that, it’s a fine record and nice way to maybe coax some more nu-metal fans towards the FiXT brand. [6]

Back in the early 2000's, Nu-Metal was officially in full-swing; a new wave of bands had been established, and the next generation of alternative music fans were about to catapult rock and metal into the mainstream. You couldn't go anywhere without seeing kids in baggy jeans skateboarding, talking about all these cool new bands they'd heard on this channel called Kerrang!...even video games and movies were getting in on the trend with a lot of soundtracks utilising the audible adrenaline rush, especially horror movies and sports games like Tony Hawk's Pro Skater; the whole thing was huge. While bands like LIMP BIZKIT were rollin' high up the charts much to the dismay of disgusted parents, and LINKIN PARK were slowly taking over the world having released THAT album...but here in Wales we could more than hold our own. With a blend of angst-ridden alternative rock, urban hip-hop lyricism and pop melody, THE KENNEDY SOUNDTRACK emerged and dropped one of the greatest yet overlooked debut album's ever to come out of the UK...now, nearly twenty years later, they're back, and I was lucky enough to have a chat with guitarist/vocalist DAVE CHALLENGER, as he looks back with bloodshot eyes, to re-tell a tale of two cities, and look ahead to a whole new soundtrack...

I’d like to just begin by taking a look back to those formative years; for those unaware of KST, give us a bit of back-story…how did you guys meet and ultimately form?

“You know that will reveal how old we are right!? [Laughs] We met around the mid to late 90s while we were in our teens at Crosskeys College in South Wales. Many schools in the area at the time didn’t have 6th forms so you would go to Crosskeys to do your A Levels or whatever else they had to offer. At the time (And I believe still to this day), they offered a BTEC performing arts course, this course had two variants, Drama or Music. The majority of us met on the music course.

In between the sex, drugs, rock ‘n’ roll, and shouting in an alcohol fuelled state at Pontypool’s Rugby lads, we’d also spent a lot of time playing music. Mainly; Manic Street Preachers, Radiohead, Nirvana or Oasis songs, before officially forming The Kennedy Soundtrack in 1999 to start writing our own stuff. One of the first tracks we wrote was “Too Much Stress”, and that version is way different to what ended up on the album. It was more of a 90’s Britpop affair with Nic’s youthful higher pitched rap over the top. Though it planted the seed for the KST to grow…”

The early 2000’s was a really interesting era in rock and alternative music…with Nu-Metal in full swing, so many bands were experimenting with genre crossover’s; the likes of LINKIN PARK and LIMP BIZKIT all taking the blueprint set by RAGE AGAINST THE MACHINE and redesigning an entire style…were these bands that you looked to as inspiration?

“Rage was definitely an influence, I remember a friend in high school gave me a black cassette tape that he’d recorded himself with the letters “R.A.T.M” carefully written in Tippex. He said “Give it a listen, there’s no samples or anything, it’s all Guitar!” I was like what IS this? I took it home and grabbed my Walkman and listened to it straight away. This was nothing like I’d never heard before and I loved it. There’s just something about those funky but also heavy riffs that just blew me away.  Up until that point I was mainly listening to U2 trying to figure out what on earth The Edge was doing then this Tom Morello guy was doing even stranger things!

Prior to RATM we were also growing up listening to GUNS & ROSES, CYPRESS HILL, N.W.A, NIRVANA and even prog-rock like PINK FLOYD, YES, and EMERSON LAKE & PALMER. Even the SEX PISTOLS, but I’m sure Johnny Lydon would not be impressed to be mentioned alongside Yes, but to be proper punk you don’t conform just to fit in. I watched an interview with him on YouTube the other day, I think he was quite disappointed with the punk scene. It’s what often happens with counter culture movements, is that they just become another box for everyone to fit into and then become main-stream. Be yourself, though accept your influences! [Laughs]”

With your gritty yet melodic rap-rock sound, you stood out yourselves in the South Wales scene…bands like CATATONIA and STEREOPHONICS had put Wales back on the map musically, but you were part of such a vibrant movement…with yourselves, SKINDRED, FUNERAL FOR A FRIEND and we can’t ignore LOSTPROPHETS as much as society wants us to…what are your memories of back then? A lot has changed in music since, do you look back fondly?
 
 
“Lostprophets! I’m not gonna’ lie, we used to listen to them a lot, as they were around a little before us. It’s a terrible thing to have happened to all the victims, and it goes to show you shouldn’t put anyone on a pedestal. He’s ruined a lot of lives including the rest of the guys in the lost prophets that have to live with it. Anyway enough of that…

I do get nostalgic listening to all those bands; it was part of us as we were developing as people and as a band. Each of us was coming to the band with our own musical background and each one of us was determined to get that into the mix.  That’s the Kennedy Soundtrack, each one of us had a Soundtrack we grew up with to add to the project. Everything from 70’s Prog, Rock, Metal, Reggae, Hip-Hop and even 90’s indie.

Cool Cymru was a term that was banded around quite a lot, though we came a little late to the party and we weren’t really part of that scene, apart from perhaps Skindred. We did play with them from time to time. Benji even did a cameo on one of our B-sides, which I incidentally will be re-released in the coming months through Spotify (shameless plug)…”

You left your mark with the release of your debut album “Tale Of 2 Cities” back in 2002, an album that’s become somewhat of a cult-classic…you delivered so many top tracks like “Learning To Let Go”, “Here 4 You” and that’s without the singles you released…it was a quality album from start to finish and at the time, arguably criminally underrated. Looking back, are you proud of the album still? With hindsight is there anything you wish you'd done differently or not done at all?

“Ha, Is it really a cult classic?  I suppose that just means that not many people have heard it, but the ones that have, love it? Well, I think that’s a good a definition! We are always proud of what we achieved, and looking back now there are things that we could’ve done differently, but it is what it is. We are certainly better musicians and performers now, older, slightly wiser. We are better than ever!”

Much to the dismay of your fans, it was to be your only album, there was and still is genuine disappointment surrounding that, what happened following the initial release and collectively what have you guys been up to during the time that’s passed?

“2002 was a pretty hectic year for us. What with recording the album in the USA and touring, I reckon we probably did around 250 gigs that year, we were pretty worn out and jaded by the end of it. By Christmas 2002 we were dropped from the record company. Shortly after that, around February 2003 we were offered a support slot on tour with STEVE-O from JACKASS. The first gig on the tour was in London’s Shepherds Bush Empire. Let’s just say that the place was full of teenage boys trying to outdo each other and the place was crazy. I remember walking onto the stage with some kids shouting “I’ve puked and pissed on your guitar!”.....I thought to myself, “yeah, whatever”.....but as I walked over to my treasured guitar on stage, glistening under the stage lights with our intro music pumping out over the PA, I picked it up and I felt it slip out of my hand a little. The rest of the guys were taking their places on stage looking similarly concerned as I was. I put the guitar around my neck to realise, that the shouts from the kids at the front of the stage were not just the sounds of youthful banter, but they had actually thrown puke onto the stage. We played for around 20-30 minutes whilst being assaulted by various bodily fluids and projectiles before ending the show wondering what the hell had just happened...

All our gigs up until that point (apart from one gig in Barry Island where we had a little scuffle with one of the local knobbers) had been fantastic experiences, playing with PINK, HUNDRED REASONS, PITCHSHIFTER and various festivals such as Reading and Leeds. But, having just lost our record label, being worn out, and the Shepherds Bush gig was the final straw. That was the last time that we played together on stage. (As of Nov 2018)
Following this we all went on to have normal jobs, leading normal lives, buying houses, raising kids etc etc. Between us we’ve been doing Drug Rehab Work, NHS Management, Stats Office Management, Store Assistants, Carpenters, Youth Workers and Bus Drivers.

While living the 9-5 we’ve still had other musical projects, such as Nic’s Hip Hop stuff;- Applied Science and Knights Of Boom. Elliot has been in almost every band in South Wales from 2003 to current day, such as The Guns, Smiling Tigers to name a couple. Myself and Elliot also performed in Ice Cold In Alex and have new project CATALYSTS. You can find these on Spotify, Apple Music etc."

Now in 2018, nostalgia is ripe and it’s an exciting time for KST fans….Recently (Oct 13th 2018) you re-released your album marking International Cassette Store Day…very much like Record Store Day it celebrates physical format and independent outlets across the country, and to mark the occasion people can now find your debut album on cassette as a limited edition for collectors. How did this come to light and who got the ball rolling to make this happen?

“Well that was serendipitous event back in the summer where I put an old demo tape of ours (Actually originally it was on mini disc but I’ve recently got into cassettes) on eBay to see if anyone would be interested in it. Pretty soon after listing, Ant from Lavender Sweep Records in Swansea messaged me if we’d be interested in releasing the demos for international cassette store day. The plan was to release the demos. As it turned out we decided to keep some of the demos and to re-release the album instead. We contacted our old record company and I must say they have been really helpful and supportive to hear that we’ve reformed. So they agreed to let Lavender Sweep produce a limited run for CSD. There are still a small number available if you are interested!”

If that wasn’t enough, you’ve also been rehearsing for some select reunion shows and have even talked about releasing a collection of B-Sides and rarities…tracks like “You Never Know” getting the deserved chance to shine…clearly the energy is positive; what’s it like having the band back together?

“It’s been fantastic! And this time we’re doing it for ourselves, by ourselves and our main goal is to create music and have a good time. We’ve succeeded at that, so we will keep surfing the new KST wave.”

With the talk of the B-Sides project, coupled with the Cassette Store Day release, the level of activity in the KST camp is exciting…fans have to ask, what’s next? Is the motivation there to maybe get together and write again? Maybe more live shows down the line? Or is this purely a nostalgia trip for the fans?
 
 “We’ve recently been in the studio with the Producer Legend that is Romesh Dodangoda. We will be releasing a single in the New Year from that session. For KST live? We’ll see how our first show in nearly 16 years goes on the 14th December 2018! It’s sold out so it seems there’s appetite for the KST. I think we just might have to think about a show in the New Year, maybe even new material. You Never Know…”

Dave, thank you so much for the chat, all the best for the up-coming projects and more importantly, welcome back!

“Are they human? Are they wolves?” – Wait, what? This is going to be fucking great I can already tell let me read some more of this… “Their looks may be deceiving and even comical at first glance, but they have incredible brain power and a superhuman physique”…I just did a legit LOL. In case you’re wondering, this isn’t the plot synopsis to some low-budget Lycanthrope movie; it is in fact the back story to one of the biggest bands currently tearing up the Far East! If I may, allow me to continue; “Such superb abilities enabled them to carry out the planet’s most challenging top secret missions, and made them untouchable by the world’s fearsome and powerful leaders including Genghis Khan, Attila the Hun, and Ivan the Terrible.”…this is incredible…this is absolutely incredible, let me just compose myself for a minute.

The band in question is MAN WITH A MISSION and the Shibuya based 5-piece (Consisting of vocalist Tokyo Tanaka, guitarist/rapper Jean-Ken Johnny, bassist Kamizake Boy, drummer Spear Rib and DJ Santa Monica) are collectively one of the most relevant and loved rock bands in Asia today, selling out arena’s all over the continent, having racked up millions of streams and views on platforms such as Spotify and YouTube…but over the past year they’ve been broadening their horizons and have reached out further afield. Some of you may recognise them from their tour slot supporting DON BROCO recently but  now in 2018 they’ve released their first international album; the appropriately titled “Chasing The Horizon”. The question is are these wolf men leading the pack, or just barking mad?

The international release itself has a couple of exclusive bonus tracks for those of us outside of Japan, which includes “Mr. Bad Mouth”, “The Anthem” and “Brave It Out”…the former is a well-worked combination of pulsing, bass-driven electronica and an up-tempo, rocking chorus which in places resembles the likes of FOZZY, but that’s really not a bad thing, while the latter uses a more R’n’B / rap-inspired approach to its verses with the guitars and synths layered throughout, “The Anthem” sadly click-baits you into expecting something big and bold, but what you DO get is a morose ballad type track which is very anti-anthem if anything…though it’s message is positive so it’s not all bad, just a tad disappointing.

The rest of the album features a selection of singles that MWAM have previously released and to be fair this is quite an impressive repertoire…”Take Me Under” for example is wonderfully infectious piece of synth driven alt. rock with plenty of melody  and sing along qualities…”Dead End In Tokyo” has the additional appeal of having FALL OUT BOY front-man Patrick Stump on the writing credits, which makes sense when you listen to it, it’s got that certain distinction in tone…sticking to pop-culture references, wrestling fans may recognise “Break The Contradictions” from NJPW’s recent G1 Climax, the track being selected as its theme; with all of its clap-along charm it’s a really enjoyable track, before “Dog Days” give-off a more drum & bass vibe for a really up-beat slab of rhythmic techno. The only real downside I can find really is “Freak It!” which features the Tokyo Ska Paradise Orchestra…the brass-sections coupled with the progressive jazz elements don’t really sit too well with the almost stop / start pacing of the track and really it just comes across as a failed experiment. All in all for an international debut it’s a shame…a shame because they’re actually a really good band underneath the furry gimmick and ideally we could have heard more of them sooner, and their back catalogue is well worth exploring. Definitely a recommended record, why couldn’t we get these guys instead of fucking BABYMETAL?!?!?! [8]

 CELTIC MOSH is a long-running alternative metal promotion run by Merthyr Tydfil based booking agent Scott Meredith, and over the past couple of years he's put on some absolutely blistering live metal shows promoting the South Wales metal scene. What started out in Merthyr's local Celtic Bar as a monthly club / gig night slowly spread across South Wales, moving up into Merthyr's bigger venues like The Redhouse town hall, eventually setting up in other venues such as the EVI in Ebbw Vale and even FUEL Rock Bar, Cardiff's premier rock club.

Saturday November 24th see's the Celtic Mosh crew set up at the Green Rooms in Treforest for their annual festival celebrating underground UK metal, and they've got a tasty line-up confirmed! Headlining the all-dayer are Manchester's most promising prog-metal outfit COLLIBUS, who have not only experienced playing Europe's Big 4 metal festivals (WACKEN, BLOODSTOCK, GRASSPOP and DOWNLOAD) but they can also lay claim to being the first ever metal band to have played the House Of Commons! With Their newest album "Trusting The Illusion" having dropped earlier this year they'll certainly bring a little manc madness to the mosh!

The main support slot for the festival this year goes to URSUS...the Swindon based boys maybe new kids on the block only having fully formed in 2017 but their blistering blend of metalcore and nu-metal is proving effective as they've been making both a name for themselves and all the right noises, earning them this support slot. Check them out and their brand new singles "Self-Affliction" and "Purity" on the day!

Joining them are an array of Wales' finest underground / local-scene alternative metal outfits including Celtic Mosh regulars EPIC FAIL, Port Talbot's own I AM GRAVITY and Cardiff up-and-comers UPON THE DYING who will be promoting their newest album "Delusions". You'll also get to witness scorching set's from the likes of VOID CALLER and GOOD MORNING VIETNAM. Doors open at 12pm and the music kicks off at 1pm, with ticket prices set at £12 OTD. Tickets are also available to order via See Tickets for £10 advance. Order your tickets via the link below and we'll see you in the pit \m/

The place you grow up, the place you call home very often has an impact on your outlook on life, easily shaping who you can become, and this can ring true with certain styles of music too. Just take BLACK SABBATH for instance, out of the poverty of working class Birmingham in the late 60’s and early 70’s, they arguably crafted heavy metal as we know it today; using their surroundings and social standing to fuel their bleak brand of heavier blues rock…well this can also be said of today’s band; THE BALANCE FACTOR. Formed in Gary, Indiana, just 25 miles outside of Chicago, The Balance Factor (Consisting of vocalist John Yaney, guitarists Heath Reid and Jason Zeilstra, bassist Aaron Brown and drummer Jonas Doran) have for years been surrounded by a booming steel industry, that over time faded away through job loss, political corruption and racial segregation, as America looked to import cheaper steel, killing industrial cities such as Gary.

Very much like Ozzy and co before them however, they’ve put all this to good use and started writing music which leads us to the here and now; following on from 2016’s debut album “Here I Am”, they return with a brand new EP by the name of “Ouroboros”…perfectly summing up their situation and up-bringing with a symbolic gesture of creation born from destruction…artistically poignant, or are they just chasing their own tails? Let’s find out…The EP opens up with the imaginatively titled “Introduction” and to be honest; while I’m not a fan of intro’s generally I do appreciate the no-nonsense approach here. The minute and a half of TV static, broken channel reception and police sirens portraying a state of unrest and uncertainty; a level of chaos, as it transitions into lead single “Killafornia”…and god how I wish Arnold Schwarzenneger was a part of this. It’s a word tailor made for a Terminator parody that hopefully AUSTRIAN DEATH MACHINE will pick up someday. The track itself is a brilliantly rugged blend of hard rock and early 2000’s nu-metal; it's coarse production quality with a more melodic chorus combining elements that would appeal to the likes of ORGY and at points MUSHROOMHEAD; a promising start.

Follow up track “Hypochondriac” jumps straight out of that same era quite frankly with its underlying techno elements and angst-ridden style of riff-heavy rock…a little repetitive for the most part and the vocals do seem off during the chorus, but the guitar solo delivers well it has to be said, an unexpected surprise in an otherwise grating track. “Arrows In My Heart”, the longest on offer here is itself too let down by some off-putting vocals…again harking back to Orgy, they’ve opted for an almost, mechanical /  filtered vocal recording but John’s no Jay Gordon I’ll say that much, he’s too off-key too often. The sudden switch then to album highlight “Die For Another Day” is very welcome, as it opens up with an almost trad-goth / post-punk guitar tone, with layers of piano giving it extra character, coupled with the chorus’ rhythmic hooks and a more pop-based vibe, it’s incredibly catchy while still retaining the raw rock elements, before closing track “Taken By Surprise” sounds like it could have easily been taken out of the “Queen Of The Damned” soundtrack, musically having similarities to “Redeemer” in places, rounding things up on a somewhat nostalgic note.

The band themselves cite influences such as NINE INCH NAILS, MARILYN MANSON and TOOL but listening to this EP we find them to be nowhere near as profound or creatively edgy, and instead we find them more closely resembling the lesser end of the Nu-metal gene pool…I mentioned Orgy but you’ve also got the likes of ADEMA and POWERMAN 5000 layered within these songs, bands that saturated a trend as opposed to setting one. Yes it’s nice to listen back fondly to that era, but to ironically paraphrase Trent Reznor, it’s just a copy of a copy of an already ridiculed genre. Silver linings, The Balance Factor are still better than the fucking X factor…[6]

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

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

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