As you all know by now, every year I do a round up in some way shape or form, of the annual EUROVISION SONG CONTEST. Highly regarded in the UK as an absolutely cringe-worthy cheese-fest, it's no surprise we haven't won it for years, and that's without getting into the shows regular politics let alone the utter shambolic level of fuckery we've found ourselves in under the "leadership" of Theresa May and the current Conservative government...well actually no I'll blame Cameron too, the pig-poking prick! Regardless...we enter every year and hope to not come last essentially. The 2018 final will be held on Saturday 12th May and will take place in Lisbon, Portugal, after SALVADOR SOBRAL won the Ukraine 2017 competition...here I'll be taking a quick run down of all 26 qualified acts and giving my own personal individual score / opinion ahead of the live final...in order of live performance; let's begin...

1] UKRAINE: MELOVIN - "Under The Ladder". Aged just 21, opening the Eurovision Song Contest would seem like a daunting task for many, but Melovin (Real name Kostyantyn Mykolayovych Bocharov) is perfectly at home here, as winner of season 6 of Ukraine's version of The X-Factor. The track is an up-beat, rhythmic dance-pop piece which should in all honesty kick things off really well in terms of tempo and entertainment, but on record it isn't the most convincing vocal display in places and I just hope things don't fall flat for him on the night. 3/5

2] SPAIN: AMAIA Y ALFRED - "Tu Cancion". This is a track taken from Amaia Romero's album "Sus Canciones" and is a collaboration with one Alfred Garcia...sung in Spanish, it's one of the songs this year traditionally sung in the native language as used to be part of the rules before they relaxed things, and for all intents and purposes it's a soft piano ballad with elegant string sections...a lovely song in some aspects but luckily one of the boring ones is now out of the way early. 1/5

3] SLOVENIA: LEA SIRK - "Hvala, Ne!"...NE! NE! NE! We are the knight's who say...NE! *Ahem* All jokes aside, Slovenia's answer to MO / KESHA does a decent job of bringing a modern twist to proceedings. Utilizing a blend of hip-hop production and combining electronica with soulful pop, it's got a decent beat to it overall but it never truly takes off, with the chorus sadly coming across as anti-climatic compared to the level of expectancy of the track. 2/5

4] LITHUANIA: IEVA ZASIMAUSKAITE - "When We're Old". Ironically titled by the 24 year old, and despite her youth this isn't her first Euro rodeo! Having enrolled to compete in 2013, 2014, 2016 and 2017, she FINALLY get's her opportunity to represent her country in 2018. It's an honestly lovely song, focusing on Ieva's hushed, whispered vocals over a gentle piano lullaby...it's a slow one, and one that will rely on mood and emotions conveyed on the night, but it's a wonderfully tranquil track and should score well regardless. 2/5

5] AUSTRIA: CESAR SAMPSON - "Nobody But You". Always the bridesmaid, never the bride...having performed as part of backing vocals for two previous Austrian acts, Cesar finally get's his own shot. Arguably one of the first bandwagon jumpers this year, Cesar brings a fully emotive, gospel sound to Portugal with his blend of soulful pop music, hammered home by a strong melodic chorus...if you're a fan of RAG 'N' BONE MAN then expect to be giving Austria your vote this year... 3/5

6] ESTONIA: ELINA NECHAYEVA - "La Forza". The show isn't over until the fat lady sings...well as it happens Elina is far from fat and we're less than a quarter of our way through so buckle up! A classically trained Soprano, Elina brings a touch of class and vocal quality to proceedings this year, with her powerful vocal range and dramatic, operatic elements...if you're a fan of TARJA TURUNEN for example, you may want to send your vote Elina's way! 2/5

7] NORWAY: ALEXANDER RYBAK - "That's How You Write A Song". FEED. ME. MORE! Oh...sorry...wrong Ryback I was thinking about WWE for a second...but no in all seriousness, Alexander is technically a Eurovision veteran; he WON the competition back in 2009 with a track called "Fairytale"...can the young lad with the violin become a two-time winner this weekend? This funk-driven almost 70's inspired combination of tinny guitar and violin has plenty of energy, but will it be Norway or NO WAY!? You be the judge...2/5

8] PORTUGAL: CLAUDIA PASCOAL - "O Jardim". The hometown-hero as such, Claudia represents the hosts this year taking the torch from reigning champion SALVADOR SOBRAL and will be hoping Portugal can pull off an unexpected victory to retain the Eurovision Trophy for a 2nd consecutive year. Another acoustic/piano ballad, it's got quite a slow build and is honestly quite soppy, potentially risking too many similarities to last years winning song itself...they say lightning doesn't strike twice, I guess Saturday we'll find out. 1/5

9] UNITED KINGDOM: SuRie - "Storm". Oh boy...if you could find me a more fitting song for the UK for this competition I will do sexual things for you no questions asked...not only is the song already two years old and theoretically out-dated, lyrically and thematically it pretty much sums up the state of affairs regarding Britain and the EU and the whole Brexit debacle...metaphorically of course. Musically it is a decent pop track and has it's anthemic qualities but despite any positives I can't see us doing well at all this year...3/5

10] SERBIA: SANJA ILIC & BALKANIKA - "Nova Deca". There's always an entry with utilizes traditional middle-eastern tones and this track is that entry...and seriously what a long-ass intro, taking up nearly a third of the song! It's got a generally simple beat and does pick up, leading into an ultimately pleasant, up-tempo track with subtle dance tones, but it could have benefited  having more of this, less of the intro, as it's shot itself in the camel-toe essentially. 1/5

11] GERMANY: MICHAEL SCHULTE - "You Let Me Walk Alone". Another young talent with a background in reality TV; 28 year old Michael found mild success on Germany's version of The Voice in 2012, where he came third overall, before going on to release his debut album. This year we find him contributing yet another piano ballad to this years Eurovision playlist, and as you may have guessed it's another harmonious love-song with an impassioned climatic feel...again, nice but, it may get lost in the shuffle. 2/5

12] ALBANIA: EUGENT BUSHPEPA - "Mall"...I take one look at this guys name and I swear to god all I can think of is a bush-tucker trial...but my mental issues aside, here we have the first of our demographic-pleasing alternative entries. Eugent is a renowned rock performer in his home country and has actually supported the likes of DEEP PURPLE in mainland Europe, so he's got his credentials...but what is he offering here? A mellow, country-esque traditional folk-pop type piece with an acoustic lead and impressive vocals. It sounds good, I just wish I knew what he was saying. 2/5

13] FRANCE: MADAME MONSIEUR - "Mercy". France hardly needs the bad luck of performing 13th...their results have hardly been the most impressive in recent years, but they hope to change that in 2018. The ambient, synth-pop track follows on from recent success stories such as CHRISTINA & THE QUEENS and may go down well, and though there are no direct ties to the LGBT community, the whole MRS/MR approach could appeal to gender neutral's from an activist point of view...unless that's me looking far too deeply into what is essentially an annual song contest...2/5

14] CZECH REPUBLIC: MIKOLAS JOSEF - "Lie To Me". A potential favourite here depending on the right crowd...full of swagger and groove, Mikolas utilizes the southern blues inspired jazz tones of New Orleans to great effect here, rich in funk and passion, he confidently takes this track by the scruff and simply awaits the laudits of the Lisbon crowd. The recorded version does have some swearing in it, so that'll have to be edited during the final or he may find himself getting nil poi via disqualification... 3/5

15] DENMARK: RASMUSSEN - "Higher Ground". A man of many talents; Rasmussen (Real name Jonas) originally performed in a covers band, focusing on the likes of ELTON JOHN and ABBA, before he turned his attention to acting, focusing mainly on stage productions. 2018 see's him return to singing with this entry; a combination of power-pop and traditional, Nordic heritage in subtle tones. Despite the classic key-change sequence, it does lack a little oomph and falls just short of being an awesome entry. 3/5

16] AUSTRALIA: JESSICA MAUBOY - "We Got Love"...Hang on just a second let me just get Moe Sargi...'YO JESSICA MA BOI!" There we go...that's out of the way now...but no seriously Australia in Eurovision is still a thing. Yes it was novel having them there for the big anniversary show a couple of years ago but, despite not being anywhere remotely near Europe, here they are...the song itself is a generic, light, radio-pop song which wouldn't be out of place in some, teen Disney flick...it's fine but, I really don't see the point this year. 2/5

17] FINLAND: SAARA AALTO - "Monsters"...Finland you beautiful bastard of a country...as if you didn't already supply the world with some of the finest gothic metal and rock bands to ever grace the stage, you also have pop music nailed too by the looks! Saara Aalto ticks all the boxes having dueted with ADAM LAMBERT and ANDREA BOCELLI, not to mention having done voice acting for the Finnish dub of "Frozen", she's a proven voice. Here we have a sleek, electronic-pop monster in it's own right rich in hooks and mainstream appeal and it's an absolute top tune. All of the yes from me. 5/5

18] BULGARIA: EQUINOX - "Bones". Bulgaria's entry features yet another reality TV statistic in vocalist Zhana, who won Bulgaria's X-Factor in 2013...now, 5 years later we find them representing their country in Portugal with "Bones"...the haunting vocal tones and the predominantly dark-pop vibes of the song are pleasant enough, helped by its catchy chorus, but it sounds like a watered down version of "Skeletons" by 2017 Azerbaijan entry DIHAJ to me. 2/5

19] MOLDOVA: DoReDoS - "My Lucky Day". Three is the magic number as they say, and for this trio, it's third time lucky as they finally get to represent their country after failing to secure their place in both 2015 and 2016. Doritos as I shall call them from here on in, have a fun and up-beat approach this year combining modern pop with a GOGOL BORDELLO style of Oompa / alternative. 2/5

20] SWEDEN: BENJAMIN INGROSSO - "Dance You Off". One of the youngest performers at this years final in Lisbon, Benjamin started early and appeared in several Swedish musicals as a child and is hoping his performance experience can carry him through to another Swedish victory. With his soft vocals it can be said he's another JUSTIN TIMBERLAKE inspired pop-starlet but truth be told he's not of the same caliber previous Swedish winner MANS ZELMERLOW, he lacks that spark. A harmless pop song but I'm not expecting big things. 1/5

21] HUNGARY: AWS - "Vinszlat Nyar". Ever since LORDI won it for Finland back in 2006 there's almost always a rock song or two thrown into the mix to shake things up a bit and here we have that very token rock song. AWS deliver on all fronts with a strong melody and even stronger riffs for their hard rock performance, even including that cliched key-change and it has to be said it's a solid track...it wont win but it is a banger. 4/5

22] ISRAEL: NETTA - "Toy". While it's one thing to question Australia's inclusion in what is essentially a European competition, it can be said that you have to question Israel too...although politically and economically they are at least tied to the EU so there's that....anyway I digress this is a song contest not BBC Question Time. Netta Barzilai is an outsiders bet if ever there was one! A fun and up-tempo track for the most part, combining western pop influences with middle eastern traditions...it's a decent listen, that is until the random chicken noises...seriously I don't know if it's a gimmick or an affliction. 3/5

23] THE NETHERLANDS: WAYLON - "Outlaw In Em'". Real name Willem Bijkirk, he acquired his stage name after the late Waylon Jennings as means of a tribute and is no stranger to Eurovision. As part of THE COMMON LINNETS he finished runner-up back in 2014 and hopes to go one step further 4 years later. Mixing bluegrass with southern rock swagger, fans of BLACK STONE CHERRY and the like are sure to give him the nod of approval and send a vote his way. 4/5

24] IRELAND: Ryan O'Shaughnessy - "Together". Despite a lack of luck in recent years, Ireland are still the ones to beat as they've won Eurovision a record seven times since its inception, and they hope to add another victory in Portugal this year.Another TV talent show statistic, Ryan O'Whatshisface appeared in Britain's Got Talent back in 2012, reaching the final only to finish in 5th place...will he do better here? Another sweet, acoustic/piano ballad, it doesn't truly stand out as such but he's got enough Irish charm to win the voting public over...perhaps. 2/5

25] CYPRUS: ELENI FOUREIRA - "Fuego". Apparently Eleni here is the bookies favourite and I've been scratching my head to work out how and why...with her typically modern autotune-laden pop qualities I guess she'd make quick and easy money in the charts commercially, given the success of everyone from DEMI LOVATO to DUA LIPA and the like...it's decent enough pop song for what it's worth and catchy enough but, it's nothing special per se...we'll see. 3/5

26] ITALY: ERMAL META E FABRIZIO MORO - "Non Me Avete Fatto Niente"...It takes longer to say that than they'll stay in the top 10 this year if you ask me...it's emotive enough with its almost cinematic qualities in places but songs spoken in native tongue are hit and miss and never a guarantee...it might benefit from being on last in some eyes, but to many it'll be an afterthought as the audience suffers from fatigue and burnout, and it's hardly a climatic showstopper...I can't see this doing overly well. 2/5

So...there we have it...my run down of the 2018 Eurovision final! Have you heard any of the songs yet? Are you happy with your countries entry and more important;y, who will you be voting for? Leave your comments below, but for now...it's over to Graham Norton to entertain us with his commentary.

Sugar and spice and all things nice; that’s what little girls are made of…but by contrast, banter, pub crawls and the occasional cheeky Nando’s…there my friend, you have the lads; the bro’s, and what bigger bunch of bro’s, than DON BROCO? The boys from Bedford formed back in 2008 and in the ten years that have passed since; they’ve become one of the UK’s most established home grown talents, on a continual ascension with each and every album and tour…from headlining the Kerrang! Tour in 2015, from slowly creeping higher up the charts with each album, and last year they played their biggest headline show to date at Alexandra Palace…2018 sees them continue on their run with their brand new album “Technology”…let’s see how up to date they actually are…

The album opens up with the title track and we’re met with a brief but subtle, percussion led electronic sample, but it bursts into this bass-heavy barrage of riffs…it’s deep, it’s got some weight behind it and it’s an interesting way to kick things off. Vocally it’s as you’d expect; clean with a mixture of harmony and swagger as is their style, blending alternative rock with indie-pop charm making for a catchy, rhythmic chorus…it’s a decent opener. The same can be said for the single “T-Shirt Song”…it’s big…it’s bold and it utilises a similar approach to our opener, mixing bass heavy riffs with powerful, melodic hooks allowing for another strong chorus, while the rest of the track balances groove and delicacy well. This is the promising sign of Don Broco on form, as is also proven elsewhere on tracks such as “¥” which follows a similar formula again, delivering a simple but infectious pop-rock master-class riddled with groove…that is until the tracks climax…which descends into a distorted breakdown and despite being brief, it can’t help but bring the track down. The exchange rate for those Yen just plummeted…

The rest of the album however…over the course of its total 16 track run time gradually loses both momentum and point…while there are glimmers of potential found in tracks such as “Everybody”, which sticks strongly to an indie-inspired core sound, slightly funk-driven and rhythmic…there’s “Tightrope” with its sweet vocal delivery and “Got To Be You” which utilises a dramatic, echoed tone to the guitars and an emotive narrative, they are sadly lost among the annoying level of filler found bulking this album up. “Come Out To LA” has a fucking awful hip-hop / R’n’B structure to it which really negates the quality of the song, like it doesn’t know what it wants to be…”Porkies” has vocalist Rob shouting his way through the track and truthfully it doesn’t suit him at all, with the track as a result just sounding off. “Something To Drink” makes you want to drink in its own right with a predominantly dull display…Don Broco aiming for Dom Perignon but reaching white wine vinegar…before closing track “Potty Mouth” which has an annoyingly abrupt ending which is bad enough after what can only be described as a discarded GORILLAZ cut, followed by what is arguably one of the worst hidden tracks ever put to record. It’s a bit of a mess frankly…so to summarise, they could have easily taken a good six tracks off of this album and condensed it down into a simple, manageable listen as strong playlist, but they opted for quantity over quality where in reality less would have definitely been more. The good thing about technology is that, if you opt to buy “Technology” on iTunes you can buy individual tracks and not have to listen to the whole thing. If you have it on CD then you’d better be prepared to smash that skip button. [5]

Do you remember back in 2013, when FALL OUT BOY shocked the world and underwent what many called a renaissance? Their surprise come-back album “Save Rock And Roll” was not only a glorious return to form, chock full of tunes but it was also a mission statement…if you caught them live on that tour, the title track, ironically a moving ballad, was a call to arms…the stage production would show black and white images of icons such as Freddie Mercury, Sid Vicious, Kurt Cobain and many more, as if to say don’t let the music die, literally save rock and roll from the music industry…and everyone thought that this was the beginning of something special; a resurgence in rock music across the board, and in many ways it was…just…not for Fall Out Boy…after the 50/50 reception of follow up album “American Beauty/ American Psycho” which many described as a mishmash of songs lacking real direction, we find them in 2018 dropping another new album by the name of “M A N I A”…this one was delayed because they themselves felt it was rushed…was it worth the wait?
 
We open up with the first single “Young And Menace” and…this is an interesting direction to say the least. After a seemingly dreary, slow build to the track with sombre tones and an impassioned, angst ridden feel, we descend into a totally distorted, techno riddled breakdown of a chorus…it’s positively shapeless…it’s like the chipmunks dropped acid and hijacked a SKRILLEX sample…it’s honestly fucking horrendous! Luckily the follow up track is far more recognisable as the FOB we love and expect…”Champion” has a similarly slow intro but the guitar here is gritty and in ways reminds me of early KAISER CHIEFS…there’s more attitude here and despite the clear pop-production it’s got enough of that early emo-rock feel to stand out as a brand new classic and is bound to go down well live, this is much better. The same can be said for “The Last Of The Real Ones”…an up-beat energetic number with a really enjoyably catchy hook and huge sing-along chorus, this is massive FOB by numbers and the level of quality we recognise…

The trouble though is that, besides these two undeniable tunes, the album falls right back onto its arse and leaves the listener thinking, what the hell are FOB trying to achieve? “Stay Frosty Royal Milk Tea” just feels like they picked random words out of a hat…granted the message is one of today’s cut-throat culture, the competition for stardom and the spotlight with a really obscure reference to the 1994 US figure skating scandal (And I thought I made weird analogies) but again they opt to utilise a pulsing, bass-driven EDM foundation for the track…”Hold Me Tight Or Don’t” and “Sunshine Riptide” both jump on the bandwagon regarding Caribbean structured pop, tinny guitar, the subtle steel-drum tones and rhythm…it’s something a lot of mainstream artists have done recently so in all likeliness it’s a dig but it still doesn’t make it worth listening to, even ironically. “Heaven’s Gate” has this soulful, gospel inspired blues tone, before closing track “Bishops Knife Trick” ends proceedings on a predominantly lulling note…and another random reference; this time to “Alien”. A song of journey; torn between the feeling of freedom to explore and knowing where you call home, in ways summarising the album from a creative standpoint really rather well. FOB in ways here simply come across as oxymoronic…their save rock and roll gimmick went out the fucking window let’s be clear on that, and this album is almost a parody of itself. It sounds like the band are ribbing mainstream pop culture but the joke flew over everyone’s heads as it just blends in with the very thing they are ribbing…”M A N I A” in ways just reminds me of “Insania” by PETER ANDRE…he thought he had something new, something fresh and exciting but, it wasn’t. [5]

Way back in 1985, Annie Lennox and Aretha Franklin exploded into the charts creating a burst of pro-feminism with their anthemic duet; “Sisters Are Doin’ It For Themselves”…encouraging women from all walks of life to stand up and be counted, reinforcing their already huge influence as artists. Franklin, the Queen of Soul, one of the most successful R&B artists of all time, and Lennox, one of the most influential pop artists to come out of the 80’s with her group EURYTHMICS…it sent a strong message and opened up the door for so many women in music to feel confident and we’ve never looked back…today we’ll literally be looking at a set of real life sisters who are doing it or themselves by the name of Klara and Johanna Söderberg, but collectively they are known as FIRST AID KIT. Formed in Enskede on the outskirts of Stockholm, Sweden, the duo have a couple of releases under their belts already but 2018 sees them return with their brand new album “Ruins”…let’s check it out…

The album opens up with “Rebel Heart” and sadly, they aren’t paying homage to NXT superstar Johnny Gargano (-_•)…for that would be too awesome to be true…but instead we get a rather lengthy introductory track. At over five minutes it’s a little bold, especially given its slow tempo and overly-gradual build; the lulling tone of their country inspired vocals is mellow and harmonious but it does take a while for the track to get going to any real effect. Its climatic semi-flurry is welcome and it rounds track off nicely but it just feels like a stuttering start. “It’s A Shame” then follows up with a far more jovial little number…it’s got a real old school feel with the traditional organ effect coming through the synths giving it that retro 60’s vibe and it’s a charming little track with a deep rooted sadness born of love-loss and unmet expectations, which can also be said for “Postcard”. Channelling icons such as DOLLY PARTON through the classic country and western tone of the tack…it’s the type of track you can imagine being performed at an old road house.

The trouble is that while a lot of this album is, again, charming, the same percentage of the album is frustratingly dull…with their Swedish folk influences there is room for a wonderful collection of ideas and tunes and there are hints of it; “My Wild Sweet Love” is ever so adorable while “Fireworks” delves into a 50’s type, blue’s soaked pop ballad which is full of character, it’s like something you’d find on a “Dreamboats And Petticoats” compilation…but too much of the album fails to ignite a spark of interest…if it was an ice cream flavour it would be Swedish Glace sugar free, dairy free vanilla with a gluten free cone…my point really is that, while it’s perfectly suited for some people, I myself like my ice cream like I like my music…richer and fuller. There’s nothing wrong with them as vocal performers and credit to them they’ve come a long way since their days busking in the Stockholm Metro, but sadly this one doesn’t really inspire a repeat listen. First Aid Kit? Excessive…just give me some Pro Plus I’ll be just fine. [4]

"G’day mate! How are you going? Grab your togs and the Esky coz’ there’s this fair dinkum Aussie band we have to check out this arvo, so crack open the XXXX and let’s fuckin’ rock ya bogan!" Now that I’ve likely offended a lot of you stereo-typically because let’s be honest, you re-read that sentence with an accent, let’s get serious for a moment…in case you hadn’t realised we’re going to be talking about an Australian band and coincidentally, it was recently Australia Day, so that’s a nice segway. We’re going to be looking at a band by the name of TONIGHT ALIVE…formed in Sydney in 2008, the 4-piece (Consisting of vocalist Jenna McDougal, guitarist Jake Hardy, bassist Cameron Adler and drummer Matt Best) have always had natural comparisons to PARAMORE but they rightfully ignore that (Let’s be honest any group with a female vocalist post-“Riot!” was influenced by Paramore…right?) and so-far in their 10 year run they’ve always done their own thing. They’ve recently released a brand new album by the name of “Underworld”…so, get ya’ thongs on mate we’re going down under!

The album gets underway with “Book Of Love” and we’re met with some low-key electronica…the softness of it allows for a very ambient vibe and it’s rich in harmony, before it erupts into this bold, confident chorus, Jenna belts this one out and musically this is something fans of ANAVAE would lap up, a lovely start this…before we keep the quality coming with lead single “Temple”.  The guitar is more prominent here for the most part adding an extra level of grit and weight, giving the track a more serious tone initially, but again it bursts into this massive, up-tempo chorus and it’s truly infectious…structurally it’s a 50/50 track but it works really well and it’s a definite album highlight.

There is a bit of a theme that runs through this album and it’s evident in tracks such as “The Other”…another up-beat, modern pop-rock anthem in every sense of the word, it’s got all the hooks, the intensity and massive chorus, likewise with “Just For Now”…Jenna’s got some powerful vocals when she gets going and again they ramp up the melody and throw this massive groove-laden chorus at the listener, they’ve nailed it on this record it has to be said, with really enjoyably choruses and hooks spread thoroughly across this whole album like a dollop of Vegemite…and their softer offerings aren’t bad too either! Closing track “My Underworld” is a wonderful collaboration with SLIPKNOT / STONE SOUR vocalist Corey Taylor and here he’s allowed to showcase his impressive clean vocals in a wonderful little duet, while “Looking For Heaven” is a quaint albeit soppy piano ballad. If there are any faults with this album, surprisingly it’s “Disappear”…featuring Lynn Gunn from PVRIS, it’s here you expect to be blown away with a dual-assault, bombastic, electronic pop-rock masterpiece given both of their strengths as front-women but, it’s really rather tame and a bit of a wasted opportunity. Other than that it’s a solid album from start to finish and well worth the listen…wherever you are in the world, tonight is very much alive…carpe noctem and all that. [8]

Picking up from where we left things last time, HIM were taking over the world; BAM MARGERA had helped them break out of mainland Europe into the UK and America, by introducing them to the MTV generation…their sales and fan base were on the rise, they were playing bigger stages at festivals, they were all over the charts internationally, Valo even won Metal Hammer’s prestigious Golden God award, and pandemonium couldn’t be sweeter…his infernal majesty had finally taken his rightful place upon the throne…but there’s an old saying; what goes up must come down and sadly, this began to happen sooner rather than later for HIM and it all came around the time of their next album…

In the September of 2007, two years after they hit their commercial peak, the band did a dramatic U-turn, ditched the radio-friendly pop-rock of “Dark Light” and opened up the gates of hell with their follow up “Venus Doom”…praised by critics for its experimentation and total change of direction, the band had embraced a new found sense of heaviness, channelling the likes of PARADISE LOST, with Ville reacquainting us all with his love of all things doom metal (As if the title wasn’t a clue already)…musically it was far heavier than anything they had ever done before, even their earliest work…the riffs, bass and percussion were all full of aggression and suffering…the deep tones of the album allowed Valo to truly hypnotise the listener with his impressive baritone vocal range, on times sounding truly demonic and chilling like on the title track, the lead single “Kiss Of Dawn”, also on the hauntingly beautiful prog-metal journey of “Sleepwalking Past Hope”…but no matter how harsh the band gets musically there’s always a delicately balanced track listing and this album was no different. From the brief, acoustic campfire ballad “Song Or Suicide” to the tortured lamenting of “Cyanide Sun”…this was Adams Family level Gothic romance and it was stunning…their rise in popularity even found the song “Passions Killing Floor” used for the original “Transformers” soundtrack! Despite the change in direction, they were still big, still in the charts, even getting Grammy Award nominations…but the fame came at a price…Valo had developed worsening alcohol problems which over time became more and more of an issue…plagued by exhaustion from the pressures of success, plus problems in his personal life, the writing and recording process took its toll on Valo and he damn near drank himself to death…until he was admitted to rehab. With the blurry oil painting depicting Venus, the goddess of love, now forever a reminder that in nearly dooming himself to drown in a bottle, Valo unwittingly perfectly encapsulated HIM's marriage of love and death, even if he was looking at her through beer goggles...I’m sure he appreciates the irony looking back [8]

Their success in America and mainstream popularity up to that point led the band to release their first and only (The bonus 6-track DVD footage with “And Love Said No” doesn’t count) live album; “Digital Versatile Doom”…released not long after “Venus Doom”, it was recorded as part of their rescheduled American tour at the Orpheum Theater in Los Angeles. The tour and resulting live album was heavy on Venus Doom content but also featured several of the bands biggest singles to date, acting as an updated (Albeit live) version of their greatest hits…for those who were never fortunate enough to see the band live in person for whatever reason, this is essential, especially as it came with a DVD of the performance recorded as part of a 2-disk package…here you can get a real feel for the band; how tight they are as performers and how emotional the songs truly are on the raw environment of the live stage…not to mention Valo’s cheeky sense of humour mocking Linde for the amount of solo’s he has to play…[8]

The trouble HIM faced for their follow up album was quite simply a matter of, where the hell do they go from here? They’ve just dropped the heaviest album of their career and Valo nearly did a George Best and put his liver through unthinkable punishment which nearly killed him…the answer? Another U-turn…yes this is where the band lost a lot of fans, as they began to yo-yo in style and lost a sense of credibility among the rock and metal community. In 2010 they released “Screamworks: Love In Theory In Practice, Chapters 1-13” (It just rolls off the tongue doesn’t it) and Valo, again in his self-depreciating mentality dubbed it their DEPECHE MODE album…gone was the bleak bombardment of gloomy, doom metal…gone were the tortured wails of Linde’s guitar…in their place were gentle melodies and enough pop hooks to give Simon Cowell the horn…written and arranged with far, far more emphasis on Burton’s keyboard playing and a much softer song writing approach, HIM found themselves facing a lot of uncertainty…critics were again, generally in favour, praising experimentation once more and championing Valo’s song writing, but a lot of fans weren’t impressed. Many were confused at the direction and while though it retained plenty of HIM’s trademark melancholy, it lacked the bands usual depth and came across as all too synthetic. Even Valo had convinced himself that it was a failure upon release, but in honesty, it’s merely by their own already high standards…lead single “Heartkiller” was undeniably infectious and the majority of the tracks on the album followed suit; “Scared To Death” is quite possibly the sweetest thing the band have written since “Join Me”…while “Acoustic Funeral (For Love In Limbo)” does have a slight emo influence, which people were already moving away from. There were naturally tracks with a bit of attitude however, with the likes of “Shatter Me With Hope” and “Like St. Valentine” having the most bite, but they were a far cry from what had preceded them…before the album closed on the synth-heavy “The Foreboding Sense Of Impending Happiness”…possibly the lease HIM song HIM have ever written, but far from terrible. Ultimately this was a solid collection of commercially heavy pop-inspired alt. rock that sadly got lost in the shuffle…wrong place, wrong time with the wrong sound…from here on out things would slowly go downhill. [7]

Finland’s finest alt-rock romantics HIM have left behind a luscious and long-lasting legacy now that they have sadly called it a day, and last time round we revisited the band’s earliest albums as we reminisced over their formative years, and the tracks that laid the foundations for the band we grew to love. Continuing on from where we left things in 2001 and the band had established themselves throughout mainland Europe with multiple successful chart positions, but their journey didn’t stop here…oh no…there were other markets to tap into and thanks to a certain celebrity skateboarder and a shit load of plugging, Valo and co were about to break into the UK and beyond…and it all kicked off in 2003.

First and foremost, we need to talk about BAM MARGERA…say what you will (Some people disregard him completely but I personally believe that’s not fair) but without Bam, HIM certainly would not have taken the path they found themselves on, and you could argue that he directly contributed to a lot of their success outside of Europe. Bam discovered HIM while in Finland for a skateboard competition when “Razorblade Romance” was released and he was seeing HIM everywhere so, ultimately fell in love with the band. He was using songs for skate footage in the CKY DVD’s…he used tracks in soundtrack for his movie “Haggard”, he used the Heartagram on his official Element skate decks…HIM were getting exposed to the “Jackass” crowd and a lot more ears fell upon HIM’s music…the result? More success! Bam and Valo became good friends and when the opportunity arose, they naturally collaborated…he did them two music videos; "Buried Alive By Love" and "The Sacrament"...and they would both come on the next album…

HIM returned to the studio in 2002 with their original producer Hiili Hiilesmaa and the resulting album was a blistering return to form; “Love Metal”. Once a tongue-in-cheek term for their style of darkly romantic rock music, it had now become its own cult-like sub-genre so naturally, Valo (In all his sarcastic brilliance) does a VENOM and makes an album out of it! The Heartagram, in all of its glory emblazoned across the album cover in solid gold on a glossy, intricately designed Gothic black background was more than artwork, it was a thing of beauty, it was symbolic and the music within was just as powerful…opening up with “Buried Alive By Love”…with Gas crashing those cymbals, Mige and Linde bursting in with those powerful riffs…this was a band full of hunger and intent. As openers go you’d be pushed to find one with such impact…this was raw, this was rocking like a motherfucker and HIM were back! When the band get going it’s hard to stop them…tracks like “Beyond Redemption” feature some of Valo’s most powerful vocals and “Soul On Fire” is simply scorching…but they still manage to balance the beauty with the brutality. “The Funeral Of Hearts” with its rich melodies was their first foray into the UK charts hitting a very respectable 15, while “The Sacrament”, with Burton’s dreamlike piano intro was simply beautiful. Rounded off with “Love’s Requiem” and the seductive, spine-tingling “Circle Of Fear”…HIM were on the up. Very much like an erection Valo may say with a wry smile…[9]

With their music now reaching across the sea…and having already been around for nearly a decade, now was the perfect time to capitalise on all of the new fans they had accumulated and in 2004 the band released their first compilation album; “And Love Said No: The Greatest Hits 1997-2004”…not only spanning their four full-length releases up to that point, they also acquired Bam Margera to direct them another two music videos for two brand new tracks to accompany the collection. The first was the title track, which with its quaint melodies and gentle vocal harmonies provided blissful listening, but tugging on your heart strings just enough to remind you that it was HIM here, it was still a bit dark…while the main single was another cover the band would arguably go on to claim as their own; “Solitary Man” by NEIL DIAMOND. This powerful rendition added plenty of the Finn’s character and took the song to another level, eventually reaching number 9 in the UK charts…HIM were on top of the world, or so they thought…there was just one more place to conquer; America…and the only thing in their way, was the Atlantic ocean, but they’d crossed oceans of wine to find you before…[9]

Ville Valo has always made little jokes about himself and the music, being really quite humble…and in 2005 HIM would go on to take over the world with what he calls their BON JOVI album. Yes in the September of 2005 they released “Dark Light” after signing a deal with Sire Records…produced by Tim Palmer, it would be some of the sleekest and most polished work of the bands career and it did them wonders. Tracks like “Wings Of A Butterfly” and “Killing Loneliness” saw the Finn’s stamp their name on the charts yet again with their infectious pop qualities and the direction, despite being primarily more mainstream earned them many positive reviews with critics. As a whole the album was produced with accessibility and radio play very much in mind, with the band losing much of the aggression from its predecessor, but it retained Valo’s darkly poetic writing style which the band still carried off superbly…tracks like “Under The Rose” and “Behind The Crimson Door” being up-beat and a little feisty, another superb cover in the form of THE RAMONES classic "Poison Heart", while “Play Dead” and the title track heaped on the melancholy…too smooth for some fans, but it saw them become the first Finnish band to go Gold in America…HIM had made it…but pressures were mounting. [7]

“When love starts to die it begins with a kiss; violently soothing and warm”…beautifully morose, melancholy has always played a major part in the lyrical style of Ville Valo and it’s that tortured feeling of love-lost that catapulted HIM into the hearts of legions of fans around the world. With a whole tongue-in-cheek genre of their own in Love Metal and with a logo reaching semi-religious status (The Heartagram is arguably the McDonald’s M of rock music) they steadily took over the world, branching out of their native Finland into mainland Europe, the UK and then beyond to the US, selling millions of albums worldwide and becoming Finland’s most successful musical export. On New Year’s Eve…Valo and co put those words into practice at their final performance at Tavastia, Finland for the last ever Helldone…calling time on their 20+ year career and kissing goodbye to a sold out teary-eyed crowd. With a rich back catalogue of albums and compilations, right now I’d like to pay respects to the band by taking a retrospective look at each of their albums and remind the world that, we’ve just lost something truly special in HIM, and the pleasure was all ours.

The bands journey started way back in 1991 when Valo and Mige originally came together playing covers but it wasn’t until the release of 1996’s now infamous “666 Ways To Love: Prologue” EP that the ball truly started rolling…with only 1,000 copies originally made, it’s considered by many to be the holy grail of HIM memorabilia, just short of kidnapping Valo himself…and it’s this little 4-track EP that started it all. From the opening screams of “Stigmata Diaboli” we soon get a taste of the hard rock inspired gothic tones the Finn’s would quickly master…Valo’s baritone vocal accompanied by the raw riff-heavy approach of Linde gave them a distinction that would before long have us eating out of the palm of their hands. The song that put them on the map however, was THAT cover of sombre CHRIS ISAAK ballad “Wicked Game” and here we have the bands earliest recorded version…again, raw, but it was impossible to ignore the potential in these Finn’s and as far as covers go, it was original. “Dark Sekret Love”, a far drearier affair highlighted Valo’s love of doom metal with its bleak, methodical style and an early, rough rendition of “The Heartless” rounds things off nicely. Early days but plenty to be inspired by…his infernal majesty wasn’t quite ready for his throne. [5]

Just a year later they were back and the world finally got HIM’s debut full length album…”Greatest Love Songs Vol. 666”…and here we got a much better sense of direction from the band. Despite being a touch more polished with slightly better production quality courtesy of Hiili Hiilesmaa, you can still sense the raw, garage rock feeling the band used to deliver their intertwined messages of love and death. Housing some of their darkest and grittiest pieces of music; tracks like “The Beginning Of The End” and “Our Diabolikal Rapture” really embraced the gloom and channeled the influence of the likes of TYPE-O-NEGATIVE and CATHEDRAL…the beautifully bleak “When Love And Death Embrace” became a trusted fan favourite, a song the band would later rely on as a solid encore, and another cover in the form of “Don’t Fear The Reaper”…the BLUE OYSTER CULT classic getting it’s wrists slit to be bled out on a bed of roses…dark and romantic…HIM were here to violate us in the most sensual ways…[6]

The next album wouldn’t follow for another three years but to say it was definitely worth the wait is by far an understatement…in 2000, after coming to Wales to record in Rockfield Studios, they dropped not only the album of their career…but arguably the greatest Gothic rock album for generations; “Razorblade Romance”. With its bright pink cover art acting as a middle finger to stereotypes and super slick production it saw the band rise to heights they’d never have expected in their own humble self-depreciating humour. With tracks like “Join Me In Death” hitting the top of the charts in both Finland and Germany, HIM could do no wrong and no wrong they did…with an album literally full of top tunes, they exploded onto the scene with tracks like “Right Here In My Arms” and “Razorblade Kiss”...and not forgetting that cover of “Wicked Game”…re-recorded here again but SO much smoother, it’s here the band claimed the song as their own, creating a modern Gothic rock anthem in the process. The newly found sense of melody also saw the band embracing their softer side too, adding a depth to their song writing and playing on their romantic rock style…songs like “Heaven Tonight” and “Gone With The Sin” helped balance the chugging with the charming and quintessentially, the record was a masterpiece. No…the record IS a masterpiece to this day…and HIM will forever be pretty in pink. Goth rock was sexy again. [10]

HIM’s next album wasn’t far behind as the band didn’t take long writing new material, but the huge success found with the preceding record had made the record companies aware that there was money to be made with these Finn’s…and a lot of pressure was put upon the band to release a record equal in commercial acclaim; the result was “Deep Shadows And Brilliant Highlights”. Aided by producer Kevin Shirley, the band found themselves embracing (albeit reluctantly) a far sleeker sound leaning more towards pop music, stripped away was the grit and vigour of their established style and in its place, was even more emphasis on melody and mass-marketing. While it raised questions from long term fans, it still had the strength of Valo’s song-writing backing it up and despite the criticism, songs such “Heartache Every Moment” and “Pretending” were still huge…Linde is allowed to perform some tight guitar solos and the lighter musical approach allowed Burton to shine on the keyboard. “In Love And Lonely”, “You Are The One” and “Please Don’t Let It Go” all highlight the beauty of not only Valo’s song-writing ability but the capability of the band too, to diversify and pull it off with ease. Deep Shadows behind the scenes, but brilliant highlights on record…and frankly an under-appreciated album. [8]

As a Welshman myself I can safely say this without too much fear of backlash but, in reality, if you ever hear anyone Welsh speak, especially on TV (The ones they pluck off the street for ITV news are always the worst) we honestly sound dull as fuck. Really now…we have quite possibly the most equally poetic and plebeian accent on Earth…so the notion of “Cool Cymru” as a pigeonhole for our 90’s musical exports is quite astonishing. Nevertheless it was indeed a thing and we proudly gave the world bands like CATATONIA and SUPER FURRY ANIMALS…and a slightly better known band by the name of STEREOPHONICS. Formed way back in the early nineties in the town of Cwmaman, the ‘Phonics eventually burst on to the scene with their debut album, “Word Gets Around”, in 1997 and they’ve never looked back…having had a stellar career with millions of sales and a back catalogue of chart toppers, we find them in 2017 releasing their 10th studio album; “Scream Above The Sounds”…let’s turn it up!

We open up with “Caught By The Wind” and we welcome the album in with some gentle, melodious guitar tones and light percussion…the hooks utilised here are quite basic but the simplicity is part of the songs charm, it’s quaint, it’s easy listening…it's textbook 'Phonics...there’s an innocence to it and as openers go it’s far from unpleasant, easing you into the album nicely. “Taken A Tumble” follows up and here we have a little more bite, though only fractionally. With a sound based more in indie and classic rock, it’s more stripped back, though with the key changes towards the tracks closing moments we’re given an enjoyable, climatic finish. Sadly however, highlights here are generally quite sparse to be perfectly honest…”Geronimo” for all its outlaw swagger and solid groove ends up feeling stuck in second gear, it lacks an edge and would benefit a strong, hard rock inspired chorus, unlike “Chances Are”…possibly the strongest track on offer, the build up here is wonderful; restrained for the most part, it gradually gets deeper, led by some decent riffs and a little more attitude…it struts its stuff all the way towards its well-executed crescendo, coupled with Kelly Jones’ trademark drawl, this is more like it, this is more like classic ‘Phonics and it’s a joy to listen to.

The rest of the tracks however are…well…lackadaisical at best…“What’s All The Fuss About?” for example is a brilliant question because I for one can’t really see it myself. At near six minutes it’s a yawn inducing dabble in soft jazz with blues elements and it really is dreary, especially with Jones’ painfully droned vocals…the same fate falls upon “All In One Night” and again it’s a monotonous, uninspired soundscape coming across as no better than boring. “Would You Believe?” is another brilliant question, as would you honestly believe these once feisty valleys rockers could peddle such lazily written indie-pop? This isn’t even middle of the road, they’ve pulled over in the lay-by for a fucking nap!…”Cryin’ In Your Beer” does it’s best to reignite your interest towards the end of the album with its brassy, bass-driven lively delivery but really it’s too little too late. Scream above the sounds? A more appropriate title would be loudly tut in disappointment over the sleepy sounds of mediocrity…I expected better…[4]

We’re going to go on a little trip down memory lane right now…back in 2014 when this blog was but a fledgling project with little to no sense of structure (Honestly I’m a little bit of a technophobe)…where my earliest reviews and my first forays into writing were there, posted for all to see in their amateur, cringe-worthy glory, I came across a band by the name of ANAVAE. Formed in London in 2011 and consisting of only vocalist Rebecca Need-Menear and multi-instrumentalist Jamie Finch, they had released a mini-album by the name of “Dimensions” and I praised it for its slick production and catchy, easy-listening electronic rock qualities…now, three years later and after a couple of random singles here and there, they’ve released their much anticipated follow up EP “Are You Dreaming?”…Well? Let’s find out…

We open up with a statement of intent in “All Or Nothing” and the track slowly crawls out of the shadows with some cold, semi-industrial tones…the feeling here is a serious one and the sound they’ve gone for is considerably deeper…the chorus here is still bold, not quite anthemic but it is assertive…coupled with the subtle techno qualities layered throughout, it’s a solid opener but heavier than previous works, an interesting start. Following that however we have the wonderfully quirky “Forever Dancing” and this is the Anavae I recognize…the charm and innocence of the pop melodies, coupled with the positive up-beat tone of this track are delightful…this is the catchy Anavae we are familiar with and it’s a clear EP highlight.

More questions are asked next with “Are We Alone?” and musically we’re met with a more stripped back, ambient alt. pop sound, there’s a gradual build to this huge chorus before it dies down again, the two elements of the song complimenting each other quite nicely but it ends on an abrupt flat note instead of properly peaking at a crescendo, leaving the listener wanting just that bit more. “Stay” has a similar issue with a feeling of being a little more, reserved or restrained, despite its harmonies…there’s a huge pop hook here, again in a strong chorus and in ways this would appeal to fans of SHINY TOY GUNS to a degree, before we finish up on “Lose Your Love”. Probably the weakest track on offer here, it’s lethargic as though the love truly has been lost; it’s personal…drained of all energy and hope, like she’s given up and ultimately it’s a sad listening experience. While the EP itself it a pleasant collection of songs within itself it lacks in the intensity and stand-out appeal that made its predecessor so appealing. Am I dreaming? No…but at least its not a nightmare. [6]

Back in September I ran a review on one of Klayton’s numerous projects on the FiXT roster; SCANDROID, who returned with their highly anticipated second album “Monochrome”…a very nostalgically indulgent project acting as a throwback to the 80’s era of new-wave synth pop, the neon retro glow of early electronic music, with the concept of living in a futuristic cyberpunk neo-Tokyo…it was done incredibly well and proved once again that Kalyton is one of the top electronic artists in the world today…but he’s not the only one dabbling in the past. Fellow label-mate BLUE STAHLI (Real name Bret Autrey) has caught the retro bug too it seems and for his own new project, he’s dropped the heavier, guitar driven EDM for a spot of synth-pop. With the debut album “Starlight” being released December 1st…let’s checkout SUNSET NEON…

We rather appropriately open up with “Opening Title Sequence” which, really, is probably the most straight-to-the-point, generic track title you could possibly imagine…if this was a film score, I would understand but here it doesn’t even have any sense of ironic self-awareness…it’s just lazy. The track itself is just over a minute of otherworldly, spacey soft-synth…it’s like something that may have found its way into one of the scenes on "Stranger Things" and while it’s promising regarding the rest of the album, I’m already distracted now, Netflix is calling me…I regain focus however as first track proper; “Got You” kicks in and this is more like it! It’s rich in bubbly, up-beat disco inspired new-wave indie-pop…the style, the sound, the vibe; it’s all absolutely spot on here…an early album highlight this is something you could easily imagine having been on old-school Top Of The Pops.

Further highlights include the vibrant “Never Dance Again” which wonderfully blends era’s into one light-hearted, happy-go-lucky electronic pop number…imagine KIM WILDE collaborated with CHARLI XCX and you wouldn’t be far off…it’s beat and rhythm are minimalistic while the guitar during the chorus adds a little depth and just a touch of attitude, this is an enjoyable pop song. “You Are The Sun” layers incredibly soft vocals over a relaxed soft-synth backing, akin to early boy bands in ways, while the title track utilises a lo-fi ambience with a charming delicacy fans of SAVAGE GARDEN would appreciate. The real highlight however comes courtesy of “Tonight”…more guitar-driven in tone and in ways more suited to a glam rock band, it’s got more of an edge, it’s pumping, it’s motivational; it’s the kind of song Rocky Balboa would punch frozen cow carcasses to…excellent stuff. Several of the tracks fail to inspire as instrumentals however; “Strut” has this, nu-disco swagger, it’s got funk but it feels like filler…”Metrocenter 84” too suffers similarly, though more laid back and ambient…but the real kick in the childhood comes from the surprise cover of PRINCE classic “Kiss”…merciful god…the original was painfully cringe-worthy with his unique high pitched vocal but it’s worse when imitated…it’s like MIKA and Justin Hawkins from THE DARKNESS had a bollockless lovechild and it attempted to match the track cringe-for-cringe. Ultimately though, the album as a whole has its quaint nostalgic tones firmly set in the lighter, poppier end of the retrospectrum (See what I did there?) and it offers a wholly different listen to Scandroid, though sadly, the songs here are weaker if we compare the two projects…Sunset Neon needs to replace a few bulbs I think. [5]

Back in 2003 the world of rock music underwent a little renaissance and for the first time in a long time, Goth was cool again…yes black was back and several artists made huge impacts on the world stage. Without a shadow of a doubt, EVANESCENCE stole the show with their chart topping, haunting super-hit “Bring Me To Life”, alternative rock having rarely seen such commercial success…veterans TYPE-O-NEGATIVE dropped the outstanding “Life Is Killing Me” in all of its dark humoured glory…Finnish icons HIM made their UK / US breakthrough with “Love Metal” (Helped ever so slightly by the relentless plugging of Bam Margera) and rock music as a whole found a new heart-throb in Ville Valo…and a little band called THE RASMUS released one of the year’s biggest hits, “In The Shadows”….many thought that the Finns had come out of nowhere, capitalising on this wave of alt. rock popularity but in actual fact they started life back in 1994 while still in high school, and while charting higher than their Scandinavian peers here, the longevity wouldn’t last and as quickly as they became new Goth’s on the block, they ironically slid back into the shadows, eventually going into lengthy hiatus in 2012. Fast-forward five years however, and 2017 see’s The Rasmus return with their ninth studio album; “Dark Matters” but…the question is, do The Rasmus? Let’s find out…

The album opens up with lead single “Paradise” and it finds itself somewhere between ambient acoustics and generic indie-rock…front-man Lauri’s vocals are still honey coated as ever and he sings with an air of innocence as he juxtaposes the idea of one man’s hell being another man’s paradise…it’s a pleasant little song for what it’s worth but for a come-back single after a five year absence it’s a little underwhelming and it doesn’t incite much excitement to start the album…”Something In The Dark” follows up immediately afterwards and here we have this incredibly light, bubbly pop track…musically it sounds like it’s taken influence from modern dance-pop records, lacking only in pace, and the chorus here suffers from being a little flat really, it works as a nice, simple pop song but little else. With “Wonderman” then we’re finally met with some chugging riffs and you’re lead to believe that the album is going to come to life here but, the idea is shot down as the track descends into a soft ballad and it’s massively disappointing…and here we find the album’s primary flaw.

While we know Lauri’s vocals aren’t exactly the strongest, they’ve never been an aggressive rock band…but…we do know they can churn out an absolte banger and he’s capable of delivering, I’ve already mentioned “In The Shadows”, but they also have “Guilty” in their repertoire and hell, just listen to “Life Burns!” with APOCALYPTICA…they can do it, but this album is bereft of life, or even a point at times… despite having certain easy listening qualities, such as the funk driven “Crystalline” and the frankly Eurovision-esque “Delirium” providing an album highlight in all of its catchy pop splendour, the rest of the album is annoyingly lacklustre. “Empire” for whatever reasons deemed acceptable in production utilises a god-awful kazoo-like effect that you’d possibly find in a clichéd R’n’B track…it’s actually horrendous…while “Black Days” and “Dragons Into Dreams” are for whatever reason content with boring the listener into a coma more effectively than an opioid overdose…this album simply fails to inspire on many levels and it’s just an absolute shame…even from a pop music perspective this is relatively half-arsed and lifeless and to make the point clearer, there’s more substance to the last LINKIN PARK record, and look how that was received. Dark matters? Well, this album sadly doesn’t. [3]

I’ve said this before and I’ll say it again…Klayton is a busy, busy man…seriously…the guy is like the bloody Energizer Bunny…over the last year alone he’s released three full studio albums by three different projects through FiXT…”Machines Of Our Disgrace” by the returning industrial metal monster CIRCLE OF DUST…he debuted SCANDROID and only earlier this year, released a brand new CELLDWELLER record…and that’s not counting his instrumental and remix releases! Yet, low and behold, like the true workaholic that he is, he’s back again to round off 2017 with “Monochrome”...returning under his Scandroid moniker, we find ourselves immersed once again in the soft, neon glow of 1980’s new-wave synth pop…conceptually set in a futuristic, cyberpunk-inspired Neo-Tokyo…let’s go back to the future to check it out…

We open up with “2518” and essentially it acts as a foreword, setting the tone, setting the scene for the album going forward…amidst slow, sweeping synths, we get echoed vocals, very mechanical and cold, talking of a conflict between man and machine, set in the year of the song title…this is very SkyNet…is John Connor safe? I digress…It gives us a brief yet interesting intro, actually having a plot, instead of the overdone, purely instrumental opening track…before we’re met with first song proper; “Afterglow” and what a way to get this album going…this is some seriously slick techno-pop, at its core inspired by the likes of NEW ORDER…the beats and rhythm are so infectious…looped, bubbly keys, it’s spacey…the slightest touch of electronic guitar adding extra substance but not detracting from the feel of the song, a brilliant throwback pop track this, superb. The fun doesn’t stop there however, oh no…”A Thousand Years” once again channels all of that 80’s influence through the likes of ULTRAVOX and DURAN DURAN…Klayton’s vocals are so smooth over this up-beat, percussive piece…it’s incredibly vibrant and catchy, the fade out works well and it’s simply a wonderfully retro track, really well done, likewise with “The Veil”….again utilising more guitar, it’s got a feeling of A FLOCK OF SEAGULLS to it and it’s a brilliant piece of alt. pop, Klayton is on top form here it has to be said.

The fun doesn’t stop there either…as fairly early on we’re treated to an incredibly brave cover…”Thriller” by MICHAEL JACKSON…but in all fairness it’s done a level of justice here that has to be appreciated…while it IS missing the legendary Vincent Price monologue, the intro here instead is more befitting of an 80’s slasher flick…remember when Friday The 13th Part 3 had that funky disco/synth intro? More akin to that…it’s a classic and few can match the pop credentials of Jackson but this is done well overall…and while on the topic of pop-culture, he’s only gone and included a synth cover of “The Force Theme” from STAR WARS too…the iconic film score gets a new lease of life and it sounds so lively but no less dramatic, your inner nerd will want to swing your lightsaber to your heart’s content, and that’s not a metaphor I promise! There are other instrumentals here such as “Oblivia” and “Searching For A Lost Horizon” but they can’t match this by default…essentially what we have here, is Klayton taking all that was good from the debut and giving it an upgrade…it’s odd that an album with such vibrancy and character would be called monochrome…while yes, it is of one style and era, it’s such a colourful genre to begin with, this record is full of life, it's brilliant...mark my words, we’ll still be listening to this in the year 2518…[8]

Continuity; this is something that affects most forms of media but, it’s most noticeable in film and television…the links and plot development between scenes or episodes needs to be coherent otherwise it’s a bit pointless…and this also applies to music, especially when artists release concept series or sets. For example, GREENDAY tried it with a trilogy; “¡Uno!”, “¡Dos!” and “¡Tré!”…the three full albums eventually creating a mini box set but, ultimately, they had run out of steam by the end of the third and it fizzled out, it was a bit much and the quality started slipping as a result, in the end coming across as really mediocre…WILLIAM CONTROL on the other hand is doing it more sensibly. At the tail end of 2016, WC unveiled his first full project since the departure of AIDEN…it was to be entitled “Revelations” and it would be a series of EP’s, four in fact, based on the four horsemen of the apocalypse…so far we’ve had “Pale” and “Black” and it’s safe to say WC has fully embraced a sleeker, more polished pop music approach to his music, and accompanied by his new backing band, THE NEUROMANTIC BOYS, he’s embracing the seedy neon glow of the 80’s. We currently find ourselves with his third installment; “Red”…let’s check it out…

The EP opens up with “Kiss The Girl” and immediately we’re subject to the light, bubbly keyboards so synonymous with 80’s synth-pop…it’s incredibly up-beat and vibrant and it’s tone perfectly captures the real feel of the era, channeling influence from the likes of PET SHOP BOYS and NEW ORDER…full of pop hooks but blanketing a darkness of his character, virtually pining to be dominated…with gang vocals too provided by fans invited to the studio, it’s a real orgy in your ear canal, a strong start. EP highlight “Let Her Go” follows up and again we’re thrown into the past with a truly retro dance–pop number steeped in electronica; it’s got such a positive tone and the new-wave style seems tailor made for Control, this is incredibly infectious, coupled with the subtle layering of “Violator” era DEPECHE MODE within the track; about the sadistic pleasures of love, the risks involved with opening up your heart to vulnerability, it just oozes quality, providing one of the best tracks of the whole series.

“Scar” kicks in and I honestly thought I was watching “Stranger Things” on Netflix, both intro’s are structured very similarly in tone, simplistic, soft keys, almost creepy, before lyrically we’ve got a beautifully deep track about losing faith, embracing lust and it leading you to fall from grace, morally speaking…giving in to desire with no physical or spiritual restrictions, before we wrap things up with the generally methodical “Submit”. Again, in character, it explores feelings and the mind set of BDSM lifestyles; it’s not something casual, if you’re in, you’re in, there are roles and you commit to them, physically and mentally, you give up your body and mind but there’s trust…musically it’s quite morose, almost disappointed…like William has been let down by someone revolving this. With regards to the four horsemen, red represents war, and here throughout the EP you can feel the war rages within…the turmoil of emotions, confliction of lifestyle and it resonates through the four tracks on this latest EP…resulting in another solid offering. Let’s just hope it isn’t released in North Korea…those fuckers don’t need any encouragement! [7]

There are a couple of reasons why I started writing reviews a few years ago; I have my influences scattered around different mediums, some might surprise you but I’ll leave that for another time…one reason however was and, I guess still is…music magazines. Now I’m not sat here saying they influenced me because I wanted to write FOR them…no…you see the beauty of a review is that it’s essentially an educated opinion. Do I see myself as the all knowledgeable Wizard Of Oz when it comes to music? Of course not, but if you read this regularly you’ll know that I care enough about my music to take it seriously (granted sometimes I include some ridiculous humour but that’s just me amusing myself)…my point is, while it’s still only a collection of my own opinions, my opinions are 100% honest. This is where I had the issue with certain magazines and for this example and for this review funnily enough I have to turn my attention to KERRANG!...back in 2013 FALLING IN REVERSE released “Fashionably Late” and amidst a sea of controversy and hype surrounding front-man Ronnie Radke, Kerrang! were tasked with reviewing it and using their K-Rating system (1K to 5K)…they voted it…”Fuck Knows”. Yep…a score of ?K’s…this told me one thing…the reviewer and the magazine, knowing FIR were hot property and would sell magazines as cover stars, were too afraid to just say look, the album is fucking mediocre at best, I don’t understand why you are so popular…so they chickened out. You won’t find any of that here…oh no…so when I see the same publication say this about the new NECK DEEP album; “11 instantly lovable genuinely unique tracks”…I’m like hold your horses, this is pop-punk we’re talking about…what the fuck is unique about pop-punk? So…without further ado, here are my thoughts on “The Peace And The Panic”…

The album gets underway with “Motion Sickness” (that in itself is a good start…) and in all honesty we do open up with some vibrant riffs; a positive, punk-inspired guitar tone, the melody is pleasant and carries the light pop qualities well, it all sounds crisp and fresh and in terms of sound, mini breakdown included, musically and vocally I guess too should appeal to fans of NEW FOUND GLORY...it references the album title and essentially it’s about struggle going forward, the choice between good and bad and you can see by the album art itself it’s very rooted in balance, civility and conflict, the choice is as clear contrast as night and day, hence the black and white drawing…stylistically they take a similar approach on tracks like “The Grand Delusion”…I mean this is so NFG, you have to stop and remember these lads are from Wrexham, not fucking, West Tampa Florida…

There are some highlights here though to be honest…”Happy Judgement Day” takes the ever-popular almost clichéd route of social-political commentary found within a lot of iconic punk artists…it’s what the genre is famous for, non-conformity, speaking out, having an angry voice, wanting people to wake up…and while here the message is clear, essentially we are responsible for our own downfall, mankind will be the reason for its own undoing because of segregation, creating diversity, wars…the usual…and while it’s good they have the passion to make a point of it, try to encourage fresh ears to make world a better place, the style here musically is just maybe too soft for such a serious global issue…like…it’s not so much “This is important! Do whatever you can!”…it’s more “This is pleasant…have a bit of a dance”. It ticks all the pop-punk boxes though so sounds decent. “Wish You Were Here” tones things down for a sweet little acoustic song, the story within a tale of loss and mourning, aided by some subtle, soft piano, it’s sad but an enjoyably quaint listen, while by contrast “Don’t Wait” has an intense, relentless energy to it…it’s heavier, it’s assertive and isn’t messing around…the gang vocals aid the chorus but it’s Sam from ARCHITECTS that puts the cherry on top here, his furious vocals really add weight to this track and it really stands out…before we finish up on “Where Do We Go When We Go”…a song about making a lasting impression, make something of yourself before, well, you die essentially. Now, while I’ve pointed these tracks out as my own personal highlights, and I’ll be honest, this album isn’t unpleasant, it’s got it’s quirks, I can see the easy-listening appeal and I can see why the band are making a name for themselves here in the UK; it’s all tailor made for radio and its easily accessible for young audiences with its light pop tones, but for Kerrang! to turn around and say these songs are genuinely unique, is quite frankly, a bit bollocks…it’s just well produced pop-punk, and as I stated, they can sound like NFG…if you sound like someone else…you aren’t unique…wake up Kerrang! [6]

I’d like to begin by pointing out that, I’m not bilingual…hell, I’m barely lingual! English is awkward enough and I’m born and bred in the UK! SO when faced with an artist or band that, sings / performs using their native language, well it’s safe to say that I have about as much a grasp of the songs as say, the Conservative party understand…well…human beings. Lyrical content and storytelling goes out the window quicker than Bam Margera during the opening of Jackass Number Two, so all I’m really left with is purely musical interpretation; mood, atmosphere, feelings…and the blind hope that Google translator doesn’t fuck me over for the song titles at the very least. With that in mind, let me introduce you to HAPPORADIO…formed in Helsinki, Finland back in 2001, the band have had steadily growing success in their home country and are looking to continue their journey with new album “Kauniin Kääntöpiiri”…roughly translated as “The Beautiful Turnaround”, let’s see what’s gotten these Finn’s spinning…

The album opens up with “Valopallo” (“Ball Of Light”) and we’re greeted with a classic rock style of sorts; the percussion and guitar tone is for the most part generic and straight forward, simplistic riffs but backed by an incredibly melodic chorus, coupled with the use of the talk box, the whole thing has shades of BON JOVI dotted throughout and it’s an enjoyable up-beat track, a good start. The same can be said for further album tracks such as “Älä Puhu Huomisesta” (“Don’t Talk About Tomorrow”) with it’s incredibly infections, almost disco-inspired retro tone…the soft synths, the sweet pop hooks, in ways reminiscent of DAFT PUNK’s smash hit “Get Lucky” in its overall feel musically; its bright and incredibly relaxed, living in the moment, while “Mies Vailla Huomista” ("Man Without A Nightmare”) retains a similar approach albeit more focused on the light pop-rock aspects…focused on discarding fears and negativity, the chorus is sickly sweet and as to a degree this sounds like it could pass for a really good Eurovision entry…and I mean that in the utmost complimentary way; it’s really quite infectious and they all provide album highlights.

Some of the tracks here however are less inspiring shall we say…”Ihan Hyvät Ihmiset” (“Always Good People”) is a more restrained offering vocally…while the chorus is undoubtedly passionate and the track has a good rhythm, for the most part, vocally it’s almost spoken word content courtesy of front-man Aki Tykki…there is a semi-climatic flurry and in ways it comes across as late 90’s indie…while “Leevin laulu” (“Leevi’s Song”), at just over two minutes in length can’t decide whether it’s a quaint ballad or an interlude before finally we close the record on “Pidä Pinnalla Pää” (“Keep Your Head Above The Surface”)…a wonderfully melancholic piano driven piece…it’s rich in emotion and sonically it’s dramatic…the ideology of holding your head up high, stay afloat, have hope and stay strong in difficult times, it’s gently encouraging and positive despite its somber tone and ends the album beautifully. While it’s understandable that many would look at this and give it a miss purely because it’s all in another language, obviously we like to be able to understand what the singer is saying and it’s not something you can easily invest in sometimes, we have to remember the huge popularity of artists like RAMMSTEIN and BABYMETAL…granted German and Japanese as languages are more prominent culturally, here in the UK at least, but we can’t and shouldn’t overlook the music…a succession of number one albums in Finland highlights Happoradio’s clear talent for writing these infectious songs and they deserve a chance to flow through your speakers too. Nosta radiota ja paina soitinta! [7]

When you think of Finland, from a musical perspective at least, you generally tend to name check the heavy hitters; the likes of HIM and NIGHTWISH, and yes, Finland is one of the few countries in the world where rock and metal is predominantly mainstream, but that doesn’t mean it’s all doom and gloom all of the time. Inspired by a mixture of artists including A-HA and NEW ORDER, Helsinki’s ICONCRASH offer up a far softer, electronically driven sound, broadening their appeal outside of the general audience that metal provides with their most recent album; “Inkeroinen”. Let’s give it a spin…

Kicking off with “Zeroes And Ones”, it’s a very upbeat almost 80’s stylised techno-pop track. The soft vocals of Jaani Peuhu are passionately delivered and it’s all sounding very much like SHINY TOY GUNS to some extent, which is a brilliant start. Continuing with the same energetic pop-infused electronica we go straight into “Dangerous”, which really sounds anything but, yet matters not when the track is as catchy as it is. “Doomsday Disco” has elements of early DEPECHE MODE, musically, but as a whole it’s slightly more funk driven at its core, the chorus milking the 80’s style again for all it’s worth, more of a grower this one.

However, tracks such as “Love Like Mercury” do let the album down slightly, if only for how forced Jaani’s vocals sound during the chorus, they sound stretched and frankly, the higher key doesn’t suit him all too well. All of that is cast aside though when we come to “Stockholm”; returning to the jolly dance-along synth-pop style, the album comes back to life with a burst of energy, which can also be said for “Hunters And Lovers”. “Sixty Seconds” is sadly anything but…it is in fact, over seven minutes long and as about as entertaining as a trip to the dentist; a bit much this one. Luckily, we finish on a brighter note, with “We Are The Night” closing the album as it started.

All things considered, having mentioned Finland’s tendency to produce quality rock and metal first and foremost, it’s also worth seeking out artists such as Iconclash. This has all the potential to do very well for its self in more pop orientated markets and should be given the opportunity to do so. [8]

Facebook: https://www.facebook.com/iconcrashgroup

iTunes: https://itunes.apple.com/gb/album/inkeroinen-special-edition/id712204902

Regardless of your opinion of the man, BAM MARGERA does a lot for bands. Be it his massive endorsement of the band HIM, their fellow Finn’s THE 69 EYES, or be it lesser known bands such as THE MOXY and LACRIMAS PROFUNDERE, he’s always promoted artists through whatever he’s done, whether that’s a compilation CD or the soundtrack to a TV show or a DVD, and, more often than not, they’re awesome too! So when Bam personally recommends a band to you, you check them out. Back when I interviewed him in July, he suggested I check out a band called THE FAINT, who just so happen to have a new album out called “Doom Abuse”. Here’s what I discovered…

Opening up with “Help In The Head” it’s apparent we’ll be dealing with a variety of influences from the word go. Vocalist Todd Fink carries similar tones to the likes of indie artists such as KASABIAN, while musically it’s slightly grungy, a little punky and very alternative; interesting stuff. “Mental Radio” introduces more of a synthesized electronic sound, but it’s quite straightforward, generally consistent throughout, plodding along enjoyably enough before “Evil Voices” unleashes some quality up-beat indie rock. It’s got a brilliantly catchy chorus and is easily an album highlight.

“Salt My Doom” is an altogether different kettle of fish, far brasher, more intense and as far as this album extends, it’s heavier too, delivering a short burst of energy, while “Animal Needs” on the other hand is fairly monotonous in a KRAFTWERK sort of way, albeit rockier. “Loss Of Head”, “Your Stranger” and “Lesson From The Darkness” keep everything flowing smoothly, before we eventually finish up on “Damage Control”; a relatively slow, sullen anti-climax.

It’s a shame really that, these four guys from Nebraska have been at it since the mid-nineties…yet they’re relatively unknown within the UK. Hopefully “Doom Abuse” can change that, it’s well worth checking out, whoever you prefer to trust, me OR Bam. [7]


The album "Doom Abuse" is available on iTunes: https://itunes.apple.com/gb/album/doom-abuse/id827930963 
The Faint on Facebook: https://www.facebook.com/thefaint

Tonteg, a quiet little village in south Wales, not far from Pontypridd, nothing particularly spectacular…nobody of any notable fame has ever come from this neck of the woods, so why am I rambling on about it? GLASS GIANTS…that’s why. This fresh unsigned 5-piece maybe merely starting off on their journey as a band, but with enough charisma to win over just about anyone, and not to mention having a support slot for McBUSTED already under their belts, Tonteg may very well be the next hotbed of a seemingly endless abundance of Welsh talent. With their début EP entitled “Define Progress”; let’s see how they do just that…

Opening up with “Pilgrim”, we’re greeted with a catchy blend of light rock and bouncy pop melody. At its liveliest it’s a really energetic foot tapper of a song, simple chorus and simply a joy to listen to, but at its most tender it’s a thing of beauty. Ross Dixon with an impressive set of vocals; the charming young lad that he is… “Runaway” focusses more so on the rockier side of things; it’s a far more guitar driven number with a more assertive tone to it. In places it’s got an ever so slight resemblance to fellow Welsh rockers 4th STREET TRAFFIC in its big, bold production allowing for a huge positive sounding song, a flurry of noise and an emotional climax, it’s an EP highlight.

“Phoenix” returns to the happy-go-lucky style of the EP’s opener, at its peak leaning more towards a fun pop-punk style, another top tune, before we finish up on “Young And Free”. It doesn't stray far from the path and gives the listener another dose of simple but more importantly, enjoyable pop inspired indie rock, rounding things off nicely. Glass Giants haven’t defined progress purely for themselves here, what they have done is inadvertently spoken on behalf of the whole south Wales music scene. With more and more bands getting inspired to pick up instruments and write music, more and more bands have to up their game to get anywhere in life, and progress as musicians in an already flooded industry. Glass Giants haven’t cared about sounding a particular way to fit in, or used breakdowns because their popular, or this, or that, they've just written quality songs and play them well, that’s all you need to stand out sometimes. Expect to hear these boys on the radio sooner rather than later. [7]


The EP "Define Progress" is available now on iTunes: https://itunes.apple.com/gb/album/define-progress-ep/id720956895

Back in 2001, four guys from Utah decided to break the mould, it was time to shake things up a bit, and, after a lot of disinterest from a variety of labels, and a lot of patience, THE USED managed to release their début self-titled album through REPRISE RECORDS. With songs such as “Maybe Memories” and “A Box Full Of Sharp Objects”, The Used became one of the hottest new bands on not just the scene, but any scene. Their penchant for combining great rock melodies with raw punk intensity separated them from the then mainstream nu metal machine that had reached its peak, and were breaking away from the pack, garnering a loyal cult following. That following grew with follow up album “In Love And Death” and the huge singles including “Take It Away” and, over the course of time, Bert McCracken and co became one of the key bands of the emerging post-hard core/alternative scene. 2014 see’s the Orem based four-piece release the new album “Imaginary Enemy”.  

“All revolutions are impossible until they happen; then they become inevitable”…this is what greets us as we press play for track one, “Revolution”.  It’s an anti-political burst of energy with killer hooks and a great sing-along chorus, some of the catchiest material the band has released and it’s a bright, promising start. Lead single “Cry” delves further into the pop-infused melodic approach, allowing for a really accessible track that’s sure to go down well as a crowd pleaser at live shows.

“Generation Throwaway” is, despite its title, really quite the soft number. It’s got a huge sounding pop-anthem style, gang vocal chorus that catches you off-guard, after having expected a brash, unapologetic punk rock statement. “Make Believe” is a bit livelier but again, it’s lacking bite. A catchy song, that’s undeniable, but that’s as far as it goes. The same can be said for the title track and, well, the album as a whole in all honesty.

Whereas it’s not unheard of for The Used to utilise melody to great effect in their song writing, it’s unusual for them to produce such a unilaterally fashioned album. There are a lot of great songs on “Imaginary Enemy”, it’s an entertaining listen with some top tunes, but it just seems, innocuous. It’s probably their most accessible album to date, bar the odd pocket of mild aggression, which some long-time fans may deem disappointing, but, in a scene drowning in metalcore, it does I guess provide a more than welcome alternative. The Used have allowed the lyrical content in their songs to provide food for thought while making a really commercially friendly album. It’s clear they've stopped to take note of what’s happening around them, and they've delivered an album not only relevant in terms of topic, but they've done it stylishly too. It stands out, and on this rare occasion, for a band like The Used to make a pop album is exactly what we needed. I guess the imaginary enemy is the mainstream itself…fans of rock and metal universally see mainstream culture as plastic, with no depth or ingenuity other than for making fast money, The Used have released a record full of radio friendly tracks not to “sell out” per Se, but because they’re smart. The mainstream is only the enemy if you want it to be, you can just as easily use it to your advantage…”Force Without Violence” and all that…[8]


"Imaginary Enemy" is available now via iTunes: https://itunes.apple.com/gb/album/imaginary-enemy/id804990197

Since forming back in 1999, TAKING BACK SUNDAY haven’t necessarily been the most stable unit, so to speak... Whereas commercially, they've done very well finding chart success in America, having hit the Top 10 of the Billboard charts on multiple occasions, the inner structure of the band itself hasn't always been so solid. Numerous members have come and gone over the years, with creative differences often being the catalyst for change, but right now in 2014, the band have released their sixth studio album, “Happiness Is” with a line-up unchanged from their previous self-titled record and a new found sense of stability, so with that, let’s see what, according to TBS, happiness really is…

The album starts off rather melodramatically, “Preface”, full of layered strings and an intense orchestral feel rises in intensity over its brief length, before first track proper, “Flicker, Fade” gets the album under way. A sharp burst of drumming comes and goes all so suddenly, before the whole thing turns into a soft, mellow indie-rock track. Adam Lazzara’s vocals warm and, welcoming one minute, forceful and passionate the next.

“Stood A Chance” takes things in an altogether happier direction. It keeps the indie-rock vibe but sounds more pop driven, a great summer festival song, you can’t not enjoy listening to this track. “Beat Up Car” is slightly more stripped back, very much driven by drummer Mark O’Connell, and aside from the chorus, it’s a really easy going number. The longest track on the album, “It Takes More” strips things down further still, delivering this sweet, ambient rock ballad, providing ample relaxation mid album, before “They Don’t Have Any Friends” and “Like You Do” bring the album back to life.

“Happiness Is”, as it so happens, does a pretty good job of summarising what, well, happiness is after all (musically at least) combining elements of radio friendly pop melodies and clear vocals with light rock and acoustic guitar, this is a real feel-good album from start to end, and while it may not have any tracks that immediately jump out at you as instant hits, it’s all the better taken in slowly over a period of time, allowing opportunity to absorb and appreciate each track. A great album. Who needs Pharrell when you've got Taking Back Sunday to cheer you up? [7]


Download: "Stood A Chance" and "We Were Younger Then"
"Happiness Is" is available on iTunes: https://itunes.apple.com/gb/album/happiness-is/id786667823

“Mathcore” or “Mathrock”…one of many ridiculously named sub-genres invented for the soul purpose of categorising and pigeon-holing bands to cater for target audiences. Terms such as this are thrown around all too frequently these days, and ICARUS THE OWL are one band to be labelled in such a way. There’s no real need for it, essentially the band are quite simply a progressive alternative indie-rock band, but their use of time signature changes, off-kilter melodies and poly-rhythms sets them apart from your run of the mill rockers. Having formed in 2009 in Portland, Oregon, ITO have been honing their craft and fine tuning their brand of catchy thinking man’s rock, and have recently released a brand new self-titled album.

Beginning with “Ignore Check Engine Lights”, we’re greeted immediately with the powerful vocals of Joey Rubenstein, delivering a strong melodic performance over some fine, intricate playing from guitarist A.J and drummer Rob, a great start.

“Dethroned” carries with it a more up-beat punk-pop feel. It still hints at the technical musicianship that the band are renowned for, but is an easier listen all round, more accessible for the casual rock fan, while “The Monster Within” starts with a flurry of intense drumming, before fleeting in and out of tempo’s and key changes.

“Flint And Steel” is quite a soft number in contrast to its name, lots or harmonious, lingering vocals, with the chorus only slightly picking up allowing for some fine pop-rock enjoyment. The drums driving this song forward yet feeling almost restrained at the same time, the occasional flurry breaking free from the subdued feel of the song, creating an interestingly layered listen.  Finally then, we’re greeted with the last track on offer; the 8 minute + monster of a song “The Pharmacist”. It’s a slow builder, highly dramatic and full of intensity, but that doesn't last too long, as we soon find ITO playing around with tempo and pitch, taking full advantage of the length of time the song gives them to indulge in their unique preferences for key changes, it’s epic and artistic in equal measure.

Whereas it’s a bit of a given that you won’t find Icarus The Owl being played by many (if any) mainstream music outlets, you can’t deny the bands ability to turn seemingly complicatedly structured songs into catchy, heavy pop melodies. This new album is right to be self-titled, as it perfectly captures what Icarus The Owl are all about. It’s an album this four piece should be proud of, and it’s also an album that you really should listen to. [7]


Download: "Dethroned", "Flint And Steel"

"Icarus The Owl" is available on iTunes: https://itunes.apple.com/gb/album/icarus-the-owl/id797827090 

Facebook: https://www.facebook.com/Icarustheowl

“Open your eyes and look to the Altered Sky”. This is what greets you as soon as you start reading the bands biography, and it becomes clear that this Glasgow based 5-piece is full of ambition; five friends with a dream to make music, “painting stories in real life” with their bright and colourful brand of pop-rock. They've just dropped their new 4 track EP “Stop And Live” which was recorded in Wales under the trusted hands of Romesh Dodangoda in Longwave Studios, so lets’ stop and live through these songs and see what they've come up with.

First up is “Where I Belong”, a simple and, in some ways a slightly sketchy start. Vocalist Ana Nowosielska, gives a strong performance but musically it seems a tad slow. It’s lacking in pop and isn't gritty enough to be just rock…almost cautiously played, despite being a safe and above all else fun genre of music to play, a bit “by numbers”.

“Traitor In Me” has a bit more life to it, comparisons to “All We Know Is Falling” era PARAMORE are inescapable but that’s really something I'm sure these Glaswegians don’t mind too much. Sounding altogether more punk-pop with it having a little more attitude, but this time it’s Ana that’s not quite there, occasionally throwing in the odd uncomfortable note vocally. When she reaches the part of “coz’ now I can scream!” she hits quite a high, screech of a note and goes through you a little. Other than that minute detail it’s a decent track.

“Decay” is another simple yet catchy pop-rock number, with the kind of infectious chorus that’s sure to get stuck in your head for hours. Everything about this track is just better, as though they've shaken off the rust and found their rhythm. Finally the sound of a band that’s comfortable and confident in themselves all round, which is promising indeed as closing track “Live For It” keeps in line with the steady progression evident through the EP. The best of the bunch saved until last no less. It ends the EP on an enjoyable high note and proves that, ALTERED SKY do indeed have the ability to be more than just the small band wanting to copy the big bands. It’s clear they have it in them to write some great pop rock, they just need to continue to develop consistency and grow as a band.

Having already shared the stage with the likes of WE ARE THE IN CROWD, and headlined at iconic venues such as the London, Camden Barfly things are looking up for the Scot’s. With their début full length album planned for a 2014 release, Altered Sky are going nowhere but up in the world. [6]

Altered Sky on Facebook - https://www.facebook.com/alteredsky
"Stop And Live" available on iTunes for just £3.16! - https://itunes.apple.com/gb/album/stop-and-live-ep/id770974693

Over the past decade, Surrey’s YOU ME AT SIX have steadily grown into one of the UK’s most reliable recording bands. From 2008’s Gold certified breakthrough “Take Off Your Colours”, to the hugely successful “Sinners Never Sleep”, which took them to No.3 in the UK Album Charts back in 2011, Josh Franceschi and co have been on the rise since day one, and have never looked back. 2014 sees them release their 4th album, “Cavalier Youth”, produced by NEAL AVRON who’s worked with the likes of LINKIN PARK no less…are YMAS aiming even higher?*

Opening track “Too Young To Feel This Old” is ripe with optimism and is bursting with positive energy, reminding us all that life is for living. A sense of, whatever happens, keep your head held high. It’s bold and full of life itself, and a great opener.

First single “Lived A Lie” has a massive chorus, soaring vocals from Josh and in ways, reminiscent of 30 SECONDS TO MARS in places, before “Fresh Start Fever”, despite still being what is essentially an indie-rock track, carries a lot more weight behind it. The same can be said for “Room To Breathe”, some meaty guitar work from Chris Miller and Max Helyer, but it’s Josh’s vocals that once again allow the track to sucker punch you with pop hooks.

“Win Some, Lose Some” has a fairly simple plod-along beat to it, once again backed by a huge sing-along chorus, while “Love Me Like You Used To Do” returns to a rough around the edges indie anthem vibe, one of the albums highlights..

The band does have their mellower moments too however, with “Forgive And Forget”, “Cold Night” and closing track “Wild Ones”. The latter, despite its name is beautifully contradicted, such a soft track. It comes full circle and summarises the feel of the album lyrically, a rhetoric statement such as “Are we gonna’ live forever? No”, reminding us all once again that we should seize the moment and live life to its fullest, enjoy the ride while we’re here. “Cavalier Youth” is the perfect title really, you’re only young once, people need to not take life too seriously all of the time and enjoy themselves, and it’s a real feel-good album, definitely worth a listen. [8]

Download: “Fresh Start Fever”, “Room To Breathe”, “Love Me Like You Used To Do”
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iTunes: https://itunes.apple.com/gb/album/cavalier-youth-deluxe-edition/id743981490