I'm approaching 40. I'm going grey, I ache, I self-medicate with wine, memes and procrastinatory doom scrolling, and I look at the world with a level of doubt that even the Apostle Thomas couldn't comprehend...and his buddy Jesus came back from the dead. Allegedly. I'm on the verge of a mid-life crisis...but...what does that entail? I could invest in a flashy car or, motorbike...but I don't drive so that's pointless. Or have the money. I could take up an absurd hobby like, trying my hand at stand-up comedy or, joining a wrestling school...but that involves social interaction so that's a no-no. No, I think I'll do something that needs doing...and that's kicking myself up the arse to write again. 

Granted, just the other day I DID put a drill through my hand unintentionally, which makes even writing, among other menial day-to-day tasks troublesome, but I'll persevere, and with that randomly macabre anecdote, we come to today's album in question; "Mid Death Crisis" by WEDNESDAY 13. Sure, it was released in April of 2025, but, as I'm seeing them at the Corn Exchange in Newport this very weekend, I thought it'd be a great place to restart. With that being said, let's get our grave on, and check out "Mid Death Crisis"... 

We open with the brief intro "There's No Such Thing As Monsters"...which is just over a minute of perversely pulsing, brooding, creepy electronica, while Wednesday repeats the title in a husky, deep yet hushed drawl. It's foreboding, like you're in a creature feature, or sci-fi horror, and that one-character gives the game away without actually giving you anything, and you know you're in for an ordeal. It's simple, but it's effective in setting a tone very early on. 

First track proper then "Decease And Desist" erupts through your speakers like a battle cry for the undead. It's been no secret that Wednesday has been heavily inspired by all thing's horror throughout his career, and this is a perfect example. An ode to "Return Of The Living Dead", the bleak comedy horror is honoured with a flurry of riffs, references and thunderous rock 'n' roll vitriol, capturing the unrelenting chaos of a zombie swarm. 

"When The Devil Commands" takes things down a notch in terms of ferocity but is no less intense. The dark, chugging bass provides a truly imposing sense of discomfort within the context of the track here, but it's more of a cliche in terms of Satanic lyricism. The brief guitar solo is flash, but this is honestly a pretty repetitive track at its core. I'm not knocking anyone's beliefs here, but this is edgelord shit. The kind of track that would get the blame if some kid shot up another school Stateside. Who am I kidding, if? I meant when. WHEN another kid shoots up another school Stateside.  

Speaking of being unalive, "Rotting Away" is about a definitive a break-up song you could possibly ask for. I mean it could be a breakup song, I'm assuming, it could be...might just be an enemy, equally dramatic. Who has time for enemies these days? I don't. Having enemies takes effort...but then again so do partners...meh. Either way Wednesday really can't wait for some motherfucker to die here, that's for certain, and it's punky, it's gritty and it's personal. I'm going to write Wednesday a birthday card just to be safe. 

The marital issues continue with "In Misery" and my first personal highlight of the album. Leaning very much into the notion of a toxic relationship, the hard rock aesthetics and more melodic nature of the track hark back to the earlier days of "Skeletons" or "Fang Bang", while retaining that gravelly, abrasive nature of Wednesday's delivery, and there is some wonderfully sharp guitar work here too. If you aren't already familiar with Wednesday 13, then imagine the darker side of SOUTH OF SALEM for an example. I know that might sound daft, but you ever know.  

If there is one thing I love, it's a play on words, and "Xanaxtasy" is one such word. Xanax being a prescription drug, used for anxiety, panic attacks and being a sedative at heart, is a very common drug in the US. Case in point, they dosed up Preston Lacy on the set of JACKASS 2.5 just to film a bit where he was dressed as King Kong, stood on a portable toilet, swatting toy aeroplanes. Preston doesn't want to do it guys...just give him some fucking Xanax. Job done. I'm making light of an issue here, and the title leans into addiction and the issues with Big Pharma, and the over-reliance of prescription drugs, as well as mental health as a whole. The track is nonchalant but the message is deep.  

"I Hurt You" returns to the territory of toxic relationships and it's another play on words..."There's no one that hurt's you, the way that I hurt you. You know my touch it's so cruel, the way that I hurt you!"...replace the word hurt with love. It's an honest, damning look into controlling, coercive and manipulative behaviour, but it's played with such an understated sorrow in its tone and instrumentation; the gaslighting is real here and it's really quite the powerful track. 

We close proceedings with "Sick And Violent" and it's a high-octane, rock 'n' roll number full of piss and vinegar designed to make the listener want more, and it works. It's got vocal hooks, a clap-along quality, another slick guitar solo and a catchy simplicity that just spews fun, frantic energy. This album is rounded off nicely. 

With all of that being said, what can we take away from "Mid Death Crisis"? This far into his career, Wednesday 13 hasn't really deviated from his own devious path. Whether it's the early days of FRANKENSTEIN DRAG QUEENS FROM THE PLANET 13, (We could go back further), or whether it was rehashing songs for the horror-punk supergroup MURDERDOLLS, up to present day, Wednesday has always stuck to his guns. Now, I don't care if they are like the crotch gun from "From Dusk Til' Dawn", or whether it's Dean Winchester shooting rounds of rock salt to ward off demons in "Supernatural", Wednesday has his niche, he has his style which he has more than cornered the market on, and he continues to do it well.  He may not age, like the undead, but he's nearly 50...and he continues to give his all, as passionate as ever with not only the love of his craft, but the passion of his horror inspired subject matter, and for that you can't not commend the man. Mid death crisis? Send more paramedics...we would like to keep Wednesday 13 around for a while longer thank you. [7] 

We all saw this one coming. Lemmy's been dead since 2015, and the tribute album industrial complex doesn't wait for any corpse to grow cold. At least they had the decency to wait nearly a decade. That's practically respectful by music industry standards—though one imagines the wait had more to do with lawyers and licensing than any kind of tasteful mourning period. The man died on December 28, and his death was made public on the 29th. Seventeen memorial playlists were already up on the web by the 30th. We grieve at the speed of fibre optics now.

"Killed By Deaf" does exactly what it says on the tin: fourteen bands cover MOTÖRHEAD songs slightly faster and slightly worse than Motörhead themselves, which is a bit of an achievement considering that Motörhead's entire aesthetic was "What if we just played louder until something broke?" The title's joke is about as subtle as a hammer to the temple—which, as it so happens, is also song nine, covered by THE CASUALTIES with about as much subtlety as said hammer. The cover art features a punk Iron Pig skull. Lemmy's own face was half-skull by the end of it anyway, all those moles and that craggy brilliance, pickled in Jack Daniel's and frozen forever like some sort of alcoholic Han Solo.
 
It's a veritable who's who of bands your cool uncle saw in basements in 1987, with some younger bands who are there presumably so that this doesn't seem like a complete nostalgia cash-grab. Though let's be real: it completely is, and there's something sort of endearing about how blatant that is. At least they're not attempting to position this as some sort of boundary-pushing art statement.

PENNYWISE – "Ace Of Spades": They kick it off with the most obvious choice possible, both disappointing and inevitable. It's like starting a punk tribute to THE RAMONES with "Blitzkrieg Bop"—you have to, but seriously, really? You can practically hear them going, "How can we make the most overplayed Motörhead song EVEN MORE overplayed?" Mission accomplished, guys. Jim Lindberg's vocals are fine. The guitars are fine. It's all right. Professional, high-energy, and totally predictable. You've heard this song ten thousand times. Now you've heard it ten thousand and one. Progress!

RANCID – "Sex & Death": Thank Christ they didn't attempt "Ace Of Spades" too. Tim Armstrong's voice, that sweet sandpaper-gargling-nails growl, actually suits Motörhead's nihilistic romanticism quite well. There's some poetry in a band that wrote "Ruby Soho" covering a song called "Sex & Death" - the whole emotional spectrum of punk rock summed up in two song titles. They play it fast, loose, and dirty, which is exactly how one should play Motörhead. No complaints to be had here, which is a pity really since half the fun is in the complaining.

THE BRONX – "Over The Top": The Bronx attack this one like it personally insulted their mothers, burned down their childhood homes, and kicked their dogs. It's aggressive to the point of almost being violent, which makes sense for a song that's basically about running into battle and probably dying in some horrific way. Matt Caughthran wails like a man possessed, and the whole thing has this near-out-of-control chaos that suggests the recording session involved at least one broken microphone and some bruised knuckles. This is what the album should sound like—dangerous, unhinged, teetering on the verge of falling over the edge at any given moment. Lemmy would've nodded in approval before telling them they were doing it too slow.

LAGWAGON – "Rock 'N' Roll": Melodic hardcore guys covering Motörhead is a strange choice, and Joey Cape's vocals are more polished than Lemmy's ever were, even when Lemmy was born. But here's the thing: it works. The harmonies are tighter, the production's shinier, and somehow still has that essential Motörhead fuck-you-ness to it. Did we need Lagwagon to tell us that "Rock 'N' Roll" would be an awesome punk song? No. But did they sound like they cared, rather than just cashing a paycheck? Yes. That means something in this cold, dead world.

FEAR – "The Chase Is Better Than The Catch": Lee Ving is approximately one million years old and still sounds like he could gnaw through a steel chain. FEAR doing Motörhead is a no-brainer—they're both bands that trade in ugliness and honesty, never prettying things for the guests. This is raw, ugly, and fantastic. It's also probably the track on here that most resembles the original, which either indicates FEAR knew what they were doing or couldn't be bothered to reinvent the wheel. Either way: effective.

GBH – "Bomber": UK82 legends covering one of the most indefatigable tracks in the Motörhead catalogue. This is a little too on-the-nose. It's akin to asking SLAYER to cover a VENOM song—yeah, of course, it's gonna be a natural fit. Colin Abrahall's bark is different from Lemmy's growl, but they're speaking the same language: pure, undiluted aggression with a hint of working-class rage. The guitar is thicker than a London fog, and the whole record sounds like it was recorded in a bunker during an ongoing air raid. Probably wasn't, but that's what it sounds like.

MURPHY'S LAW – "Stay Clean": New York hardcore guys doing a song about life on the road, staying out of trouble, and predictably managing to do neither. Jimmy G sounds appropriately grizzled here, and there's something odd and poignant about hearing a bunch of guys who sure as hell didn't stay clean sing about trying to stay clean. The irony is so thick you could cut it with a dirty knife you found behind CBGB. Wait, CBGB's gone too. Everything ends. Cheers!

SLAUGHTERHOUSE – "Love Me Like A Reptile": Here's where they throw the new band a bone. Slaughterhouse are the obligatory "up-and-comers"; in there so someone can point out that this album isn't a collection of old punks reliving the glories. And you know what? They do themselves proud. They play it fast and dirty, and they don't have the years of road grime and liver damage that made Motörhead sound like Motörhead, but they do have enthusiasm. Lemmy loved underdogs. This is appropriate. It's also the one you'll probably skip, but that's not their fault.

THE CASUALTIES – "The Hammer": Street punk lifers doing a track that sounds exactly like you'd hope The Casualties covering Motörhead would. It's fine. It exists. They play the notes. The hammer falls. We all take one step closer to death. Next!

ANTI-NOWHERE LEAGUE – "Born To Raise Hell": Another British punk institution tackling a latter-day Motörhead track that nobody remembers is actually great. The ANL have always had a foot in punk and a foot in metal anyway, so this is territory they are well-suited to cover. They sound angry and grizzled, which is their default mode and also the correct way to do it. It's probably the best song on the second half of the album, which is not saying much because we're all getting a bit tired by now. Fourteen songs is excessive. Twelve would've been perfect. But nobody asked me.

LOVE CANAL – "Voices In The Sky": A deep cut! At last! But let's be honest, on a Motörhead tribute album, anything other than "Ace Of Spades" or "Overkill" is a deep cut to everyone. Love Canal inject a bit of the psychedelic into this one, which is odd and almost works. It doesn't, quite, but points for trying something different in the back third of an album that's starting to run together into one endless wall of distortion.

SOLDIERS OF DESTRUCTION – "Overkill": And here's the other required inclusion. You can't do a Motörhead tribute without "Overkill." It's physically impossible. The universe wouldn't allow it. They play it fast—as you have to—and it's exactly adequate. That's the theme of this album's second half: exactly adequate. We're all tired. The bands are tired. You're tired reading this. Lemmy's still dead. Let's just move on.

WISDOM IN CHAINS – "Iron Fist": Pennsylvania hardcore guys doing the title track to one of the grimier Motörhead albums. It's fast, it's angry, and it sounds like it was recorded in somebody's garage, which it very possibly was. The production on the latter half of this album is noticeably worse than the first half, which either adds to the punk points or means they ran out of funds. Could be both. Probably is both.

MOTÖRHEAD & THE DAMNED – "Neat, Neat, Neat": And here's the real reason to buy this thing if you're a completist: a heretofore unreleased 2002 recording of Lemmy sitting in with The Damned to bash out their 1977 classic. It's the only non-Motörhead track on the record, so it's either a real treat or a cynical move to get completists to open their wallets.
Probably both. Definitely both. Lemmy would've approved.

The song itself is exactly what you'd want: sloppy, fast, and celebratory in that particular way that older punks get when they remember they're not dead yet. You can hear the years from 1977 to 2002, all that deterioration and survival, but you can hear that spark that made either band matter in the first place. It's the greatest song on the record by default because it's actual Lemmy, and also because "Neat Neat Neat" is a perfect song that's virtually impossible to screw up.

The fact that it's here at all is a small miracle of archival digging and probably several lawyers negotiating for months. The fact that it's been held back for over two decades and released on a tribute album in 2025 is either respectful timing or calculated marketing. Again: both. Always both.
 
Motörhead was a punk band who were incorrectly identified as metal because they had long hair and Marshall stacks. That's a fact. That's always been a fact. Lemmy himself stated it a thousand times in interviews. The punks accepted them. The metalheads accepted them. Lemmy accepted the Jack Daniel's and cigarettes and continued with his life.

Yet this tribute album is less a revelation and more a reminder that we all already knew this. The punk-metal divide dissolved decades ago, in large part because of bands like Motörhead who didn't give a shit about genre gatekeeping in the first place. Thrash metal happened. Crossover happened. D-beat happened. Crust happened. Now your average crust punk and your average thrash fan are wearing the same Motörhead back patch and are probably dating one another.

So why this album? Why does it even need to exist? Honestly? Because we're angry. Because Lemmy's dead and we miss him. Because an entire generation of musicians who grew up worshipping at the altar of loud, fast, and don't-give-a-fuck want to say thank you the best way they know how: by playing loud, fast, and not giving a fuck. Is this a cash grab? Yes. Is it also sincere? Also yes. Those two things can coexist. Welcome to late capitalism, where even our grief is commodified but sometimes the feelings are genuine anyway.
 
Did we need Lagwagon to tell us "Rock 'N' Roll" works as a punk song? Did we need FEAR to tell us "The Chase Is Better Than The Catch" slaps? No. Not ever. We knew. We've always known. But do they do a good job anyway? Yes. Most of the bands here clearly gave a shit, which is more than you can say about a lot of tribute albums where half the bands sound like they recorded their songs during a lunch break and couldn't be bothered. Will it alter your life? No. Nothing's gonna alter your life at this point. You're too old, you're too exhausted, and you've heard too much music. Everything sounds like something else that you heard twenty years ago.

​Will it make you miss Lemmy? Yes. Every time you hear that opening riff to "Ace Of Spades" or "Overkill", you're going to remember that there was this guy—this impossibly worn, impossibly cool guy—who just didn't give a damn about anything except playing loud music and speaking the truth. And now he's gone. And we're all still here, getting older and deafening, playing the same songs louder because that's all we know how to do. Is it depressing? You bet your ass it is.

Will you probably put it on at a party anyway and have a perfectly good time? Yeah, probably. You'll crack open whatever poison is your beverage of choice, you'll turn it up too loud, you'll bother the neighbors, and for forty-seven minutes you'll remember what it was like to be young and angry and think that loud guitars could save your life. They couldn't, of course. Nothing's gonna save you. We're all circling the drain, some of us just making a bigger racket about it. But for those forty-seven minutes? You'll be alive. And that'll have to do.

FINAL SCORE: 6.5/10
It's fine. It exists. Lemmy's still dead. We're all going to die someday too. Might as well crank it up while we're here. The first half is a solid 7, the second half a 6, the bonus Damned track bumps it up a peg, and the whole thing is probably better than it has any right to be but not quite good enough to really matter. It's a tribute album. It does tribute album things. Your expectations should be appropriately set.

Play it loud. Lemmy would've wanted it that way. Then go listen to the real Motörhead albums, because they're better.

RECOMMENDED IF YOU LIKE: Being reminded of your own mortality, hearing the same songs played in slightly different manners, supporting the retirement funds of older punk rockers, pretending that you're still dangerous, Jack Daniel's, not hearing your tinnitus, the complete pointlessness of life coupled with loud guitars.

NOT RECOMMENDED IF: You have intact self-preservation instincts, you require tribute albums to have a purpose other than "We liked this band", you're looking for innovation or surprises, you think silence is golden. WORDS: Matt Denny.

The Brooklyn Hardcore legends known as BIOHAZARD are back with "Divided We Fall", their first studio album in over a decade, out October 17th via BLKIIBLK. 

Originally formed in 1987, and having had various personnel changes over the years, Biohazard has reunited the original line-up, creating an album that delivers a blistering statement of unity in chaos. Bobby Hambel (guitars) had this to say about the album:

"We are really excited to finally have the classic BIOHAZARD line-up back together in the studio. This album has been a long time coming, and the record is straight from our hearts - we can’t wait for everybody to hear it, and to head out and play these new songs live. See you out there!”

Now, in all transparency, I wasn't the biggest fan of them after their 1994 album, "State Of The World Address". Not for any other reason than my musical palette shrank as I dove into Death Metal; an egregious error on my part as diversity is the slice of life, and one that has since been rectified. With that in mind, don't ever limit yourself to one genre, it's extremely one dimensional, especially when you consider how much music is out there for us to experience. 

Anyway, as I sit here listening to "Divided We Fall", I can't help but notice that these guys, despite pushing 60 years of age, are just as vicious in their music as they were back in the day. I can't help but think that this is partially due to having the classic line-up back together, but also that there's a lot to be angry about in this day and age. We all are truly divided, both sides thinking that they're superior to the other, and both of them being completely wrong in that assumption. So yeah, "Divided We Fall" is exactly what's gonna happen if this country can't get its shit together!

Evan Seinfeld is still a badass, and having him back, he re-joined in 2022, has been a shot in the arm of this band. The way he writes and performs is absolutely essential to this band's sound, though that could be said about any of these guys, but for me, it centres on what Evan brings to the table. But enough ass kissing, let's talk about the standout tracks!

"Divided We Fall" opens up with “Fuck The System”, a statement that I completely agree with. Our current system in the US is irreparably broken, and we need songs like this to remind us that this shit is NOT ok. The Hardcore riffs are heavy, and in them I hear a bit of EARTH CRISIS, who are legends of the Syracuse Straight Edge Hardcore scene. While I do hear that band in there, this track is undeniably Biohazard, from the vocals to the overall tone and performance. 

Following that is “Forsaken”, another absolute banger of a track. This one also has all the hallmarks of classic era Biohazard, it's heavy, angry, and exactly what I want to hear from this genre. There's a sick lead break before what I'd consider to be the break down, which goes hard as fuck! Killer tune from start to finish!

“Tear Down The Walls” is pretty far down in the track list, but is no less a banger than any of the previous songs on this album. There's plenty of crushing Hardcore riffs, gang vocals, and positive messages hidden within the lyrics. Biohazard doesn't want you to take anything laying down, and they deliver that message as only they can. 

“Death Of Me” is another track that I find myself going back to over and over again. There's the obligatory sounds that one would expect from the band, riffs, heaviness, and the attitude that is a huge part of the genre itself. I believe that many of you will grasp onto this track like I have. 

Other standout tracks include “War Inside Me”, “S.I.T.F.O.A”, and “Warriors”.

Is Biohazard breaking the mold? No, but no one wants them to either. Fans expect a certain sound and direction from these old-school Hardcore legends, and they deliver it with all of the power and edge that they've exhibited throughout their career. So dig in now because the record is out and ready for your ears! Words: Tom Hanno.

In this present age, wherein man is beset on all sides by the twin oppressors of hypocrisy and politesse, there sometimes arises a voice most monstrous in its candour, raw, unfiltered, and foaming with the froth of indignation. Such a voice is that of the ANTI-NOWHERE LEAGUE, whose debut long-player, "We Are… The League", now re-issued in a most handsomely appointed gatefold edition, does return to us like an unruly bastard child, grinning through broken teeth and clutching a gin bottle laced with vitriol.

It is a record not intended for polite drawing rooms nor the parlours of maiden aunts. No, dear reader, this is the noise of the back-alley, the howl of the guttersnipe, the inchoate scream of the misruled and misunderstood. When first it emerged, in that curious spring of 1982, it made not only a stir but a veritable ruckus, climbing to the No.2 rung of the Independent Chart ladder and even breaking into the loftier reaches of the UK National Chart at No.24. A feat not dissimilar to a mud-caked urchin sneaking into the Queen’s own banquet.

The songs, if one may employ so gentle a term, are as follows: "I Hate People" is a sentiment delivered with such glee as to make Mr. Scrooge himself blush—and a mangled, sneering interpretation of "Streets Of London" that turns sentimentality inside out and displays its entrails upon a spike. Each track is a lampoon of society’s hypocrisies, shrieked with all the subtlety of a town crier on laudanum.

In this edition, two additional abominations have been affixed: chief among them, the infamous "So What", is a ballad of depravity so unrepentant it would cause the Reverend Chadband to faint dead away. It is no wonder METALLICA, those brawny colonial bards, did later lift it for their own devices.

The gatefold itself is a most sumptuous relic, resplendent with relics of the time, news clippings, handbills, adverts for gigs held in beer-soaked hellholes and municipal rooms alike. One may, with a glass of sherry and a magnifying lens, observe the rise of this gang of malcontents in the very ink of history.

"We Are… The League" is not so much an album as a broadside. A furious missive from the mob. To listen is to be pelted with metaphorical cabbages by a mob of sneering Cockneys, yet there lies in its rancour a peculiar charm. A document of revolt, painted in bile and wrapped in a jacket of cardboard splendour. I do not recommend it to the faint of heart, the weak of will, or those who prefer Handel to hooliganism. But for the rest. The rebels, the outcasts, the chimney-sweep souls choking on the soot of modernity, it may prove a kind of salvation. Or, at the very least, a fine excuse to shout obscenities at the wall.

Score: 9/10 – A wretched triumph, and all the better for it. Words: Matt Denny.

TALLBOY. Not to be confused with some amplified pub bore on stilts singing FRANK SINATRA’s "My Way" on the karaoke, though I’ll admit the decibel levels are similar and both seem hell-bent on rupturing your inner ear. Only one of them, however, is a weaponised hymn to collapse. This particular Tallboy a five-headed sonic siege engine from Cumbria. They've just released "House Of Glass", which I initially assumed referred to the Gherkin-shaped building in London. But I was very wrong. This isn’t some sterile phallic tribute to capitalism. This is a cathedral of feedback and fury, lit from within by flickering trauma and probably condemned by planning authorities.



TRACK ONE: "INSOMNIA".
If you weren’t suffering before, you will be. It’s a migraine with sirens. You won’t sleep. You’ll be too busy checking the walls for structural damage and wondering whether your spleen is supposed to vibrate.

TRACK TWO: "SNAKE".
Had METALLICA grown up in Workington and been angry about the price of a Greggs sausage roll, you might get somewhere close to describing Tallboy, but you’d still be wrong.

TRACK THREE: "Name & Shame".
FINALLY, an anthem for vengeance. There’s a spreadsheet of people who’ve crossed me, and this track is what I play while highlighting their names and pressing delete. Fast, merciless, and frankly rejuvenating. I listened to it three times, then streaked down the high street just for the sheer thrill.

TRACK FOUR: "Ego Trip".
It builds with the quiet menace of a houseplant that’s learned how to plot revenge, then detonates in your ribcage. If this had been playing every time Donald Trump entered a room, we’d all have been spared the second season.

TRACK FIVE: "Pressure Point".
Now with an accompanying video, because apparently audio demolition alone wasn’t thorough enough. It sounds like a group therapy session for poltergeists, conducted entirely in screams and bass drops, with breakthroughs measured in shattered glass.

​"House of Glass" is emotionally volatile, instrumentally violent, and quite possibly illegal in certain jurisdictions, especially on a Tuesday.

SCORE: 7 cracked windows of Capitalism. Released 25 July 2025. Words: Matt Denny

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

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

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

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

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

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

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

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

SPEAKING OF THE ROAD...BILLY IDOL makes his return to the UK in 2022 for a live arena tour, his first since 2018! The original rebellious poster boy hits six dates across the UK with special support from THE GO-GO'S to promote his new EP, as well as treating audiences to a plethora of classic hits and favourites. Tickets are available right now, via www.aegpresents.co.uk/events/detail/billy-idol - and to clarify, the dates and venues are as follows;

Saturday June 11th - Glasgow, SSE Hydro
Monday June 13th - Manchester, AO Arena
Wednesday June 15th - Birmingham, Resorts World Arena
Saturday June 18th - London, SSE Arena Wembley
Sunday June 19th - Cardiff, Motorpoint Arena
​Tuesday June 21st - Leeds, First Direct Arena

We hope to see you all at the roadside next Summer...you'll find me at Cardiff.

I get A LOT of emails, not as many as big publications obviously, but for me, I get a lot, and I literally can’t keep up with them all. This means I either take virtually forever getting around to some reviews, resulting in the peak promotion period usually having been and gone, for that I do apologise. Sometimes I forget about submissions entirely, for which I also apologise, and a lot of the time, I’m sent singles. Now, this blog has been running since 2014 and 99% of the content here, bar the odd rare article, is comprised of EP and album reviews. I’ve nothing against the humble single, I miss the days of picking up CD singles in Woolworths wondering what B-Sides you’d be treated to…but writing a full review for just A single is something I’ve always personally deemed a bit of a ball ache.

Going forward, I am going to try to, once a week (The key word being try here, I’m making no promises) present a general collection of single submissions from my inbox in one article, to try and ensure I don’t miss out on potential gems, and more importantly, to also clear some space in my inbox (At this time of writing I have around 650 unread emails…LOL). With that in mind, here are seven randomly selected tracks that I have been sent, that I would like to share with you, in the first GTGC Unlucky Dip; the result of combining Speed Dating with the heartfelt Comedy Roast.

We're going to kick this feature off with a 4-piece from London by the name of HEAVYMAN. Comprising of vocalist/guitarist Charlie Yang, drummer Tom Papaloizou (I'm pretty sure he was in "The League Of Gentlemen"?) bassist Igor Fonseca and lead guitarist Nick Burns, they recently got in touch, stating that were fans of the blog and were themselves fueled by alcohol and sarcasm, asking me to check out their debut single "Baby Jean". How could I possible refuse?

Initially sounding like something you'd hear from early TURBONEGRO, it soon transitions into a more methodical, groove-rich slow jam of a southern blues rock effort. It covers all the bases with some slick guitar work and vocal swagger for some textbook classic blues rock. With more tracks scheduled to be released over the coming months, these are ones to watch.

"Now this is a story all about how my life got, at most, mildly inconvenienced, but I'd like to take a minute just to share this my friend, and talk about this new single by The Fresh Prince Of Bellend".

You know all the meme's with "Now listen here you little shit..."? Well that's essentially me right now with RORY K. A native of downtown Manhattan, New York, Rory was born into a musical family, with his dad having been in the late 80's socio-political rock group BLACK 47. So imagine his dad's disappointment to see Rory here peddling some of the most uninspired, cringe-worthy rap/hip-hop an eleventeen-year-old would perform, on the track "Heat Thru Your Body"...I bet he finds vanilla spicy.

From the intro that sounds like seagulls having a stroke, to the combination of abysmal lyrics and self-indulgent vocals...and the embarrassing video, it's just...no. The bit where Rory is, (I'll use this term loosely) "performing" in front of some street graffiti, why are you holding a mic? You look like an absolute tit mate. And you emailed me three times for this? Assuming I hadn't replied because I couldn't stop dancing to the track? I would sooner invite my enemies to dance upon my grave than dance to this myself. And it's through*...for the record. I'm beginning to regret this new feature already...

I honestly don't know why I get sent this stuff...I'm not against rap and however many hip-hop subcultures there actually are, but it is SO rare I find any that I genuinely like. I can appreciate a flow, or a beat, sure, but there is too much recycled rap out there full of cliches about money, bitches, drugs and ho's and quite frankly I don't care about any of it.

"Twerk It Out" is the new track from Cleveland Ohio based hio-hop veteran DEEJAY CENTIPEDE, who has been spinning records since the 80's, and it features Sonny Vajra and Tee Hova...which...means absolutely nothing to me. It's got a certain 90's vibe going on which I guess you could describe as "fresh", with some soft synths poorly underlying some genuinely irritating clapping percussion. A lot of autotune going on in the vocals, and I can't lie, outside of this blog, I wouldn't listen to this...I'd rather be in the middle of a Human Centipede truth be told, but that's just me. As of now I'm outlawing Twerking on GTGC. 

Austrian psychedelic rock trio MOTHER'S CAKE (Consisting of lead vocalist/guitarist Yves Krismer, bassist Benedikt Trenkwalder and drummer/backing vocalist Jan Haussels) are set to release their new album sometime in the Autumn of 2020, and tease interesting things to come with their latest single "Toxic Brother".

The onslaught of fuzzy guitars and echoed vocals, delivered among a frenetic, up-tempo barrage of stoner sludge-punk is as fun as it is exciting; the energy is real here and it'll easily appeal to fans of say, EXIT_INTERNATIONAL. The gradual fade-out of the track counters the increasing levels of insanity as you can hear the mental breakdown as it happens...this is a solid track.

Returning to the UK now and more specifically; Hull, and we have a four-piece hardcore punk outfit by the name of SMILING ASSASSIN. Consisting of vocalist George Garnett, drummer Robbie Johnson, guitarist Josh Rogerson and bassist Casey Stead, they were forwarded to me by the wonderful folk over at Rage PR.

The new socio-political single "National Pride" is taken off the forthcoming album "Plight Of The Millennial" which is penciled for release on May 31st, and it combines all the vitriolic aggression of hardcore punk with the instrumental impatience of trash metal, easily taking influence from the likes of THE EXPLOITED or MUNICIPAL WASTE. It's an intense listen and suggests that the new album is going to be an absolute scorcher.

Now I'll start off by saying this...on initial listen, it's not as annoying as "Despacito"...but I'm not ruling it out overtime. It's another one of this Latino-inspired R'n'B/rap offerings that's meant to sound all smooth and sexy in the club, but I'd rather just sit in the corner with a warm bottle of Bacardi squeezing fresh lime directly into my eyeballs. 

L.D.N's contribution is fine and his rapping isn't bad, probably the most enjoyable aspect of this track in all fairness, but that doesn't really say much. Also, Mi Carino means My Sweety...creepy much. Your Nan singing this is she mate? Bomboclaat don't say shit like sweety fam ya get me? Real talk blud. I just lost the plot, literally watched it run off...

We round off this selection of tracks by coming full circle back to London, to find CALLING ALL ASTRONAUTS an their newest single "Welcome To The Black Bloc". The trio (Consisting of vocalist/programmer David B, guitarist JJ and bassist Paul "Buzzsaw McCrudden) mix elements of punk rock attitude and an electronic, almost light industrial tone for their sound, bridging the likes of PITCHSHIFTER, MINDLESS SELF INDULGENCE and MINISTRY for a no-nonsense blast of socio-political neo-dystopian noise.

The single is officially released on May 29th, with the new album, entitled "#Resist" dropping shortly after on June 5th, via Supersonic Media which I'm sure is going to an incredibly charged listen.

This isn’t a review as such…but more of a call to arms if you will. Now, while I’ve touched on the current Coronavirus pandemic in recent reviews in a predominantly light-hearted manner, or at least trying to make light of the situation to maybe try to boost morale, it is in so many aspects in fact, a VERY serious situation. Businesses are shutting down, people are losing their jobs, people are losing their means to support their families, hell; people are fucking DYING! In such a time of need for many in an age of advanced communication and technology, some of us have never felt so far apart and, given the unprecedented nature of this global pandemic, it’s a hard realisation.

While the government (Here in the UK at least) is doing what it can to help certain businesses cover expenses while the country is on lock down, not everyone is fortunate enough to benefit from such subsidies and this is where both you and your local music venues come in. Small and independent venues have had a hard enough time over the last couple of years as it is, with several having to close doors up and down the country for financial reasons, or for dodgy housing development projects etc, so the last thing they need is a forced closure due to some Asian-ass virus because some dude in China did an Ozzy Osbourne with an infected bat.

I can’t say with certainty that your local venue is doing the same right now (Though if they are I urge you to support in any which way you can) but FUEL ROCK CLUB in Cardiff is one of the clubs that would be incredibly grateful for your support.  The award winning bar/venue situated in Womanby Street in the Welsh capital naturally relies on its punters and gig goers to pay the bills and the wages…but under forced closure, they face difficult times. Luckily, while we may not be currently able to attend the club in person, we can still help and support the club during this testing time, thanks to a new compilation album.

XIII PROMOTIONS based out of Cardiff have reached out to 30 bands and artists who have played, performed or promoted at the club, to piece together a 30-track compilation entitled “Rock Down: A Fuel Rock Club Benefit Compilation”. Available on Bandcamp as a digital download for £7.50, all proceeds raised will go towards ensuring the club doesn’t fall onto harder times that it’s already been put under, by contributing to venue upkeep etc while they have no custom. It’s a hell of an eclectic compilation, ranging from black and death metal, to punk, post-rock, blues, funk and even electronica, showcasing a plethora of genres represented by multiple scenes, who all support Fuel.  The link to Fuel’s Facebook is below, so if you can, go and buy some Fuel merch through their official channels, and the bandcamp link is also included. My personal favourites include tracks by GLASS HEART and BONDAGE FAIRIES…but there’s literally something for everyone here. Go check it out, it’s for a wholesome cause.

For those of you living under a rock, good, stay there and self-isolate. For the rest of you, you’ll be aware that the world is currently being absolutely shafted by the on-going Coronavirus pandemic; with thousands of directly linked Covid-19 deaths reportedly recorded worldwide…supposedly 23,721 at this time of writing. Basically, life has for the most part, practically ground to a halt, as many people have to either work from home or have been furloughed indefinitely during this time of uncertainty, but while that covers all aspects of life, as summer approaches we can’t overlook the severe impact it’s had on music, more specifically concerts and festivals.

Just recently, UK heavy hitter Download Festival announced it was essentially writing this year off entirely, as have Glastonbury and Isle Of Wight, with Slam Dunk being fortunate enough to reschedule for later this year (Assuming things don’t continue to go tits up). It’s not JUST festivals though, as any large gathering is now prohibited in the interest of public safety, so bye-bye MY CHEMICAL ROMANCE reunion shows too! (We haven't long suffered flooding in Wales I don't particularly want to drown in a sea of emo tears thank you!) One of the tours, I would have not only given my left testicle to attend, but I would have sold my last roll of toilet paper too…and that would have been BAD RELIGION and ALKALINE TRIO. The trio are wholesome punks however, and themselves, personally not wanting everyone to miss out, went and dropped a surprise three-track EP simply entitled “E.P.” to make up for not being able to perform. As we’re all currently on lock-down, let’s take 10 minutes to appreciate this generous gift…

The EP opens up with “Minds Like Minefields” and we’re swiftly greeted with the up-tempo, alt. pop-punk that Alkaline Trio have made their own over the course of their career. It mixes a great, catchy off-kilter delivery with an intense, alternating instrumental flurry and some subdued yet distinct whoa-oh backing vocals. In typical Matt Skiba fashion it’s a darkly poetic love song about the aftermath of a damaging relationship leaving you mentally unstable to some degree, but delivered with so much bounce and energy it’s actually uplifting; a fantastic start this.

We follow this up with “Radio Violence” and we welcome Dan Andriano back to vocals which has always been part of Alkaline Trio’s appeal…the dual vocal styles not only gel well but it allows for completely different approaches to the bands writing and overall sound. The track retains the bands punk aesthetics when it gets going, including some sleek guitar work, but it has a lighter, more pop-oriented delivery, with its quirky chords and fun instrumentation; the band sound like they’re enjoying themselves here…if they’re trying to spread a little positivity it’s working.

Finally then we finish up on “Smokestack” and it’s like we’re taken right back to the “Damnesia” sessions…for the simple campfire acoustic approach is, surprisingly, yet another strength of Trio’s song-writing prowess, for not only can they write solid punk rock bangers and alternative goth punk anthems, they can also absolutely nail an acoustic folk ballad and they prove that here effortlessly. While not AS good as renditions of “Every Thug Needs A Lady” for example, it’s easily good enough to have been taken off that same compilation, and this mellow simplicity is just as stirring as their more perturbed punk rock, highlighting their talent for emotive story telling. The guys are quite obviously on top form here and quite frankly, just as with the recent VILLE VALO EP, the three songs only make you want to hear more, but if this is the level of material they’re putting out, whatever comes next will certainly be worth the wait. They dropped this EP because they felt bad about fans not getting to see them live because of this stupid virus…so I implore you now, the very next moment you get an opportunity to catch them live and thank them (Hopefully rescheduled shows with Bad Religion) you do it. I know I will. [9]

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

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

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

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

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

South Wales has always played an important role in the UK’s music scene; be it the love and support for traditional grass roots venues such as Fuel in Cardiff, or the old TJ’s in Newport, but more importantly the bands themselves that have emerged from the valleys and beyond that have helped put the area firmly on the map. BULLET FOR MY VALENTINE may be riding high at the moment as one of the UK’s biggest modern metal exports, but there’s a bit of a transitional period in play right now as many if not 99% of the biggest names from the area have called it a day. Luckily however there’s always a group of plucky up-and-comers aiming for that brass ring and willing to pick up the ball to run with it…which brings us to today’s band; HOLDING ABSENCE.

Fresh off of the back of his previous band, FALLING WITH STYLE, vocalist Lucas Woodland helped form Holding Absence (Who are completed by guitarists Scott Carey and Chris Smitheram, bassist James Joseph and drummer Ashley Green) as a means of truly delving into his song writing capabilities. With an emphasis on love; its nuances and the  roller-coaster of emotions that accompanies it, their initial singles garnered them much critical praise and the adoration of fans very early on. Momentum grew as they released their split EP with LOATHE and the acclaim kept coming, so in 2018, they began working on their debut full length album. Now, here in 2019 we find that album finally released after much anticipation, as the Cardiff quintet declare that this is…”Holding Absence”…

The album opens up with “Perish” and it’s a bleak start as we find ourselves confronting the heaviness of mental health and its effects on relationships…with over a minute of introductory resonance, it sets a sense of tranquility with its flowing soundscapes before the apropos breakdown, a nice instrumental metaphor for a fragile state of mind. This is mirrored by Lucas himself as he switches from lulling, morose clean vocals to a blistering onslaught of intense shouting amidst a barrage of riffs, and its solid slab of alternative post-hardcore. “Your Love (Has Ruined My Life)” continues with the theme of seemingly depressing song-titles as it also seemingly repeats a similar formula; a soothing intro segment, albeit drastically cut, leading into a wall of noise that transitions into more clean vocals, before a soaring chorus. It’s lyrically where the song stands out as Lucas digs deep into his own level of self-awareness, with an acceptance of his own emotional state; he is an impassioned performer, credit where credit is due.

Speaking of depressing there are a couple of tracks that should come with a repeat prescription for Citalopram in all honesty; “Marigold” is a sombre piano ballad that’s as cold as it is cathartic…and however sweet the admittedly emotional performance is, with its numerous floral references there’s very little blossoming here…which can be similarly said of closing track “Wilt” (Plant related segue for the win). The longest track that’s presented, at near seven minutes, it speaks of the helplessness of watching a love wither away…a heart wrenching story of appreciating the love for its original beauty, like a bouquet of flowers, but those flowers will eventually die and there’s nothing you can do about it. Completing the hat-trick of heavy-heartedness would then be “A Godsend” which again, with its morose tone and low-fi, shoegaze inspired delivery leaves the listener almost despondent.

It isn’t ALL doom and gloom however, this isn’t a MORRISSEY record for fuck sake, and that’s reinforced by album highlight “Like A Shadow”. A sharp dose of angst-ridden, punk-inspired post-rock…it’s got a great rhythm and an infectious chorus hook full of pop aesthetics that you simply can’t help but move to, this is incredibly enjoyable stuff this. “To Fall Asleep” too, despite its heavy message of wanting support through life’s darkest periods is a wonderfully up-beat dose of melodic alt. rock, likewise with “Monochrome” which would easily appeal to fans of artists such as TAKING BACK SUNDAY for example. Ultimately as one of the UK’s hottest rising prospects, they’re showing plenty of promise for big things to come. This may only be their debut and it hasn’t been out long, but their fan base is a loyal and enthusing one, and is growing with each gig and festival slot, no matter how big or small the stage. Raw and passionate, they have all the talent to help lead a new generation of Welsh artists into the spotlight. Just…cheer up lads though yeah? [7]

Going back decades, arguably since its inception truth be told, ‘rock’ music was always viewed upon as bad thing; a rebellious genre that started in the early days of rock ‘n’ roll a la ELVIS' controversial hip-swinging, leading young ladies astray…punk rock was always a primary instigator of rebellion when that came about, the musical equivalent of streaking through a convent with your middle fingers proudly pointing skyward…and then there’s metal. We’re not going to be delving into all of the deep, dark sub-genres, but metal itself has always been associated with the devil and darkness, and of course bands like BLACK SABBATH and IRON MAIDEN only fueled that…but sometimes a band just feels the need to speak up; make a statement and be as brutally honest or opinionated as they can be. Here; special guest writer PETE HARRIS ([email protected]) showcases his personal picks on “5 Metal Bands That Made Their Name Attacking The Establishment”

"There are many ways to speak to the powers above. But sometimes, the best and only way to unleash truth is to do it as loudly and as aggressively as possible. Here are five of our favourite artists who knew just that — and have used the inherent aggression of metal to express rage, dissent, and criticism against the unyielding sociopolitical establishment."

Godfathers of 90’s and 00’s thrash metal; MACHINE HEAD first made a name in Europe before getting famous back home in the US. One of the pioneers in the ‘New Wave Of American Heavy Metal’ which began in the mid 1990’s and peaked later in the millennium. Machine Head dabbles with thrash and groove metal, which they’ve perfected in songs like “Aesthetics Of Hate” and “Clenching The Fists Of Dissent”. From criticising the critics who act like the gatekeepers of rock, to taking an anti-war stance in the midst of the American government’s oil-hoarding in the Middle East, Machine Head’s fans know that they mean business.

"Being able to loudly and aggressively speak truth to power is just one of the many uses of anti-establishmentarian music. As many metal-heads can attest to, listening to some quality rock and metal can prompt emotional, mental and even physical benefits as well; revelling in the violent themes of metal in in many ways, an act of anti-violence and therapeutic self-love. In fact, academically-backed research published in an article on LOTTOLAND reveals that people who regularly go to live rock music gigs are more satisfied with their lives than those who don’t. The same source also reveals that powerful music can give a 26% boost to your overall blood-flow. Keep these things in mind the next time you’re debating whether or not it’s worth it to go out and see what the newest bands have to offer…"

What are your thoughts on metal bands speaking truth to power? Were there any bands or artists you feel deserve to be in this list? Let us know what you think in the comments!

I’m going to be perfectly honest with you right now; I am officially useless when it comes to time-keeping and scheduling when it comes to this blog! Seriously, I can sit here and make notes, plan some specific reviews and posts then think, right, my free time is here, here and here, so I’ll sort out some content…what ACTUALLY happens instead however is I just find myself opening emails and forgetting about them while I’m lost, procrastinating in the annals of YouTube. Well I’m rectifying one such instance today! Allow me to introduce to you AMERICAN STANDARDS.

I was sent an email by their front-man Brandon Kellum, in which he forwarded his bands (Completed by guitarist Corey Skowronski, bassist Steven Mandell and drummer Mitch Hosier) latest album “Anti-Melody”…asking if I would be so kind to check it out! Better late than never Brandon, though I do apologise! Anyway, formed in 2011 in Phoenix, Arizona, the 4-piece share a love of all things hardcore and post-punk, inspired by big-hitters such as CONVERGE and POISON THE WELL and channelled those influences through this; their 4th album. It wasn’t without its setbacks mind you, as prior to recording, original founding guitarist Cody Conrad committed suicide, which was followed shortly after by the death of Brandon’s own father to cancer…these events, coupled with the state of the world around them pushed them towards writing the most personal album of their career, so let’s see what standards these American’s have…

We open up with “Writers Block Party” and they waste no time getting all up in your face with their blend of punk-infused hardcore rock…with their combination of intense thrashing, full of piss and vinegar, plus the weighty riffs layered over Brandon’s snarling vocal delivery, leading up to a climactic flurry, the album starts as it means to go on; with absolutely no nonsense whatsoever. “Carpe Diem, Tomorrow” follows up and it’s a touch slower in tempo with some off-kilter, almost prog-infused guitar work, bordering on djent in places, before we’re treated to an impromptu and legitimately enjoyable guitar solo which itself takes the track up a level.

Further highlights include “Broken Culture”, which at under two-minutes long may only provide a short, sharp piece of music but it still manages to include some great, groove-heavy guitar work, blunt as it is brief; their punk roots shine through here. By contrast, “Bartenders Without Wings” slows things down completely with a raw, melancholy soaked sense of vulnerability plucked straight out of the MEWITHOUTYOU playbook, while closing track “Chicago Overcoat” plunges itself deep within sludge-metal territory…methodical and with more than a touch of EYEHATEGOD and MELVINS at its core, it ends proceedings on an altogether more sluggish note. For a band that’s gone completely DIY, despite only being 8 tracks and less than half an hour in length this album shows plenty of potential. While firmly rooted in that post-punk / hardcore genre bracket they’re clearly not afraid to dabble to give some of these tracks that extra flavour (Regardless of how off-putting sludge sounds) and it’s this that will likely carry them forward, as they CAN become a little samey when they’re just rip-roaring their way through a bitter, angry track-list, though to its credit the album title doesn’t lie; you won’t find much in terms of easy listening here. [5]

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]

When you mutter the words GOLDFINGER…the vast majority of people are going to suddenly turn into Sean Connery…shtart shpeaking really shtrong Shcottish, ordering by dry Martini’s, shhaken, not shtirred (Shhit, I’m doing it myshelf!) but in all fairness, it’s one of the most iconic James Bond movies of all time and you’d be forgiven for doing so…others may look upon the term with a mind full of filth; Goldfinger? Slip the Queen a cheeky one? Foreplay by Royal appointment…I literally can’t believe I just typed that but, I digress…the rest of you may remember it’s actually also the name of a punk band! Formed back in Los Angeles in 1994, they steadily found themselves garnering a loyal fan-base with their upbeat blend of ska and pop-punk, associated with artists like LESS THAN JAKE and REEL BIG FISH, but we haven’t really heard from them since 2008’s “Hello Destiny…”…well, luckily, 2017 sees them dust off the cobwebs and return recharged with a new line-up and a brand new album; “The Knife”. Are they still as sharp or is this a wild stab in the dark? Let’s find out…

I mentioned the new line-up and I’ll quickly touch on that before we begin, founding member John Feldman remains on vocals but here he’s joined not only by Mike Herrera of MXPX, but also Travis Barker of BLINK 182…so to some degree we’re now dealing with a punk supergroup…which is pretty cool, so we press play with plenty of anticipation and we’re greeted with opening track “A Million Miles”. To be fair you can’t really say anything overly negative about this; it’s got everything you’d want or expect really…it’s lively, typically up-tempo ska-infused melodic pop-punk. It’s got the gang vocals, it’s pretty much by numbers but, being the first track in nine years, it’s forgivable…ease in as such, so it’s a decent start. “Get What I Need” and “Don’t Let Me Go” especially ramp up the ska content, you’ve got the trumpets and occasional subtle steel drums contributing their own flavour, the latter having hints of THE POLICE layered within it and a genuinely enjoyable brass solo, so it’s all really easy listening.

Further highlights include “See You Around” which features Travis’ Blink buddy Mark Hoppus providing guest vocals, distinctive as he is, he never disappoints, it’s just a shame Matt Skiba isn’t here too, as it’s a genuinely pleasant track, nothing special, just, nice, while “Am I Deaf” offers us probably the albums grittiest track, more punk driven and aimed at the current music scene; the state in which Goldfinger have found it in coming back from their hiatus, joking that they feel old, everything’s changed, a tongue in cheek poke at the industry which is always fun. There is one track I’ll point out however…”Orthodontist Girl”…it’s a touch weird, I mean, cute love songs about having a crush are all well and good, but, this one’s just…weird. Getting turned on by her sterile rubber gloved fingers in your mouth while she does her dentistry is…an odd fetish let’s be honest. I mean, there is NOTHING remotely sexy about dentistry…drilling here, injecting there, tugging here, and filling there…actually OK yeah I can see that it’s really quite homoerotic…lovely. I’ve lost focus…anyway, to summarise, while there will be fans very happy to have Goldfinger back, especially in this new supergroup format, I guess musically there’s only so much you can do with ska-punk. It’s not bad, far from, but it’s not entirely memorable either. Now, if you’ll excuse me…I’m going to phone my dentist…[6]

People do this on purpose I swear...they decide to form bands with the sole intention of being so utterly terrible it hurts...I'm not exaggerating, I would rather listen to a rap battle between Prof. Stephen Hawking and Microsoft Sam in real time...speaking of rap, I would rather personally fund a new STEVE-O album...I would rather name my first born daughter ROMAN REIGNS than have to go through any more of this, but, alas...it is my duty to you all to share such a monstrosity.

​Allow me to elaborate; I was sent an email containing a link to an EP, with a request to check it out and review, non-PR related, a personal email. The person in question stated that they were a casual reader of this blog, and wanted to know what I thought about their "comedy / punk" band; BANKRUPT PUG. Alarm bells are already ringing in my ears, are they baiting me?...With influences including "Music, sound effects, cartoons, alcohol and pugs", they created (they didn't write this EP, they created it, like a fucking FRANKENSTEIN monster) the "I Can't Believe I Ate The Whole Thing" EP....did I spare myself the loss of sanity and send this to the spam folder? Of course not...I wasted ten minutes of my sense of hearing only to find myself raging harder than a Red Gyarados flipping it's shit in Johto...here's what I found.

We open up with "Adopt / Adapt / Improve" and all I can say is that initially, it begins with a semi-retro vibe with it's guitar tone taking you back to the likes of THE B52's or MINUTEMEN...musically it's straightforward enough, it's upbeat, generally quirky but vocally, Pablo or Tetley, whichever one it is (Yes, they go by these names, other members include Captain Zilchio, Vlad The Creator and wait for it...Strangey McStrange) it sounds awful. There's barely any tune vocally, it's flat and, lyrics that include two boys burning a bag of dogs is just...what?! It get's worse...we follow up with "Why So Seagullrious?" (I'm not even joking) and it is beyond ridiculous. It's a softer song, it's got subtle keyboard elements that aid with the tracks melody and really it falls under pop-rock more than punk, if you took out all the words this could actually make a decent demo track for a proper band...but those words...I thought I'd heard it all but I was clearly wrong. If you spend three minutes singing about wanting to cause physical harm to a seagull while trying to feed ducks, by sticking dynamite up it's arse, you need help, you really do. I get that this is comedy punk but use that term loosely, very loosely. I hope a seagull shit's in his chips for this song...

What's next? "Golf, Strangling Animals & Masturbation"...OK you know what, I'm not even going there. It's getting to a point now where I'm unsure if I should stop writing this review right now and contact someone...like, the police, or, the RSPCA or, Jeremy Kyle, anyone! I'M going to need counselling let alone this lot! Finally we finish up then on "Marshmallow" and it's another two minutes of up-beat punk-inspired noise akin to our first track and really it's nothing special, ending rather abruptly too which quite frankly is the most merciful thing they've done here...the line "sweat out your sickness" closing the song and really, they should take their own advice, I mean, who recorded this?! Now, I can appreciate artistic merit, freedom of creativity, alternative comedy, freedom of expression and all of that, and even more so I do appreciate being personally contacted and requested, but if you're going to call yourself a comedy act please make sure there's something worth laughing at that ISN'T the fact you submitted this EP, unless, that was the whole point all along? There are other bands from Wales that utilize a comedy twist, NIGHTMARES FROM THE DISCOTHEQUE do it so much better and even BREAKDOWN FACE have found their purposefully low-quality niche...this on the other hand is just bad. Bankrupt is least of their worries, I'd put this pug down myself...[1]

The line-up is complete, the stage is set, Cyfarthfa Park is ready to host the return of MERTHYR ROCK! With the stage times now announced, who will you be seeing this Sunday? Which of the three stages appeals to you more, and who do you think will step up and deliver? Leave your thoughts in the comments!
Please visit http://merthyrrock.com/ for tickets.

MAIN STAGE
21:00: Taking Back Sunday
19:35: Reel Big Fish
18:10: Anti-Flag
17:00: Blitz Kids
16:00: Save Your Breath
15:00: Clear The Auditorium

SECOND STAGE
20:25: The Blackout
19:00: Feed The Rhino
17:40: LostAlone
16:30: The One Hundred
                                                                   15:30: Colt 45


                                                                   YOUNG PROMOTERS NETWORK STAGE
                                                                   19:55: En Garde
                                                                   19:00: Continents
                                                                   18:05: When We Were Wolves
                                                                   17:10: Falling With Style
                                                                   16:15: Reaper In Sicily
                                                                   15:15: Breathe In The Silence

When a band comes along, influenced by the SEX PISTOLS, GREENDAY and ANAL CUNT, describe themselves as “Shitcore”, and has part of their biography that states “Being talentless is no obstacle for this 3 piece South Wales band”…it’s safe to say that either the band don’t take themselves seriously AT ALL, or they are seriously in need of some sort of therapy. Luckily, it’s the former that sums up BREAKDOWN FACE, who have just released their newest album; “Quarter Life Crisis”. Let’s see what’s troubling these Welsh youngsters…

Kicking things off with the album’s title-track, we’re greeted with a lengthy intro of sludgy, heavy guitars, its very doom and gloom, before it picks up and becomes this deep grungy punk number. It’s got some observational lyrical commentary on life, added with the angst fuelled punk style, it’s not original but it’s a relatively decent start.

“I Don’t Wanna Go To School” is a typically rebellious sounding piece you’d expect from young punks, pretty cliché and in all honesty, rather cringe-worthy lyrically. The band may just be primarily tongue-in-cheek but it doesn't mean they've managed to be amusing in the process here. “Kabuteri” and “I’ll Do It Tomorrow” keep up the abrasive slurry of noise, before we finish up on “Victorious”, a five minute, almost epic number. It chugs along, with its uncharacteristically jolly and positive message about friendship and sticking together, a dash of piano, again, unexpected, and the whole thing seems to be, well, happy.

If you have to break down Breakdown Face, there are one or two things that are evident. Despite claiming to be talentless, it’s clear that, should they consider trying, they have the capability of being a decent, old-school grubby punk band. They have the sound; they can play, here it’s almost as if they've dumbed it down. Even though you know they are only doing it half-assed, it’s almost annoying to see because instead of playing around amusing themselves, they could be more. What they've achieved in doing is made an album that’s meant to be pretty much pointless and a bit of a joke, but they've left out anything actually considered funny. The whole thing is a shame really. [4]


If you want to check them out, visit them on Facebook: https://www.facebook.com/BreakdownFaceMusic

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

When you mentally piece together your standard band, you generally envisage four key members; vocalist, guitarist, bassist and drummer, but what if you decided to half that and take an unconventional route? Well that’s exactly what THE FIRE AND I have done and it hasn't hindered them in the slightest. Formed in Bathgate, Scotland, Gordon Love and Hooligan Sadikson, using just a bass guitar and a set of drums, deliver an intense onslaught of hard, raw indie rock, and show the world that yes, less can indeed mean more, and back that up with the brand new album; “Double Kamikaze”

Opening instrumental track “Devil Damned Thoughts” is a groove-laden, dark, bluesy piece, and like it’s title suggests, sounds like the inner turmoil of one’s fragile state of mind, full of frustration and is a great start to proceedings, while the following title track takes things up a gear with some almost punk/thrash drum playing before Gordon’s vocals finally make an appearance. Clearer than expected but by no means crystal, like a rough copy of DRENGE.

“Coming Loose” is a gentler affair, with its bass sounding like it owes a lot to artists such as THE CURE, it’s an altogether more stripped back effort with far smoother vocals, which is poles apart from “High Flyer Suicide” in every aspect. There’s a doggedness at its core, the duo not concerned with sounding polished or not wanting to take anything away from the sound, its rock ‘n’ roll as was intended.

“Still Under” is again stripped right back and acts as an interlude is some ways, despite the album having an actual interlude prior to this song. At less than two minutes long, it’s morose and almost gothic in its sense of melancholy, like a modern take on JOY DIVISION. “Full Effect Intake” and “Bitten” snap you back into consciousness with their lively displays, leading up to the final track; “Washing Over”.

“Double Kamikaze” is a fitting title really, in the sense that it’s highly unorthodox for a rock band to just utilize bass and percussion and play as a duo; it’s a risk that’s paid off however, and goes to show that if you’re serious about your art, in this case music, you can achieve what you want to achieve without having to conform to any rule books or templates. The sound may not be all too innovative, but it’s inspiring none the less. [6.5]


"Double Kamikaze" is available now on iTunes: https://itunes.apple.com/gb/album/double-kamikaze/id819306888 
Check out The Fire And I on Facebook: https://www.facebook.com/thefireandi

Newton Abbott, a Devonshire town known for its historical markets and it’s trading. It’s a town that’s generated several county cricketers and such, but it’s safe to say that it’s not a place you’d quickly associate with gruff punk rock. Well, hopefully all of that is about to change. Let me introduce to you YOUR LAST DAY; a highly energetic 5-piece inspired by the likes of FOUR YEAR STRONG, SENSES FAIL and FUNERAL FOR A FRIEND, who on their brand new self-titled EP, deliver a strong, confident alternative punk onslaught capable of thrusting them into the eyes of the UK rock scene and out of their southern surroundings.

The 4 track EP opens up with “Ok To Break”, which apart from a steady rhythmic intro, descends in to a frantic paced gravelly punk number. Ryan Walker’s vocals coarse and unpolished but it’s that very style that separates it from your typical pop punk band. A lot of musical elitists complain about bands sounding like they are aiming too much for the mainstream (selling out) and sounding over commercialised, or over produced…not YLD. This is punk as it should sound; real.

“Life Lines & Land Mines” starts off slightly more pop punk sounding, but it’s still rough enough to distinguish itself. Musically there’s a little more of the Senses Fail influence on display, drummer Naff driving the song forward, guitarists Chris and Matt , as well as bassist Bill maintaining a steady and solid tone to the track. The odd breakdown, sturdy riffs, its good stuff, before third track “Gatwick: It’s Terminal” kicks in with a more “in your face” approach. Not a great deal different from the previous track, just sounding slightly more urgent, sounding hungrier, which really benefits the genre. It’s not ground breaking but its how it’s supposed to sound, which is good.

The final track then, “67-94” (which happens to be Kurt Cobain’s life span) is a song about reaching the end generally, and not actually about the NIRVANA front man himself. It’s an inspired title, to perfectly encapsulate the feeling of closure, finality and realising you’ve done all you can. A sense of, it’s better to go out in a blaze of fire, than to fade away into nothing. Go out with a bang so to speak (no ill humour intended there), and it’s a great way to end the EP. It’s poignant, meaningful, and altogether a fitting way to summarise a fantastic EP. Punk rock at its core is brash, it’s dog-eared and pretty sketchy on times, but it retains a charm that isn’t found elsewhere in music. YLD, despite their location, sound like the kind of band that could make an impression on the world scene, with a real quality sound behind them. Like I said, the last thing you’d expect from south Devon is a proper old-school punk band…but life is full of surprises. Your last day? Let’s hope it’s not really… [7.5]


To download the EP for FREE, go here! https://yourlastday.bandcamp.com/ 
Your Last Day on Facebook - https://www.facebook.com/YLDbanduk

As much as we’d all hope, rock and metal, as a culture at least, doesn’t have the “all for one” type of, brothers in arms community we’d all like to think. For example, to some, the idea of an all-girl rock band is greeted with the sense of elitism and snobbery, as if to say they simply can’t be any good at rock because of their gender, or they are just seen as eye-candy in a very male dominated genre. However, three young ladies (Welsh sisters Sam and Charlotte Bolderson, and Oxfordshire born Harriet Wadeson) who go by the name THE KIX are proudly demonstrating that ladies have as much a place in the pit as their male counterparts, using hooks not looks to turn heads and draw attention to themselves.

With a love of artists such as AC/DC, and drawing influence from the likes of JOAN JETT, The Kix wrote and recorded their début EP; “Lady Luck”. Six tracks of ballsy, classic rock with a fresh modern twist. Opening track “Bring The Thunder” has some slick guitar work from Sam, her vocals too sounding crisp and clear with drummer Charlotte and bassist Harriet supplying solid backing. “Right On Cue” is slightly grittier, a touch of old school punk with the influence of Jett all the more prominent, before the title track rolls in with its riff laden simplicity. It’s a slow burner, but carries with it an ample amount of dirty, denim and leather clad rock ‘n’ roll swagger.

“Playing With Fire” picks things back up again, the shortest track on offer here, again, slightly punk in tone but very melodic, an EP highlight, where as “Had It All” is probably the weakest of the six songs, if only because of the chorus, it lacks…kick. Regardless of that, the EP is rounded off with “Back To My Place”, another fine up beat rock number, possibly a nod to what I mentioned initially, it sounds like they’re having a pop at the guys who see them for one thing, when in actual fact they are here to be taken seriously as musicians, and really with this EP, it’s impossible not to. The Kix are clearly passionate about what they do, they could've gone down the easy road of becoming a post-PARAMORE female fronted pop rock outfit, but chose to stay true to the music they love in a male dominated scene, and it’s paying off. They've already played support slots with the likes of SAXON and they deserve all the praise they get. I'm sure with lady luck on their side we’ll be seeing a lot more of these in future. [7]


The EP "Lady Luck" is available on iTunes for just £4.74 : https://itunes.apple.com/gb/album/lady-luck-ep/id709124947 
Find The Kix on Facebook: https://www.facebook.com/TheKix1