"On May 1st...I thought that was IT...I was at PEACE with this being my last show. But little did I know...when I got into that room with the guys, everything changed. It wasn't just about saying goodbye; it was about being reborn with music. And, we had two rehearsals, and the show...and from the moment we started playing music together, I realised this was just the BEGINNING. How to disappear, and never be found? That's a great question...let's find out..." - NIKKI SMASH

The very first aspect that draws your attention when you experience "The Art Of Disconnect" is not the music itself, but rather the overwhelming presence of the crime scene surrounding it. This scene is as unyielding and raw as a live performance can possibly become. You find yourself confronted with a stage marked by bootleg stains, suggesting a chaotic past, with the lighting intentionally dimmed to levels reminiscent of those found in an interrogation room, creating a chilling atmosphere.
The band's name looms in the air like an unsettling admonishment, echoing the title of a missing persons alert for Madeline McCann: HOW TO DISAPPEAR AND NEVER BE FOUND. It's absolutely crucial to understand that this is beyond a mere confession; rather, it works as a highly powerful testimonial that counts.
Listening to this live album is like flipping through case files past midnight, every song another recorded interview, another blacked-out paragraph, another witness who claims to have seen but can't quite get it right.
It commences with a composition entitled "Enthusiasm And Fumes", which possesses an energy and presence that could almost be mistaken for an alibi—it's subdued, assured, and has an aura that seems almost rehearsed. The lines on guitar charge forward, reminiscent of suspect testimony that can't quite be trusted, while vocals envelop you in a way reminiscent of how a cloud of cigarette smoke suffuses a room when you have that uncomfortable sensation that the detective is openly lying through his teeth. By the point that the band runs through the song "Blueprint For A Breakdown", a malevolent chill has permeated.
Within the context of their creative world, the theme of disappearance manifests itself as both a profound tragedy and a grotesquely twisted form of artistic expression. And that's where The Art Of Disconnect's brilliant trick lies: it's not a concert that you listen to; rather, it plays out like a procedural thriller. You don't applaud between numbers in appreciation but painstakingly keep notes in the margins of your mind, circling particular words and phrases that could potentially have a deeper relationship.
With this novel event, the audience become the jury while the band become suspects. And then there are the songs, the evidence in this complex trial. Some numbers clearly have a guilty appearance while some could provide a reprieve; but both of these remain bathed in an insurmountable level of doubt and uncertainty.
By the closer “Deadhead”, you realise the title was never about stagecraft at all. It was a manifesto. To disappear and never be found isn’t just the band’s name, it’s their verdict.
If NIKKI SMASH hadn't been intercepted in the act of making his audio or video recording of his last crime, then he most likely would have gone completely out of sight and would have never been discovered or found again.

When the gavel finally came down, the number written on the record was 8.5 out of 10. Not justice. Not closure. Just a verdict that feels temporary, like any good mystery, one that's infuriating in all the right, terrible ways. Words: Matt Denny.

"The Art Of Disconnect" Is Available Digitally October 24th. Physical Pre-Orders Open Now.

LIVING COLOUR’s guitar virtuoso VERNON REID launches his fourth solo album "Hoodoo Telemetry". [Editor: Cold open much!] This record feels less like an album and more of a public execution of anyone foolish enough to think they can play guitar. I put it on, and suddenly every clumsy note I’ve ever hit comes rushing back, mocking me, so I launched my guitar at the wall.

"Door Of No Return" sets the tone immediately. There’s no warm-up, no mercy. Vernon cuts straight into the strings, leaving scorch marks across the air. He isn’t playing; he’s dismantling, and MY guitar is now dismantled courtesy of the wall.

Then comes "The Haunting". The title is too neat, but the music earns it. The track breathes in smoke and exhales fire. Every note carries memory and menace. I can’t turn it off, though it makes me want to set fire to my own, now fully shattered guitar and walk away.

"Bronx Paradox" is chaos held together by sheer willpower. Brass stabs, glitching rhythms, guitars carving through the mess, it shouldn’t work, but he bends it into shape. Meanwhile, I’m stuck wrestling an instrument that refuses to obey me.

By "Black Fathom Five", the bitterness has taken over. It’s heavy, drowning and it’s smothering. Vernon yet again absorbs his guitar until you can’t tell where one ends and the other begins. I’ve never managed anything close.

"Hoodoo Telemetry" doesn’t offer comfort or answers. It just offers a mirror, and for me, that reflection is ugly and shows an obsession with a craft I can’t master, sharpened by the sound of someone who already has.

There’s no point giving it a number. This isn’t a scorecard. It’s a reminder that Vernon Reid is untouchable. I’m still staring at the embers of my own guitar in the fire.

Vernon has stated that this album’s "Like a piece of my all-over-the-place mind". That’s one fucked up mind and a stupidly talented one at that. 

Words: Matt Denny. 

"It Can’t Rain All The Time" (especially in Scotland) is a title wrapped in an enigma,  trapped in a rumour and sealed by a whisper.

SILVER DOLLAR ROOM haven’t made an easy listen. They’ve built a shrine out of damp stone and broken glass, then dared you to kneel on it. Every track hurts, and that’s the point. This isn’t comfort—it’s a reminder that the rain never really stops. Subjects such as male suicide, destructive relationships, class divide, addiction, poverty, wealth, and greed make this a record that’s lyrically jarring but delivered in RADIOHEAD, SMASHING PUMPKINS, MANIC STREET PREACHERS, and STONE TEMPLE PILOTS type fuzz.

At the heart of the album is "Monsters". This track tackles the harsh reality of the Rochdale Scandal in which calling schoolgirls liars was easier than doing actual police work.

John Keenan’s tearing his throat raw spitting venom at the filth who let Rochdale burn. Every riff’s another brick lobbed through their office windows, every drum hit’s another skull cracked against the kerb. FUCK THEIR EXCUSES, FUCK THEIR FAKE APOLOGIES!. It’s a boot in the teeth of authority, screaming YOU KNEW, AND YOU DID FUCK ALL!
You don’t listen to this album, you survive it. You crawl from underneath it bruised, bleeding, but laughing because at least someone’s still got the balls to scream while the rest of the world nods off. SILVER DOLLAR ROOM aren’t here to be liked, they’re here to haunt you. "It Can’t Rain All The Time" is the sound of the storm breaking your windows in, and if you’re not soaked and shivering by the end, you weren’t listening.

Score: [7.5] — Louder than the lies, but not yet loud enough to bury them... Words: Matt Denny.

The album "It Can't Rain All The Time" is released independently on September 13th

Gather round, you perfumed bastards and flea-bitten mongrels. The Rock n Roll throne’s groaning under me, and I’ve still got spit left to fling.

Beth Blade is back like a punch in the face with broken glass in your mouth and her mascara smeared into last week’s hangover. She is a force of nature on this album. Ms. Blade roars, wails, purrs, struts and often within eight bars. She has the sort of voice that makes you either fall hopelessly in love or sprain something in sympathy. The band behind her are tighter than a nuns chuff, sharper than broken glass and you get the impression they could bash out an anthem blindfolded in the middle of a motorway and still have time to pick up milk on the way home.

"Vintage Rebel x Trauma Bond" is essentially at its core, two albums sharing a flat. One of them smokes cigars, wears leather trousers and insists on telling you about how the 1970s were better, and the other spends evenings staring into the mirror wondering if the mirror’s staring back. Together they make an oddly compelling couple, though not the sort you’d invite to dinner unless you’ve already hidden the best glassware.

​The “Vintage Rebel” portion honour's rock history with its heavy nods to KISS, THIN LIZZY and Y&T. This is six songs of brisk, swaggering rock and roll. “Never Let Go” opens the proceedings with shoulders squared and boots firmly stomped, before handing you over to “You Only Love Me When You’re Drunk”, which is, incidentally, the sort of title that makes you think someone’s been reading my fan mail. “Down The Front” has the cheerful energy of a pub lock-in gone on two hours too long, while “A Rock N Roll Romance” drags in GORILLA RIOT’s Arjun Bhishma, who sounds as though he’s arrived halfway through the party and promptly started rearranging the CD collection into the Cyrillic alphabet.

​Then, after a brief intermission (Presumably for Wild Turkey, tears, or both), we stumble into the other half of the house: “Trauma Bond” explodes and explores emotional struggle, giving depth and contrast. “Colour Of Our Bones” has the kind of weight that makes you want to sit down, preferably somewhere padded, and “Dysmorphia” does that clever trick of sounding simultaneously furious and fragile, .The we have “You Never Screamed?” I did, but I don't think anyone heard, and “Eclipse” ends things by pulling the curtains shut with both hands.

Some critics will say it’s uneven, two personalities stitched into one body. I say that’s the fucking point. Who says Rock n Roll needs symmetry to be interesting? Great Rock and Roll needs wobble and unpredictability, otherwise, it’s just a particularly loud operetta.

Beth Blade & The Beautiful Disasters - "Vintage Rebel x Trauma Bond" Is released independently on September 9th 

Score: 7 Abby Normal brains out of Twelvty. Words: Matt Denny.

Like many music fans, I was extremely excited when Adam Gontier rejoined THREE DAYS GRACE. That excitement waned some when I realized that they hadn't lost their other singer, one Matt Walst. Then the first single dropped, and that excitement gathered some steam again; that track was titled "Mayday" and was released on November 22, 2024. It had all of the hallmarks of classic Three Days Grace, and Adam sounded fantastic on it. 

Now mind you, I loved their "One-X" album, it helped get me through a messy divorce in 2008. I still believe that it's their best effort, with the exception of “Riot”, that song, despite its massive popularity, just never sat right with me. Anyway, it's not like I wasn't coming from a place where I wasn't a fan of their music. I even saw them in 2008 at a Krockathon here in Northern New York State, and though they weren't the headliner, they made every other band look like trash with their energetic performance and stage presence. The headliner was the most boring band that I've ever seen live, SEETHER, who barely moved away from their mics for their entire set … which is lame as hell.

I was excited to hear "Alienation", but even as I listen to it and write these words, I find myself paying more attention to the writing of this review. Normally, the music will distract me from the writing, so the fact that it's not isn't a good sign for what could have been an incredible comeback album. 

I'm 7 tracks in, and even the 3 decent tracks (“In Waves”, “Mayday”, “Alienation”) aren't anything overly special, and, for the sake of transparency, this is where I gave up on things. I hit stop on my player, and have zero expectations that I will ever listen to the rest of it. 

The problem with bands of this nature, or of all genres if I'm being honest, is that they stick to the formula that they've used for years. I personally feel that is just the nature of the music business, they go by the “If it ain't broke, don't fix it”, (METALLICA is a prime example of what I'm speaking on). Well, that's a phrase that shouldn't be in the vocabulary of any musician. We, the music fans across the globe, want you to step outside of your comfort zone, be daring and invent new sounds, tones, etc. 

In closing, and much to my own surprise, I wasn't into this record, but fans of the formulaic style of Three Days Grace will most likely enjoy the hell out of it. But for me, this album is the musical equivalent of elevator music, if the elevator was stuck between floors, and all the buttons were labelled 'meh'.

I just want more from the bands that I listen to, like excitement and pushing the envelope … much like my current hero has done on his new album, "Idols". That man is named YUNGBLUD, and he broke the box he was in on prior albums, though he wasn't stale in any way whatsoever, he just wanted to push his own boundaries. In other words, be a Yungblud by challenging yourselves and your fans, which I direct to all bands who get stuck in a creative formula.

Rating: 2/10, I'd give it less, but I still have hopes for this band's future... Words: Tom Hanno.

Good day and hello, fellow music fanatics! Today we will be talking about the solo debut from MARK ACEVES, who those of you in the know will recognize as the bringer of the low end thunder for the heavy rock juggernaut known as ZED. What you may not know is that Mark is a man of many talents, as he is a multi-instrumentalist, a fantastic singer, and one hell of a songwriter. Mark; as the Bandcamp description says,

“...Breaks free and steps into the spotlight with his solo debut "Magnum Dopus" "— a loud, unfiltered testament to loss, love, rebellion, and refusing to go quietly.
Written fast and raw between January and April 2025, "Magnum Dopus" captures the energy of a life lived with fists clenched and heart wide open.”

Following the death of Zed's drummer, Sean Boyles, the band went into a hiatus as they grieved his loss. Mark was extremely close to Sean, both personally and as musicians, so this album can be seen as his tribute to him, while also honouring the important people in his life. I believe that this pushed him to create something special, because that's precisely what "Magnum Dopus" is. 

I asked Mark to supply his thoughts on what he accomplished, and he was kind enough to share this with us …

“This album is really close to my heart because at its core it's both about the people I love, and it's about themes and ideas that are things I believe in. Things that I've had to put into practice to make it through to the next day at different points in my life. I use this album to honour my father and friend/drummer Sean Boyles who both passed away within a year of each other. I use this album to tell my wife how much I love her, and to give my kids some words of wisdom and love for when I'm no longer here to tell them. And then I use this album to remind myself that when the chips are down, and I'm on the floor, bloodied and beaten by life's punches, that I still need to get back up and fucking keep fighting. Even if I fail, I will know I did everything I could to rise above and keep putting one foot in front of the other. And I hope others can get that same inspiration from it.”

So let's talk about a few of the highlights on this album FULL of highlights. 

“Still Ain't Dead” contains the lyric, “You're not gonna live it until the day that you start” which is one of the most powerful messages on this album. Not only for the way it's worded and sung, but also because it also reeks of the positive nature that permeates the entire album. It's blunt in nature, but it's also an absolute truth that we all, as humans, must realize before it's too late. 

“Just Your Disguise” is probably the most catchy of all of the tracks on "Magnum Dopus", especially the chorus. Plus, Mark's bass tone is absolutely massive, and captures the sound and vibe of this album perfectly … gritty and raw, but perfectly so!!!

“Daisies” sounds as if Kurt Cobain wrote it, as it has the overall vibe that NIRVANA's Insecticide album does … which, as a side note, is my preferred Nirvana album. It's bouncy and memorable, like all of the great songs of the past 50 years. 

The last track, “For My Children”, is also the most emotional, as it was written for his children. The lyrics spell out his hopes and dreams for them, as well letting them know how much he loves them. I've watched Mark post about his kids for several years now, and he's one hell of a Dad, those kids are super lucky to have him. 

There's not a single song on here that feels phoned in, which, in my opinion, is because of the importance of the reasons behind this album existing in the first place. There's zero filler to be found, each and every sound that you will hear is precisely what is needed to make each song great. 

One of the coolest aspects of "Magnum Dopus" is that it feels REAL. I think that is due in part to the DIY approach that Mark took, as well as his performances and the overall tone of the record when taken as a whole; some of this is from the excellent mix, which Mark was also responsible for. So head to Bandcamp, or wherever you listen to music, and give this album a bit of your listening time. You will not be disappointed in doing so!!! [8]

Words: Tom Hanno

The new album by SIX FEET DEEPER doesn’t start, not in any normal sense. You’re already in it. Guitar halfway unzipped. Amp humming like something half-alive. No warning. No welcome.

Patrik Andersson plays like he’s restraining something, but it’s not fear. The tone’s not clean, not dirty—just worn. Dented. As if it’s been dropped more than once and still won’t die. The first riff slinks in sideways, doesn’t grab you. It’s already under your skin by the time you realize you’re moving wrong.

“Oxymoronic” builds down, not up. The notes sink into the mix like bruises rising under skin. Andersson keeps his phrasing close to the chest—coiled, mean. There’s no climax. Just pressure. The kind that makes you shift in your seat and not know why.

​Emil Mickols doesn’t play fills. He tightens screws. His toms don’t echo—they stalk. The snare’s dry, cracked. It’s being punished. He’s not keeping time. He’s daring the rest of the band to get out of line. On “Binary” his kit sounds like a bed frame you shouldn’t be on, the sound of the floor when someone shouldn’t be standing behind you.

Erik Arkö’s bass is being dragged, not played. Notes are pulled slow, stretched taut. There’s no groove there’s a trail of blood. You don’t ride it. You get pulled under. When it syncs with the kick, it’s like a pulse you only notice when it skips.

Sara Lindberg’s vocals are the part you feel days later. No scream. No seduction. Just control. Tight as a fist in your mouth. She doesn’t sing to you. She works through you. Voice restrained, held, then pressed deeper. There’s a pegging metaphor in there, but not the way people usually mean it. This isn’t playful. This is practiced. She keeps rhythm like she’s keeping someone still. And when she lets go, it’s not some cinematic payoff. It’s a release that leaves you cold, emptied, and used.

The production stays out of the way. Not minimal—more like ignored. Mics were too close. Or not close enough. Doesn’t matter. You hear room tone, cable hum, and a breath that shouldn’t be there. It’s all too real, and not in a cute lo-fi way. It feels like walking into a room still warm with something wrong.

The title track, “The Death In Hollywood” unravels like a lie you’ve told too many times. Instruments drop out like excuses. Lindberg stays just long enough to make it uncomfortable, then vanishes mid-thought. It ends, technically. But it doesn’t resolve.

Upon listening to "Prayer By The Edge" it’s already done what it came to do. And if you’re smart, you won’t ask it to stay.

"Prayer By The Edge" comes in at 8 broken rosaries, out of 10. Released July 4th, via LION MUSIC.

Words by Matt Denny.
​

I might be a month late, but, New Year all! I’d preface that with a happy but that’d be jumping to conclusions, wouldn’t it? I don’t want to be done for false advertising. Let’s not gaslight ourselves here, all of that new year, new me nonsense is exactly that. Life goes on, as a multifaceted pantomime, with government, society and humanity as a whole seemingly insisting on operating in the bleakest of slapstick manners. It’s like, Fawlty Towers meets Squid Game...that’s life essentially. We’re a laughing stock of our own farming, both morally and socially, and it’s getting worse.  

However, as is always, we have music and the arts to keep us relatively sane, (For the time being at least, it won’t be long before all music is cancelled because it offends someone) and if you’ll allow me, I’d like to pick up where I left off at my last gig of 2024; ELECTRIC SIX. You can read my review of that at All About The Rock, but I’ll summarize by saying not only are they one of THE most hard-working touring bands, with a magnificently prolific output, but their front man, DICK VALENTINE is equally as prolific as a solo artist. Without even delving into his filthy filth-laden crime noir audio books, and his services on Cameo amongst other things, 2025 finds Valentine in double figures for solo albums hitting streaming services, and for the sake of continuation, let’s check his latest one out. This is Dick Valentine, and this is “The Final Musician”...  

We open up with the title-track and initially we’ve got this, jovial, almost childlike vocal presentation, over some simplistic acoustic guitar, and it’s very happy-go-lucky, before we get into the meat and potatoes of the track. It’s got a very, “I told you so” essence that leans heavily into the corporate side of the music industry. It speaks of the rigmarole of dealing with labels, the underhandedness, the writing on the wall for artists struggling within that dying industry. It’s a very well worded, song of togetherness in the face of adversity in the arts. There’s an innocence to it, and in its humble sorrow, it acts like a rallying cry to support artists, music, venues; everything. This is a wonderfully crafted, antiestablishmentarianism fuelled track, and a plea to support music at its raw core.  

The synth elements on follow up track “Asian Freckles” borders on 8-Bit nostalgia sonically, while a very cymbal-heavy percussive barrage blankets a fine dose of garage indie-rock. It’s incredibly energetic, up-tempo and whimsical in a way and you can’t help to clap and dance along to this. With a complete shift in tone and tempo then we have “Leave The Rest Of It To Me” and we’ve got this beautiful little folkish piece with Celtic elements. The acoustic guitar here is backed by some soft string instrumentation and olde quaint aesthetics, and it’s a lovely little track. It’s speaking of a troubled relationship and dealing with its internal dynamics, and the roles within it, and it makes for an interestingly different type of love song. 

There are tracks like “Rodeo At 30,000 Feet” which honestly sound like Johnny Knoxville is going to introduce a Jackass stunt, and quite frankly I’m torn between, I hope he doesn’t read this, because he’s daft enough to put a bull on a plane...and I hope he does because that would be insane footage. Why did the plane crash? Well, we let a bull loose mid-flight over the Atlantic, enough said really. It’s another dose of percussion heavy garage rock with indie stylistics resulting in a quirky up-tempo piece of music. “Duchess In A Tree” houses subtle funk characteristics under an almost rapped vocal display during the verses, only highlighting Valentine’s repertoire as a vocalist, and showcases his diversity as a performer. Electric Six are known for their genre blending from record to record, and here Valentine hammers that home.  

We eventually close up on “The Living Remember The Dead Remember” and instrumentally we have an early punk-pop vibe going on, fuelling this crescendo in the liveliest manner. Where does that leave us though? We’ve heard Dick Valentine’s albums from the past, and he’s previously focused more heavily on acoustic performances, but these later releases seem to lean more heavily into a continuation of Electric Six’s catalogue.  

As I stated previously, the prolific nature of both Valentine and the band can only be admired really, as it’s not a case of churning records out for the sake of it. No. Whether it’s for the full band, or for his solo material, Dick Valentine IS the final musician. He lives for the music. He is a songwriter. He is an artist. More often than not these days, new artists seldom have longevity, because their success came through happenstance from going viral for fifteen minutes on Tik Tok, with peoples attention spans lasting about as long as the last meme that came before them. There are those who genuinely try, I tip my hat to them, but we’re living in a world of self-importance and instant gratification. There is a metric fuck-ton of bandwagon jumping and capitalizing on the back of others success via trends. Dick Valentine doesn’t bow to such idiosyncrasies. Dick Valentine is in his own lane on his own journey, and while you are more than welcome along for the ride, he takes detours for no one. Realistically the final musician maybe grandiose in its declaration, but there’s a degree of truth within the sentiment as he’s certainly one of very few, and frankly needs more respect put on his name; there’s FAR more to him than songs about gay bars. [7] 

Back in 2017, LINKIN PARK released an album by the name of “One More Light”, which garnered mixed reviews from a lot of people. Including myself. Now let’s not beat around the bush here... I scored it negatively. It was an OK pop album; it just didn’t feel like it fit the Linkin Park aesthetic. It FELT like a label pleaser, to adapt to the shift in the mainstream, with collaborations including STORMZY and KIIARA. People on the internet will say that I did so because I live in the past, and that I just want every record to sound like “Hybrid Theory” or “Meteora”...this is not true in the slightest. I appreciate growth and expansion from within bands, and the way they see the world around them, it’s what inspires them to create art. The art that, we as consumers enjoy. Also no, I’m not ignoring or forgetting “Reanimation” or the JAY-Z collaboration...this just felt different. 

​I mean, if I wanted to listen to an artist that put out the same thing over and over again, I’d listen to AC/DC, or insert generic overhyped and deified rock band here. (You’ve heard one you’ve heard them all is what I’m saying). The trouble with Linkin Park, was the sheer level of success that that first album garnered. It completely blew them up on a global scale, and so when it came time for the sophomore, the label justifiably said “Hey, look, money...more of the same please!”. We lapped it up as fans and consumers, don’t get me wrong, it was their sound; they excelled at that subtly electronic layered rap/metal crossover, but it frustrated the band to the point where, by the time “One More Light” came out all those years later, they’d gone out of their way to do the remix albums, acapella albums, experimental albums like “A Thousand Suns”, and ultimately tried their very best to show there was more to them than meets the eye, before that aforementioned 2017 pop album, and subsequentially, Chester Bennington’s suicide mere months later. There was more to the death of Chester, let that be clear, but we didn’t help his mental health, I acknowledge that.  

It was a catch-22, as we needed to respect the band for sticking to their guns, and creating what THEY wanted to create, or felt they needed to, for better or for worse, but we just wanted the band we loved, to create music we could enjoy; (You can only push an envelope so far), we knew what they were capable of, and we didn’t always see eye to eye. We were part of the problem (Admittedly I can’t speak for EVERYONE). The whole situation soured, and there was a lot of guilt following Chester’s death where we realised, we could have been more open, and supportive, and maybe Chester would still be here with us now. The sad fact is, he isn’t, and we thought we’d lost one of the most important and influential bands of the 21st century as collateral...but here is the dilemma. The new divide, if you will... 

2024 sees the RETURN of Linkin Park, with a completely new reshuffled line-up, after we thought we’d realistically seen the last of the nu-metal icons. With a brand-new singer at the forefront by the name of Emily Armstrong, who previously sang for DEAD SARA (As well as new drummer Colin Brittain, plus guitarist Brad Delson no longer touring with the band is notable) we find them opening a fresh can of worms and splitting more opinions than the US presidential election arguing over a jar of Marmite. I can’t believe I’m saying this but...this is “From Zero”, this is brand new Linkin Park...and these are my thoughts... 

We’re off to a bad start, frankly, as we have “From Zero (Intro)”...and it’s on the verge of being at least patronising to a degree. We have this almost angelic, choir-esque vibe, as though the heavens have opened, and the band have returned, risen again to start from scratch. There’s a spoken word snippet where new vocalist Emily offhandedly says “From zero? Like, from nothing? OH WAIT YOUR FIRST...” and it’s cut off before she can say band. We know that Mike Shinoda has openly stated that XERO was the original project before the formation and finalisation of Linkin Park...and we know that he’s produced this album, he’s pushed for this album, and it’s like he’s pushing this ideology from the start to use Linkin Park’s name to sell records, instead of going back to that first name he’s not even hiding away from.  

I’m feeling almost nonchalant dictatorial vibes right here. THIS is a primary gripe among many fans, who identify and associate Linkin Park with Chester on vocals, as the voice of the band...regardless of founding members, he was the unique, distinct voice, he was the generational talent at the forefront. If you’re so insistent on harking back to that Xero band name Mike, use that name, embrace that name if you are so proud of it, and release the music as Xero...not treat Linkin Park as a cash cow (See Wembley ticket prices). But the dilemma is only beginning... 

First track proper, and first single, “The Emptiness Machine” is an absolute banger. I wanted to make a joke about McDonald’s ice cream but, it would be petty of me. I am actually Mclovin’ this. (That was cringe...whistle and I will strike you). It’s a genuinely fun, engaging track with a lot of hooks in its short run time. Lyrically it can be interpreted as a reference to Emily being associated with the Church Of Scientology; being born into it second generationally, blending a sort of realistic world view with a feeling of hopefulness. She has been moulded into this lifestyle and belief system from childhood and it’s about wanting to just fit in and wanting to find oneself. Metaphorically hammered home by the very societal "cog in the machine" type music video. As an interpretation, this just makes sense, never mind fitting in with twenty years' worth of Linkin Park fans. But were the follow up singles as strong? 

Next, we have “Heavy Is The Crown” and we’ve got an immediate sense of burden here. Instrumentally the band have harked back to the period of “Minutes To Midnight” and “Living Things”, blending those practically recycled synth notes and overall tone. There’s an air of defiance in the lyrics, with lines like “You can’t win if your white flags out when the war begins” and it could be seen as Mike’s approach to Linkin Park in the face of life after Chester. The whole commitment to the band's continuation, and the pressure of Emily stepping into such iconic shoes...but they still manage to throw in a passive aggressive middle finger, as Emily does an equally long scream here as that of the track “Given Up”...as if to hammer home this justification of her appointment, in a “told you so” manner of fact. This again feels more patronising than vindicating under the surface and just comes across as hollow imitation on this instance. 

Emily gets to utilise her clean vocals on the track “Over Each Other” and to be fair, she sings well through a wall of anguish and frustration, and it reeks of relationship breakdown, be it romantic, platonic or professional, but here is the issue. It's an angsty pop song, which there is absolutely NOTHING wrong with, it’s a fine song, but if I or anyone was living under a rock, and didn’t know Linkin Park had reformed in this new era with new presentation, you wouldn’t be like, “Oh is this Linkin Park?”. As fine as the song is, it could be PVRIS, it could be HALFLIVES, it could be insert modern female vocalist of current day rock band name here. There’s nothing WRONG with it, it’s a decent song, but there’s a generic quality to it. It also ends terribly as they include studio snippets of interaction with Mike, trying to push a feeling of connection and bonding, as he asks her to put her “screaming pants on”.  

Why is this, I hear you ask? Ladies and gentlemen let me introduce to arguably the WORST Linkin Park song to ever be green lit for recording; “Casualty”. Honestly Charlie Fairhead should be on call to prepare you for theatre after listening to this. We’re booked in for a Tympanoplasty and a Stapedectomy...and a slap in the face for good measure. There’s a raw, hardcore, almost punk-inspired aesthetic here and while Emily CAN do this, Mike CAN'T...and when Mike starts trying to shout and produce aggressive vocals or seem assertive, he comes across as Clarence Claymore boxing and it’s pitiful to be honest. (That’s a nuanced reference, look it up). 

Emily, credit to her here, sounds pissed off; she sounds like she’s really invested, and she's built for this...but this is wholly unnatural for Mike. While it has throwback elements to “The Hunting Party” with its raw presentation, and hardcore punk levels of vitriol, Mike doesn’t quite cut it here. He honestly doesn’t sound comfortable or confident performing in this manner, and the quality, or lack thereof shows, he personally brings this track down. I guess ironically you can now ask why is everything so heavy? Genuine question. No wait, no, I know what it is. Doing such a shit job himself will make Emily sound so considerably better! She’ll be praised! You tactical motherfucker. Honestly Mike she can do the aggressive vocals perfectly fine on her own and I applaud her for that, you don’t need to be involved in that. You stick to the rap stuff and the brand appropriation. 

Speaking of, “Two Faced” absolutely oozes of “Meteora” era Linkin Park with the guitar tone and overall tonality regarding to chorus/verse transitions. This is more of a classic Linkin Park sound, and it does take you back twenty years, and truthfully you could easily see this as a collaboration that never saw the light of the day in 2003. It honestly wouldn’t be out of place on the original, it’s that close. 

Tracks like “Stained” further hammer home that Pvris type vibe in presentation and we have to admit that Emily does bring a brand-new dynamic to the band's aura when she’s more subdued vocally, before “Good Things Go” somewhat ironically wraps up the album. There’s an almost apologetic essence here, as though the band are anticipating the reception of this new era; pre-emptive damage control if you will. It’s almost in direct acknowledgment of Mike’s decision to continue Linkin Park from a lyrical standpoint, with Emily very much being a factor in that. It’s the musical equivalent of puppy dog eyes and fishing for sympathy when you read into it, and as pleasant as the song is, aesthetically...lyrically there’s a disingenuous feeling to it and it can’t be ignored.  

Ultimately, the question is, what can we take from, “From Zero”? The unbiased answer is a pletheora of things (See what I did there?). For anyone who was there from those early days in the 2000’s, that grew up with Linkin Park, when Linkin Park moulded the fabric of the person you were to become, it’s a band that holds a special place in your heart. I’d swear in a court of law, that Linkin Park helped shape the person I am now...fuck I was in Cornwall on holiday when I purchased “Hybrid Theory” and listed to it on repeat on my Buffy The Vampire Slayer skateboard with my Sony CD Walkman. It’s THAT ingrained.  

As we’ve grown older as fans, we appreciate those years because they were pivotal in our upbringing...I had no peers, I had no alternative community...I had nobody trading mix tapes or cassettes or burnt CD's...but I knew this band was special. As we age, our tastes change, our worldview changes, our political mindset changes; we evolve, as individuals as well as professionals. It’s so easy to see why on a business perspective why Mike would want to bring back Linkin Park...but where do we stand when it comes to morality? On face value, this is not a bad record in the slightest, it’s got some nostalgic moments, and it takes you back to the good old days momentarily in places...but is it Linkin Park? For me, the answer is no.  

Call me cynical, but they’ve tried to blatantly rehash elements from previous albums to sell a new narrative, they’ve made passive aggressive comments in spoken word segments as well as lyrics, Mike is trying to push for this, and as honestly decent as this album is on face value, which it is, it’s a fine album, I’m sorry, it’ll never be Linkin Park. QUEEN tried it with ADAM LAMBERT, can you imagine TYPE-O-NEGATIVE continuing without PETE STEELE? Can you imagine HIM without VILLE VALO? Or KORN without JONATHAN DAVIS? There's an IDENTITY...do you see my point? Any long serving band can emulate and recreate their sound instrumentally, but, you can seldom replace a voice, and the emotion that comes with it. The stories and feelings they share. We can agree to disagree, I’m fine with that, you have a right to an opinion such as I do...but to me, this is a reshuffled band recycling ideas in places to live off a rhetoric, and I’m not even mad, I’m disappointed...[6] 

I’ve said it before but, when we think about alternative music in South Wales, we automatically go to Cardiff and the valleys feeding the capital, as let's be honest, we’ve been spoiled for choice. From Merthyr Tydfil and THE BLACKOUT, who have just recently reformed ahead of Download, (Their hometown comeback show sold out quicker than you can ask Sean Smith S’appenin? Purely ironically) to Blackwood and the MANIC STREET PREACHERS, down through Pontypridd and the LOSTPROPHETS. Granted that last one is a sheep so black not even the most woke Welshman would associate...but, I digress.  

However, what about Newport? TJ’s was often cited as one of the best live venues to ever exist in the UK, they’ve given us Diverse Vinyl, the UK’s largest source of new vinyl records, they’ve given us FEEDER, there’s a whole lot of gas left in SKINDRED’s helicopter, and, we can’t be forgetting those comedic rap terrorists GOLDIE LOOKIN’ CHAIN. It’s 2023 now; your mother could very well have that penis. Newport has been overlooked let’s be fair, and today’s band are hoping to grab some attention for Wales’ third largest city. Let me introduce you to CRISIS TALKS. 

The three-piece, consisting of vocalist David Lloyd Chapman, guitarist and peddle wizard Mark William Squire, and drummer James Clement are preparing to release their debut album; “Heavy The Heart”, on June 15th. David got in touch with me recently asking me to attend a launch show, at the Little Taphouse; Newport, but I was sadly double booked. The least I could do however, would be to agree to give the album a listen and a little write up. The question is, will I be having crisis talks with myself after listening to this album? Let’s find out... 
 
We open up with the track “Dancer”, but truth be told I’m not moving a muscle. OK that’s a little harsh. We’ve got a solid dose of classic, riff-rich hard rock, with some rather funk-laden bass and assertive percussion, leading this admittedly rhythmic track. Vocally here David is interesting as, he finds himself somewhere between Daron Malakian and Benjamin Kowalewicz tonally in places. It’s got a mellow transitional section which keeps things interesting, and ultimately, it’s a decent start. 

Follow up track “Dark Cold War” houses a far grittier, angst-riddled feel, with groove aplenty in the bluesy, hard rock instrumentation and off-kilter, semi-prog inspired delivery. Slicker in production too, despite the slightly stop-start approach vocally, and again we have another similarly placed mellow filler section dividing the track. That intro though, minimal but very effective; catchy simplicity. 

Sticking to the meatier offerings, we’ve got “Submission”, and we have some light and subtle 90’s grunge aesthetics at play, amidst a back-drop of almost tribal percussion, and some of the albums cleanest, melodic vocal displays. As it progresses, we again find them groove-rich in presentation, so credit to the trio for their consistency. “Undone” has a more vibrant, almost indie-inspired alt.rock vibe to it, and here, especially vocally, it reminds in parts of PLACEBO. This is certainly an album highlight. David, on purpose or not here, has this nasally twang that pays homage to Brian Molko in the sincerest way, it’s actually more entertaining than Placebo’s newest album. It wouldn’t sound out of place on “Sleeping With Ghosts” frankly. 

Speaking of spooks, “Ghosts” champions a far softer, acoustic approach from the three-piece initially, but does descend into flutters of more metallic fret-work, while “Monsters” takes that acoustic influence and channels the likes of JEFF BUCKLEY, which is praise indeed. Not as tortured poetically, not as vulnerable vocally, David isn’t quite that open book, but this is damn close. Finally, then we finish up on “Soundcheck”, and we’ve got ourselves a lovely, sombre guitar ballad, with emotive instrumentation and a legitimately moving guitar solo. 

When I walked into this album, I didn’t know what to expect. Without wanting to shit on my own doorstep, a lot of the more “local” artists that have come my way haven’t left me truly inspired. Take my recent PENNY RICH review for RIFF YARD MEDIA for example. But, while this album isn’t perfect per se, there’s plenty of character and style here to ensure these succeed live, there’s already that certain raw quality to these tracks, and they are bound to translate well in a live setting.  

The song-writing capability and conception is there artistically, I just think they need the chance to get out there more, and truly hone their sound, as there is a lot of potential in this trio. The only crisis talks need to be about growth, commitment and dedication, as these three could do well for themselves among the current wave of UK festival regulars. “Heavy The Heart” is an emotional, back to basics rock record with some good ideas and, the only fresher thing coming out of Newport right now, is the heroin. [6] 

What is it, about the number two? Coincidence or not, the number two has seemingly had an aura of negativity in several aspects of life. If you come second in a race, you’ve technically just been the best at failing. Kids go through a phase called the “Terrible Two’s”, because most parents want to yeet their own toddlers into a woodchipper when they’re that age. Also, a number two is LITERALLY an expression for taking a shit! So, how does this apply to media? 

Let’s take films for example...a sequel, is very rarely as good as, let alone better than, the original. “Jaws” was the original blockbuster, but repetition, a 3D gimmick, and Michael Caine vs a roaring shark, sank that franchise quicker than I can sink Jack Daniels. “The Exorcist” is a horror masterpiece, one of the greatest movies of all time... “The Exorcist II: The Heretic” however, was merely possessed by bad acting and a plot so piss poor demons prayed to make it stop. The list goes on, as there’s “The Crow”, “The Lost Boys”, “Tremors” …but that’s just film. What about music? 

The “Difficult second album” is typically a recognised phenomenon surrounding sophomore releases, that finds a band or artist either making it, or breaking it. If you’ve managed to strike gold on your debut, you better be ready to back it up, because seldom does lightning strike twice, and styles, trends and popularity wane so consistently and quickly in music, you need to be on the ball. But what if your debut album blew absolutely everything out of the water, not only for that year, but this entire CENTURY to date? We’re of course about to discuss LINKIN PARK. 

When the band dropped “Hybrid Theory” in the October of 2000, it completely re-set the bar for what an alternative rock band could accomplish, as, it went on to go 12x Platinum in the US alone and has shifted over 32 MILLION copies worldwide. Linkin Park were THE hottest band on the planet, and their angst-riddled, intense yet melodic blend of hip-hop and rap, with crunching guitars and scorching vocals, saw the band reach heights many can only dream of. They had a problem on their hands though; how in God’s name would they, or more importantly COULD they, follow this up? Well, damnit they had an answer for that! 2023 marks the 20th anniversary of that seemingly impossible second album, “Meteora” ...let's look back and see how they faired. 

We start off very annoyingly here with “Foreword”, as it’s beyond pointless as a stand-alone track. It’s a 13 SECOND intro of gently pouring rain, and light knocking until you hear glass shatter, transitioning into the next song; “Don’t Stay”. That’s it. You may as well have simply extended “Don’t Stay” by those 13 seconds and absolutely nothing would have changed, because it already blends well, and these decisions just baffle me. Conceptually there are elements in this brief sequence that could allude to say, a glass ceiling, the band breaking through barriers and boundaries to achieve what few have done in recent times, before the actual track kicks in with the slowly built riffs, until it erupts with its nu-metal gloriousness. In some ways it could be seen as a subtle dig at their label, who pushed for more of the same following their debuts success, the headache of contractual obligations, being told who to be, how to sound, while naturally it could easily be about a failed relationship. It screams of wanting to be done with something, someone, wanting to grow, to evolve on your own terms, and it’s a powerful opener. 

Next up then we have the first single to be taken from the album; “Somewhere I Belong” …and if the predecessor had four singles, then “Meteora” had to have five. “Somewhere I Belong” sonically in ways, with some of the music video presentation and structure, felt like, a semi-canonical successor, or follow-up to “In The End”, with Chester’s minimal vocal melodies complimenting Mike’s bars, before a harder hitting chorus line and well utilised heavier elements. Grittier, ample Japanese Gundam influence, following on from "Reanimation", but still very much Linkin Park, and they clearly showed consistency upon this release. Again though, at what cost? Mike spits lines like “Just stuck, hollow and alone, and the fault is my own” …were they victims of their own success, doomed to live in Groundhog Day creatively? 

2023, officially started, with ALL of the bang, and a welcome lack of whimper. (“The exact, polar opposite to the night I lost my virginity to be fair!”, he laughs, as a single tear rolls down his cheek). I digress; we are in-fact talking about everyone’s favourite darkly romantic, albeit positively bleak, modern-day Goth daddy VILLE VALO. The former HIM front man got Heartagram’s breaking on the bands 2017 farewell tour, but, in the years since, through a rollercoaster of feelings and emotions, ranging all the way from equanimity to intrigue and anxiousness, he got them racing once more this January, when he released the sonic defibrillator that is “Neon Noir”.  

Now, the admittedly stunning solo record, was covered quite extensively within the alternative music press as it is, as it charted well around Europe (Including a UK Top 30 slot in the vinyl charts), and with his European tour currently in full swing, we must satiate our rejuvenated musical lusting's, with all things love-metal inspired, and get right back into the thick of it, which brings us to today's band; FLOVER.  

You may remember Flover from my 2020 review of “Songs Of Our Broken Hearts”, from which we played a tongue-in-cheek game of HIM Bingo, as the sweet rockers had zero shame in wearing their Heartagram’s on their sleeves, being influenced by Finland’s finest. 2023 finds the fan boys on fine form, as they release their latest album “Love’s Poetry & Dead Melodies”. Eyes down folks, it’s time for another round, but, in this year of thee and me, are we talking two little ducks, or giving too little fucks? Let’s find out... 

Now before we proceed, the whole HIM-Bingo game itself is FAIRLY loose in terms of rules and such; we’re essentially just looking for similarities and parodies, cheeky nods to other songs if you will. Imitation IS the sincerest form of flattery after all. So, with that in mind, we open up with (According to their Bandcamp at least) “Requiem Of Love”, which is an immediate Bingo-card crossed off, as it references “Love Metal” and the bonus track “Love’s Requiem”. The track starts with some incredibly gentle synths, and houses all of the typically slow-chugging riffs you’d expect from a HIM track. Vocally too it’s an ode to Ville, with the similarities in baritone drawl, soaring moments and hushed subtlety. It’s absolutely fine as a track, and could easily pass as a HIM demo, without implying any negativity. 

Next up we have “Suffering” and this one initially has a brief whiff of “Dark Light” regarding the synth delivery and tone here. Again, it’s only subtle, but HIM fans will easily pick up and appreciate the recognition. It’s got ample chorus melody and transitions, and they even deep dive into Ville’s own tastes as there’s a cheeky nod to “Crazy Train” by OZZY OSBOURNE thrown into the mix occasionally on guitar. “Just Our Autumn” has “Razorblade Romance” levels of production all over it, and it reeks of “Join Me (In Death)” but, let’s be honest, that’s never a bad thing. The throwback nostalgia this induces is sweeter than any number of sixes. 

The fun doesn’t stop there either, folks, as “Wonderland”, or it’s chorus structure at the very least is very unashamedly “Salt In Our Wounds” from “Deep Shadows & Brilliant Highlights”. It’s uncanny by this point, that you could quite easily state that Flover were HIM from an alternate dimension and do you know what? I don’t think anyone would call you a liar. “Dance With Me” then steps it up a gear in terms of grit and attitude, with the guitars oozing hard rock swagger, but, what’s this? This too is familiar? Of course, it is, there are more than enough nods to “Soul On Fire” here in the instrumentation, it’s just not AS aggressive, fast-paced or intense.  

“Agony In Your Eyes” then, tonally finds itself somewhere between “And Love Said No” and the gloomier aspects of 2007’s “Venus Doom”, before we eventually get the abbreviated “L.Y.L.I.C.”, which couldn’t possibly be in reference to “Tears On Tape” and “W.L.S.T.D.” could it? Surely not? An abbreviation of “Love You Like I Can”, it actually serves as a 2-in-1, as we could argue it also references “Love You Like I Do”, especially as it’s a deep rock ballad with a slow tempo and impassioned vocals.  

All in all, if you are reading this, you could easily think, Gav, why are you picking so many holes here? Can’t they just enjoy what they create in honour of something they care so very much about? Well, they absolutely can, and on this, their 3rd full-length album, they haven’t disappointed. Sure, it looks like I’m calling them rip-off merchants with a near copy-and-paste formula that’s bordering on identity theft, but that’s admittedly part of the appeal. As a HIM fan, while it is genuinely appreciated that a band has taken it upon themselves to continue HIM’s niche style and sound, you can’t help but have a chuckle and a bit of banter when some of these things are so blatantly obvious.  

Be it a riff, a lyrical likeness, a melody, a vocal delivery; some of these similarities we’ll say, are plain to see, and with Flover, that’s a key contributing factor of what makes them such an enjoyable listen. I respect what they are, and legitimately recommend checking them out. Not a fan of HIM but just generally enjoy Gothic-tinged melodic rock? Here’s a new band for you to check out. You ARE a HIM fan and still miss HIM, even though VV is currently active? Maybe you couldn’t get tickets for VV’s European tour and need cheering up? Get your fix here, without taking life too seriously. It’s a win/win really. [7]  

It’s weird, right? We’re at the arse end of 2022, and Covid still crops up in the conversation regarding bands plans and ideas. Typically, you’d find that bands were a bit lost, because tours were cancelled, so they’d push some extra exclusive merch to compensate, or …they’d work on a cheeky EP to tide fans over, or even just jump straight into writing their next album. But oh no, not LORDI...

The Finnish Eurovision favourites decided fuck it; following 2020’s “Killection”, they weren’t going to get to work on the next album, or even a double-album, no, that’s too uninspired; unoriginal and quite frankly boring. The band decided to work on a concept BOX-SET, of SEVEN consecutive new and original albums,  between 2021-2022 under the banner of “Lordiversity”.  

A modern, retroactive time-capsule, it spans multiple genres, eras and sounds, spanning decades, covering the growth and evolution in fashionable rock ’n’ roll, but with that beastly, Lordi twist. The question is; can a bunch of pantomime shock rockers pull off such a feat? Let’s find out, as we plough through these 78 tracks, wishing they could have settled for an EP... 

The series starts off with “Skelectric Dinosaur” and we find ourselves back in the late 1970’s, where rock music was at that initial turning point. That transition between the more innocent, formative rock ‘n’ roll, swing and more blues influenced styles, to what we now refer to separately as classic rock.  It opens up with “SCG Minus 7: The Arrival” and with its church organs, haunting wails and children's giggles, telling you that “Monsters are coming” …it’s quite the creepy introduction. This however leads us into disappointment, as we’re greeted with first track proper; “Day Off Of The Devil”.  

Musically absolutely fine for the style they are going for, imagine, KANSAS, or, ALICE COOPER or even BLUE OYSTER CULT, they’ve nailed that classic guitar tone and recording quality, credit to them, and it’s a decent, chilled out rock track, however the intro promised something a lot more sinister. The question is, how DOES the devil spend his days off? Is he there with a bowl of Coco Pops, sat on the couch in his pyjamas watching Disney+ on a Saturday morning? Who knows.... who cares...not me.  

“Starsign Spitfire” has a very slow, plodding pace to it, while it does have some decent backing vocal harmonies elevating the chorus. “The Tragedy Of Annie Mae” has a very DEEP PURPLE-esque bass-line fuelling the track and it rumbles along nicely. We do eventually finish album one off with “...And Beyond The Isle Was Mary”, and we get a quaint, piano-filled piece with rainy sound effects, resulting in a gentle closing number.  They nailed the sound of the era and have delivered well here overall; it’s not a bad start. 

Next up we have the album “Superflytrap” and we transition rather quickly from the origins of rock and early metal, into the bright lights of the discotheque. The intro piece, “SCG Minus 6: Delightful Pop-Ins" is totes cringe babes, with the porn parody content. Some bimbo taking in the pizza guy, and the pool guy, like some seedy classic blue-movie plot-segue, until the monster breaks in and there’s screaming and terror, and it’s all a bit shit. I pray Asylum don’t read this; their movies are bad enough as it is... 

The actual opening tracks “Macho Freak” and “Believe Me” are a bit better. It’s not always easy to recreate that nostalgic disco/club vibe musically with it coming out authentic, but credit to a band like Lordi, they’ve managed it. The funk-fuelled synths, alongside the twangy guitars, in this day and age remind me of DEREK BISHOP if you’re interested in modern disco, and to be fair, the band, despite their appearance, don’t sound cheesy doing this. “Bella From Hell” capitalises on some genuinely soulful backing vocals, while “Cast Out From Heaven” tries to be a genuine ballad, and, let's be honest, the vocals do NOT suit this approach. This is too jarring.  

Where do we go from here?  Album number three; “The Masterbeast From The Moon”, and we enter prog-rock territory. Inspired by the likes of PINK FLOYD etc, it’s a more ambitious piece but do a band like Lordi have the ability to pull this off? Let’s get one thing straight here, no... the answer is no. “Moonbeast” utilises an almost GHOST-like character instrumentally but that’s genuinely as good as it gets. The praise ends here. “Hurricane Of The Slain” highlights this point as, the piano rich, orchestrally led strings of the track are gorgeous, but the clash with the gruff vocals absolutely ruins things. It’s all well and good trying new things musically, but when the vocals are so often stagnant, it has a detrimental effect on the entire project. “Church Of The Succubus” at over 11 minutes fits better in the whole prog-rock aesthetic, but even that can’t save this record.  

What do we have next? “Abusement Park”, and I can’t lie to you, I do love a play on words; this title tickles me. It reminds me of JOHNNY KNOXVILLE in the film “Action Point”, but I digress. The title track absolutely reeks of classic heavy metal with the pacing, the key transitions, the style of percussion, it’s got a semi-MOTORHEAD vibe to it as well as the likes of W.A.S.P., almost power-metal in places, and it’s very up-tempo and energetic. It can be a bit cheesy with some incredibly cliched names like “Ghost Train” and “Rollercoaster”, but it’s to be expected. “Carousel” has some wonderfully emotive, smooth, sensual guitar playing that reek of the 80’s, while “Pinball Machine” harbours this strong AC/DC, or, JUDAS PRIEST level of vocal screeching.  

“Nasty, Wild & Naughty” harbours all of that overdone rock ’n’ roll sleaze lyrically, despite being a catchy piece of rock with all of the cowbell, before “Merry Blah Blah Blah” comes out of the blue as a Christmas single. The bells and choirs are there, the Santa references are there... but do you know what is also there? Me, making Ebeneezer Scrooge feel uncomfortable with my lack of festive spirit. Pull a cracker, the joke will be this song, I promise. I mean, WHY?! 

Next up we have “Humanimals” and we’ve reached our more, BON JOVI and AOR inspired tracks, and it shows. Opening track proper “Borderline” has a real, I guess, bon-jovial vibe to it (I’m sorry) with its light, up-beat synths and almost hushed percussion. The chorus houses some smoother gang vocals and its honestly quite the pleasant little track instrumentally. “Victims Of The Romance” utilises a more guitar driven approach in comparison but it reeks of that, all-too parodied hair-metal era. If you choose to picture Lordi with mullets in spandex, well, that challenging wank is on YOU my friend. “The Bullet Bites Back” stands out with its genuinely sleek guitar tones, and especially it’s solo, before we revisit “Like A Bee To The Honey”. A decent piece (Written by KISS) but, two years old, and practically becoming filler at this point.  

Our penultimate album, “Abracadaver” leans further into the emergence of what we now fondly refer to as modern metal, with that transitional period, from the mid to late 1980’s into the 1990’s. Ignoring the now tedious intro bit, we dive into “Devilium”, and we’re met with a bombardment of riffs, old-school thrash metal aesthetics and vocals that could make onions cry. The title-track isn’t much better truth be told. You CAN hear “Big-4” elements but the track does eventually descend into utter fret-wankery. “Beast Of Both Worlds” is arguably as good as it gets on this one, with it’s very SLAYER-esque chugging riff-work and rhythmic snarls. Done well enough but, beyond dated. 

Finally, then, and oh how glad I am knowing this (Excited for this one? Hell no, I’m just glad this is over with), we round things up with “Spooky Sextravaganza Spectacular” and that name alone reeks of ROB ZOMBIE. “Demon Supreme” utilises darker synths and a semi-industrial aesthetic to give the ol' Dragula a right good rear ending. It’s a touch repetitive but it’s got an energy to it and reminds me of POWERMAN 5000 in ways. “Lizzard Of Oz” houses more chugging riffs, with a strong electronic core sound, something which a more industrial metal unit might partake-in.  

“Skull And Bones (The Danger Zone)” repeats this seemingly Rob Zombie inspired instrumental direction, with it sounding aesthetically very similar. “Shake The Baby Silent” is top quality parenting advice it has to be said, Mr. Lordi collecting his dad of the year award over here, well done. Skip the bottle feed, jump straight to infanticide. It took seven albums but we do actually get our first actual stand-out highlight in the form of “Terror Extra-Terrestrial”. The intro spoils it a little bit, with its E.T parody segue, but we get a frankly quirky piece of synth-driven hard rock, and it’s honestly rather catchy. We ultimately finish up very ironically however, with the track “Anticlimax”...and I’m not even going to make any jokes here, the audio speaks for itself. After seven albums, completing this seventy-eight-track endurance test has to be rewarded in some aspect surely? Not in the slightest. 

Lordi tried something different here; they have to applauded for their creative ambition, that’s without question. What DOES need to be questioned though, is why the hell they couldn’t do seven concept EP’s instead of seven full bloody albums? They could have very easily cherry-picked specific highlights, and made a far more digestible, and more importantly, enjoyable listening experience. Seventy-eight tracks, allows for far, far too much filler, and truth be told, fodder. They managed to occasionally hit certain spots musically, and instrumentally to diversify these albums into their genre’s, which is the entire point OF “Lordiversity” as a concept, but vocally they just aren’t capable of really delivering; it’s very one-dimensional for the most part, and that grates over time.

In summary... Monstrous? Check. Mediocre? Also check. If concept albums are your thing, love anthologies and collecting box-sets, or simply are a die-hard Lordi fan, you'll likely enjoy this for what it is. If you specifically like a certain style or genre, feel free to sift through your own preferences accordingly, you MIGHT get something out of it, but, as a complete package, this is at a level of grandiosity Lordi really shouldn't be dabbling in. For me? This review is finally over...give me a hard rock hallelujah! [4]

OK so Summertime is upon us, or, is at least around the corner...perhaps. It’s hard to tell in Wales sometimes to be honest, seriously; it’s Wales, not ‘whales’, we don’t require this much water so regularly so can you please stop raining? I jest it’s been pretty decent recently, and that is quite possibly because I’ve been privately praying to today’s band; CVLT OV THE SVN. No, I haven’t had a stroke, that’s how it’s presented (Obviously it’s Cult Of The Sun) and I will say right now that they are personally, one of my favourite discoveries in recent memory. 

Hailing from Finland, because of course they do...all my favourite bands do...it’s a project shrouded in a sense of mystique and intrigue, as the ensemble wishes to explore the darkness with a sense of macabre, theatrical flair on their debut album “We Are The Dragon”. Released on NAPALM RECORDS, let's see just how these darkest of stars can brighten up your summer playlists. 

​The album appropriately kicks off with the title track and we’re met with a surprisingly up-beat, jovial guitar tone...this is a lot more melodic than expected but there are zero complaints with that. I had a similar experience with GHOST’s debut album; expecting some brutally dark doom metal but getting some kind of deeper, BLUE OYSTER CULT type effort. Seriously the song structure here revels in its simplicity but it’s an effective hook, which is in turn countered by the sinister, snarling vocals. Honestly, it's like the DANHAUSEN of rock songs; very nice...very evil. It meanders pleasantly enough and gets the album underway in an interesting and unexpected manner, but it’s all good. 

Follow up track “My Venom” takes things down an admittedly darker path...the initially twangy guitar leads into some seriously atmospheric, intense instrumentation, before we blend elements of thrashy punk with chilling alt-rock. We soon realise that the vocals here don’t necessarily have a lot of range or depth, as we find ourselves sticking fast to a husky, raspy delivery. While it would be fine to chastise the lack of diversity, the style is effective enough to carry the tracks, and it gives them and in turn this entire album, it’s character. 

Having established the general approach for the record, we can easily appreciate that from here on it just goes from strength to strength, with several notable highlights. “Luna In The Sky Forever” in ways reminds me of the aforementioned Ghost with its catchy electronic-tinged bassline and simple, synth-laden groove. “Don’t Be Tender Love Me Cruel” has a slower, more methodical pace that allows emphasis on the emotive guitar tones, which, coupled with the self-depreciative lyrical drawl, creates a sultry, almost masochistic offering. 

If it’s up-tempo you want then this bunch of cvlts have you covered too, as album highlight “Twilight” luckily has absolutely nothing to do with Stephanie Meyer. Nary a sparkling vampire in sight, we get a fantastically infectious dose of punk-tinged hard rock with more hooks than Leatherface’s lady-pantry. At its core, the up-tempo bass riff and simplistic chugging could be mistaken for something by, RISE AGAINST or BAD RELIGION, before the darker characteristics kick in. This is a great track. “Hellbound” keeps things nice and intense with some initially pummelling percussion and another dose of deeply self-depreciating lyrics... ”My mind is an endless well of negative thoughts...in its prime; shows me no remorse”. Relatable fam. “Whore Of Babylon” is then equally relatable (Can I get a H’oooohhhhhhhh Yeahhh from all my fellow sluts? I’m kidding...I’m KIDDING!) but the blackened metal flurry can’t help but raise more than a few horns. 

In terms of alternative music, Cvlt Ov The Svn have seemingly cherry picked some quality influences stylistically for this debut. There’s a sprinkle of black metal and gothic imagery, there’s a brilliantly fun, punk-esque hard rock quality to a lot of the instrumentation, there are almost doom inspired atmospherics and it’s all wrapped up with an almost pop music production quality, and it works perfectly! These Finns have dropped what is personally, a contender for the album of the year in my eyes and ears...believe me, I am a dragon too, and I’ve got one on my flag to fucking prove it! [9]​

What is there to say about 2020, that hasn't already been said? Within these reviews over the past nine months I've light-heartedly made reference to issues like Covid-19 and such, but let's not detract from the seriousness of the whole situation. As a calendar year, 2020 was one of the most difficult, frustrating, upsetting and confusing in recent history, and this isn't strictly down to Coronavirus...this time last year we were on the brink of World War 3! Politics has been a shambles, social injustice has been rife, the divide in both community spirit and the classes seemingly continues to grow, and generally speaking, the world is a complete mess. Luckily we've had music to keep us going, if not to keep us sane, and for that at least I am grateful. The images above showcase my personal highlights of 2020, grouped in categories covering pop, metal, EP's and general favourites, and it shows that, despite the state of the world, music flourishes. Music and the arts are SO important, as many of us learned during national lockdown, and we need to appreciate the people who dedicated their lives to creating that art SO much, because times like these prove we'd be lost without them. 

I mean, just looking at the cover art above, it's been as diverse a year as any. MILEY CYRUS embraced her inner rocker on her new album, having collaborated with the likes of BILLY IDOL and JOAN JETT. Groups like STEPS made an unexpected comeback showing they've still got it in an ever changing pop industry, as did MELANIE C. From a metal standpoint, PARADISE LOST prove they just get better with age, as they not only released one of the albums of their career, they also found themselves in the UK Top 40! Imagine that! Goth metal on Radio 1! It gives hope to newer acts like SOUTH OF SALEM who delivered a truly stunning debut album, and certify themselves as ones to watch for sure. There have also been plenty of superb EP's released over the past twelve months...especially VV. Ville Valo surprised everyone with his 3-track EP and HIM fans rejoiced at the new material, I for one certainly cannot wait to hear more from him. CHRISTINE AND THE QUEENS put emphasis on the art as their whole EP was turned into one big choreographed music video which was impressive, while I personally made some brilliant discoveries in the form of LUCIA & THE BEST BOYS and JACKIE. 

Finally then, my official albums of the year, and I was spoiled for choice to be fair. THE BIRTHDAY MASSACRE always deliver, they never release a bad album and I'm looking forward to catching up with Chibi on the rescheduled tour dates. MARILYN MANSON dropped his best album in years much to my delight, having found his last couple a little bit boring (Sorry Mazza!), GREY DAZE tugged at the heartstrings with a touching tribute to the late Chester Bennington, releasing unheard material from his pre-LINKIN PARK days, reminding us all how much we'll miss such a talented, brilliant human being. NINJA SEX PARTY on the other hand proved they remain one of the funniest groups around with their bonkers writing style, comedic lyricism and story-telling and wholesome attitude. Yes, 2020 has been a bit of a mess to say the least, but we've still got music, and as fans of that music, we've still got one another, and as a community, we need to hold on to that. With that said, below, is my official GTGC Spotify playlist of 2020, with 40 hand-picked tracks spanning the above records, and it is dedicated to my very good friend Scot 'JD' Rees, who is sadly no longer with us in body, but will forever be with us in heart and spirit. Whether he had a Jack & Coke in his hand, or his guitar, he was always laughing at something, and his energy for enjoyment was infectious. I will miss you Scot, and this compilation is for you. X

The end of the calendar year; a period of time this reviewer looks forward to annually. Not because of Christmas and the time-off work (Although the time-off is wonderful) and not because of the festive indulgence, because let’s face it I don’t need an excuse to drink, but because of the annual Winter Goth Getaway.  You may be thinking, what the hell is that? Is there some sort of alternative event that’s slipped under my radar?  

No... it’s basically myself and a group of friends, getting together every Winter, for a select live music adventure. Last year we hit London for the one-off UK date by THE 69 EYES, as well as hitting Bristol for the RXPTRS X-Mas bash...while in previous years we’ve been up and down the country to catch HIM, CKY and FIELDS OF THE NEPHILIM. It’s become a tradition and a whole lotta fun...that was until Covid ruined everything. This year, my friends and I didn’t get to go to any special Winter gigs, meet awesome new people and get ludicrously drunk, resulting in Christmas this year being a little less black...and I won't stand for that. We need some Goth damnit! And I may just have a solution. 

​Cast your mind back to 2017, and I reviewed an interesting band by the name of FLOVER. The Italian/Russian project comprising of Fabio and Kolya respectively, had released their debut album “Dark & Sweet”, and you’ll remember I made sure to point out that they more than borrowed a lot of sound and substance from the aforementioned HIM, even going as far as naming their sound “Sweet Rock” in homage to “Love Metal”. While I jested that, imitation may be the sincerest form of flattery but identity theft is a crime, it was impossible to not appreciate their sound and style in the absence of a recently separated HIM. 2020, the bonkers year that it’s been, finds them releasing their follow-up album “Songs Of Our Broken Hearts”. Let's check it out and salvage whatever goth we can... 

​The album opens up with “Secret Romance” ...it’s a bit like Secret Santa, but you already know what it is...HIM. The sultry piano-led dose of rock easily lends itself to the earlier demo-days of “Razorblade Romance”, especially with the underlying, faint synths sounding like they’ve been inspired by “Too Happy To Be Alive”, coupled with the guitar tone and key changes...this is certainly pink era HIM, and a decent start as a result. At this point we may as well start playing Heartagram Bingo...but instead of numbers we’ll be looking for riffs, song structures, vocal harmonies and parodies. Eyes down folks, we’re playing for a full house... 

“Love Beyond Death” starts with some heavier guitar work initially and it’s quite “Venus Doom”, but the chorus melodies soon kick in and it sounds more akin to something taken out of the “Screamworks...” sessions. The chugging riff is balanced nicely with the more delicate piano and the vocal crooning, and it all blends well truth be told. The albums first real highlight comes courtesy of “Love’s Scarecrow” which for all intents and purposes is a pretty straightforward track; simple structure and decent chorus hooks, but it comes to life with an impressive albeit brief solo and the track has this wonderfully energetic, climactic crescendo. 

“The Kiss Of Death” is clearly a take on “Kiss Of Dawn” not only from a titular standpoint, but even in vocal tone and sonic structure...it only slightly differs in tempo and even the wailing, scratchy guitar solo mirrors Linde’s playing on “Venus Doom”...there’s a couple for your bingo card! Speaking of...”Stay With You”...for a moment I honestly thought I’d skipped an album and started playing HIM’s cover of THE RAMONES “Poison Heart”! That opening riff is practically the same! They’re parodying other bands covers of other bands now, we’re getting too deep here, this is some inception type shit. It’s going to get to a point where riffs and musicianship aren’t enough...I wouldn’t be surprised if one of them does an Ed Gein and wears Ville Valo’s skin. I jest, of course. “Lost Souls” takes our mind off this with another simple yet effective chorus hook, even though the pre-chorus more than teases hints of “Dying Song” in delivery, but it’s an enjoyable track, before the title track goes all “When Love And Death Embrace” ...and this once again sums up our listen. 

While I can sit here and scoff at the obvious likenesses to our favourite infernal majesties, and joke about plagiarism, in HIM’s absence, Flover do a great job of keeping that bittersweet sound of romantic melancholy alive. Sure, Ville Valo did surprise everyone this year with a three-track EP, teasing more work to come at some point, but all of that is very minimal and secretive. If you lack the patience for that, Flover offer a more than adequate substitute for Valo himself, and I’m sure you can find it in the depths of your blackest heartagram to appreciate the appreciation they have for the band we all love. After all, these ARE songs for our broken hearts. [7]