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.

There comes a time when we must pause and honour not only the mountaintop triumphs, but every bit of the journey in between. "Watching The Sky", is a four-disc tribute to THE BANGLES, those Los Angeles daughters who would dream beyond the constrictive limits of what society would have them think was possible for women in rock and roll.

​When Susanna Hoffs and the Peterson sisters, Vicki and Debbi, first sat down together in the early 1980s, they were a part of a movement that history would name the Paisley Underground. However, they were part of something greater: a soft revolution that declared, in the gentle power of jangly guitars and breezy harmonies, that creativity is not female, that talent is not limited, and that the human spirit will always manage to sing.

In tracks such as "Getting Out Of Hand" and "Call On Me", we don't hear the state-of-the-art perfection of their subsequent commercial peak, but something more precious, the raw ambition of young performers denied a platform. These bonus cuts are a reminder that every dream first has to be dreamed in darkness before it can shine in the light.

Their inaugural record in 1984, "All Over The Place", provides the background for this collection with the visionary declaration of "Hero Takes A Fall". Here was a group that understood, maybe instinctively, that heroism does not translate to never falling but getting up every time we fall. The cross between 1960s-style melodies and power-pop sensibilities on the record yielded something new, a sound at once retro and new, familiar and dissonant.

With "Different Light" The Bangles truly arrived in their promised land. "Manic Monday", that gift of mercy from Prince himself, had been their burning bush; almost a sudden flash of divine musical intervention announcing to the world that these four women would not, could not be ignored. When they told us to "Walk Like An Egyptian", millions obeyed, dancing to a beat that transverses cultural boundaries and united people in the simple joy of music.

The use of live cuts and extended versions on these albums illuminates the extent of The Bangles' abilities. The live medley of "Walking Down Your Street" and "James" demonstrates how they can take studio productions and make them breathing, living things that reached directly into the hearts of their audience.

Their final studio album, "Everything", completes this set with the fiery passion of their enduring ballad. "Eternal Flame" wasn't merely a song, a prayer, even, a musing on love's unending power beyond the fleeting nature of all things on this planet. When Susanna Hoffs sang those words, she spoke for every heart that ever loved with all its might, ever dared to hope against hope, ever believed some things are everlasting indeed.

The wealth of this collection, with John Earls' thoughtful essay to boot, is both celebration and education. We learn of Michael Steele's addition in 1983, her career from THE RUNAWAYS to complete the classic line-up. We witness the in-fighting leading to their breakup in 1989, a reminder that even the most sing-alike voices can occasionally get out of tune.

But what most comes to the forefront in these four discs is recognition of what THE BANGLES did in their brief lifespan. In an industry that too often pushed women onto the periphery, they claimed centre stage. In a universe that demanded they sacrifice commercial success or artistic integrity, they made such choices appear false dilemmas.

The B-sides and oddities scattered about on these discs, “What I Meant To Say", the transcendent dub version of "Hazy Shade Of Winter", remind us that art must be allowed beyond the confines of radio-friendly constructions. The Bangles understood that every song, whether destined for the charts or consigned as a bonus track, held within it the seed of human expression.

As I reflect on this record, I am reminded that action in any field, civil rights, music, human evolution, occurs not due to sweeping action, but due to the cumulative strength of individual acts of courage. Each time The Bangles took the stage, each time they harmonized together with each other in that perfect harmony, each time they defied being belittled by an industry that discounted their efforts, they rang a bell for justice and equality that still rings.

"Watching The Sky" is more than a box set, it is a document of dreams realized, of extended vacations taken, of harmony achieved both musically and socially. By keeping these recordings alive for centuries to come, we ensure that the fire The Bangles lit will continue to burn, inspiring new dreamers to pick up their instruments and add their voices to the great chorus of human expression.

The reach of music history is great, but it curves toward justice. The Bangles helped warp it, one flawless harmony at a time. This anthology is tribute and invitation alike, a remembering of what was done and an incitement to artists yet to come to keep coming, to keep singing, to keep singing about how beauty can move us, how love can overcome even the most deeply rooted of divisions.

Finally, The Bangles didn't merely gaze upward into the sky, instead, they reached up, grasped it in their hands, and sent us all a piece of heaven. This box set ensures their place in history will never dwindle, a beacon for all bold enough to imagine a world in which music knows no bounds and genius has no limits.

Score 9/10. Not in deficiency, but in reverence. For even the flame that burns eternal leaves room for the sky above it. And the sky, is vast. Words: Matt Denny.

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.

This is a proper archive. Not like that CD of “Ambient rave classics” someone posted through my letterbox last week with a note that said “Listen or die". This is the real stuff. Canon. Fibreglass glory. "Made In Japan" is reissued in a way that respects municipal codes and the spiritual hygiene of live rock documentation. Five compact discs. Ten vinyl's. A Blu-ray. It’s what we used to call in the parish council a SIGNIFICANT UNDERTAKING.

They've got EVERYTHING. Osaka. Tokyo. Gillan yelping like a dog who's just been shown a gas bill. Blackmore noodling with the same face I’ve seen on regional bus drivers stuck in fourth gear. The whole band is just GOING AT IT, in a manner that would be considered inappropriate in a school gymnasium.

I haven’t seen such attention to detail since I catalogued the ceremonial spoons of the Pennine Tent Revival. They’ve included edits from Germany AND Mexico. International versions. Like "Eurovision", but with proper trousers.

Steven Wilson’s done the remixing. I don’t know the man, but I imagine him as the sort of person who alphabetises his dental records. And thank God he does. Every crash of the cymbals now feels like an official letter. Every organ swell is logged. If I close my eyes, I can almost smell the parquet flooring of the Budokan. I can see the usherette, probably cold.

And it's LOUD. Not your modern, shapeless “Festival” loud. No. This is 1972 loud. The kind of volume that would have required planning permission and a laminated safety sheet. The songs are long, often with no clear exit strategy. “Space Truckin’" goes on for weeks. I lost track of time. At one point I believed I was in a multi-story car park in Nagoya with a very cross Ritchie Blackmore handing out felt tipped pens.

There are liner notes. Roger Glover says it felt magical. That’s as emotional as he gets. Jon Lord doesn’t say anything as he’s dead, but his Hammond still haunts the air like a disgruntled former mayor.

This isn’t a “Deluxe Edition". It’s a CORRECTIVE. A historical artefact retrieved from the embers of improper archiving. Finally—after decades of partial data and sonic guesswork—we can say with absolute confidence what DEEP PURPLE sounded like in Japan. And it’s all above board.

Highly recommended for fans of rock, audit trails, and responsible live sound engineering.

Score: 8 Richie Blackmores - 0 Yngwie Malmsteens - [Editor: Sounds like a pre-season football score!] 

Words: Matt Denny.

You know how sometimes you find a really good biscuit behind the sofa, and you don’t even remember putting it there, but you take one bite and it’s like--BOOM!—jammy centre, crunchy edge, everything amazing all at once, and you shout “YES PLEASE!” even though you’re entirely alone and probably meant to be vacuuming? Well, "Go!" by ROULETTE is just like that! Except with fewer crumbs, more guitars, and absolutely no raisins, which is ideal.

From the very first track, I knew I was in for a treat. It’s got that sort of big, zoomy sound that makes you want to leap onto a moving car and shout encouraging things at people doing stunts. You can really feel the drums in your knees, and the guitars are doing that lovely thing where they sound like they’re about to burst into flames, but in a polite and very Swedish way.

And the SINGING! I don’t know who taught this man to do that with his voice, but I hope they got a medal and a chocolate orange. He hits notes that made my ears go all fizzy—like pop rocks in a glass of lemonade—and then he swoops down into the sort of growly bits that make you want to phone your mum to say, “Hi, love you, everything’s fine, but I’ve just heard something AMAZING.”

There’s this one song—I think it’s called “What Are We Looking For” or possibly “Strangers” or maybe “Please Mind the Gap” (No, hang on, that might’ve been something else)—but anyway, it really goes for it. Just when you think it’s finished being brilliant, it pops back up with a solo that made me throw a cushion across the room in celebration. The cat didn’t like that, but sacrifices must be made in the pursuit of ROCK.

There’s this one with a keyboard bit that sounds like lasers doing jazz hands. I didn’t even know I needed that in my life, but I did. Ten out of ten.

The whole album is like being invited to a very loud party on a spaceship piloted by Bon Jovi, and everyone’s wearing leather trousers but no one’s being weird about it. It’s proper melodic rock, but not in a “Dad’s had two lagers and wants to talk about Boston” kind of way—more, “Let’s build a time machine and high-five 1986” sort of thing.

In conclusion: if this album were a dessert, it would be a triple-layer cake filled with fire and determination and probably some kind of highly flammable jam. I loved it. I played it three times in a row and then accidentally saluted my stereo. Honestly, I haven’t been this excited since I discovered you can fry cheese.

​So yes—Roulette’s "Go!" is spiffing. Loud, shiny, and extremely good at making you feel like your hair is longer than it is. I give it seven guitars, a drum kit, and a massive Swedish flag made entirely out of joy. [Editor: Is that out of 10 Matt or out of a Keenan & Kel outro?] GO get it! (See what I did there? Because of the name? Oh well. I'll see myself out.)

Words: Matt Denny

They say that nice guys finish last...nice guys get walked over, nice guys get overlooked; but not every nice guy is arguably the hottest property in rock and roll right now. Finish last? (Firstly, that’s the gentlemanly thing to do). Some nice guys are just truly getting started, because they are beginning at breaking point...sick and tired of the snapped synapse that is the music industry. Sick of the disconnect between corporate greed and the common man. Sick of the bullshit. They want to make the world better... 

Artists with good intentions DO come and go...BOB GELDOF tried the whole “Band Aid” thing, and it was literally like putting a Hello Kitty plaster over a glioblastoma. Forty years later Bob, you’ve re-released the same track more than once with fresh line-ups, gradually getting less Christmassy and more cringeworthy, (Which is a good thing to be fair as you were the musical equivalent of colonialism to an extent) and yet mosquito nets to this day still save more mosquitos from dying of aids than your aid does saving children dying of starvation. DAVID DRAIMAN, I hope your label and PR team leaves you dangling like your stupid fucking chin tusks, for personally signing missiles that’ll undoubtedly kill civilians you tactless cunt. Down with the sickness? You’re just down in everyone's estimations. U2 once hacked us to give us a free album on iTunes...hacked is a strong word, sorry...let me rephrase that; RAPED. U2 forced an album on us without consent, I guess that’s how The Edge gets off? I digress... 

Jokes aside, today we’re here to appreciate and learn about YUNGBLUD. Real name Dominic, Yungblud has never shied away from controversy or criticism, be it in his early image and fashion sense on stage, or the sheer honesty of his song writing, to even starting up his own festival to ease the chokehold on extortionate organizers, and, from his emergence on “21st Century Liability”, this Yorkshire-born youngster has grown into one of the most vitally important artists in rock and alternative music. He champions the people, he’s an empath, he cares about community...he cares A LOT, and not many so unashamedly put the people first. 2025 found Yungblud scoring another number one album with “Idols” ...and before we jump into this headfirst, BILLY IDOL once said “Rock isn’t art, it’s the way ordinary people talk”, so let’s talk... 

The opening track “Hello Heaven, Hello” is a beautifully ballsy move at just over nine minutes long. There's no short, sharp introduction to this album, we dive straight into the grandiose with an ambitious indie-rock opera, and you know immediately this is going to be something different, something special. It’s a journey of self-discovery, and he’s asking if you’re along for the ride. It’s a track about finding your truth, your identity and the tribulations you persevere through; the ambitions you nurture and the goals you aspire to in the face of negativity and adversity. Amidst an up-beat indie rock core sound we have wonderfully arranged orchestral pieces, hard rock riffs, vocal vitriol and a true longing for life. We take elements of QUEEN, “The Rocky Horror Picture Show”, BLACK SABBATH, OASIS, THE VERVE...it’s truly a modern rock masterpiece. Yungblud proves you don’t have to play heavy to go hard, as the emotions and eccentricities here are raw and real. This is a superb song... 

This transitions wonderfully into “Idols Pt.1” and there are almost James Bond elements here with the string instrumentation. We’ve got another track about diversity and emancipation. Girls and boys are irrelevant here; a gender-fluid ideology of who you really are at heart, and who you aspire to be...it’s a pained track about acceptance and empowerment. We can be our own idols; we can look into ourselves to find strength and belief and we shouldn’t let other people suffocate our dreams. Everyday people, believing in themselves and it's a sweet little melodic indie-pop number. 

This then blends wonderfully into the single “Lovesick Lullaby” and the Brit-Pop elements really shine through here. It gives off BLUR “Park Life” vibes with it’s almost narrated verses and light guitar notes, coupled with the simplistic, melodic chorus hooks. The switch between electric and acoustic guitars, the backing gang vocals; it all amounts to this brief but brilliant little track full of character, tackling self-doubt and insecurity. It’s like Dom is having fun with his own vulnerability and personality and acknowledging stifled yet tumultuous emotional dilemmas.  

We go straight into the sombre next as we have one of the most emotionally hard-hitting tracks you’ll hear this year, or ever, courtesy of “Zombie”. A truly heart wrenching track about coming to terms with loss, protecting your loved ones from hurt, mental health, and knowing time is precious. It’s about loving unconditionally in the face of hardship and truly knowing that there are people out there that care. There’s a genuine sense of sadness oozing from the guitars here that tearfully carry Yungblud’s tender vocal delivery and it’s a genuinely beautiful ballad; easily an album highlight. 

Similar can be said for personal album highlight of mine “Monday Murder”, which carries this jovial, melodious acoustic led guitar tone. It’s light, airy and houses an almost blissful ignorance to the chaos of the world, an apathy to the conflict. It’s touching in its melancholy to the point it acts as a prayer for healing, and a yearning for change. We could go on further about the enormity of the emotional aspects of this album, with simply stunning tracks like “Ghosts” and “War” too, but we’d be here all day. Go and appreciate the album for yourself, not just take my word for it. 

YUNGBLUD here has delivered not just a number one album, with some attention-grabbing singles like a pop star, with a cool image...he doesn’t ACT cool, that’s just Dom. He’s delivered an album so raw in genuine emotion, so real and relatable in lyricism, so undiluted in its undeniable passion for growth and togetherness, he’s cemented himself as a Bonafide 21st century rock star.  

His aura, his honesty, his dedication, his presence, his charm, his down-to-Earth character...he is legitimately the modern-day rock star the genre and the community NEEDS. “Idols” speaks to every single one of us; we have an idol locked away in all of us, our best self, be it emotionally guarded by walls from trauma, or a lack of confidence, or doubt...this album is a rallying cry for everyone of us to live. Truly LIVE. In just a few short years, his attitude and passion for not just performing, but the people, has seen Yungblud go from a 21st century liability, to absolutely essential listening. [10] 

As I’ve stated plenty of times before, back in the early 2000’s, we were in the height of the Nu-Metal era. All of the freshest bands were peddling in down tuned guitars; combining elements of alternative rock and metal, with rap and hip-hop, and traces of the tail end of grunge, and while the likes of LIMP BIZKIT and LINKIN PARK were riding high with chart success and platinum albums, there was always going to be a place, for good old-fashioned rock ‘n’ roll. It’s at the very core of what we enjoy under many guises today, as rock ‘n’ roll will never truly die. By that I mean, it’s like CARRY ON films, they’re dated as fuck but, they’re fondly remembered for what they were. Nowadays we have an ever so slightly over-saturated market for modern classic rock bands but, that’s a whole different kettle of fish, and we aren’t talking about when rivers meet in the kitchen... 

Today, we celebrate another anniversary, as twenty years ago, Suffolk based spandex enthusiasts THE DARKNESS unleashed their debut album; “Permission To Land”. Permission was granted too, as they spent four weeks holding onto the coveted UK No.1 Album spot in the official charts, selling over a million copies, fending off the likes of IRON MAIDEN and DAVID BOWIE. It won them Brit Awards and made them rock ‘n’ rolls newest stars. Now, in 2023, let’s look back and shine another light on The Darkness, as we check out their new four-disk anniversary set and grant them “Permission To Land...Again”. 

Disk one kicks off with the original album plus a couple of demos, and we’re greeted with a little folklore a la “Black Shuck”. An East Anglian death omen, a devil dog of sorts, it supposedly terrorised church folk, but here it’s all very tongue-in-cheek. We’re treated to some ascending riff and drum work, very bluesy and gritty, before we’re met with front-man Justin Hawkins, and his unique and impressively high vocal range. He jovially sings of how this demon dog don’t give a fuck, as they swagger through a high energy hard rock number, with wailing guitars and a simplistic AC/DC-esque intensity. It’s a fun opener and caught many by surprise. 

Next up we have our first solid album highlight, by the brief bombardment of lead single “Get Your Hands Off My Woman”. The rolling intro of gradually built bass and cymbals, leading into a flurry of intense glam rock, with some insanely high-pitched vocal screeches. It’s got light punk rock qualities in its attitude and fuzzy production, coupled with the frenetic solo, but it’s an undeniably entertaining piece of rock. This certainly caught people's attention in the February of 2003.  

To say the album was top heavy, would be a fair assessment, as the following three tracks were also singles, and they certainly wanted to make an impression. “Growing On Me” is a twisted tale of relationship uncertainty; jumbled emotions and confusion, treating love almost like a fungus. Who’s really growing on who? Justin here is incredibly juxtaposed in what he wants, or feels, but there is definitely something there. Dan Hawkins is once again allowed to let rip on a guitar solo and this is just a band in full swing. 

Speaking of full swing, we have the bands piece de resistance... “I Believe In A Thing Called Love”. A 21st century anthem, it’s undeniably their biggest song, and the track that put them on the map. From the music video battling space aliens, to the catchy, sing-along harmonies where EVERYONE tried to reach those high notes and failed miserably. It’s got clap-along qualities and riffs not seen since the likes of QUEEN and it’s just splendid. Arguably overplayed at rock clubs and alternative DJ nights, but it’s still a fantastic, light-hearted rock number. 

The albums strongest track though, debatably, is “Love Is Only A Feeling”. The gentle nature of this sweet, emotive rock ballad is simply stunning. The guitars and overall tone ooze a mature sense of longing and heartache, and the Spanish guitars, with subtle keys merely add a level of romanticism. And that solo too! This is played with passion and a sense of honesty rarely found in rock bands. This is from the heart and it’s wonderful. 

The remaining half of the album is fine, but as previously stated it has been front-loaded. “Friday Night” has some jovial lyrics about ping-pong, badminton and gymnastics, it’s a quirky song about being nerds at school, but meeting at a dance hall and reconnecting. It’s sweet in its delivery but emphasises naïve, youthful romance. It’s like, “Friday I’m Love” by THE CURE in a catsuit and far less Goth. “Holding My Own” closes the album with another ballad, and as touching as it is, can’t compete with our previous efforts. 

The demos consist of unreleased tracks like “Out Of My Hands” and “Nothings Gonna Stop Us”, which are fine ballads and energetic numbers respectively, while “Black Shuck” gets the Vincent Price homage with a creepy intro a la “Thriller”. “I Believe In A Thing Called Love” has the elements in place but it’s slower, with more synth underlay, and is a far cry from the finished song. A couple of tracks to check out but, the band picked all of the right singles to be fair. With the added production quality of course. I believe in a thing called studio engineering.  

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.

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

It’s a new day! Yes it is! Ok, alright, before I get issued with a cease and desist by WWE…no, Kofi Kingston isn’t about to come out with his New Day team-mates to bitch slap you with a tray of pancakes, but it does provide me with an ample segue into this next review; let’s talk about  FOREVER VENDETTA.

Kofi Kingston emerged as a bright up and coming talent in WWE through the mid to late 00’s, and though while a solid worker, he never truly reached the heady heights of being WWE Champion and never attained main event level status…that was until 2019 when he was finally given a well-deserved push and a fantastic WrestleMania ‘Moment’ on April 7th.

Forever Vendetta have (Albeit on a smaller scale) mirrored that to a degree. From as far back as 2008 you may have seen them share the stage with the likes of HARDCORE SUPERSTAR and LA GUNS, though while promising upstarts, the Swansea based quartet (Now consisting of guitarist Leigh Fuge, bassist Liam Alonzi, vocalist/guitarist Chris Tippett and drummer Gareth Hunt) always remained in that lower to mid-card status in the South Wales music scene. Recently however the Welsh rockers have returned after a brief hiatus with their long-awaited debut album “New Day Rising”…and all of a sudden my analogy makes sense. Will this give Forever Vendetta the push they need to hit the big time? Let’s find out…

The album opens up with “Unbreakable” and what we have is essentially a drawn out introductory piece. Purely instrumental; it flows through your speakers with a subtle mixture of emotions, blending a sense of sadness and, almost apathy…however that’s juxtaposed with a reassuring feeling of hope and defiance in the face of struggle. In just two minutes of soulful guitar playing they’ve already managed to convey a message of redemption; they’re back and shits about to go down. It’s wonderfully structured this, a strong start.

First track proper then, “Come Alive” immediately transitions into a deep, bass-heavy rumbling, before the band kick into gear with their blend of hard southern-inspired blues rock. The chorus carries with it a decent melody and the influence of bands such as BLACK STONE CHERRY is fairly clear here. The riffs are solid and the solo is both slick and impassioned…credit to them they’ve absolutely nailed the sound in regards to this genre. “Takin’ It Back” initially gives of a subtle nod to the likes of VELVET REVOLVER before falling into a similar song structure, though the solo is, again, enjoyable and the track overall is a touch grittier.

Elsewhere the likes of “Snake Oil Saviour” and “Not Your Hero” provide more of the same, enjoyable blues-based hard rock, with the band primarily sticking to their formula and knowing their strengths in delivering riff after riff, with well executed guitar play…but here we have to sadly point out the albums only real flaw; the vocals. Chris is clearly passionate about his craft, there’s no denying that and credit to him he’s giving this 110%, but there are too many occasions throughout this record where despite his efforts, he comes across as simply not capable of delivering the notes he’s aiming for. On “Easy Way Out” for example, his voice really isn’t powerful enough to stamp authority on the tracks chorus, as he comes across as strained, almost forced and it sadly sounds off…there’s something that just doesn’t click and it makes you wince truthfully. “Roll It On Back” gives off the impression it’s more of a demo with raw vocal recording, while “Don’t” comes across as a scrapped BON JOVI B-Side track.

Overall, instrumentally this album is undeniably superb, and kudos to the guys for their efforts here; this is some top-notch blues rock ‘n’ roll…it’s just a shame vocally things aren’t quite on par. They haven’t quite emulated Kofi Kingston's trajectory  just yet, but there’s a lot of potential for them to do so. It’s a new day, yes it is…but it’s more of a Monday morning than a Saturday morning if you catch my drift. [6]

Now, I’m sure you’ve all heard the tales about us Welsh…stories about non-licet liaisons with animals of a woollen nature (For the record, Velcro gloves work wonders, though you didn’t hear that from me) but it’s not ALL about sheep shagging, let me tell you! Yes aside from our preferred bestial pastimes we do occasionally dabble in a spot of rock ‘n’ roll and as I’ve stated before, South Wales is a hotbed of up-and-coming bands and musicians. Now while a lot of attention is heaped on the Cardiff area because of its bustling live venues, we can’t forget about the rest of Wales, and today we’re taking a little trip up the valleys to a town called Aberdare for our next band; HEAVY FLAMES.

Comprising of vocalist David Hill, guitarists Lee Harvey and Ryan Lewis, bassist Gareth Owen and drummer Richard Boggis, the outfit are all about the old-school; opting to ignore what’s happening in the world of modern music, to play in their preferred style of classic blues-inspired rock ‘n’ roll…and they’ve showcased this on their debut full length album; “Bolt On The Rust”. The question is does this pile of rust belong on the scrapheap?

The album opens up with “Clearly Not A Welcome Rain” and it utilises the gradual build really quite well…we’re subject to a simplistic looped guitar sequence, blending in to some subtle percussion, as David wraps his vocals around proceedings before the track eventually erupts into a barrage of harmonica-fuelled rock. It’s bold as it is brash instrumentally, the southern blues tones giving this track some real swagger when it gets going and it’s an enjoyable start this.

The rock ‘n’ roll keeps on coming through album highlights such as “Nature Of The Beast” too…another initially low-key start but it quickly comes to life with some rich organ-eqsue synths akin to the likes of THE DOORS or even DEEP PURPLE in places; really embracing that early hard rock transitional period…not quite metal yet but the exploration into the weight and delivery of the instrumentation is all there. “Acre Of Graves” hammers this home brilliantly with its meatier riffs and almost polyrhythmic percussion, allowing for subtle prog aesthetics. The tone of the track here is a touch darker, incorporating more of a BLACK SABBATH vibe while still retaining their aforementioned synth-driven core sound and it’s a solid track.

There are a couple of lesser moments scattered around the album though, “Insult To The Brain” is more of an insult to my eardrums in all honesty, mainly because of that fucking guitar loop that makes your eye twitch. ‘Duh-duh-duh-duuuuuuh-duh’ it goes over, and over, and over, and over, and over…the chorus provides a brief respite, but it comes back and the repetition of this specific chord sequence just drives you mad. Maybe it’s just me but this makes me want to cause physical harm to the brain of whoever decided to record this particular track, not just insult it. “House Full Of Women” suffers from a similar problem although the riff here is quirkier and the track is generally grittier overall, salvaging it somewhat.

Generally speaking though those are minor irritants more than anything and don’t really take away from the album as a whole…the recording quality and sound that they’ve gone for clearly harks back to those classic days in the 70’s with the bluegrass-inspired tones, with the band managing to retain that certain rawness in their production. Younger fans of rock and metal may view this as old-fashioned or, maybe even uncool, but if you appreciate the nostalgia of those formative years in rock ‘n’ roll’s evolution then you’ll likely appreciate this a lot more. Not quite niche per se, but it certainly has more of a target audience in mind. [5]

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

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

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

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

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

So I’ve got this confession to make…no I’m not coming out as a heterosexual white male that uses an online platform to give a personal opinion why; that would be career suicide! I jest…my confession is with regards to my approach to music. Sure, whether it’s here or for other publications, my reviews are always from an open-minded, honest perspective, trying to take into account more than just my own personal preferences for whichever artist I may be dealing with…but it doesn’t stop me having those personal preferences. For instance, I’ll go on record now for saying that, in my opinion, NIRVANA are a pile of shit…many would disagree, Courtney Love might try to set me up on a date with a Remington Model-11 for saying such a thing, but while I CAN admit they are an incredibly important and influential band in the evolution of alternative music…I just don’t like them.

This brings me to today’s band; BUCKCHERRY. The Californian rockers have been going for quite some time now and, I first heard of them back in 2001 when I discovered a track called “Slammin’”. It was a great, rock ‘n’ roll track and even though I was more concerned about Nu Metal at the time, I still enjoyed it for what it was. Fast forward a couple of years however, and I’m reintroduced to Buckcherry, as we come to arguably one of the worst successful rock songs ever recorded; “Crazy Bitch”. Seriously this song is 100% cringe in every conceivable way…everyone gives NICKELBACK a hard time when this fucking song exists, what are we doing like?! It’s AWFUL. Anyway needless to say, I was put off Buckcherry…I can’t be dealing with that, nope, no Sir, no thank you. BUT, in the interest of equality (And the fact that you chose them on my last readers choice poll you evil bunch of bastards) I’m going to give them another chance…earlier this year they released album number eight; “Warpaint”, and I’m on the front line prepared to do battle…come at me brah!

The album opens up with the title track and to be perfectly honest; it’s really not bad. It keeps things nice and simple to be fair, incorporating blues-based hard rock with a southern groove and some sleek guitar licks. The solo blends in well allowing the track to flow really smoothly without sounding jarring, it’s not been thrown in the mix ‘just because’ like some solo’s, actually adding to the track, and Josh Todd’s vocals while still distinct, are a touch subdued here, giving off a mellower vibe. It’s actually a decent little opener. If you do prefer mellow, “Right Now” initially has you covered as it continues with the light blues rock inspired guitar tone but strips back to a more acoustic-based delivery, although the chorus is far livelier and, remember what I said about solo’s? Yep…this one came out of nowhere quicker than you can say Randy Orton, and the song can’t seem to decide what it wants to be.

Let’s try and remain objectively positive though shall we and look at the highlights…”No Regrets” is a quirky little up-beat punk-rock inspired piece; it’s fun, it’s light-hearted and you can’t not enjoy this…from the clap-along segments, the tinny, rockabilly guitar stylistics and general skater-rock vibe, it’s just a happy track and at under 3-minutes, it’s an easy highlight. Closing track “The Devil’s In The Details” remains up-beat but returns to a more straightforward hard rocking / classic rock ‘n’ roll aesthetic with a fine riff carrying the track. “The Vacuum” raises a chuckle from me to be honest as in a funny twist of irony, it doesn’t completely suck. The riffs are solid and there’s an enjoyable melody layered throughout the track, resulting in quite an emotive listen, especially with Josh again holding back vocally, but the real highlight and frankly surprising inclusion here is a cover of NINE INCH NAILS classic “Head Like A Hole”.  Granted it’s not the same seething, industrial behemoth crafted by the vitriolic Trent Reznor, but the bass-heavy riffs still sound powerful here and it’s a great choice of cover; it’s a quality track to be fair and it’s done justice.  Is it as good as MILEY CYRUS’ cover on Black Mirror though?  I’ll let you reach your own conclusions there…

The rest of the album simply plods along really quite anonymously to be perfectly honest. “Radio Song” is a clichéd little acoustic piece with rich string-sections clearly aimed at finding commercial airplay while being both incredibly self-aware and  taking a subtle swipe at the mainstream, while “The Alarm” isn’t going to be waking anyone up in a hurry. Its’ slow pace and generally lethargic instrumentation makes for a predominantly boring listen, while Josh’s vocals come across as too much for the pace of the track at times, he’s shouting over it almost and it’s a bit off. Overall though I have to admit, it’s not a terrible album, not by any means…”Crazy Bitch” was quite a while ago now and I can’t hold on to these grudges forever, and while I do still hate that song with a burning passion, this album is fine, they seemed to have calmed down a bit, which I’m all for. I mean, just think, Josh Todd could have done something ridiculous like, release a god-awful, embarrassing rap-rock/dub album, undoing any and all regained credibility I’ve just found in the band, couldn’t he! Wait…what? Who are SPRAYGUN WAR? Oh for fuck’s sake…[6]

Many reviews and, not just ones I’ve shared here, highlight some bands and genres by the evolution of certain scenes for example, like a specific style in or around a localised area of the world; such as the thrash metal boom of the Bay Area, San Francisco, or say, the grime movement in London…but if I were to ask you to name me the first band that comes to mind when you think about Omaha, Nebraska…the majority of you are going be double checking where the fuck Omaha even is let alone have quick fire knowledge of it’s clearly thriving music scene!

Don’t get me wrong, Omaha’s got its fair share of famous names and faces, ranging from Marlon Brando to Fred Astaire but it’s not got a rich history in alternative rock music by any means. Sure there are some bands you MAY have heard of at some point, such as 311, THE FAINT or THROUGH FIRE, but they’re hardly household names now are they? Well, to be perfectly honest, neither are today’s band…not by a long shot. Allow me to introduce to you, THE SCABBY GHOULS.

A relatively new outfit; the four-piece (Consisting of vocalist/guitarist Denise Hazard, lead guitarist Louie Hazard, bassist Alex Steffens and drummer Nathan Christensen) specialise in all-things that are horror punk, and while they’ve already supported the likes of DOYLE, their style is more akin to the cheesy entertainment of classic B-Movie horror, as opposed to the more serious sound of say THE MISFITS or early AFI. 2019 finds them releasing their debut self-titled mini-album…so let’s pick at this scab and see what oozes out of it shall we?

We open up with “Body Surfin’” and we’re immediately met with some deep bass-driven rock with an initially spoken word approach, before the frenetic punk aesthetics kick in. It goes from a weird combination of BOBBY PICKETT and THE B-52’s into some modern SIOUXSIE AND THE BANSHEES type of darkened proto-punk amalgamation. The title track backs this up further especially with the vocal performance during the near spoken-word chorus, delivering that classic spooky vibrato, though instrumentally heavier in places allowing for more of a Misfits influence to shine through.

Speaking of musical influences, a band that gets nowhere near enough credit in female punk rock is TSUNAMI BOMB and there are moments of their influence dotted throughout this album, especially their earlier works such as “The Invasion From Within” EP; Emily Whitehurst (Or Agent M as she was known) deserves more recognition as a voice in modern punk rock, and there are subtle nods to her sprinkled over this record.

As is expected with this genre this is all over and done with in a relatively short period of time, with the seven tracks presented here clocking in at just under twenty minutes, but they’ve left some gems for last it has to be said. “Road Ragin’” is a wonderfully relatable, up-tempo slab of fun, simple punk rock. The typically common / everyday situations of rushing around early in the morning, late to be where you need to be, can’t find your keys, can’t find your right clothes, hampered by slow elderly drivers; it’s a wonderfully basic concept but delivered with the right balance of frustration and comedic charm, before we round things up with “Knife Fight”. Another pacey dose of frantic punk rock; the rhythm and hook of the chorus is simply infectious, and though the brief psychotic wailing's of the guitar come across as spasmodic, it’s still a fine climax.

While creatively and stylistically they aren’t as volatile as MURDERDOLLS for example, and nowhere near the bleak, black sense of humour of early TYPE-O-NEGATIVE, but they do have a certain quirkiness to them, which should appeal to a variety of post-punks, alt. rockers and Goth’s alike. There wasn’t a LOT of horror presented here truthfully, other than some zombies and a pun-heavy ‘Nightmare On Elm Street number’, but its early days yet for these Nebraska new-comers…just keep picking at that scab; their nostalgic blend of rock and cartoonish retro horror themes will bleed out eventually. [5]

Now, it WOULD ironically take some sort of deal with the devil to actually accomplish what I’m about to propose to you here but, just go with me on this…imagine you managed to, I don't know, dust off the old Ouija board to summon the spirits of both ROSIE HAMLIN and AMY WINEHOUSE, somehow harnessed their combined vocal capabilities, incorporated that with the suddenly resurrected rock ‘n’ roll musical style of the 50’s and 60’s and, oh, sang about satanic rituals while you’re at it? I wouldn’t blame you if you assumed I was four days into a three-day weekend of abusing multiple substances all the while binge watching Nostalgia Critic videos (That’s half right, I’ll let you speculate which half)…but in principle, there actually does exist such a twisted creation…a creation even Mary Shelly would tip her quill to…let me introduce you to TWIN TEMPLE.

The duo, comprising of Alexandra and Zachary James, formed in (As they say with a slight case of tongue in cheek) the City Of Angels, only recently really in 2016, but have caused quite a stir among the alternative community in the brief time since. While you would typically associate the idea of Satanism in music going hand in hoof with genres such as black or death metal, here the pair argue the case that maybe the devil doesn’t have a ‘type’ and that maybe he loves a slow jam as much as the next bloke…or…biblical outcast, and so using the classical sounds of soul, blues jazz and doo-wop, they spread the message of feminist Satanism, and tackle topics of oppression while fighting for free will against dated ways of thinking in society. How are they doing this? Well with their new album of course! So with that in mind, let’s check out the smoothly titled “Twin Temple (Bring You Their Signature Sound…Satanic Doo-Wop)”…I feel like I’ve just summoned something just SAYING that out loud…Venite incipere!

We open up with “The Devil (Didn’t Make Me Do It)” and it’s a quaint little slice of social commentary and tackles the idea of perception; with lyrics about 8-Balls, playing pool, beer and what not…the idea that gambling and alcohol etc is the work of the devil and leads to further sinning, but here they defend him claiming he gets a bad rap, it’s not all his fault at all! There IS a sense of poignancy however as Alexandra references the 27-club, making the point whilst doing her best Amy Winehouse over some subtle jazz and soft blues. You make your own choices in life, but some of us do have our demons and we need to hold ourselves accountable; it’s a touching nod. “Lucifer, My Love” then goes head on into a world of Satanism but done in the most romantic manner possible. There’s no bombastic sense of theater or hedonistic rituals of sacrificial bloodshed…instead there is a sweet love song about how Alexandra genuinely loves him. The ceremonial candles likened to a candle-lit date, and she even asks if he prefers blue denim or a red dress? A rib at the expense of both gothic and heavy metal clichés…despite its pacing as a slow-dance track it’s really quite comical, in a good way!

The rest of the album continues to tackle the concepts of tortured romance, adultery, corruption and revenge fuelled by love and loss; “I Know How To Hex You” dabbles in a little black magic as the scorned woman gets back at her ex for objectifying her, all delivered with a smooth dose of Americana, while “Let’s Hang Together” goes down the route of taking marriage vows very literally, with emphasis on the till’ death do us part bit, so long the lovers both go out at the same time…morbidly romantic you may say. There are two instrumental pieces making up run-time in the form of “In Lvx” and “In Nox”, representing night and day and other than acting as an interlude and closing piece respectively, they contribute little to what is essentially an 8-track mini-album really.

Overall, while musically it won’t be exciting very many people in the heavy metal community, it IS a refreshing change, in both pace and style. Where it lacks in instrumental heaviness it makes up for in its message and entire point…its MEANT to stick out like a sore thumb because the duo are challenging preconceived and already existing ideas and norms, and really they’ve succeeded, all the while managing to not make any sort of mockery of their Satanic principles. The Goths will get behind this for its quirkiness, and if you’re fan of the “Dreamboats And Petticoats” era then you’ll likely enjoy this too, just, look past the nods to the occult and don’t play it for your grandma...the next time you visit you may find her hailing Satan and finger painting with her cats blood in between cups of tea. [5]

If you pay any attention to the Chinese zodiac, you’ll know that 2019 is the year of the pig, and while many are celebrating the prospects of wealth and good fortune (According to traditional beliefs that is, personally I just double-up on my bacon) there’s a group of musicians on the other side of the world with an entirely different set of animalistic beliefs; let me introduce you to YEAR OF THE LOCUST. The New York based five-piece (Consisting of vocalist Scot McGiveron, bassist Fred Serrell, drummer Dusty Winterrowd and guitarists Tyler Hensley & Cody Hyde) dropped their debut album “Devolver” back in 2016, and with the ballsy-brand of hard rock riffs they found themselves supporting the likes of SALIVA, HOOBASTANK and PUDDLE OF MUDD. 2019 sees them return with their brand new self-titled EP; “Year Of The Locust”…will these new tracks see them devour all before them, or are they just a plague on rock and metal? Let’s find out…

The EP opens up with “Stay Alive” and immediately you can hear a marked improvement in the production quality here…everything sounds cleaner compared to the album prior. The vocals are clear and more polished and the instrumentation sounds crisp so we’re already off to a promising start. The song itself is superb; a simple yet steady beat and progression of riffs, embracing the slow build leading into an infectious, hook-laden chorus of powerful vocals. It’s impassioned and poles apart from anything offered previously, coupled with the frenzied solo, it makes for a brilliant opening track. “Line Em Up” follows on and it’s got a tough task ahead of it, but it takes on a slightly more southern-metal tone instrumentally, with its distinct guitar driven groove and subtle vocal drawl…fans of BLACK STONE CHERRY and THEORY OF A DEADMAN will likely get a kick out of this; no nonsense, fun rock ‘n’ roll.

As most bands of this genre do, they aren’t opposed to dropping a ballad or two either, allowing for a change of pace and to showcase their varied vocal and musical ability, and here that comes by means of “Whispers In The Dark”. A slower, tender piece of soft rock that’s big on melody and emotive vocals…with its key changes and sensually flowing solo it’s teeters on soaring power pop without quite having you reach for the lighters, before closing track “Sorry” rounds things off with another dose of chugging hard rock. A decent track but spoiled by the inclusion of random spoken-word segments. They sound jarring and hinder the flow of the track, coming across as forced and would have been better suited to an intro monologue or interlude to set up the track.

Overall in the three years that have passed between releases, YOTL have come a hell of a long way…their song writing and playing have come on in leaps and bounds and the sound quality improvement in terms of recording and production is doing them all of the favours. Gone is the grainy instrumentation and raw vocal performance, despite being only four tracks long, this makes the album feel more like a demo! Whatever the band have done differently is paying off, and if this is their direction then it’s an exciting and promising one, as their next record could feature some absolute tunes. It's the year of the locust they claim, and it’ll take more than pesticide to stop this lot! [8]

Finnish music it would seem, is undergoing a little bit of a renaissance…just last year we saw the revival (And what a revival it was too!) of original 80’s Goth-rockers MUSTA PARAATI thanks to Jyrki Linannkivi of THE 69 EYES, who helped them rock ‘n’ roll-back the years to deliver some sorely missed traditional post-punk, but this year we’re going back even further. Back in the late 70’s a group of musicians who would be simply known as the AGENTS began their highly collaborative career, acting as a backing band for several successful Finnish artists, and though while consistent throughout this time, having released a plethora of recorded LP’s, they’ve never really had the spotlight on them outside of their home country…until now.

VILLE VALO needs no introduction; the former HIM front-man is one of the most iconic performers in modern alternative music and since HIM disbanded, I guess you could say he’s been a…free agent? Cue the collaboration! But it wouldn’t be the first time, oh no…HIM fans will be aware that back in the late 90’s before the love-metal maestro’s hit the big time, Valo had already performed with Agents a handful of times on Finnish TV…but now, twenty years later, we find them together again as Valo’s career comes full circle as they release their self-titled album “Ville Valo & Agents”. To paraphrase CHER…do you believe in life after love metal? Let’s check it out…

The album opens up with “Kirstinkulma” and what we have really is an elongated intro track; purely instrumental here, it showcases the bands original style and tone with the stripped-back surf rock and blues-pop influences…with a subtle ROY ORBISON inspired sound in places. It’s very easy-listening and really quite sweet sonically. The first track proper then is the first of a couple of revisited tracks for Valo by the name of “Ikkunaprinsessa”, which essentially means ‘The princess in the window’. Not to be mistaken with anything you might find in the window of his dad’s Helsinki sex shop, it’s a romantic little tale about someone who sets their eyes on a model in a shop window and falls in love. A simple story but it’s got such a jovial tone to it, with Valo here sounding smooth as ever. Singing in his native tongue, he makes Finnish as much an art from as a language. “Paratiisi” is another which means ‘Paradise’ and it’s got soft, Mediterranean elements to the guitar here and both tracks sound vibrant; the fresh recording quality has done them justice.

It’s worth pointing out here that the bulk of this record comes in the form of re-recordings, with Valo putting his spin on tracks originally performed when the Agents were collaborating with RAULI SOMERJOKI, a Finnish songwriter who passed away in 1987, with “Kuihtuu Kesäinen Maa” being a great tribute for example. An incredibly mellow track, Valo allows his dulcet tones to weave their way around the song, bordering on the point of becoming a lullaby was it not for the instrumentation. There’s a sense of clarity to him that he was lacking on the last HIM record and he seems audibly more relaxed, healthier even. There are two English language tracks presented by the way of “Rockin’ With Enzio” and “I Told You So”…neither of which have Valo on vocals. The former houses a subtle 70’s glam-rock tone musically, which may appeal to fans of say, T-REX, while the latter harbours a more country-based blues aesthetic; both of which equally refreshing on the ears from a musical and linguistic point.

To be quite frank, this is more of a project than a new band or, real fresh start for Valo post-HIM…a little like his solo single “Olet Mun Kaikuluotain”, he just fancied a change. The songs have been rerecorded and produced well, and Valo’s hushed vocal harmonies are tailor made for Agents musical style, they complement each other wonderfully.  If any HIM fans were hoping for something more like the guys have done in FLAT EARTH then they’ll be disappointed, the whole idea was for Valo to step AWAY from the noise and the heaviness that came with being in HIM; he’s exploring new avenues creatively and allowing himself the freedom to do so. Sure the Finnish itself might put some people off too, but it really isn’t aimed at the same demographic of Heartagram enthusiasts he’s been used to for the past twenty five years. If you’re a fan of Valo’s then naturally you’re going to check this out, long-time fans will already be familiar with his history with the Agents, but don’t go into this expecting his trademark baritone, soaring vocals and wailing guitar solos…you will be massively let down. [6]

'My Wreckord Collection' is becoming an interesting little feature...we've gone from an underground death metal masterclass, to lashings of thrash and now...in our third installment, we're going for something totally different yet again. Today we're going to be putting the spotlight on Mike Cummings of West Chester Pennsylvania stoner rockers BACKWOODS PAYBACK, who last year released their newest album "Future Slum", to find out what it is about NEIL YOUNG he loves so much...

“I sat down to write a bit about my record collection but, it seemed a bit overwhelming at the time. So many records, so many artists, so many genres; so many formats! I decided to hone in on the one artist that may have influenced me the most and that, would be NEIL YOUNG. I was turned onto “Harvest” before I was 10 years old; it was one of my mom’s favourite records and in constant rotation at the house growing up. Something about the fragility of his voice made me stop whatever I was doing whenever it came across the speakers. Then getting older and understanding the words he was singing, I realized just how powerful that soft voice actually was. As I got older and started digging through crates for my own record collection I was blown away by the sheer VOLUME of records Neil Young had (And continues to) put out. A folk record, a psych record, a “punk” record, a noise record, a synth record…he never stops! And when you think you caught up to him, he is already onto the next sound. It’s inspiring, it’s refreshing, and at times it’s FRUSTRATING (Which is a good thing in my opinion!).”

“I have managed to find just about his entire catalogue on vinyl through the years. Some get listened to more than others…some have only been spun once. Some (The ditch trilogy of “Time Fades Away”, “On The Beach” and “Tonight’s The Night”) get played weekly at the house. These records shaped who I am. They make me feel strong, they make me feel small. They guide me through tough times and they sing with me in happier ones. I am not sure who or even what I would be, had I not heard THAT voice all those years ago, coming through my mom’s little turntable stereo in the living room…”

ps…

“When it comes to embarrassing records, I don’t think I have one. Sure there’s a TON of stuff I dig on that a LOT of people think is goofy (IE: SUGAR RAY  - “Lemonade and Brownies”!) but I am not ashamed of any of them. I think they make us who we are. EMBRACE THE AWKWARD!”

Well well well...what can I say? 2018 has been and gone; some of it was awesome, some of it was interesting, some of it was amusing and a lot of it was spectacularly shit...however, one thing that's consistent is the sheer volume of music and art created around the world. 2018 saw me cover my usual rock and metal albums...there wasn't a lot of goth...but I dabbled in some pop, in some rap, in some hip-hop...that's not including that which I checked out for the team over at All About The Rock...ultimately 2018 has kept me on my toes musically and I'm sure that my Top 20's, no matter the category, can show you that. 

From Eurovision bangers courtesy of Saara Aalto...to heavy metal swan songs a la Machine Head. From returning Welsh rap rock renegades The Kennedy Soundtrack...to returning Finnish goth godfathers Musta Paraati. From crossover WWE Superstar Elias...to young crossover Stranger Things superstars forming Calpurnia...you name it there's been something for everyone in 2018 and I like to think I've covered a fair unbiased amount of it. After over 200 albums and EP's, the above gallery showcases the best of the best of 2018 and I hope you agree with my overall picks. Below you'll find the link to the GTGC Facebook page, where you can find my lists in their entirety (Including the bonus WORST 20 OF 2018) and my official GTGC 2018 Spotify Playlist, and I hope you enjoy listening to it as much as I enjoyed compiling it. Here's to 2019 and all of the new music coming our way...some of it will get the GTGC treatment, and you know you're looking forward to that. Peace out bitches...WUBBA LUBBA DUB DUB!!!!!!!!!!!!

​It’s been an interesting couple of years for one Mr Jyrki Linnankivi (Aka Jyrki 69) of THE 69 EYES fame…while it was back in 2016 where we last heard from the Helsinki Vampires, with their last album “Universal Monsters”…he’s been keeping busy himself with some projects outside the usual comfort of his coffin. Last year he dropped his first solo album, appropriately titled “Helsinki Vampire” which featured the tracks from horror movies “Halloween Pussytrap! Kill! Kill!” (I shit you not, that’s actually a thing) and “Sunset Society”…this year however he delves deeper into the Finnish goth ‘n’ roll archives, resurrecting some true Finnish legends…let me explain.

Back in the early 80’s, long before Finland was truly on the map musically as a hotbed for alternative music, when you were lucky to know about HANOI ROCKS if anyone, given the lack of internet etc…there was a little band called MUSTA PARAATI, who despite only having a brief career, as well as several line-up changes, managed to influence artists like Jyrki with their post-punk, early proto-goth style. Now, in 2018, after a 30+ year hiatus (If you can even call it that) Jyrki has gone through all the appropriate rituals to bring these Finnish goth icons back from the grave, providing vocals for the brand new English self-titled album “Black Parade”. Please note, if you’re expecting anything relating to MY CHEMICAL ROMANCE, you’re going to be disappointed…

The album opens up with “Animosity” and don’t worry, it’s the track name, you aren’t going get a smack in the chops. Generally a slow burner; you initially only get the soothing notes of guitarist Saku Paasiniemi, before it expands into a soft, synth-pop piece. A beautiful blend of rock ‘n’ roll, with throwback electronic keys and retro pop production, coupled with Jyrki’s distinct baritone vocals all combine for a strong start. Despite its slow-tempo it still houses a hook-laden catchy chorus and is textbook post-punk. We then have another of many highlights courtesy of “Nacht Der Untoten” (Which is German for Night Of The Dead) and the icy synth notes, along-side Jyrki’s deep drawl complement each other wonderfully, really allowing the idea and tone of the chilling, horror theme to shine through aesthetically.

Switching up linguistically next we go from German to French via “Aujourd’hui” and given the dark gothic tones, plus the French connection this reminds of early 69 Eyes works such as “Dance D’amour”, with the synths taking on an almost orchestral approach, adding a sense of intensity and drama at the tracks climax. Both “Radio” and “Digital Twin” provide up-beat, quirky, albeit by-numbers pieces of retro goth-pop, especially the latter, before standout track “Today”, as the shortest track here, gives a hard hitting dose of up-beat, bass-driven  rock that fans of SISTERS OF MERCY should easily lap-up. While there are weaker tracks on offer here, like “Reaper” and “Chopsticks”…it’s more a case of them being a bit generic as opposed to bad, coming off as more filler than failure, managing to keep the album overall sounding consistently solid.

Given Jyrki’s distinct vocal style and the accompanying music, it would be easy to mistake this as 69 Eyes version 2.0…given the blend of garage rock and gothic atmospherics, almost acting like an unreleased selection of tracks rather than a new record with Musta Paraati…but let’s not let that detract from the fact we’re still getting superb quality gothic rock in 2018. This is must have for post-punk fans AND 69 Eyes fans, and it easily gratifies 69 Eyes fans around the world while we wait for 2019’s new 30th anniversary album, as well as reintroducing fans to one of Finland's hidden gems in the process. Musta Paraati? You Musta' listen to this one, seriously… [9]